诗魔大抵解穷人,到得人穷句益新。
笔下自惭无好语,眼前底事最清贫。
草玄天禄书窗冷,涤器临邛酒市春。
自古才高多命薄,区区何必论钱神。
诗魔大抵解穷人,到得人穷句益新。
笔下自惭无好语,眼前底事最清贫。
草玄天禄书窗冷,涤器临邛酒市春。
自古才高多命薄,区区何必论钱神。
诗魔大抵懂得穷人的处境,
等到人更加穷困时,诗句反而越发清新。
笔下自觉惭愧,写不出美好的语句,
可眼前这境况,什么才是最极致的清贫呢?
像扬雄草拟《太玄》于天禄阁,我的书窗寒冷;
如司马相如在临邛涤器,酒市中却仿佛有春意。
自古以来,才华高超的人大多命运薄幸,
我们区区凡人,又何必去议论那掌管金钱的神明。
The demon of poetry knows well the poor man's plight,
When poverty deepens, his verses shine more bright.
Ashamed, my brush yields no fine words to be told,
Yet before my eyes, what's most clear is being poor and cold.
Drafting profound works, my study by the Tianlu Pavilion is chill;
Washing vessels in Linqiong, the wine market's spring I feel still.
Since ancient times, great talent often meets a fate most thin,
Why bother, in our small world, to argue about the god of tin?
穷困催生创新,体现逆境中的认知突破。
探讨诗才与穷困的辩证关系,穷而后工,诗句反得新奇。
本诗为七言律诗,押平声韵。
东山书院编辑整理