原文 Original text
繁體 Traditional
含詞賦 With rhapsody
山莊在望
The Farmstead Comes into View
他一隻手執著叉,一隻手拖著虎,在前引路。三藏牽著馬,隨後而行。迤𨓦行過山坡,忽見一座山莊。那門前真個是:他一只手执著叉,一只手拖著虎,在前引路。三藏牵著马,随后而行。迤𨓦行过山坡,忽见一座山庄。那门前真个是:
參天古樹,漫路荒籐。参天古树,漫路荒籐。
萬壑風塵冷,千崖氣象奇。万壑风尘冷,千崖气象奇。
一徑野花香襲體,數竿幽竹綠依依。一径野花香袭体,数竿幽竹绿依依。
草門樓,籬笆院,堪描堪畫;草门楼,篱笆院,堪描堪画;
石板橋,白土壁,真樂真稀。石板桥,白土壁,真乐真稀。
秋容蕭索,爽氣孤高。秋容萧索,爽气孤高。
道傍黃葉落,嶺上白雲飄。道傍黄叶落,岭上白云飘。
疏林內山禽聒聒,莊門外細犬嘹嘹。疏林内山禽聒聒,庄门外细犬嘹嘹。
逐句解 Line by line
他一隻手執著叉,一隻手拖著虎,在前引路。三藏牽著馬,隨後而行。迤𨓦行過山坡,忽見一座山莊。那門前真個是:
他一只手执著叉,一只手拖著虎,在前引路。三藏牵著马,随后而行。迤𨓦行过山坡,忽见一座山庄。那门前真个是:
With one hand gripping his trident and the other dragging the tiger, he led the way in front, and Sanzang, leading his horse, came along behind. Winding on across the mountain slope, they suddenly caught sight of a farmstead. Before its gate, the sight was truly this:
迤𨓦 (yǐ lǐ), “winding along,” is a variant writing of 迤邐; 𨓦 (U+284E6) is a rare graph lying outside the Basic Multilingual Plane — the first such astral character to appear in this chapter.
參天古樹,漫路荒籐。
参天古树,漫路荒籐。
Ancient trees that pierce the sky; wild vines that overrun the path.
The rhapsody paints the farmstead's setting — remote, rustic, and half-wild.
萬壑風塵冷,千崖氣象奇。
万壑风尘冷,千崖气象奇。
In ten thousand ravines the wind-blown dust is cold; on a thousand cliffs the aspect is strange and rare.
一徑野花香襲體,數竿幽竹綠依依。
一径野花香袭体,数竿幽竹绿依依。
Along one path the wild flowers' fragrance clings to the body; a few stems of secluded bamboo hang green and lush.
草門樓,籬笆院,堪描堪畫;
草门楼,篱笆院,堪描堪画;
A thatched gate-tower, a wattle-fenced yard — fit to be sketched, fit to be painted;
石板橋,白土壁,真樂真稀。
石板桥,白土壁,真乐真稀。
a flagstone bridge, whitewashed earthen walls — truly delightful, truly rare.
秋容蕭索,爽氣孤高。
秋容萧索,爽气孤高。
The face of autumn is bleak and desolate; the crisp air stands lofty and alone.
道傍黃葉落,嶺上白雲飄。
道傍黄叶落,岭上白云飘。
By the road the yellow leaves are falling; over the ridge the white clouds drift.
疏林內山禽聒聒,莊門外細犬嘹嘹。
疏林内山禽聒聒,庄门外细犬嘹嘹。
Within the sparse woods the mountain birds go clamouring; outside the farmstead gate the little dogs go yapping.
總評 Commentary
A quieter rhapsody than the combat-piece before it, and tonally a hinge. As Boqin leads the pilgrim, tiger in tow, over the slope to his home, the verse turns from violence to a rustic idyll — ancient trees and wild vines, a thatched gate and whitewashed walls, falling leaves and drifting clouds, the homely noise of mountain birds and yard dogs. “Fit to be sketched, fit to be painted,” it says of the scene, and the description indeed has the composed quality of a landscape painting. The passage completes the chapter's movement from the wilderness into the human world; the farmstead, remote and rough as it is, is a place of shelter, and its gate marks the threshold of the hospitality that fills the rest of the chapter.