李白 《菩萨蛮》 平林漠漠烟如织， 寒山一带伤心碧。 暝色入高楼， 有人楼上愁。 玉阶空伫立， 宿鸟归飞急， 何处是归程？ 长亭更短亭。 Buddhist Dancers Li Bai (许渊冲 译) O’er far-flung wooded plain mist and smoke weave a screen, Cold mountains stretch into a belt of heart-rending green. The dusk invades the tower high, Where someone sighs a longing sign. On marble steps she waits in vain; Birds fly away and come again. By which way will her lord appear? She sees but stations far and near. Pu Sa Man 龚景浩译 A flat-top forest stretches far in embroidered mist; A cluster of mountains cool is tinged with heartbreak blue. The mansion in creeping dusk in clad, Someone up there is sad. On marble steps I stand forlorn. Birds fly hurriedly by back to roost. Where, pray, is the way home? Along a string of wayside pavilions I roam. To the tune of PuShaMan (Exotic Dancers) 黎历译 In vast even woods as dense as cloth rises the mist Dark green-hued cold hills bring out my woes whilst Gloaming melts into the high tower Where someone feels sad at the hour By standing on splendid steps in vain Lo, only birds hurriedly fly home again Where is my journey of return On which meet long and short arbours* by turn *In ancient times, there’re roadside resting arbours built along the post roads for travellers to take a rest. Arbours between ten miles were called as long arbours and between five miles as short arbours. Tune: “Strangers in Saint’s Coif” [P’u-Sa Man] Cyril Birch 译 Silent planes of woods woven in mist, Cold hills a tinted thread to knot the heart. Dusk ascends the tall tower, On the tower, someone grieving. Aimless on this moonlit terrace Watching the birds’ swift homing; Try to make out the road back— Halt after halt diminishing. 《菩萨蛮》，据说是由于唐代大中初年，女蛮国进贡，她们梳着高髻，戴着金冠，满身璎珞（璎珞是身上佩挂的珠宝），象菩萨。当时教坊因此谱成《菩萨蛮曲》。 这是一首怀人词，写思妇盼望远方行人久候而不归的心情。上下两阙采用了不同的手法，上片偏于客观景物的渲染，下片着重主观心理的描绘。然而景物的渲染中却带有浓厚的主观色彩，主观心理的描绘又糅合在客观景物之中。因而从整体上来说，情与景、主观与客观，又融成一片。开头两句为远景。高楼极目，平林秋山，横亘天末，凝望之际，不觉日暮。“暝色”两句为近景，用一“入”字由远而近，从全景式的平林远山拉到楼头思妇的特写镜头，突出了“有人楼上愁”的人物主体，层次井然。下片玉阶伫立仰见飞鸟，与上片登楼远望俯眺平楚，所见不同，思念之情则一。“宿鸟归飞急”还意在反衬行人滞留他乡，未免恋恋不返。末句计归程以卜归期。末句计归程以卜归期。词中着一“更”字加强了连续不断的以至无穷无尽的印象。征途上无数长亭短亭，不但说明归程遥远，同时也说明归期无望，以与过片“空伫立”之“空”字相应。如此日日空候，思妇的离愁也就永无穷尽了。结句不怨行人忘返，却愁道路几千，归程迢递，不露哀怨，语甚酝藉。 四个译文中，你觉得哪个更好? 本文来源：https://www.wddqw.com/doc/9e880908cad376eeaeaad1f34693daef5ff713e2.html