Su Shi Poem: Eight Beats of Ganzhou Song For a Buddhist Friend – 苏轼《八声甘州寄参寥子》

 

八声甘州
寄参寥子
[1]
苏轼
有情风万里卷潮来,
无情送潮归。
问钱塘江[2]上,
西兴[3]浦口[4],
几度斜晖?
不用思量今古,
俯仰[5]昔人非。
谁似东坡老,
白首忘机[6]。
记取西湖西畔,
正春山好处,
空翠烟霏[7]。
算诗人相得[8],
如我与君稀。
约它年、
东还海道[9],
愿谢公雅志[10]莫相违。
西州路[11],
不应回首,
为我沾衣。

注释:
[1]参寥子:僧人道潜,字参寥,浙江于潜(今杭州附近)人,善诗能文。他的名句“禅心已作沾泥絮,不逐东风上下狂”颇为苏轼所赞赏。苏轼贬居黄州,参寥子不远千里相从。苏轼再次至杭州后,选择智果精舍(寺庙)让他居住。1091年,苏轼应召赴京后,寄赠他这首词。
[2]钱塘江:浙江最大的河流,注入杭州湾,江口呈喇叭状,以潮水壮观著名。
[3]西兴:在钱塘江南。今杭州市对岸,萧山县治西。
[4]浦口:渡口。
[5]俯仰:俯仰之间;瞬间。形容时间短暂。
[6]忘机:忘却机心,恬然随缘。机,机心、机变之心。
[7]空翠烟霏:空翠,晴天。烟霏,阴天。霏,云气。
[8]相得:相处得宜。
[9]海道:通向大海的长江水道。
[10]雅志:归隐之志。语出《晋书·谢安传》。谢安官居高位,却想归隐会稽(今浙江绍兴)东山。在出镇广陵(今扬州)时,“造泛海之装,欲须经略(治理)粗定,自江道还东。雅志未就,遂遇疾笃”。临死前回南京城,过西州门,想起隐居夙愿未能实现,感慨不已。
[11]西州路:指西州门。谢安外甥羊昙曾醉中过西门,回忆谢安的往事。痛哭不已。这里是说自己要实现谢公退隐的雅志,不要使参寥子像羊昙那样痛哭于西州路。
Eight Beats of Ganzhou Song
For a Buddhist Friend

Su Shi
The heart-stirring breeze brings in the tidal bore;
The heartless wind sees it flow out from river shore.
At the river’s mouth
Or the ferry south,
How many times have we heard parting chimes?
Don’t grieve over the past!
The world changes fast.
Who could be like me,
Though white-haired, yet carefree?
Do not forsake the western shore of the lake:
On fine day the vernal hills are green;
On rainy day they are veiled by misty screen.
Few poets would be
Such bosom friends as you and me.
Do not forget in our old age,
We’ll live together in hermitage.
Even if I should disappear,
You should not turn to weep for your compeer.

注释:
This lyric describes the poet’s friendship with a Buddhist.

《八声甘州·寄参寥子》是宋代文学家苏轼的词作。这是一首寄赠之作,表现词人超然物外的人生态度和寄情山水的人生理想。全词以平实的语言,抒写深厚的情意,气势雄放,意境浑然。上下阕均以写景发端,议论继后,景语中有情语,议论时亦辅之以超旷、闲逸、感喟之情,大气包举,襟怀高妙,风格豪迈超旷。

“Eight Beats of Ganzhou Song For a Buddhist Friend” is a lyric by Su Shi, a writer of the Song Dynasty. It is a piece of gift, expressing the lyricist’s transcendental attitude and his ideal of love for the landscape. The whole lyric is written in plain language with profound sentiments, and the atmosphere is majestic and mellow. The first and second sections both start with the writing of the scene and are followed by the discussion, which is complemented by the words of emotion in the scene and by the feelings of transcendence, leisure and sorrow.

 

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