唐詩
春江花月夜
Zhang Ruoxu
春江潮水连海平，海上明月共潮生。
滟滟随波千万里，何处春江无月明。
江流宛转绕芳甸，月照花林皆似霰。
空里流霜不觉飞，汀上白沙看不见。
江天一色无纤尘，皎皎空中孤月轮。
江畔何人初见月，江月何年初照人。
人生代代无穷已，江月年年望相似。
不知江月待何人，但见长江送流水。
白云一片去悠悠，青枫浦上不胜愁。
谁家今夜扁舟子，何处相思明月楼。
可怜楼上月徘徊，应照离人妆镜台。
玉户帘中卷不去，捣衣砧上拂还来。
此时相望不相闻，愿逐月华流照君。
鸿雁长飞光不度，鱼龙潜跃水成文。
昨夜闲潭梦落花，可怜春半不还家。
江水流春去欲尽，江潭落月复西斜。
斜月沉沉藏海雾，碣石潇湘无限路。
不知乘月几人归，落月摇情满江树。
翻訳
The spring river tide rises level with the sea. Over the sea, the bright moon rises with the tide. Shimmering light follows the waves for thousands upon thousands of miles. Where along the spring river is there no moonlight? The river bends and winds around fragrant meadows. Moonlight shines on flowering woods, making them look like falling sleet. In the empty air, frost-like brightness seems to flow, though no one senses it flying. On the river islets, white sand can scarcely be seen. River and sky become one color, without the slightest dust. In the clear empty heavens, one lonely moon hangs bright. Who, by the river, was the first to see the moon? In what year did the river moon first shine upon human beings? Generation after generation, human life goes on without end. Year after year, the river moon appears much the same. I do not know whom the river moon is waiting for. I only see the Yangtze sending its flowing waters away. A single white cloud drifts far and slow. At Green Maple Shore, sorrow is more than one can bear. Whose traveler tonight is riding a small boat? In what moonlit tower does someone long for the one away? How pitiful: the moon above the tower lingers. Surely it shines on the dressing mirror of the one left behind. Through the jade doorway and curtain, the moonlight cannot be rolled away. On the washing stone, it returns even after being brushed aside. At this moment, we gaze at one another through the same moon, yet cannot hear each other. I wish I could follow the moonlight and flow to shine upon you. Wild geese fly far, but their wings cannot cross this light. Fish and dragons leap beneath the water, only making ripples on the surface. Last night, by a quiet pool, I dreamed of falling flowers. How sad: spring is already half gone, and I still have not returned home. The river carries spring away, and spring is about to end. Over the river pool, the setting moon again leans west. The slanting moon sinks deep, hidden in sea mist. From Jieshi to Xiaoxiang, the roads are endless. I do not know how many people tonight will return by moonlight. The falling moon stirs all feeling, and its light fills the trees along the river.
解説
“Spring River, Flowers, Moon, Night” is one of the great long poems of the Tang tradition. It is built around five central images: spring, river, flowers, moon, and night. Through them, Zhang Ruoxu joins landscape, cosmic reflection, human mortality, separation, and longing into one continuous moonlit vision. The opening is immense. The spring river tide rises until it is level with the sea, and the moon seems to rise together with the tide. River, sea, moon, and tide appear at once, creating a vast space from the very beginning. The next lines expand the moonlight across thousands of miles. The moon is no longer merely a local object in the sky. Its light follows the waves and covers the entire spring river. The poem’s emotional and philosophical scale begins here. Then the poem moves from vastness to detail. The winding river circles fragrant meadows; moonlight shines on flowering woods until they look like sleet or frost. The world becomes bright, cool, and almost transparent. River, sky, flowers, sand, and moonlight dissolve into one pure atmosphere. The central philosophical turn begins with “River and sky become one color” and the solitary moon in the clear heavens. The poet asks: who first saw the moon by the river, and when did the river moon first shine on human beings? These questions enlarge the poem from scenery to cosmic time. The moon connects the present observer with all past human observers. “Generation after generation, human life goes on without end; year after year, the river moon appears much the same.” Here the poem balances human change and natural continuity. Individual lives pass away, but human generations continue; the moon, too, returns year after year with the same appearance. The middle section shifts into separation and longing. A white cloud drifts away; sorrow gathers at Green Maple Shore. The poem imagines two separated figures: a traveler in a small boat and someone longing from a moonlit tower. They are far apart, but the same moonlight touches them both. The moonlight entering the tower becomes a symbol of unavoidable longing. It cannot be rolled away from the curtain, and when brushed off the washing stone, it returns. The light is beautiful, but it is also relentless. It keeps reminding the separated person of absence. “At this moment, we gaze at one another through the same moon, yet cannot hear each other” is the emotional core of the poem. Shared moonlight creates connection, but not reunion. The wish to follow the moonlight and shine upon the beloved is tender, but impossible. The final section brings together dream, spring’s passing, the river’s flow, and the setting moon. Falling flowers in a dream suggest time slipping away. Spring is half gone; the traveler has not returned. The river carries spring away, and the moon sinks westward into mist. The closing question, “I do not know how many people tonight will return by moonlight,” remains unanswered. The poem ends not with resolution, but with moonlight stirring emotion across the riverside trees. This is the right ending: the river continues, the moon sets, longing remains. The greatness of the poem lies in its unity. The same moonlight illuminates the river, flowers, sky, ancient time, present travelers, separated lovers, dreams, and homeward longing. The poem is vast and intimate at once. It is one of the clearest examples in Chinese poetry of landscape becoming metaphysics and human emotion becoming part of cosmic rhythm.
作者紹介
Zhang Ruoxu was a Tang dynasty poet from Yangzhou. Very little is known about his life. He is traditionally grouped with He Zhizhang, Zhang Xu, and Bao Rong as one of the “Four Scholars of Wuzhong.” Only a small number of his poems survive, but “Spring River, Flowers, Moon, Night” alone secured his place in Chinese literary history. The poem takes up an old yuefu title but transforms it into a work of extraordinary scale, combining natural beauty, cosmic questioning, human impermanence, and longing. It is often regarded as one of the key poems leading from early Tang refinement toward the full poetic grandeur of the High Tang.