壶边击断歌无节。
山川一带伤情切。
依旧石头城。
夕阳天外明。
行人谁是侣。
遗唱今何许。
对酒转愁多。
愁多奈酒何。
丘崈(1135-1208) 南宋将领。字宗卿，江阴（今属江苏）人。
诗词：《菩萨蛮（再登赏心用林子长韵）》
作者：丘崈（宋代）
壶边击断歌无节。
山川一带伤情切。
依旧石头城。
夕阳天外明。
行人谁是侣。
遗唱今何许。
对酒转愁多。
愁多奈酒何。
中文译文：
在壶边打断了没有节奏的歌曲。
山川一带伤情如刀割。
石头城依然在那里。
夕阳从天外明亮地照耀。
行人们，你们是谁的伴侣？
唱歌的声音现在在何处？
对酒之时忧愁更多。
愁苦再多又能如何？
诗意和赏析：
这首诗是宋代丘崈创作的《菩萨蛮》系列中的一首，题为《再登赏心用林子长韵》。整首诗描绘了壶边击断歌声、山川伤情、石头城的景象，并融入了夕阳的明亮和行人的孤独。诗人以简洁而凄凉的笔触表达了深沉的思索和忧愁之情。
首先，诗中的“壶边击断歌无节”意味着诗人在欢乐与愉悦之际，突然被现实的残酷打断，使歌声无法继续，形成了强烈的对比。这可能暗示了人生中的突变和意外，使得诗人的心情无法持续轻松。
其次，诗中的“山川一带伤情切”表达了诗人对自然景色的感伤和伤感之情。山川作为自然的象征，也承载了诗人内心的伤痛和失落，使得情感更加深刻。
接着，诗人提到“依旧石头城”，这句话暗示着岁月流转，城市依然存在，但也意味着历史的沉淀和人事的更迭。城市的存在成为诗人思考的对象，同时也让人们联想到城市的冷漠和繁忙。
夕阳的出现让整个景象更加明亮，但也更加凄美。夕阳天外明，暗示了诗人的情感超越了尘世的桎梏，有一种超越现实的意境。
诗的结尾以反问句“行人谁是侣，遗唱今何许”引发了读者的思考。诗人问行人们是谁的伴侣，以及歌声在何处留存。这里的“行人”可以理解为一种寻找和追求的象征，诗人对于真正的陪伴和意义的思索。
最后两句“对酒转愁多，愁多奈酒何”表达了诗人在对酒作诗的过程中，忧愁和苦闷的增多。诗人感叹，即使有酒作伴，但面对愁苦的内心，酒又能起到什么作用呢？这种对抗境遇的无奈和无力感，增添了整首诗的忧伤情调。
《菩萨蛮（再登赏心用林子长韵）中文诗词翻译：
壶边击断歌无节。
山川一带伤情切。
依旧石头城。
夕阳天外明。
行人谁是侣。
遗唱今何许。
对酒转愁多。
愁多奈酒何。
Poetic Translation:
By the pot's edge, a song is abruptly cut without rhythm.
The mountains and rivers carry a deeply wounded sentiment.
The stone city remains as before.
The evening sun shines from beyond the sky.
Who are the companions of the travelers?
Where does the lingering melody reside?
Drinking, my worries multiply.
But what can wine do with so much sorrow?
Poetic Meaning and Appreciation:
This poem is titled "Pusa Man (Redeploying Shangxin Yong Linzi Chang Yun)" and was written by Qiu Mao during the Song dynasty. It is part of the "Pusa Man" series. The poem depicts a scene where a song is interrupted, the mountains and rivers evoke a sense of sorrow, and the stone city stands unchanged. The bright evening sun and the loneliness of the travelers are also incorporated. The poet expresses deep contemplation and melancholy emotions through concise and desolate imagery.
Firstly, the line "By the pot's edge, a song is abruptly cut without rhythm" suggests that the poet's joy and happiness are suddenly interrupted by the harsh reality, rendering the song unable to continue. This stark contrast possibly implies unexpected turns and circumstances in life that prevent the poet from maintaining a carefree state of mind.
Secondly, the line "The mountains and rivers carry a deeply wounded sentiment" conveys the poet's melancholy and sorrow in response to the natural scenery. The mountains and rivers, as symbols of nature, bear the poet's inner pain and loss, intensifying the emotional depth.
Furthermore, the mention of "The stone city remains as before" implies the passage of time and the city's continued existence. It also signifies the accumulation of history and the changing nature of human affairs. The city's presence becomes the subject of the poet's contemplation and evokes associations with urban indifference and busyness.
The appearance of the evening sun enhances the overall brightness of the scene but also adds a touch of melancholy beauty. The phrase "The evening sun shines from beyond the sky" suggests that the poet's emotions transcend worldly constraints, creating a sense of transcendence.
The closing lines, in the form of a rhetorical question, "Who are the companions of the travelers? Where does the lingering melody reside?" provoke contemplation in the readers. The poet questions the identity of the travelers' companions and the whereabouts of the lingering song. Here, "travelers" can be understood as a symbol of searching and pursuit, representing the poet's pondering about genuine companionship and meaning.
Finally, the last two lines, "Drinking, my worries multiply. But what can wine do with so much sorrow?" express the poet's growing worries and melancholy during the process of drinking and composing poetry. The poet laments that even with wine as company, it is powerless in the face of inner distress. This sense of helplessness and powerlessness in confronting adversity adds to the overall melancholic tone of the poem.
In summary, "Pusa Man (Redeploying Shangxin Yong Linzi Chang Yun)" is a poignant poem that explores themes of interruption, melancholy, and the search for companionship and meaning in life. The poet uses vivid imagery and rhetorical questions to evoke contemplation and emotions in the readers, leaving a lingering sense of sorrow and reflection.
晚风吹雨，战新荷、声乱明珠苍璧。谁把香奁收宝镜，云锦红涵湖碧。飞鸟翻空，游鱼吹浪，惯趁笙歌席。坐中豪气，看公一饮千石。遥想处士风流，鹤随人去，老作飞仙伯。茅舍疏篱今在否，松竹已非畴昔。欲说当年，望湖楼下，水与云宽窄。醉中休问，断肠桃叶消息。
愁与发相形，一愁白数茎。有发能几多，禁愁日日生。古若不置兵，天下无战争。古若不置名，道路无欹倾。太行耸巍峨，是天产不平。黄河奔浊浪，是天生不清。四蹄日日多，双轮日日成。二物不在天，安能免营营。
当初相见。君恨相逢晚。一曲秦筝弹未遍。无奈昭阳人怨。便教恩浅情疏。隔花空望金舆。春晚不拈红粉，碧窗自录仙书。
宁忍千日饥，野葛不可烹；宁枉百里途，捷径不可行。自古风俗坏，善土亦沦胥。橘柚禹包贡，後世称木奴。
龙烛飞空雪渐无，光摇穷巷丽金铺。妓楼遽喜春生座，席户浑惊粟在肤。剡水不须乘兴去，饭山犹是作诗臞。自怜白发疎慵客，拥被高舂梦未苏。
庐山之下仙佛之庐，多公题扁，予熟其体矣。而今见其帖，大抵小则遒而大则婉。岂所施有异，而笔法亦随以变。遒而不流于介，婉而不失其健，予犹愧乎知书之浅。