标题：咏水仙
《咏水仙》
李东阳
澹墨轻和玉露香，水中仙子素衣裳；
风鬟雾鬓无缠束，不是人间富贵妆。
宋·黄庭坚咏水仙诗
黄庭坚写过不少．最有名的是《王充道送水仙花五十枝，欣然会心，为之作咏》 
：
”凌波仙子生尘袜，水上轻盈步微月。是谁招此断肠魂，种作寒花寄愁绝。含香体素欲倾城，山矾是弟梅是兄。坐对真成被花恼，出门一笑大江横。”
[今译] 静坐在水仙花前，我的心呵，真个被它撩乱。起身走出门外，不觉一笑粲然。浩瀚横流的大江映入了我的眼帘。 
[赏析] 黄庭坚在建中靖国元年（1101）五十一岁时一连写了四题八首咏水仙花的诗，以这首最著名。开头几句把水仙花拟为凌波仙子，最后紧接着就是这著名的“坐对”、“出门”两句。“被花恼”，客观上是因为鲜花太动人了，主观上来说诗人太动情了。出人意料的是，诗人忽然走出门来，不禁粲然一笑，原来，视野里出现了一个壮阔的境界：浩荡的大江就“横”在眼前。看是黄庭坚诗常见的特色。陈长方《步里客谈》说：“古人作诗断句，辄旁入他意，最为警策，如老杜云：‘鸡虫得失了无时，注目寒江倚山阁’是也，黄鲁直作水仙花诗，亦用此体。”这后一句，即“旁入他意”。用今天的电影术语来说，这是诗歌形象的“蒙太奇”。一个幽怨纤巧的特写，和一个明朗壮阔的全景剪接在一起，形成了全新的更为深远的意境。
其他佳作名篇
水仙有单瓣与复瓣两大品系，朱熹的”翠袖黄冠白玉英”诗句，写的是单瓣花：它的花朵白色，中央花芯黄艳，形似六棱白玉盘托起一盏金黄酒杯，故别名”金盏银台”。复瓣不生副冠，通体洁白如玉，故别名”玉玲珑”。明代诗人陈淳对它很赞赏，写道：
”玉面婵娟小，檀心馥郁多。盈盈仙骨在，端欲去；麦波。”水仙花具有朴素高洁的品格，赢得无数名人的赞美。
宋代姜特立诗云：”清香自信高群品，故与江梅相并时。”是赞美水仙高出群品的清香。
明代李东阳诗云：”澹墨轻和玉露香，水中仙子素衣裳。风鬟雾鬓无缠束，不是人间富贵妆。”这是赞水仙朴素无华的品行。
近代女革命家秋瑾赋诗咏道：”瓣疑是玉盏，根是谪瑶台；嫩白应欺雪，清香不让梅。”赞颂水仙高洁的气质，不由得使人如见其美，如闻其香，耐人寻味。
中国水仙以福建漳州水仙最为著名，每年有数百万粒花球远销日、美及东南亚各国，被誉为”中国宜春水仙花”。
现代诗人郭沫若吟咏中国水仙品性在于”只凭一勺水，几柱石子过活”；
当代诗人艾青对水仙深情咏道：“不与百花争艳，独领淡泊幽香”。

译文1
[英国]华兹华斯 顾子欣 译 
我好似一朵孤独的流云， 
高高地飘游在山谷之上， 
突然我看到一大片鲜花， 
是金色的水仙遍地开放。 
它们开在湖畔，开在树下 
它们随风嬉舞，随风飘荡。 
它们密集如银河的星星， 
像群星在闪烁一片晶莹； 
它们沿着海湾向前伸展， 
通向远方仿佛无穷无尽； 
一眼看去就有千朵万朵， 
万花摇首舞得多么高兴。 
粼粼湖波也在近旁欢跳， 
却不知这水仙舞得轻俏； 
诗人遇见这快乐的伙伴， 
又怎能不感到欢欣雀跃； 
我久久凝视--却未能领悟 
这景象所给带给我的精神至宝。 
后来多少次我郁郁独卧， 
感到百无聊赖心灵空漠； 
这景象便在脑海中闪现， 
多少次安慰过我的寂寞； 
我的心又随水仙跳起舞来， 
我的心又重新充满了欢乐。
译文2
咏水仙
我独自漫游，像山谷上空 悠悠飘过的一朵云霓，蓦然举目，我望见一丛 金黄的水仙，缤纷茂密；在湖水之滨，树荫之下，正随风摇曳，舞姿潇洒。
连绵密布，似繁星万点 在银河上下闪烁明灭，这一片水仙，沿着湖湾 排成延续无尽的行列；一眼便瞥见万多千株，摇颤着花冠，轻盈飘舞。
湖面的涟漪也迎风起舞，水仙的欢悦却胜似涟漪；有了这样愉快的伴侣，诗人怎能不心旷神怡！我凝望多时，却未曾想到 这美景给了我怎样的珍宝。
从此，每当我倚榻而卧，或情怀抑郁，或心境茫然，水仙呵，便在心目中闪烁——那是我孤寂时分的乐园；我的心灵便欢情洋溢，和水仙一道舞踊不息。
赏析
这首诗写于诗人从法国回来不久。诗人带着对自由的向往去了法国，参加一些革命活动。但法国革命没有带来预期的结果，随之而来的是混乱。诗人的失望和受的打击是可想而知的，后来在他的朋友和妹妹的帮助下，情绪才得以艰难地恢复。这首诗就写于诗人的心情平静之后不久。 
在诗的开头，诗人将自己比喻为一朵孤独的流云，孤单地在高高的天空飘荡。孤傲的诗人发现一大片金色的水仙，它们欢快地遍地开放。在诗人的心中，水仙已经不是一种植物了，而是一种象征，代表了一种灵魂，代表了一种精神。 
水仙很多，如天上的星星，都在闪烁。水仙似乎是动的，沿着弯屈的海岸线向前方伸展。诗人为有这样的旅伴而欢欣鼓舞、欢呼跳跃。在诗人的心中，水仙代表了自然的精华，是自然心灵的美妙表现。但是，欢快的水仙并不能时时伴在诗人的身边，诗人离开了水仙，心中不时冒出忧郁孤寂的情绪。这时诗人写出了一种对社会、世界的感受：那高傲、纯洁的灵魂在现实的世界只能郁郁寡欢。当然，诗人的脑海深处会不时浮现水仙那美妙的景象，这时的诗人双情绪振奋，欢欣鼓舞。 
诗歌的基调是浪漫的，同时带着浓烈的象征主义色彩。可以说，诗人的一生只在自然中找到了寄托。
英文版
“I Wandered Lonely as a Cloud” was written by William Wordsworth, the representative poet of the early romanticism. As a great poet of nature, William Wordsworth was the first to find words for the most elementary sensations of man face to face with natural phenomena. These sensations are universal and old but, once expressed in his poetry, become charmingly beautiful and new. His deep love for nature runs through short lyrics such as “I Wandered Lonely as a Cloud”
I Wandered Lonely as a Cloud 
I wandered lonely as a cloud 
That floats on high o’er vales and hills, 
When all at once I saw a crowd, 
A host, of golden daffodils; 
Beside the lake, beneath the trees, 
Fluttering and dancing in the breeze. 
Continuous as the stars that shine 
And twinkle on the milky way, 
They stretched in never-ending line 
Along the margin of a bay: 
Ten thousand saw I at a glance, 
Tossing their heads in sprightly dance. 
The waves beside them danced; but they 
Out-did the sparkling waves in glee: 
A poet could not but be gay, 
In such a jocund company: 
I gazed --- and gazed --- but little thought 
What wealth the show to me had brought: 
For oft, when on my couch I lie 
In vacant or in pensive mood, 
They flash upon that inward eye 
Which is the bliss of solitude; 
And then my heart with pleasure fills, 
And dances with the daffodils.
“I Wandered Lonely as a Cloud” is a poem about nature. With his pure and poetic language, Wordsworth brings us into a beautiful world where there are daffodils, trees and breeze. We follow the poet at every turn of his feelings. We share his melancholy when he “wandered lonely as a cloud” and his delight the moment his heart “with pleasure fills ”. We come to realize the great power of nature that may influence our life deeply as revealed in the poem. 
Edgar Allan Poe once described poetry as “ music… combined with a pleasure idea”. In the poem “I Wandered Lonely as a Cloud”, the poet also makes great use of the “music ”of the language to achieve sound beauty in addition to convey meaning. He employs masculine rhyme in “a, b, a, b, c, c” pattern to receive emphasis as a musical effect. (e.g. “cloud” (a), “hills” (b), “crowd” (a), “daffodils” (b), “trees” (c), “breeze” (c) in stanza 1). He also achieves musical quality by the management of alliteration (e.g. “That floats on high o’er vales and hills” in line 2 and “Beside the lake, beneath the trees” in line 5) and assonance (e.g. “beneath the trees in line 5” and “ They stretched in never-ending line” in line 9) and consonance (e.g. “ vales and hills” in line 2 ). Besides the repetition of sounds, the poet also makes his poem a strong appeal for us in language that is rhythmical. He arranges his poem in lines of iambic tetrameter in the main with alternation of iambic trimeter. 
( e.g. I wandered lonely as a cloud 
That floats on high o’er vales and hills 
When all at once I saw a crowd 
A host, of golden daffodils 
Beside the lake, beneath the trees 
Fluttering and dancing in the breeze ) 
He slowed down the tempo in line 4 to keep in accordance with his bated breath the moment he glimpses at a host of golden daffodils thus convey to us the poet’s intoxication in the face of nature. With all these musical devices, Wordsworth secures a songlike effect of his poem in addition to communicate his emotion and meaning. 
An old saying goes “There are pictures in poetry and poetry in pictures”. It finds its most eloquent examples in most of the Chinese Tang poems that present the readers with beautiful pictures. In the poem “I Wandered Lonely as a Cloud”, the poet also seeks to express his emotions by providing the sense impressions he has through imagery. He depicts a picture in which “a host of golden daffodils (visual imagery) fluttering and dancing in the breeze” (kinaesthetic imagery) so vividly that it appeals richly to our senses and to our imagination. 
Wordsworth, in the poem, also employs figurative language to evoke not only the visual effect but also the emotional response. (e.g. in line 1, the poet makes a comparison between “I wandered lonely” and “a cloud” by the use of simile, thus convey to us his lonely and melancholy mood with the image of “cloud”. In line 7, he also amplifies the visual effect by the use of another simile “Continuous as the stars that shine…” to evoke our sense of “daffodils” with the image of “stars” twinkling on the milky way which is familiar to us all. He goes further to impress us with the image of countless daffodils with an overstatement in line 9 “They stretched in never-ending line”). Besides, natural things are also endowed with human being’s characters by the poet’s subtle use of personification. (e.g. “Tossing their heads in sprightly dance” “The waves beside them danced”) therefore, as we read the poem, we become aware of the poet’s deep love toward nature through his lovely and vivid description about natural things with his figurative language. 
What’s more, Wordsworth goes further to communicate his emotion and meaning by his thoughtful tone. The choose of the word “lonely” in “I wandered lonely as a cloud” instead of other words like carefree, leisure or jolly convey to us the poet’s depression and disconsolateness at the very beginning. But as he catches sight of daffodils stretching as far as the eyes can see and finds himself in the midst of nature, his loneliness turns into relaxation and joy. Thus the shift of the poet’s mood from sadness to happiness manifests the theme --- the great influence of nature upon human being.

诗歌译文
美丽的水仙，我们哭泣，
看着你如此匆匆地离去。
瞧那早晨升起的太阳，
还没有到达天上头。
请停留，请停留。
留到急行的白昼
唱着黄昏之歌的时候。
我们一同做过晚祈祷，
我再与你一同行走。
和你一样，我们只有短暂光阴，
与你一样，我们有短暂的青春。
成长得快，同样快地凋零。
我们与你，与万物生来同命。
到时候我们逝去，
与你们一样地凄清。
如同夏日的雨很快地干枯，
又如清晨珍珠般的露
失得无寻觅处。[1]
诗歌赏析
《咏水仙》的主题是叹息人生的短暂倥偬，近似《劝姑娘珍惜青春》的内涵，但比那一首诗更加深化。它用水仙象征人生，因为它清晨开花，经过一个白昼便很快凋零。诗人触景生情，因物及人，惋惜美好的事物的不能久留。赫立克赋予自然界的花草以独特的个性，加以拟人化，对后世浪漫主义诗歌讴歌自然方面产生很大影响。华兹华斯也有《咏水仙》的抒情诗，意思则比赫立克的这首思想更为深刻，使大自然的美愉悦人的心灵，与人合一，没有这首的感伤气息，看得出是在这个基础上更往前发展了，境界也更为开阔了。[1]
作者简介
罗伯特·赫立克（Robert Herrick，1591-1674），被英国公认为最富才情的抒情诗人。年轻时，继承希腊阿那克瑞翁（Anacreon，公元前550?-465?)的余韵，喜写抒发个人情感的小诗。三十六岁以后，诗歌内容转向严肃的宗教题材，诗风亦由轻灵而转向凝重。他属于本·琼生一派，喜欢古希腊小型之诗，但赫立克诗的轻灵精巧。他的诗的主题往往是：对大自然的欣赏，感官上对美的享受，对爱情的追求，对时光流逝的感喟，等等，绝少道德说教之作。所写多为“玉米田和烟囱角”的民间儿女情爱，通俗易懂。他的诗以短小精致见长，音律谨严，在这方面的成就，很少有诗人能与之媲美。但他活着的时候，诗流传不广，只是以手抄本知于世，少数散见刊物上，到他五十七岁时才正式出版了诗集，影响也不大。直到18世纪末，他才享有“英国最杰出的抒情诗人”的荣位，而直到现在，也没有人从这个宝座上把他赶下来。赫立克活了八十三岁，虽然写了那么多优美的情诗，却终生未娶。他中年皈依宗教，读其宗教诗使我们更多地了解他的为人，但这些作品并不能增加他的诗名。[2]