权希军 行书:王维《辋川闲居赠裴秀才迪》
【释文】寒山转苍翠,秋水日潺湲。倚杖柴门外,临风听暮蝉。渡头余落日,墟里上孤烟。复值接舆醉,狂歌五柳前。
【款识】王维诗辋川闲居赠裴秀才迪,权希军。
【注释】墟里:村落。孤烟:炊烟。接舆:这里北裴迪。
【简析】
《新唐书·王维传》:“别墅在辋川,地奇胜……与裴迪游其中,赋诗相酬为乐。”这首诗即与裴迪相酬为乐之作。
这是一首诗、画、音乐完美结合的五律。首联和颈联写景,描绘辋川附近山水田园的深秋暮色;颔联和尾联写人,刻画诗人和裴迪两个隐士的形象。风光人物,交替行文,相映成趣,形成物我一体、情景交融的艺术境界,抒写诗人的闲居之乐和对友人的真切情谊。
“寒山转苍翠,秋水日潺湲。”首联写山中秋景。时在水落石出的寒秋,山间泉水不停歇地潺潺作响;随着天色向晚,山色也变得更加苍翠。不待颔联说出“暮”字,已给人以时近黄昏的印象。“转”和“日”用得巧妙。转苍翠,表示山色愈来愈深,愈来愈浓;山是静止的,着一“转”字,便凭借颜色的渐变而写出它的动态。日潺湲,就是日日潺湲,每日每时都在喧响;水是流动的,用一“日”字,却令人感觉它始终如一的守恒。寥寥十字,勾勒出一幅有色彩,有音响,动静结合的画面。
“渡头余落日,墟里上孤烟。”颈联写原野暮色。夕阳欲落,炊烟初升,这是田野黄昏的典型景象。渡头在水,墟里在陆;落日属自然,炊烟属人事:景物的选取是很见匠心的。“墟里上孤烟”,显系从陶潜“暧暧远人村,依依墟里烟”(《归田园居之一》)点化而来。但陶句是拟人化的表现远处村落上方炊烟萦绕、不忍离去的情味,王句却是用白描手法表现黄昏第一缕炊烟袅袅升到半空的景象,各有各的形象,各有各的意境。这一联是王维修辞的名句,历来被人称道。“渡头余落日”,精确地剪取落日行将与水面相切的一瞬间,富有包孕地显示了落日的动态和趋向,在时间和空间上都为读者留下想象的余地。“墟里上孤烟”,写的也是富有包孕的片刻。“上”字,不仅写出炊烟悠然上升的动态,而且显示已经升到相当的高度。
首、颈两联,以寒山、秋水、落日、孤烟等富有季节和时间特征的景物,构成一幅和谐静谧的山水田园风景画。但这风景并非单纯的孤立的客观存在,而是画在人眼里,人在画图中,一景一物都经过诗人主观的过滤而带上了感情色彩。那么,诗人的形象是怎样的呢?请看颔联: “倚杖柴门外,临风听暮蝉。”这就是诗人的形象。柴门,表现隐居生活和田园风味;倚杖,表现年事已高和意态安闲。柴门之外,倚杖临风,听晚树鸣蝉、寒山泉水,看渡头落日、墟里孤烟,那安逸的神态,潇洒的闲情,和“策扶老以流憩,时矫首而遐观”(《归去来辞》)的陶渊明不是有几分相似吗?事实上,王维对那位“古今隐逸诗人之宗”,也是十分仰慕的,就在这首诗中,不仅仿效了陶的诗句,而且在尾联引用了陶的典故:
“复值接舆醉,狂歌五柳前。”陶文《五柳先生传》的主人公,是一位忘怀得失、诗酒自娱的隐者,“宅边有五柳树,因以为号焉。”实则,这位先生正是陶潜的自我写照;而王维自称五柳,就是以陶潜自况的。接舆,是春秋时代“凤歌笑孔丘”的楚国狂士,诗人把沉醉狂歌的裴迪与楚狂接舆相比,乃是对这位年轻朋友的赞许。陶潜与接舆──王维与裴迪,个性虽大不一样,但那超然物外的心迹却是相近相亲的。所以,“复值接舆醉”的复字,不表示又一次遇见裴迪,而是表示诗人情感的加倍和进层:既赏佳景,更遇良朋,辋川闲居之乐,至于此极啊!末联生动地刻画了裴迪的狂士形象,表明了诗人对他的由衷的好感和欢迎,诗题中的赠字,也便有了着落。
颔联和尾联,对两个人物形象的刻画,也不是孤立进行,而是和景物描写密切结合的。柴门、暮蝉、晚风、五柳,有形无形,有声无声,都是写景。五柳,虽是典故,但对王维说来,模仿陶渊明笔下的人物,植五柳于柴门之外,不也是自然而然的吗?
【Simple Translation】
The New Book of Tang – Wang Wei’s Biography: “The villa is in Rimchuan, a strange and victorious place …… and Pei Di swam in it, giving poems to each other for pleasure.” This poem is the composition of the pleasure with Pei Di.
This is a poem with a perfect combination of poetry, painting and music. The first and neck couplets describe the scenery, depicting the late autumn twilight in the mountains and fields near Ruanchuan; the jaw and last couplets describe people, portraying the poet and Pei Di as two hermits. The scenery and the characters alternate and reflect each other, forming an artistic realm where things and I are one and scenes are blended, expressing the poet’s happiness of leisure and his true friendship to his friends.
”The cold mountain turns pale and verdant, and the autumn water rushes by.” The first couplet is about the autumn scene in the mountains. In the cold autumn when the water is falling, the springs in the mountains gurgle continuously; the mountains become more verdant as the sky becomes late. Without waiting for the word “twilight” to be uttered in the opening line, it already gives the impression that it is almost dusk. The words “turn” and “day” are cleverly used. The word “turn” means that the color of the mountain is getting deeper and more intense; the mountain is still, but with the word “turn,” it is dynamic by virtue of the gradual change in color. The word “rushing” means “gurgling” every day and every hour. The water is flowing, but the use of the character “日” gives the impression that it is always constant. The word “day” is used to give the impression that the water is flowing, but the word “day” is used to give the impression that it is always constant. The few crosses outline a picture of color, sound, and motion.
”The sun is setting at the ferry, and the smoke is alone at the market.” The neck line is about the twilight of the wilderness. The sun is about to set and the smoke is rising, which is a typical scene in the fields at dusk. The sunset is natural and the smoke is human: the choice of scenery is very skillful. The phrase “the lonely smoke in the marketplace” is obviously derived from Tao Qian’s phrase “the smoke in the marketplace” (“Residence in the Garden of the Returned Field”). However, Tao’s line is an anthropomorphic expression of the lingering smoke above the distant village, and the sentiment of not wanting to leave, while Wang’s line is a white description of the scene of the first wisp of smoke rising into the sky at dusk, each with its own image and mood. This couplet is a famous rhetorical line of Wang Wei, which has been praised for many years. “The remaining sunset at the ferry” is a precise cut of the moment when the sunset is about to cut with the water, showing the dynamics and tendency of the sunset in an encompassing way, leaving room for the reader’s imagination in both time and space. The words “on the lonely smoke in the marketplace” are also written in a moment rich in inclusiveness. The word “up” not only shows the dynamic of the smoke rising leisurely, but also shows that it has already risen to a considerable height.
The first two couplets, the neck, are a harmonious and quiet landscape with seasonal and temporal features such as cold mountains, autumn water, sunset and lonely smoke. However, the landscape is not simply an isolated objective existence, but is painted in the eyes of people, and people are in the picture, and every scene and object is subjectively filtered by the poet and brought with emotional color. What does the poet’s image look like? Please look at the couplet: “Leaning on the staff outside the wood door, listening to the twilight cicadas in the wind.” This is the image of the poet. The Chai Gate expresses the life of seclusion and the flavor of the countryside; the leaning staff expresses the old age and leisurely attitude. Outside the Chai Gate, leaning on the staff facing the wind, listening to the cicadas in the evening trees and the springs in the cold mountains, watching the sunset on the ferry and the lonely smoke in the market, the relaxed demeanor and the dashing leisurely mood are similar to Tao Yuanming’s who “took the old man to rest in the stream, and when he was in a state of reverie” (“Returning to the future”), don’t they have some similarities? As a matter of fact, Wang Wei was also a great admirer of that “ancient and modern hermit poet”, and in this poem, he not only imitated Tao’s verses, but also quoted Tao’s allusions in the last couplet: “When I was drunk again, I was drunk again:
”Again, the value of the catcher is drunk, singing wildly before the five willows.” The main character of Tao’s “Biography of Mr. Wuliu” is a hermit who forgets his gains and losses and entertains himself with poetry and wine, “There are five willow trees by his house, so he thought he was called.” In fact, this gentleman is the self-portrayal of Tao Qian; and Wang Wei calls himself Wuliu, which is the self-reference of Tao Qian. The poet compares Pei Di, who was intoxicated by the wild songs, with the Chu madman Jijiu in the Spring and Autumn Period, as a tribute to this young friend. Although the personalities of Tao Qian and Jiju, Wang Wei and Pei Di are very different, their transcendent heart and soul are close to each other. Therefore, the word “again” does not mean another meeting with Pei Di, but a doubling and advancement of the poet’s emotion: enjoying the beautiful scenery and meeting a good friend, the joy of living in leisure in Rim River is so great! The last couplet vividly portrays the image of Pei Di as a madman and shows the poet’s sincere good feeling and welcome to him, and the poem’s title, the word “gift”, has been settled.
The two characters are not portrayed in isolation, but are closely combined with the description of the scenery. The chai gate, the cicadas, the evening breeze, and the five willows are all tangible and intangible, sounding and silent, but they are all scenes. Although the five willows are allusions, is it not natural for Wang Wei to imitate the characters in Tao Yuanming’s writing and plant five willows outside the Chai Gate?