80. 和晋陵陆丞早春游望（杜审言）
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现代汉语译文
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独有宦游人，偏惊物候新。
现代汉语译文
只有在外做官漂泊的人，才会对节令景物的更新格外惊心。
「偏惊」是全诗的眼。当地人看惯的春景，在客居者眼里却是惊动，一惊一乍之间，身份就出来了。
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云霞出海曙，梅柳渡江春。
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云霞从海上涌出，是黎明的景象；梅花和柳树的春意，渡过了长江。
两句一写天光一写植物，「渡江春」把春天写成可以移动的东西，从南岸过到北岸。这是初唐对仗里少见的活笔。
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淑气催黄鸟，晴光转绿苹。
现代汉语译文
温和的春气催动着黄莺啼叫，晴日的光照里，浮萍转成了绿色。
「催」「转」两个动词让景物自己动起来：不是人看春，是春在推着万物往前走。动感是这一联的分量所在。
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忽闻歌古调，归思欲沾巾。
现代汉语译文
忽然听到你唱起古雅的曲调，思乡之情涌上来，眼泪几乎要沾湿手巾。
前面六句都在写景，末联才点出「归思」。「忽闻」转折很陡，前面越写得明媚，这一转越显得思乡来得突然。
赏析 · Commentary
「和」诗要做什么 · What a Harmonizing Poem Has to Do
题目的「和」指依原诗的题意或韵脚另作一首。原唱是晋陵陆丞的《早春游望》，写的是早春出游所见；杜审言这首和诗把重心挪到了「望」之后的感受上。同一题材，和诗不能只是复述，必须找到一个原唱没写到的角度。杜审言找到的是「宦游人」这个身份——同样的春景，本地人和客居的人看到的不一样。这是和诗能站住的理由。
The word harmonizing in the title means composing another poem on the theme or rhymes of an original. The original, by Clerk Lu of Jinling, described what was seen on an early spring outing; Du Shenyan's response shifts the weight to what comes after the looking. On the same topic a harmonizing poem cannot simply retell; it must find an angle the original left out. Du Shenyan's angle is the condition of the man away from home in office — the same spring scenery looks different to a local and to a stranger. That is what lets the poem stand.
中间两联为什么写得最亮 · Why the Middle Couplets Shine Brightest
颔联和颈联是全诗的名句，历代选本几乎必录。它们的好处在于动词选得准：出海、渡江、催、转，四个动作让静止的春景流动起来。而且四个动作的施动者都不是人——是云霞自己在出海，春天自己在渡江。人退到一边，景物却更活了。这种写法在初唐还不多见，杜审言是杜甫的祖父，杜甫后来写景的动感，家学上是有来历的。
The second and third couplets are the famous ones, recorded in nearly every anthology. Their merit lies in the accuracy of the verbs: rise from the sea, cross the river, quicken, turn — four actions that set a still spring scene in motion. And in none of them is a person the agent — the haze rises of itself, spring crosses of itself. The human steps aside and the scenery comes more alive. The method was uncommon in the early Tang; Du Shenyan was Du Fu's grandfather, and the sense of motion in Du Fu's landscape writing has a lineage in the family.
末联的转折靠什么撑住 · What Holds Up the Turn in the Last Couplet
全诗六句写春景，最后两句忽然说想家，这个转折之所以不突兀，靠的是首联已经埋下的「宦游人」三个字。在这三个字出现之前，读者不知道看春的人是谁；出现之后，中间四句的明媚就都有了底色——越美越刺人。末联的「忽闻歌古调」又给了一个触发点：情绪不是自己来的，是被一支曲子勾起来的。有身份铺垫，有触发事件，转折就站得住。
Six lines of spring scenery, then two lines of sudden homesickness. The turn is not jarring because the opening couplet has already planted the phrase a man away from home in office. Before those words appear the reader does not know who is looking at spring; after them, the brightness of the middle four lines gains an undertone — the lovelier it is, the more it stings. The last couplet adds a trigger in suddenly I hear you sing an old tune: the feeling does not come of itself, it is drawn out by a melody. With the condition planted and the trigger given, the turn holds.