84. 题破山寺后禅院（常建）
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现代汉语译文
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清晨入古寺，初日照高林。
现代汉语译文
清晨走进这座古寺，初升的太阳照着高高的树林。
首联交代时间和地点，用词朴素，少用雕饰。清早和初日把光线定下来，后面所有景色都在这光里展开。
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曲径通幽处，禅房花木深。
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弯曲的小路通向幽静的地方，禅房掩在繁茂的花木深处。
「曲」和「幽」是一对：路要弯，才通到幽深处。「深」字是全联的落点，花木之深也就是禅房之深。
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山光悦鸟性，潭影空人心。
现代汉语译文
山间的光色使鸟的本性感到愉悦，潭中的倒影使人心中杂念清空。
这一联由景入心：上句还在写鸟，下句就写到人。一个「空」字是全诗的题眼，把佛寺的意味点了出来。
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万籁此俱寂，惟余钟磬音。
现代汉语译文
此刻万种声响都归于寂静，只剩下钟磬的声音。
「俱寂」不是没有声音，是别的都停了；钟磬之音反而因此显得更清。末句以有声写无声，是全诗的余韵。
赏析 · Commentary
「曲径通幽处」为什么成了成语 · Why a Winding Path Paved the Way to Seclusion Became an Idiom
这两句是全诗流传最广的，后来「曲径通幽」固定成成语，用来形容路径曲折、通向幽雅的所在。它能脱离原诗独立使用，是因为说法本身自足：弯的路、深的草木、藏在里面的房子，三个要素一摆，画面就全了。值得注意的是它在原诗中的作用——第二联把外景推到最深处，第三联才好转向内心。没有这一联的「深」，「空人心」就落不下来。
These lines are the poem's most widely known, and a winding path leads to seclusion later hardened into an idiom for a path that turns to reach a quiet, elegant place. It can stand apart from the poem because the saying is self-sufficient: a bent path, deep planting, a house hidden within — set the three down and the picture is complete. Note its work in the poem: the second couplet pushes the outer scene to its deepest, which is what lets the third turn inward. Without the deep of this couplet, the emptying of the heart would have nowhere to land.
从写景到说理的过渡 · The Passage from Scenery to Thought
五律写到第三联常要有变化，这首的变化是「由外入内」。前两联一路向内走，走到禅房的最深处；第三联不再走，停下来写感受：鸟在这里自在，人在这里空心。第四联连感受也不写了，只留下钟磬的声音。四联的推进是一条越来越静的线，这不是套路，是寺院题材本身的节奏——进寺、入深、静心、闻钟，是真实的游览顺序。
A regulated poem usually needs a change in the third couplet, and this one changes by moving from outside in. The first two couplets walk inward to the deepest point of the hall; the third stops walking and writes feeling — birds at ease here, the heart emptied here. The fourth writes no feeling at all, leaving only the bell and chime. The four couplets trace a line of increasing quiet, and this is no formula but the rhythm of the temple subject itself: enter, go deep, still the mind, hear the bell — the actual order of a visit.
「空人心」的两种读法 · Two Ways to Read the Emptying of the Heart
「潭影空人心」有主客两种读法。一是「使人心空」，潭中的倒影让人忘掉杂念，这是使动；二是「人心本空」，倒影照见的正是人心的空，这是描述。两说古诗中都有先例，诗本身没有排除任何一种。差别在于作者把自己放在哪一步：前说还在「被景物净化」的过程中，后说已经站在「本来无一物」的位置上。禅宗的语境更偏向后说，但常建没有把话说死。
The reflection in the pool empties the human heart reads two ways. One is causative: the reflection makes the heart empty, clearing away stray thoughts. The other is descriptive: the heart is empty by nature, and the reflection simply shows it. Both have precedent in old poetry, and the poem rules out neither. The difference is where the poet places himself: in the first reading he is still being purified by the scene, in the second he already stands where nothing was there to begin with. The Chan context favors the second, but Chang Jian leaves it unclosed.