169. 客至（杜甫）
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现代汉语译文
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舍南舍北皆春水，但见群鸥日日来。
现代汉语译文
草堂的南边北边都是春天涨起来的水，每天只见成群的鸥鸟飞来。
皆春水交代环境：草堂被水围着，来客不易。群鸥日日来暗用鸥鹭忘机的典——与人无机心的只有鸟。
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花径不曾缘客扫，蓬门今始为君开。
现代汉语译文
长满花的小路从没为客人扫过，今天为您第一次扫；柴门也没开过，今天为您第一次敞开。
不曾、今始对得极工：两个「第一次」说明这客人的分量。花径、蓬门都是小家贫居的物事，郑重却寒酸。
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盘飧市远无兼味，樽酒家贫只旧醅。
现代汉语译文
盘里的饭菜离市镇远，没有多样的滋味；家贫，酒只有自家酿的浊酒。
无兼味、只旧醅是主人自陈待客的简陋，语气却不见窘迫——远市、家贫都是实情，说出来了反而是亲近。
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肯与邻翁相对饮，隔篱呼取尽余杯。
现代汉语译文
如果肯跟隔壁的老翁对饮，我就隔着篱笆喊他过来，把剩下的酒喝尽。
结尾忽然邀第三人入席，问句口气随意得像家常话。隔篱呼取四个字是全诗最生动的一笔：主人已经喝到忘形，宾主之礼化成了邻里之乐。
赏析 · Commentary
一次平等饮酒的完整记录 · A Complete Record of Drinking as Equals
这首诗题下原有自注「喜崔明府相过」，崔明府是杜甫的舅氏、邻近的县令。全诗记录一次家常待客的全过程：环境（被水围着）、开门（今天第一次）、待饭（没有好菜）、待酒（只有浊酒）、添兴（喊邻居来）。妙处在通篇没有一句寒暄客套，主人自陈家贫、菜简、酒薄，语气坦然得近乎孩子气——这是把对方真正当自己人才写得出的句子。尾联邀邻翁，更是把一次官亲来访写成了村中闲聚。旧评说此诗村朴之中见真味，杜甫七律以沉郁著称，这首的松弛恰是他少见的一面。
The poem carries the poet's own note: delighted that Magistrate Cui has called — Cui being his uncle by marriage and the magistrate of a neighboring county. It records a household reception whole: the setting (ringed by water), the opening of the gate (today, for the first time), the food (nothing fine), the wine (only the cloudy home-brew), the added pleasure (calling the neighbor over). No line of polite formula anywhere; the host states his poverty and plain table with an almost childlike candor — lines possible only toward someone treated as one's own. The closing invitation turns an official kinsman's visit into a village gathering. Old critics called it true flavor inside rustic plainness; Du Fu's regulated verse is famed for depth and gloom, and this ease is a rare face of his.
「皆」「但」「只」：虚字里的孤与喜 · All, Only, Just: the Solitude and the Joy Inside the Function Words
首联的皆、但，颈联的无、只，四个虚字撑起全诗的情感结构：皆春水——四面都是水，来客难；但见群鸥——除了鸟没有人，日子清冷；无兼味、只旧醅——家贫的实话。虚字用得越准，实情越显。到尾联，同样的虚字忽然翻出喜色：今始为君开的「始」，肯与邻翁的「肯」，隔篱呼取的「取」——一连串轻快的小字，把前六句蓄着的孤清一下子化开。读杜甫诗常注意实词的沉重，这首值得注意的恰是虚字：它们是情绪的阀门，收和放全在上面。
The empty words prop up the poem's whole emotional frame: all spring water — water on every side, callers hard to come; only gulls — birds and no people, the days quiet; no variety, only home-brew — the plain facts of poverty. The more precise the empty words, the clearer the facts. At the close the same class of words suddenly turns joyful: the first-ever of today it opens for you, the would-you of might you drink with the neighbor, the call-him of call him across the fence — a run of light little words dissolving at a stroke the solitude stored through six lines. Readers of Du Fu watch his weighty nouns and verbs; in this poem it is the function words that matter: they are the valves of feeling, shutting and releasing all the pressure.
群鸥与邻翁：两种客的对照 · Gulls and the Old Neighbor: Two Kinds of Guests Set Against Each Other
首联的群鸥与尾联的邻翁构成一首诗里的首尾呼应：鸥鸟日日来，是自然的客人，来去不问；邻翁是被喊来的，人间烟火里的客人。两者之间站着的是「君」——这位客人从水路来，越过只有鸥鸟作伴的日子，成了草堂破例的一位。杜甫用这个结构暗示了隐居生活的一个悖论：真正与世无争的人只有鸟作伴，而人一旦来了，他高兴的程度恰恰暴露了此前的孤独。鸥鹭忘机的典故在尾联被悄悄接住——与邻翁隔篱对饮，才是真正的忘机：连宾主之别都不要了。
The gulls of the opening and the old neighbor of the close frame the poem: the gulls are nature's callers, coming and going without asking; the neighbor is summoned, a guest of human warmth. Between them stands you — the caller who came by water, past days when only gulls kept company, to become the cottage's exception. The structure hints at a paradox of reclusion: the man truly beyond the world has only birds for company, and his joy at a human visit measures the solitude before it. The old allusion of gulls that shun the scheming heart is quietly caught in the closing: drinking across the fence with the neighbor is the true forgetting of schemes — even the distinction of host and guest is let go.