205. 利州南渡（温庭筠）
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现代汉语译文
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澹然空水对斜晖，曲岛苍茫接翠微。
现代汉语译文
空阔的水面淡然对着斜阳，曲折的小岛苍苍茫茫，连着青翠的山影。
澹然、苍茫两个状态词定下全诗的水墨基调：这不是浓丽的温庭筠（花间词人），是放淡的一支笔。
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波上马嘶看棹去，柳边人歇待船归。
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波光里马嘶鸣着，看船桨划去；柳荫下有人歇脚，等着船回来。
马嘶、人歇是渡口的两拨客：一拨已经上船（马在船上嘶），一拨还在等（柳下歇脚）。一去一归，渡口的日常节奏完整。
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数丛沙草群鸥散，万顷江田一鹭飞。
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几丛沙草之间群鸥惊散，万顷江田之上飞着一只鹭。
万顷对数丛、一鹭对群鸥：数量词的极差是这一联的全部设计——大与小、多与一，渡口水鸟的秩序井然。
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谁解乘舟寻范蠡，五湖烟水独忘机。
现代汉语译文
谁能懂得乘一叶小舟去寻访范蠡，在五湖的烟水里独自忘掉机心？
范蠡功成身退、泛舟五湖。独忘机的机是机心（机巧算计之心）——结句由渡口风景转入隐逸宣言。
赏析 · Commentary
淡笔的温庭筠：词人与诗人的两副面孔 · Wen Tingyun in Thin Ink: the Lyricist and the Poet, Two Faces
温庭筠以花间词闻名（小山重叠金明灭的浓丽），但他的五七言诗另有一副清淡的面孔，这首渡口诗是代表。全诗没有一处浓墨：澹然、苍茫、烟水，色调一路向灰绿淡去；唯一的亮点是那只一鹭飞的白——万顷田里唯一的白点。旧评家早已注意到温诗与温词的分裂：诗学贾岛、姚合的清瘦，词开花间的绮丽。这首诗的好处在于它证明浓丽的人也能驾驭空阔——晚唐诗坛写景的功夫一半在温庭筠手里，只是读者常被他的词挡住。
Wen Tingyun is famed for the sumptuous huajian lyrics (the little hills fold, gold glimmering and gone), but his shi poetry wears another, thinner face, and this ferry poem is its representative. Not one heavy stroke in the poem: calm, dim-vast, misted water — the palette drains toward gray-green throughout, the single bright spot the one white egret over ten thousand acres. Old critics noted the split long ago: his shi lean toward the spare manner of Jia Dao and Yao He, his lyrics open the ornate huajian. The poem proves that a sumptuous temperament can also command the vast and empty — half the scene-craft of late Tang is in Wen's hands; readers are simply blocked by his lyrics.
数丛与万顷：数量词的风景学 · Several Clumps and Ten Thousand Acres: a Landscape of Numerals
数丛沙草群鸥散，万顷江田一鹭飞——这一联的功夫全在数量词：数丛（小而近）对万顷（大而远），群鸥（多而散）对一鹭（独而高）。四个数量词把渡口的视野切成四个象限：近处小的动，远处大的静中一点动。这种以数写景是晚唐律诗的精艺：数字虚化之后反而最准确——万顷是肉眼量不出的，但一鹭让万顷有了刻度。前人评此联浑然天成，天成在数字的对仗不着痕迹：没人觉得诗人在算数，只觉得看见了一只鹭。
Among several clumps of sand-grass the gulls scatter; over ten thousand acres of river-fields one egret flies — the craft of the couplet is wholly in its numerals: several clumps (small, near) against ten thousand acres (vast, far), scattered gulls (many) against one egret (single, high). Four quantity words cut the ferry view into four quadrants: near, small, in motion; far, vast, one point of motion in stillness. Writing scene through numbers is the refined art of late Tang regulated verse: once the numerals go vague they turn most exact — no eye can measure ten thousand acres, but the one egret gives them scale. An old critic called the couplet wrought as if by heaven, and heaven-made it is in the number-parallel: no one senses arithmetic; everyone sees an egret.
忘机：结尾的隐逸价码 · Forgetting Schemes: the Price of Reclusion in the Closing
结句谁解乘舟寻范蠡的反问里藏着一个经济问题：范蠡是在辅佐越王灭吴、位极人臣之后才泛舟五湖的——他的忘机是有过机心之后才配谈的。谁解二字因此有两层：一问世人不懂这种活法，二自问自己配不配。渡口的众生（马嘶、人歇、棹去、船归）都在为生计渡河，诗人却望着水面想入非非——这种反差是晚唐隐逸诗的标准结构：身在尘世，心已在湖上。烟水独忘机的独字最诚：忘机终究是一个人的事，同渡的人一个也忘不了。
The closing question, who understands taking a boat to seek Fan Li, hides an economic issue: Fan Li sailed the Five Lakes only after toppling Wu for Yue and standing at the summit of office — his forgetting of schemes is speakable only by one who once schemed at that scale. Who understands works twice: asking why the world cannot live so, and asking whether the poet himself qualifies. The ferry's common folk — neighing horse, resting men, departing oars, returning boat — all cross for their livelihood, while the poet gazes at the water and dreams: the standard structure of late-Tang reclusion verse, body in the dust, mind already on the lake. The single of alone in the misted water forgetting schemes is the honest word: forgetting is a solitary labor; of his fellow passengers, not one is forgotten.