Listen to this article洪丕谟 行草：王驾《春晴》
【释文】雨前初见花间蕊，雨后全无叶底花。蜂蝶纷纷过墙去，却疑春色在邻家。
【款识】癸未立夏，洪丕谟挥于春申江畔百尺楼头。
【注释】初见：刚才见到。蕊：未开的花，即花苞。
【简析】
这首即兴小诗，写雨后漫步小园所见的残春之景。诗中摄取的景物很简单，也很平常，但平中见奇，饶有诗趣。
诗的前两句扣住象征春色的“花”字，以“雨前”所见和“雨后”情景相对比、映衬，吐露出一片惜春之情。雨前，春天刚刚降临，花才吐出骨朵儿，尚未开放；而雨后，花事已了，只剩下满树绿叶了，说明这场雨下得多么久，好端端的花光春色，被这一场苦雨给闹杀了。诗人望着花落春残的小园之景，是多么扫兴而生感喟啊！
扫兴的不光是诗人，还有那蜜蜂和蝴蝶。诗的下两句由花写到蜂蝶。被苦雨久困的蜂蝶，好不容易盼到大好的春晴天气，它们怀着和诗人同样高兴的心情，翩翩飞到小园中来，满以为可以在花丛中饱餐春色，不料扑了空，小园无花空有叶；它们也象诗人一样大失所望，懊丧地纷纷飞过院墙而去。花落了，蜂蝶也纷纷离开了，小园岂不显得更加冷落，诗人的心岂不更加怅惘！望着“纷纷过墙去”的蜂蝶，满怀着惜春之情的诗人，刹那间产生出一种奇妙的联想：“却疑春色在邻家”。院墙那边是邻家，诗人想得似乎真实有据；但一墙之隔的邻家小园，自然不会得天独厚，诗人想得又是多么天真烂漫；毕竟墙高遮住视线，不能十分肯定，故诗人只说“疑”，“疑”字极有分寸，格外增加了真实感。这两句诗，不仅把蜜蜂、蝴蝶追逐春色的神态，写得活灵活现，更把“春色”写活了，似乎“阳春”真的“有脚”，她不住自家小园，偏偏跑到邻家，她是多么调皮、多么会捉弄人啊！ “却疑春色在邻家”，可谓“神来之笔”，造语奇峰突起，令人顿时耳目一新。这一句乃是全篇精髓，起了点铁成金的作用，经它点化，小园、蜂蝶、春色，一齐焕发出异样神采，妙趣横生。古人谓“诗贵活句”（吴乔《围炉诗话》），就是指这种最能表达诗人独特感受的新鲜生动的诗句吧。
【Simple Translation】
This impromptu poem is about the scene of the waning spring seen in a small garden after the rain. The scenes taken in the poem are very simple and common, but they are poetically interesting in their simplicity.
The first two lines of the poem focus on the word “flowers”, which symbolizes the color of spring, and use the contrast between what I saw “before the rain” and what I saw “after the rain” to reveal a sense of regret for spring. Before the rain, spring had just arrived, and the flowers had only just emerged and had not yet opened; while after the rain, the flowers were gone and only the trees were full of green leaves. The poet looks at the scene of the small garden where the flowers have fallen and the spring is broken, how sad and sorrowful he is!
The poet is not only bored, but also the bees and butterflies. The next two lines of the poem are written from flowers to bees and butterflies. The bees and butterflies, who had been trapped by the bitter rain for a long time, could not wait for the beautiful spring weather. They flew to the small garden with the same happy mood as the poet, expecting that they could feast on the spring colors among the flowers, but they were disappointed, and they flew over the wall and left. The flowers have fallen and the bees and butterflies have left, so the garden looks even colder, and the poet’s heart is even more despondent! Looking at the bees and butterflies that “flocked over the wall”, the poet, who was full of the feeling of cherishing spring, suddenly came up with a wonderful association: “But I suspect that the spring color is in the neighboring house”. The poet seems to have a realistic idea that the neighboring house is on the other side of the courtyard wall; however, the neighboring garden, which is just one wall away, is naturally not blessed by nature, so how naive is the poet’s idea? The word “doubt” is very measured and adds a sense of reality. In these two lines, not only the bees and butterflies chasing the spring colors are vividly written, but also the “spring colors” are brought to life, as if “Yangchun” really has “feet”. She doesn’t live in her own garden, but runs to the neighbor’s. How mischievous she is and how she can play tricks on people! The phrase “but I suspect that the color of spring is in the neighboring house” can be called a “divine stroke”, creating a strange peak, which is immediately refreshing. This line is the essence of the whole piece, which plays a role in turning iron into gold, and by its embellishment, the small garden, the bees and butterflies, and the spring colors, all glow with a different spirit, and are wonderfully interesting. The ancient saying “poetry is worthy of living lines” (Wu Qiao’s “Poetry Talk Around the Furnace”) refers to such fresh and vivid lines that can best express the poet’s unique feelings.
