几宵闲北寝,始见映西楼。
曲篆临钩误,残黄映额羞。
桂稀山自冷,珠浅蚌兼愁。
巧作纤纤句,才能喻两头。
几宵闲北寝,始见映西楼。
曲篆临钩误,残黄映额羞。
桂稀山自冷,珠浅蚌兼愁。
巧作纤纤句,才能喻两头。
多少个夜晚在北室闲居安寝,
才初次见到它映照在西楼之上。
弯弯的月痕临近如钩处,仿佛篆字笔误;
残存的淡黄色,好似映在额间令人羞赧的妆饰。
月中桂树稀疏,山影自然显得清冷;
珍珠般的光华浅淡,让蚌埠同时怀有忧愁。
要精巧地写成描绘这纤纤月牙的诗句,
才思必须能够兼顾它的首尾两端(的意蕴)。
For nights I idly rested in north hall,
Now first I see it shine on western bower.
Its curve like seal script, near the hook, seems small;
Its pale yellow, a shy blush on the brow.
With sparse cassia, the mountain feels the chill;
Shallow pearl makes the clam both sad and sore.
To craft a verse on its slim shape with skill,
One must grasp both its ends and something more.
微观的物候变化,触发个体对时间周期的重新认同。
写人于北寝闲卧多日,方见新月映楼的细微观察与闲适之情。
本诗为五言律诗,押平声韵。
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