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水龙吟
次韵[1]章质夫[2]杨花词
苏轼
似花还似非花，
也无人惜从教坠。
抛家傍路，
思量却是，
无情有思[3]。
萦损柔肠，
困酣娇眼，
欲开还闭。
梦随风万里，
寻郎去处，
又还被、
莺呼起。
不恨此花飞尽，
恨西园、
落红难缀[4]。
晓来雨过，
遗踪何在，
一池萍碎。
春色三分，
二分尘土，
一分流水。
细看来，
不是杨花，
点点是离人泪。
注释：
[1]次韵：依照别人的原韵和诗或词。
[2]章质夫：名楶（jié），字质夫，福建蒲城人，历仕哲宗、徽宗两朝，为苏轼好友，其咏杨花词《水龙吟》是传诵一时的名作。
[3]思：思绪。
[4]缀：连接。
Water Dragon Chant
Su Shi
They seem to be but are not flowers;
None pity them when they fall down in showers.
Forsaking leafy home,
By the roadside they roam.
I think they’re fickle, but they’ve sorrow deep.
Their grief-o’erladen bowels tender
Like willow branches slender;
Their leaves like wistful eyes near shut with sleep,
About to open, yet soon closed again.
They dream of drifting with the wind for long,
Long miles to find their men,
But are aroused by orioles’ song.
Grieve not for willow catkins flown away,
But that in western garden fallen petals red
Can’t be restored. When dawns the day
And rain is o’er, we cannot find their traces
But in a pond with duckweeds overspread.
Of spring’s three Graces,
Two have gone with the roadside dust
And one with waves. But if you just
Take a close look, then you will never
Find willow down but tears of those who part,
Which drop by drop
Fall without stop.
注释：
The poet personifies and compares the willow down to a deserted woman.
《水龙吟·次韵章质夫杨花词》是宋代文学家苏轼的词作。此词咏杨柳，上阕主要写杨花（柳絮）飘忽不定的际遇和不即不离的神态；下阕与上阕相呼应，主要是写柳絮的归宿，感情色彩更加浓厚。全词不仅写出了杨花的形神，而且采用拟人的艺术手法，把咏物与写人巧妙地结合起来，将物性与人情毫无痕迹地融在一起，真正做到了“借物以寓性情”，写得声韵谐婉，情调幽怨缠绵，反映了苏词婉约的一面。
The Song Dynasty writer Su Shi wrote the lyrics of “Water Dragon Chant” (水龙吟 – 次韵章質夫杨花詞). The first section is about the erratic encounters and the unpredictable attitude of the willow flowers; the second section echoes the first section, mainly about the return of the willow, with stronger emotional color. The second section echoes the first section, mainly about the return of the willow wisps, which is more emotionally charged. The whole lyric not only describes the shape and spirit of the willow flowers, but also adopts the artistic technique of anthropomorphism, skillfully combining the chanting of objects and the writing of people, blending the nature of objects and human feelings without any trace, truly “using the objects to imply the nature of feelings”, writing with harmonious rhymes and sorrowful and lingering moods, reflecting the ebullient side of Su’s lyrics.
