87. 渡荆门送别（李白）
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现代汉语译文
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渡远荆门外，来从楚国游。
现代汉语译文
乘船远渡到荆门之外，来这古楚之地游历。
荆门是蜀地与楚地的分界。李白少年出蜀，从这里进入更开阔的天地，首联交代的就是这次出蜀的行程。
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山随平野尽，江入大荒流。
现代汉语译文
群山随着平坦的原野的出现而消失，江水流入辽阔的荒原，奔流而去。
「随」「入」两个动词让山和江都动起来：山是退去的，江是涌进的。两句写出蜀中群山夹江到楚地平原豁然开阔的变化。
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月下飞天镜，云生结海楼。
现代汉语译文
月影映入江中，像天上飞下的明镜；云气升起，结成海上的楼阁。
「飞天镜」写江中月影，「结海楼」写云霞幻象。两句都写水天之间的倒影和幻景，是楚地开阔之景的细节。
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仍怜故乡水，万里送行舟。
现代汉语译文
我仍然怜爱故乡的水，它一路万里，送着我的行船。
长江水从蜀地流来，李白说它「送行舟」，是把水当成故乡的化身。末句不说自己想家，说家乡的水不舍得他，情感掉了个方向。
赏析 · Commentary
题目里的「送别」送的是谁 · Who Is Being Seen Off in the Title
这首诗题为「渡荆门送别」，但正文里没有出现被送的友人，四联写的都是自己出蜀的所见所感。这引出一种通行的读法：末联的「送行舟」就是标题所指的送别——送他的不是人，是故乡的水。另一种读法则认为题中「送别」是编集者所加，与正文未必相应。两说都不能从诗本身确证。可以确定的是，若按前一种读法，全诗便是「故乡送我到远方」的一个完整的表达，末联的分量也就落在标题上。
The poem is titled Crossing Jingmen and Seeing Off a Friend, yet no friend appears in the text; all four couplets give what the speaker saw and felt leaving Shu. This has led to a common reading: the boat seen along in the last line is the farewell the title names — it is not a person who sees him off but the water of his home. Another reading holds that the words seeing off were added by an editor and need not answer to the text. Neither can be confirmed from the poem alone. What is certain is that on the first reading the poem becomes a complete statement of home sending him into the distance, and the weight of the last couplet rests on the title.
「山随平野尽」的手法是移动的视点 · The Method of Mountains Ending with the Plain: A Moving Eye
这两句常被拿来和杜甫「星垂平野阔，月涌大江流」并读，因为写法相近：都是站在船上，让景物随行程变化。李白这两句的关键是「随」和「入」——不是静态地描写平原如何，而是写出「走过三峡、忽然开阔」这个过程。若没有在江上移动的经验，很难把这层变化写得这么准。二十来岁的李白第一次出蜀，眼前的变化是新鲜的，诗里的开阔感多半也来自这种新鲜。
These lines are often read alongside Du Fu's stars hang low over the wide plain, the moon surges with the great river, for the method is much the same: standing on a boat and letting the scene change with the journey. The key here is end with and flow into — not a static account of what a plain is like but the process of passing the gorges and suddenly opening out. Without the experience of moving on the river, such a change is hard to render so exactly. Li Bai, about twenty, was leaving Shu for the first time; the change before his eyes was fresh, and the sense of openness in the poem likely comes from that freshness.
末联为什么不直说想家 · Why the Last Couplet Does Not Say He Misses Home
直说「思乡」是唐诗里最省力的写法，也最容易写平庸。李白的处理是把主语换掉——想家的不是「我」，而是「故乡水」。这么一换，抽象的思乡变成了一个具体的动作：水一路跟着船，送出去万里。读者反而更能感到那份不舍，因为不舍被指派给了景物。这种「移情于物」的写法在唐诗里常见，用得好不好，看被指派的物是否承担得住；这里用长江水，它本来就是从蜀地流来的，承担得住。
Saying I miss home is the least effortful move in Tang poetry and the easiest to make dull. Li Bai changes the subject instead: it is not I who misses home but the water of home. With the swap, abstract homesickness becomes a concrete action — the water follows the boat, seeing it ten thousand li out. The reader feels the reluctance more, for it has been assigned to the scenery. This transferring of feeling onto things is common in Tang poetry, and whether it works depends on whether the thing can bear the assignment; here it is the Yangtze, which does flow down from Shu, and it bears it.