1. “孤山寺北贾亭西，水面初平云脚低。”诗歌的第一句是地点，第二句是远景。孤山坐落在西湖的后湖与外湖之间，峰峦叠翠，上有孤山寺，登山观景，美不胜收。贾亭，又叫贾公亭，据《唐语林》卷六载，贞元中，贾全任杭州剌史时，曾在西湖造亭，杭人称其为贾公亭，未五六十年后废。贞元是唐德宗的年号，从公元780年到805年。白居易写此诗时，其亭尚在，也算是西湖的一处名胜。白居易一开始来到了孤山寺的北面，贾公亭的西畔，放眼望去，只见春水荡漾，云幕低垂，湖光山色，尽收眼底。“初平”所表达的是白居易对春日里西湖的一种特有的感受。由于连绵不断的春雨，使得如今的湖面看上去比起冬日来上升了不少，似乎眼看着就要与视线持平了，这种水面与视线持平的感觉只有人面对广大的水域才可能有的感觉，也是一个对西湖有着深刻了解和喜爱的人才能写出的感受。此刻，脚下平静的水面与天上低垂的云幕构成了一副宁静的水墨西湖图，而正当诗人默默地观赏西湖那静如处子的神韵时，耳边却传来了阵阵清脆的鸟鸣声，打破了他的沉思，于是他把视线从水云交界处收了回来，从而发现了自己实际上是早已置身于一个春意盎然的美好世界中了。

1. "To the north of Gu Shan Temple, to the west of Jia Pavilion, the water surface is just level with the clouds at their feet." The first line of the poem describes a location, and the second line depicts a distant view. Gu Shan is situated between the inner and outer lakes of West Lake, with layered greenery on its peaks, atop which stands Gu Shan Temple. Climbing the mountain offers a breathtaking view. Jia Pavilion, also known as Jia Gong Pavilion, according to volume six of "Tang Yu Lin," during the period of Zhenyuan, when Jia Quan served as the governor of Hangzhou, he built a pavilion on West Lake. The locals called it Jia Gong Pavilion, and it was abandoned after about fifty or sixty years. Zhenyuan was the era name of Emperor Dezong of Tang, from 780 to 805 AD. When Bai Juyi wrote this poem, the pavilion still existed, making it a famous landmark of West Lake. Bai Juyi first arrived at the north of Gu Shan Temple and the west side of Jia Gong Pavilion, looking out to see the spring water rippling, the clouds hovering low, the lake and mountains in full view. "Just level" expresses Bai Juyi's unique feeling of West Lake in spring. Due to the continuous spring rain, the lake surface now looks higher than in winter, as if it is about to level with the horizon. This feeling of the water surface meeting the line of sight is something that only one facing a vast body of water can experience, and it is also a feeling that only someone deeply familiar with and fond of West Lake can write about. At this moment, the tranquil water surface underfoot and the low-hanging clouds in the sky form a serene watercolor painting of West Lake. While the poet silently admires the serene grace of West Lake, a series of clear, bird songs break his contemplation. He then pulls his gaze back from the water-cloud boundary and discovers that he is already in a world brimming with the spirit of spring.

2. 大江边的小雀见过风浪；见过些风浪

2. The little sparrow by the great river has seen storms and waves; has seen some storms and waves.

3. 江河里行船看风使舵

3. Rowing a boat in a river, go with the flow and adapt to the wind's direction.

4. 江边插杨柳落地生根

4. Willows planted by the river take root and thrive.

5. 长江里的灯草放心；放芯

5. Rest assured about the reed lights in the Yangtze River; set the core loose.

6. 这首诗是写给他的朋友水部员外郎张籍的，张籍在兄弟中排行十八，所以被称为“张十八”，这种称呼在唐代十分流行。大家熟悉的有高适的《人日寄杜二拾遗》（杜甫），而王维的《送元二使安西》一诗更是家喻户晓了。韩愈这首诗最绝妙的一笔就是第二句，“草色遥看近却无”了，试想在北方的早春时节，春寒料峭，在常人眼里，哪有一丝春的气息。可是一场无声的春雨过后，一切就不一样了，大地上，草儿已经开始迫不及待地钻出了地面，冒出了纤细的嫩芽，虽然它们是那样的不起眼，甚至连你弯下腰去仔细地观察时，都无法看到生命的绿色，但是，韩愈却捕捉到了这最早的报春者的形象，它们不是天上翻飞的柳絮，也不是树上闹眼的桃花，而是那些默默无闻的小草，那样的不事张扬，却又齐心合力，大家一起冒出头来，使人们远远地望去，可以看出那一片充满生机的漫山遍野的绿色，这是一种多么激动人心的无处不在的春色呀！韩愈为之深有感触，所以他忍不住告诉朋友，这才是一年四季中最美的景色，也是一年中最可珍惜的时光呀，比起春色满园、烟花似锦来，更有一番动人的风韵与景致呀。这就是一年之际在于春，而最美好的春光却是在早春的道理，所以直到今天，我们还会情不自禁地吟出“最是一年春好处，绝胜烟柳满皇都。”

6. This poem is written for his friend Zhang Ji, the Minister of Water Affairs, who was the eighteenth son in his family, hence known as "Zhang Shiyi" (Zhang the Eighteenth), a title that was very popular during the Tang Dynasty. Familiar examples include Gao Shi's "Letter to Du Erxi (Du Fu) on the Day of the People," and Wang Wei's "Sending Yuan Er to the West" is also widely known. The most exquisite line in Han Yu's poem is the second one, "The grass color looks distant when viewed from afar, but it's absent close by." Imagine the early spring in the north, with its biting spring chill, where in the eyes of the common people, there is no trace of spring. But after a silent spring rain, everything changes. On the earth, the grass has begun to eagerly push its way out of the ground, sprouting slender sprouts. Though they are so unobtrusive, even when you bend down to carefully observe, you can't see the green of life, yet Han Yu captured the image of these earliest heralds of spring. They are not the flying willow catkins in the sky, nor the blooming peach blossoms on the trees, but those nameless little grasses, so unpretentious yet working together, all sprouting up together, making it possible to see from a distance the expanse of greenery filled with vitality all over the mountains and plains. What a heartwarming sight of spring, ever-present everywhere! Han Yu was deeply moved by this, and he couldn't help but tell his friend, "This is the most beautiful scene of the four seasons and the most precious time of the year." Compared to the gardens full of spring flowers and the fireworks-like scenery, it has a more moving charm and beauty. This is the reason why the best of spring is in the early spring, and that's why even today, we still can't help but recite, "The best time of the year is the early spring, absolutely better than the willow catkins all over the capital."

7. 世间有一种美妙不过的事情，那就是天才诗人与奇妙山水的遇合。碧水青山本是大自然的杰作，但它就像养在深闺的处子，有待天才诗人去发现。天才诗人才高八斗，锦心绣肠，但他们涌泉般的才思必须找到一个最佳喷发口。前者一直在默默等待，后者也在苦苦寻觅。一旦他们相遇合，碧水青山将成为激发诗人创作激情和灵感的绝好对象，而天才诗人也将以与世人不同的慧眼灵心和生花妙笔发现并生动传神地描绘出它的绝世风姿。于是，作为他们美满结合的结晶，璀璨夺目的诗章诞生了。因此，天才诗人与奇妙山水的遇合，实在是山水的幸事，诗人的幸事，也是诗坛及后世读者的幸事。

7. There is nothing more wonderful in the world than the encounter between a genius poet and the magnificent scenery of mountains and rivers. The clear waters and green mountains are the masterpieces of nature, but they are like a maiden confined to her inner chamber, waiting to be discovered by a genius poet. Genius poets may possess talents as profound as the eight pecks of rice, and have a heart rich in poetic beauty, but their overflowing creativity needs to find the best outlet. The former has been quietly waiting, while the latter has been tirelessly seeking. Once they meet, the clear waters and green mountains will become the perfect objects to inspire the poet's creative passion and inspiration. The genius poet will, with a wisdom and insight different from the world, discover and vividly depict its unparalleled charm with their eloquent pen. Thus, as the fruit of their harmonious union, brilliant and resplendent verses are born. Therefore, the encounter between the genius poet and the wonderful scenery is indeed a fortunate event for the mountains and rivers, for the poets, and for the poetic world and its readers in later generations.

8. 望江亭度中秋近水楼台先得月

8. The Moon Festival is approaching at the Wangjiang Pavilion, and the buildings near the water get the moon first.

9. 春。白居易于上年年底到达杭州，大约有许多公务急需交接处理，加上西湖的冬景毕竟稍逊其它季节的景致，所以白居易没有留下游赏之作。好不容易等到第二年的春天来临，大自然才刚刚吐露出些许春的消息，白居易就迫不及待地来到了西湖边。

9. Spring. Bai Juyi arrived in Hangzhou at the end of the previous year, and there were many official matters that urgently needed to be handed over and dealt with. Moreover, the winter scenery of West Lake is inevitably slightly inferior to that of other seasons, so Bai Juyi did not leave any works of appreciation. After much anticipation, the spring finally arrived the following year, and nature had just begun to reveal a few signs of spring. Bai Juyi couldn't wait and rushed to the banks of West Lake.

10. 颈联两句，诗人将目光再次稍稍推开，有似中距离的观照，转而重点写早春西湖的花草。上联中的莺燕是灵巧飞动的，而诗人则基本不动，在那里左顾右盼，四处打量。本联中花草是静止不动的，而诗人仍不肯作静止的描写。他反客为主，让自身动起来，走马观花，于是不动的花草也动了起来。不了解诗人与景物之间这一动与不动位置的变化，就不能理解花为何是“乱花”，花怎能迷人眼；为何是“浅草”来“没”、“马蹄”，而不是“马蹄”踏“浅草”。其实花并不“乱”，也没有有意来迷人眼，这只是诗人骑马一路穿行而产生的主观感觉。前四句画面中的景物都是动的，但整个画面本身没有动。这一联则画面中的景物基本不动，而整个画面快速切换，构成一种动静交错之致。同时，“渐欲”、“才能”与“初平”等相呼应，再次突出了早春景色的特点。

10. The poet's gaze is once again slightly widened, as if observing at a medium distance, and he focuses on the flowers and grass in the West Lake in early spring. In the first line, the orioles and swallows are agile and in motion, while the poet remains relatively stationary, looking around and observing from all directions. In this couplet, the flowers and grass are motionless, but the poet still refuses to describe them as such. He reverses the roles, making himself the subject of motion, riding through the flowers and grass, making the motionless flowers and grass seem to move. Without understanding the changes in the positions of motion and stillness between the poet and the scenery, one cannot comprehend why the flowers are described as "chaotic" and how they can be mesmerizing; why it is "shallow grass" that "buries" the "horse's hooves," rather than the "horse's hooves" trampling on the "shallow grass." In reality, the flowers are not chaotic, and they do not intentionally try to allure the eyes. This is just a subjective sensation the poet experiences while riding through the flowers on horseback. The first four lines depict moving scenery, but the overall scene remains static. In this couplet, the scenery is mostly motionless, and the entire scene rapidly switches, creating a dynamic interplay of motion and stillness. At the same time, the words "gradually wanting," "only able to," and "just flat" resonate with each other, further highlighting the characteristics of the early spring scenery.

11. 如果说首联是长镜头似地总写西湖的山寺云水，那么颔联则是目光收回，进行局部特写，着意刻划早春西湖的花鸟。诗人仍然不作呆板静止的描绘，而是换以疑问的语气出之。写早莺争树，问“几处”，可见不是处处；写新燕啄泥，问“谁家”，可见不是家家。这不仅极有分寸地准确描绘了早春时节特有的景色，而且诗人自身那忽为争树的早莺所迷、忽而又为掠过的燕子所吸引、完全沉浸在这一派莺歌燕舞的早春景色中、时惊时疑、时喜时笑的姿态神情，也栩栩如生地展现在读者目前。方东树评此诗“象中有兴，有人在，不比死句”（高步瀛《唐宋诗举要》引），是深得此中三昧的。

11. If the first couplet is like a long shot that summarizes the mountains, temples, and clouds and waters of West Lake, then the second couplet focuses the gaze back, doing a close-up of a local scene, and deliberately depicting the flowers and birds of early spring at West Lake. The poet still avoids a stiff and static depiction, instead using a questioning tone. The mention of early warblers fighting for trees, asking "where," indicates that it's not everywhere; the description of new swallows pecking at mud, asking "whose," suggests that it's not every household. This not only accurately and delicately depicts the unique scenery of early spring, but also vividly portrays the poet's own demeanor, who is at times captivated by the early warblers fighting for trees, at times attracted by the swallows gliding by, fully immersed in this scene of early spring, with warbling magpies and dancing swallows, sometimes startled, sometimes puzzled, sometimes joyful, and sometimes laughing. This is vividly presented to the reader. Fang Dongshu commented on this poem, "It is vivid with imagination, there is a person in it, and it is not a lifeless sentence" (quoted from Gao Buxing's "Selections of Tang and Song Poems"), which truly captures the essence of the poem.

12. 莺歌燕舞 西湖春色天堂景

12. Songbirds singing and swallows dancing, the West Lake in spring is a paradise-like scene.

13. 孤山寺北贾亭西，水面初平云脚低。几处早莺争暖树，谁家新燕啄春泥。

13. North of Gu Shan Temple and west of Jia Ting, the water surface is just beginning to even out with the clouds at their feet low. In several places, early orioles vie for the warm trees, and from some family's nest, new swallows peck at the spring mud.

14. 方东树说这诗“象中有兴，有人在，不比死句。”（《续昭昧詹言》）这是一首写景诗，它的妙处，不在于穷形尽象的工致刻画，而在于即景寓情，写出了融和骀宕的春意，写出了自然之美所给予诗人的集中而饱满的感受。所谓“象中有兴，有人在”；所谓“随物赋形，所在充满”（王若虚《滹南诗话》），是应该从这个意义去理解的。 （马茂元）

14. Fang Dongshu said of this poem, "It has the spirit of imagery, there is a person in it, and it is not like a lifeless sentence." ("Continuation of Zhao Mei Zhan Yan") This is a landscape poem. Its excellence does not lie in the meticulous depiction of the forms and images, but in the expression of emotions through the scenery, capturing the harmonious and flowing essence of spring, and conveying the concentrated and full feelings of the poet given by the beauty of nature. What is meant by "the spirit of imagery with a sense of inspiration, there is a presence of a person"; what is meant by "assigning form according to the object, it is filled everywhere" (from Wang Ruoxu's "Hu Nan Po Huà"), should be understood in this sense. (Ma Maoyuan)

15. “孤山寺北贾亭西”。孤山在后湖与外湖之间，峰峦耸立，上有孤山寺，是湖中登览胜地，也是全湖一个特出的标志。贾亭在当时也是西湖名胜。有了第一句的叙述，这第二句的“水面”，自然指的是西湖湖面了。秋冬水落，春水新涨，在水色天光的混茫中，太空里舒卷起重重叠叠的白云，和湖面上荡漾的波澜连成了一片，故曰“云脚低”。“水面初平云脚低”一句，勾勒出湖上早春的轮廓。接下两句，从莺莺燕燕的动态中，把春的活力，大自然从秋冬沉睡中苏醒过来的春意生动地描绘了出来。莺是歌手，它歌唱着江南的旖旎春光；燕是候鸟，春天又从北国飞来。它们富于季节的敏感，成为春天的象征。在这里，诗人对周遭事物的选择是典型的；而他的用笔，则是细致入微的。说“几处”，可见不是“处处”；说“谁家”，可见不是“家家”。因为这还是初春季节。这样，“早莺”的“早”和“新燕”的“新”就在意义上互相生发，把两者联成一幅完整的画面。因为是“早莺”，所以抢着向阳的暖树，来试它滴溜的歌喉；因为是“新燕”，所以当它啄泥衔草，营建新巢的时候，就会引起人们一种乍见的喜悦。谢灵运“池塘生春草，园柳变鸣禽”（《登池上楼》）二句之所以妙绝古今，为人传诵，正由于他写出了季节更换时这种乍见的喜悦。这诗在意境上颇与之相类似。

15. "To the north of the Gu Mountain Temple and to the west of Jia Pavilion." The Gu Mountain is situated between the Back Lake and the Outer Lake, with towering peaks and ridges. On top of the mountain stands the Gu Mountain Temple, which is a famous scenic spot for viewing the lake and also a distinctive landmark of the entire lake. The Jia Pavilion was also a renowned scenic spot in those days. With the first sentence providing a description, the second sentence's "water surface" naturally refers to the surface of West Lake. During autumn and winter when the water level drops, and in spring when the water rises, amidst the mingling of water color and sky light, the vast sky unfolds layers upon layers of white clouds, merging with the ripples on the lake surface, hence the phrase "clouds' feet low." The line "The water surface is just level with the clouds' feet low" outlines the silhouette of the lake in early spring. The following two lines, by depicting the dynamic movements of orioles and swallows, vividly portray the vitality of spring and the awakening of nature from its winter dormancy. Orioles are singers, singing the beautiful spring scenery of the south; swallows are migratory birds, returning to the north in spring. They are sensitive to the seasons and symbolize spring. Here, the poet's choice of surrounding objects is typical, and his writing is detailed and subtle. The use of "several places" indicates not "everywhere," and "whose" implies not "everybody's." This is still early spring. Therefore, the "early" of the "early oriole" and the "new" of the "new swallow" complement each other in meaning, combining them into a complete picture. Because it is "early oriole," it eagerly seeks the warm trees facing the sun to try its clear song; because it is "new swallow," when it gathers mud and carries grass to build a new nest, it will evoke a sense of joy upon first sight. The reason why Xie Lingyun's lines "Spring grass grows in the pond, singing birds change in the garden" (from "Ascending the Pavilion on the Pool") are excellent and have been passed down through the ages is that he captured this joy of seeing something new during the change of seasons. This poem is quite similar in terms of artistic conception.

16. 钱塘江观大潮一浪高过一浪

16. Viewing the grand tide at Qiantang River, wave after wave is higher and higher.

17. 在对天空中的小鸟进行了形象的拟人化描写之后，白居易又把视线转向了脚下的植被，“乱花渐欲迷人眼，浅草才能没马蹄。”这也是一联极富情感色彩与生命活力的景物描写，充分显示了白居易对描写对象的细致观察以及准确把握其特征的能力。花而言其乱，乃至要乱得迷了赏花人的目光，在旁人的诗句中，很少有这种写法，而这种独到的感受，却正是白居易在欣赏西湖景色时切身的体验，五颜六色的鲜花，漫山野地开放，在湖光山色的映衬下，千姿百态，争奇斗艳，使得白居易简直不知把视线投向哪里才好，也无从分辨出个高下优劣来，只觉得眼也花了，神也迷了，真是美不胜收，应接不暇呀。“乱花渐欲迷人眼”一句是驻足细看，而“浅草才能没马蹄”，则已经是骑马踏青了，在绿草如茵、繁花似锦的西子湖畔，与二三友人，信马由缰，自由自在地游山逛景，该是一件多么惬意的事情呀，马儿似乎也体会到了背上主人那轻松闲逸的兴致，便不紧不慢地，踩着那青青的草地，踏上那长长的白堤。诗人在指点湖山、流连光景的不经意间，偶然瞥到了，马蹄在草地上亦起亦落、时隐时现的情景，觉得分外有趣，忍不住将其写入了诗中，没想到就是这随意的一笔，却为全诗增添了多少活泼情趣和雅致闲情。著名美学家别林斯基曾说过，“无论在哪一种情况下，美都是从灵魂深处发出的，因为大自然的景象是不可能绝对的美，这美隐藏在创造或者观察它们的那个人的灵魂里。”白居易的《钱塘湖春行》恰恰说明了这一美学欣赏真理。因为西湖的景色再美，也会有不尽人意之处，但是在白居易的眼中，它无疑是天下最美的景致，因为他不但善于观察，而且更善于发现和体验。我们现在每每有逛景不如听景的体会，或是听朋友介绍，或是在影视风光片中，听说和看到名胜山水美不胜收，心中不由得生起无限向往之情，可是往往一旦身临其境，面对真山真水，却反而觉得远没有预期的那样动人美丽。这就是因为我们不能带着一种发现欣赏的眼光去看待自然山水，而是带着一种先入为主的过高的甚至是带有几分挑剔的眼光去游山玩水的原因呀。试想古往今来，西湖向人们展示了多少次美妙的春光？而又有多少人见证了西子湖的春色？可是到头来，我们仍然只能吟诵几位大诗家不多的几首作品，莫不是西湖只有等到像苏东坡这样的大文豪光临的时候，才像孔雀开屏般地展现她那惊人的美艳？西湖的鸟儿，只有到了大诗人白居易面前，才“争暖树”、“啄春泥”不成？其实不论何时何地，西湖都是最美的，我们不是也知道这样的名句吗：“若把西湖比西子，浓妆淡抹总相宜。”

17. After giving a vivid anthropomorphic description of the birds in the sky, Bai Juyi turned his gaze to the vegetation beneath his feet, "The chaotic flowers are gradually blurring the eyes, only shallow grass can hide the horse's hooves." This is also a pair of scenery descriptions rich in emotional color and vitality, fully demonstrating Bai Juyi's meticulous observation and accurate grasp of the characteristics of the objects being described. To describe the flowers as chaotic, even to the point of blurring the eyes of the flower viewers, this kind of writing is rare in other people's poems. However, this unique feeling is exactly the personal experience that Bai Juyi had while appreciating the scenery of West Lake. The colorful flowers bloom everywhere, displaying their diverse shapes and vying with each other in beauty under the reflection of the lake and mountains. It was so beautiful that Bai Juyi didn't know where to direct his gaze, nor could he distinguish between the superior and inferior. He felt that his eyes were dazzled and his mind was confused, truly a feast for the eyes that was too much to handle. "The chaotic flowers are gradually blurring the eyes" requires a close look, while "only shallow grass can hide the horse's hooves" has already moved on to riding and enjoying the greenery. By the beautiful West Lake, with two or three friends, riding freely, enjoying the scenery, what a delightful thing it must be. The horse seemed to understand the relaxed and leisurely mood of its owner on its back and walked slowly on the lush green grass, stepping onto the long white embankment. The poet, while casually pointing out the lakes and mountains and lingering on the scenery, accidentally caught sight of the scene where the horse's hooves rose and fell, appearing and disappearing on the grass, which seemed particularly interesting. He couldn't help but write it into his poem. Little did he know that this casual stroke added so much liveliness and elegance to the entire poem. The famous aesthete Belinsky once said, "In any situation, beauty emanates from the depths of the soul, because the scenery of nature cannot be absolutely beautiful; this beauty is hidden in the soul of the person who creates or observes it." Bai Juyi's "Spring Walk at Qiantang Lake" precisely illustrates this truth of aesthetic appreciation. Because no matter how beautiful the scenery of West Lake is, there will always be something that does not satisfy people. However, in Bai Juyi's eyes, it is undoubtedly the most beautiful scenery in the world, because he is not only good at observing but also at discovering and experiencing. Now, we often have the feeling that it's better to hear about scenery than to see it, whether it's from friends' introductions or in films and television travelogues, hearing and seeing the beautiful landscapes of famous mountains and rivers, we can't help but feel an infinite yearning in our hearts. However, often, once we are there, facing the real mountains and rivers, we find that they are far from as moving and beautiful as expected. This is because we do not look at the natural landscapes with an eye for discovery and appreciation, but with an overly high and even somewhat critical eye. Imagine throughout history, how many times has West Lake shown its wonderful spring scenery to people? And how many people have witnessed the spring beauty of West Lake? In the end, we can only recite a few poems by a few great poets. Is it not that West Lake only shows its stunning beauty like a peacock's tail when a great literary genius like Su Dongpo visits? The birds of West Lake only "compete for the warm trees" and "peck at the spring mud" in front of the great poet Bai Juyi? In fact, at any time and place, West Lake is the most beautiful. Don't we also know such famous lines: "If West Lake is compared to Xi Zi, whether in heavy makeup or light, it is always suitable."

18. 嫩江放木排顺流而下

18. The嫩江 logs were floated downstream.

19. 第二句是总写。诗人来到湖边，首先自然是放眼四望，以求对西湖此时的景象有一个完整把握。只见春水方生，湖面一改冬日的浅涸，变得满满荡荡，似蕴含着无限生机。“初平”不一定最满，但意味着它方兴未艾，还有一种继续上涨的势头，这是比已达到稳定的饱和更能唤起观赏者兴奋之情的景象。因为事物最美好的时光不一定是它达到盛满状态的时刻，而往往在于它蓬勃向上之时。云脚低垂也正是春天特有的景象，它似乎随时都有可能霈然作雨，催生万物。总之，春天来了，大自然的一切都从冬眠中苏醒过来，都变得那么活跃，那样时刻滋生着变化。

19. The second sentence is a general description. The poet arrives at the lake and naturally takes a panoramic view in order to have a complete grasp of the scene of West Lake at this moment. Only to see that the spring water has just begun to rise, the lake surface has changed from the shallow drought of winter, becoming full and overflowing, as if containing infinite vitality. "Chu Ping" (the time when the water level is relatively low) may not be the fullest, but it means it is just burgeoning and has a trend of continuing to rise, which is more likely to evoke the excitement of the beholder than a stable saturated state. Because the most beautiful time of things is not necessarily when they reach a full state, but often when they are thriving. The low-hanging clouds are also a unique scene of spring, as if they are随时 possible to drizzle rain, giving birth to all things. In short, spring is here, and all of nature awakens from its winter dormancy, becoming so active and always teeming with change.

20. 钱塘江上涨大水一浪更比一浪高

20. The Qiantang River is rising with one wave higher than the last.

21. 白居易就是因为有着这样一副难得的美学家的欣赏眼光，才能在无数西湖的游客中，独具慧眼地发现它的动人之处，才能真正享受到大自然赐予人类的这一人间天堂。白居易并没有看到很多的“早莺”和“新燕”，只有“几处”、只见“谁家”而已，要是我们，说不定还会因为没有到“处处”闻莺、“家家”有燕的时节，而感到遗憾，心想要是再晚来十天半个月就好了。可是白居易却不这样认为，少有少的好处，正因为少，才是“早莺”，才是“新燕”，才有一种感知春天到来的喜悦，如果诗人没有一种年轻的心态和热爱生命与春天的胸怀，恐怕就不会被这为数不多的报春者所打动，所陶醉，而欣然写下这动人的诗篇了。也正因为如此，他才能闻花花香，见草草美，为四处点缀的各色野花而心乱神迷，为没过马蹄的草地而唏嘘感叹了。仔细想一想，没过马蹄的草地其实是最平常不过的了，观赏这样的草坪根本用不着在春天赶到西子湖畔，在我们的街头绿地就可以了，不过，横在我们与草坪之间的恐怕有一块醒目的标牌：“请勿践踏草地”，于是，一切与自然的拉近，也就在刹那间，变成了一句严肃的警告，而今天都市里的人们对自然景观而非人造景观的漠视或无动于衷也就情有可原了。

21. Bai Juyi was able to uniquely discover the charming aspects of the West Lake among countless tourists, all because of his rare aesthetic appreciation, and truly enjoy this人间天堂 bestowed by nature. Bai Juyi did not see many "early orioles" and "new swallows," but only a few places and a few households. If it were us, we might feel regretful for not arriving at the time when "everywhere" are orioles and "every household" has swallows, longing to have come a week or two later. However, Bai Juyi did not think so. There is a benefit to having fewer things. It is precisely because they are few that they are "early orioles," "new swallows," and one has the joy of perceiving the arrival of spring. If the poet did not have a youthful mindset and a passion for life and spring, perhaps he would not have been moved or fascinated by these few heralds of spring, and would not have happily written this moving poem. It is because of this that he could be captivated by the fragrance of flowers, admire the beauty of grass, be bewildered by the colorful wildflowers scattered everywhere, and sigh with emotion for the grasslands that haven't been stepped on by horses. Upon careful thought, grasslands that haven't been stepped on are actually the most ordinary thing, and there is no need to rush to the banks of West Lake in spring to admire such meadows; our city streets have green spaces as well. However, there might be a prominent sign between us and the meadow: "Please Do Not Trample on the Grass." Thus, the effort to draw closer to nature is instantly transformed into a solemn warning, and it is understandable that today's urban people are indifferent or unmoved by natural landscapes rather than artificial ones.

22. 白居易是在长庆二年（公元822年）的七月被任命为杭州剌史的，而在宝历元年（公元825年）三月又出任了苏州剌史，所以这首《钱塘湖春行》应当写于长庆

22. Bai Juyi was appointed as the刺史 of Hangzhou in the seventh month of the second year of the Changqing era (AD 822), and then was appointed as the刺史 of Suzhou in the third month of the first year of the Baolie era (AD 825). Therefore, this poem "Spring Walk Around Qiantang Lake" should have been written during the Changqing era.

23. 隔长江抛媚眼无人理会

23. Casting a seductive glance across the Yangtze River, no one takes notice.

24. 几处早出的黄莺争着飞向向阳的树木，谁家新来的燕子衔着春泥在筑巢。

24. Several early-migrating goldfinches are competing to fly towards the sunny trees, while a new燕子, carrying spring soil, is building its nest.

25. 这首诗就像一篇短小精悍的游记，从孤山、贾亭开始，到湖东、白堤止，一路上，在湖青山绿那美如天堂的景色中，饱览了莺歌燕舞，陶醉在鸟语花香，最后，才意犹未尽地沿着白沙堤，在杨柳的绿阴底下，一步三回头，恋恋不舍地离去了。耳畔还回响着由世间万物共同演奏的春天的赞歌，心中便不由自主地流泻出一首饱含着自然融合之趣的《钱塘湖春行》的优美诗歌来。

25. This poem is like a concise and forceful travelogue, starting from Gushan and Jia Pavilion, and ending at the eastern shore of the lake and the White Causeway. Along the way, amidst the beautiful scenery of the lake, green mountains, and azure skies that resemble a heaven on earth, it enjoyed the songs of orioles and swallows, was intoxicated by the birds' songs and flowers' fragrance. Finally, with lingering reluctance, it left, looking back three times for every step, under the green shade of willows along the white sand embankment. Meanwhile, the ears were still echoing with the chorus of spring, played by all things in the world, and thus, involuntarily, a beautiful poem filled with the joy of nature integration, "A Spring Walk Around the Qiantang Lake," flowed from the heart.

26. 乱花渐欲迷人眼，浅草才能没马蹄。最爱湖东行不足，绿杨阴里白沙堤。

26. The profusion of flowers is beginning to confuse the eyes, and only shallow grass can hide the horse's hooves. I love the eastern part of the lake so much that it's never enough, the white sand embankment under the green willow shade.

27. 江边开染坊大摆布

27. A dyeing shop is established by the river, grandly arranged.

28. 江边上卖水多此一举

28. It's unnecessary to sell water by the riverbank.

29. 走江湖的耍猴拿手好戏

29. The monkey act is the specialty of the itinerant performer.

30. 唐代著名诗人白居易与杭州著名的西湖之间，就曾有过这样一段姻缘。穆宗长庆二年（

30. There was once such a marriage between the famous Tang Dynasty poet Bai Juyi and the famous West Lake in Hangzhou. In the second year of the Zhenchang era of the Emperor Muzong, ...

31. 乐天在杭州时，有关湖光山色的题咏很多。这诗处处扣紧环境和季节的特征，把刚刚披上春天外衣的西湖，描绘得生意盎然，恰到好处。

31. When Le Tian was in Hangzhou, there were many poems about the lake scenery. These poems closely tied the characteristics of the environment and the season, vividly depicting the West Lake just donning the spring attire, brimming with vitality and perfectly timed.

32. 全诗第一句交待了诗人观赏西湖的立足点，也是诗人此次“春行”的起点，为以下整个画面的展开确定了角度。“孤山”在西湖的里湖与外湖之间，因与其它山不相连接，故名。据五代王谠《唐语林》卷

32. The first line of the entire poem indicates the poet's vantage point for appreciating West Lake, which is also the starting point of this poet's "spring journey." It sets the perspective for the entire scene that follows. "Solitary Mountain" is located between the inner and outer lakes of West Lake. Since it is not connected to other mountains, it is named thus. According to the "Tang Yu Lin" volume by Wang Dang of the Five Dynasties:

33. 更多关于江的歇后语

33. More riddles about the river Jiang.

34. 钱塘江的潮水看涨

34. The tide in the Qiantang River is rising.

35. 我们能够分析的是此诗的技法，诗人也很可能或经过精心的谋篇布局、或不假思索地运用了这些技法。但仅靠技法写不出好诗。白居易对大自然的无比热爱和不朽才思与西湖美丽风光的美满结合，是作为歌咏西湖最优美乐章之一的这首诗歌问世的根本原因。杭州西湖名闻天下，与众多文人学士对她的动人赞美是分不开的。在这个行列中，我们忘不了白居易，也不会忘记这首《钱塘湖春行》。 （廖可斌）

35. What we can analyze is the technique of this poem, and the poet may have carefully planned the structure or used these techniques thoughtlessly. However, good poetry cannot be written solely through technique. The boundless love for nature and the timeless creativity of Bai Juyi, combined with the beautiful scenery of West Lake, are the fundamental reasons why this poem, as one of the most beautiful chapters in the praise of West Lake, came into being. The West Lake in Hangzhou is renowned throughout the world, and this is inseparable from the moving praises of many scholars and literati. Among this group, we cannot forget Bai Juyi and will never forget this poem "Spring Walks Around Qiantang Lake" by him. (Liao Kebin)

36. “乱花渐欲迷人眼，浅草才能没马蹄。”意为：眼观岸边野花，渐使游人为之着迷；路上浅浅绿草，仅能把马蹄遮盖。这两句从植物的变化写早春景象。乱花，指各种不知名的野花。“迷人眼”指野花色彩斑斓，形态各异，让人目不暇接。“渐欲”用得很准确，说明还不是“野花遍地是”，有渐开渐盛之意。浅草，刚生长出来的草，“没马蹄”既写出了草浅，也侧面点出骑马踏春的行迹。 “初平”、“几处”、“谁家”、“渐欲”以及“才能”等词语的运用，在全诗写景句中贯串成一条线索，把早春的西湖点染成半面轻匀的钱塘苏小小，使人联想到苏轼《饮湖上初晴后雨》中的名句“欲把西湖比西子，淡妆浓抹总相宜”。这里的“春”景，既不是“草色遥看近却无”的不可捉摸，也不是“绿遍山原白满川”的春意阑珊，它只是给人一个信息：这里很快就会姹紫嫣红开遍。刚被披上春天的外衣的西湖，被诗人把握得恰到好处。

36. “乱花渐欲迷人眼，浅草才能没马蹄.” means: When looking at the wildflowers along the riverbank, they gradually captivate the visitors; the shallow green grass can only cover the hoof prints of horses. These two lines describe the early spring scene through the changes of plants. "乱花" refers to various unknown wildflowers. "迷人眼" indicates the colorful and diverse wildflowers that dazzle the eyes, making them unable to keep up. The phrase "渐欲" is used accurately, suggesting that it is not yet "the wildflowers are everywhere", but rather a gradual blooming and flourishing. "浅草" refers to the newly grown grass, and "没马蹄" not only describes the shallow grass but also indirectly points out the traces of horseback riding in spring. The use of words such as "初平," "几处," "谁家," "渐欲," and "才能" runs through the entire scene-painting sentences in the poem, creating a thread that paints the West Lake in early spring as half of the delicate Qiantang Su Xiaoxiao, evoking the famous line from Su Shi's "Drinking at the Lake After the Rain Ceases, 'I wish to compare the West Lake to the West Beauty, whether in light makeup or heavy." The "spring" scene here is neither "the grass looks far away but is not seen up close" as intangible, nor "greenery covers the mountains and plains, and white fills the rivers and creeks" indicating the fading of spring. It simply conveys a message: here, it will soon be filled with a rich array of colors. The West Lake, newly adorned in spring, is captured by the poet to perfection.

37. 繁多而多彩缤纷的春花渐渐要迷住人的眼睛，浅浅的春草刚刚能够遮没马蹄。

37. The numerous and colorful spring flowers are gradually enchanting the eyes, and the shallow spring grasses are just enough to cover the hooves of horses.

38. 癞蛤蟆过江自身难保

38. A toad crossing the river is hard-pressed to save itself.

39. 长江边上拉船的过足瘾

39. The extreme addiction to dragging boats on the Yangtze River shore

40. 江边的蚊子吃客

40. Mosquitoes feasting by the riverbank

41. 不过，白居易是幸运的，因为他有一双发现美、发现春天的眼睛，所以他会在西湖美景中，不能自已，乃至流连忘返：“最爱湖东行不足，绿杨阴里白沙堤。”白沙堤，即白堤，又称沙堤或断桥堤，西湖三面环山，白堤中贯，在湖东一带，总揽全湖之胜。而白居易任杭州剌史时，也确曾修堤蓄水，灌溉民田，不过其堤在钱塘门之北，可是后人多误以白堤为白氏所修之堤了。

41. However, Bai Juyi was fortunate because he had eyes that could discover beauty and spring, so he would be unable to resist the beauty of West Lake, even becoming reluctant to leave: "I love the east bank of the lake, where my journey is never enough, under the green willow shade, the white sand embankment." The white sand embankment, also known as the White Embankment or the Broken Bridge Embankment, runs through the middle of West Lake, which is surrounded by mountains on three sides. The White Embankment encompasses the beauty of the entire lake in the east area. When Bai Juyi served as the刺史 of Hangzhou, he indeed repaired the embankment to store water, for irrigation of the people's fields. However, his embankment was to the north of the Qiantang Gate. Yet, later generations often mistakenly believed that the White Embankment was built by the Bai family.

42. “初平”、“几处”、“谁家”、“渐欲”、“才能”这些词语的运用，在全诗写景句中贯串成一条线索，把早春的西湖点染成半面轻匀的钱塘苏小小。可是这蓬蓬勃勃的春意，正在急剧发展之中。从“乱花渐欲迷人眼”这一联里，透露出另一个消息：很快地就会姹紫嫣红开遍，湖上镜台里即将出现浓妆艳抹的西施。

42. The use of the words "初平," "几处," "谁家," "渐欲," and "才能" is woven into a thread throughout the poem's descriptive sentences, painting the West Lake in early spring as half of a delicate, evenly adorned Su Xiao Xiao of Qiantang. However, this bustling spring spirit is rapidly developing. From the line "The profusion of flowers is gradually blurring the eyes," another message is revealed: The vibrant colors will soon be everywhere, and the mirror tower on the lake will soon showcase a Xishi adorned with heavy makeup and colorful attire.

43. 尾联两句，诗人将视线重新推向远处的白沙堤和湖东，描绘西湖的总体轮廓，以与首联相照应，使全诗的内容更加完足。如果说前六句都是实写，那么这两句是虚写；如果说前六句是景中含情，那么这两句是情中有景。诗人终于抑制不住心中的喜悦依恋，坦言自己的“最爱”。同时，它也将读者的目光引向一个更广阔的境界，那里堤痕隐约，绿树掩映，一切是那样的清丽，又带着一层朦胧。读者在欣赏前面各种景致的基础上，可以发挥自己的想象力，展开丰富的联想。虚实相生，全诗的意境得到了拓展。

43. In the concluding couplet, the poet redirects the gaze towards the distant Baisha Causeway and the eastern side of the lake, painting the overall outline of West Lake to correspond with the first couplet, thereby making the content of the entire poem more complete. If the first six lines are all written in the real sense, then these two lines are written in the imaginary sense; if the first six lines contain emotions within the scenery, then these two lines contain scenery within emotions. The poet finally cannot suppress the joy and attachment in his heart, openly declaring his "dearest" love. At the same time, it also draws the reader's attention to a broader realm where the causeway's traces are indistinct, green trees are concealed, and everything is so clear and poetic, yet veiled with a layer of ambiguity. On the basis of appreciating the various scenes mentioned earlier, readers can unleash their imagination and conjure up rich associations. The interplay between the real and the imaginary expands the artistic conception of the entire poem.

44. 长江流水滔滔不绝

44. The Yangtze River flows continuously and endlessly.

45. “乱花”“浅草”一联，写的虽也是一般春景，然而它和“白沙堤”却有紧密的联系：春天，西湖哪儿都是绿毯般的嫩草；可是这平坦修长的白沙堤，游人来往最为频繁。唐时，西湖上骑马游春的风俗极盛，连歌姬舞妓也都喜爱骑马。诗用“没马蹄”来形容这嫩绿的浅草，正是眼前现成景色。

45. The couplet "Confused flowers, shallow grass" may seem to describe a common spring scene, but it is closely related to "the White Sand Beach": In spring, the West Lake is covered with tender grass like a green carpet everywhere; however, the flat and long White Sand Beach is the most frequented by visitors. During the Tang Dynasty, the custom of riding horses to enjoy spring at the West Lake was extremely popular, and even the singing and dancing girls loved to ride horses. The poem uses the phrase "no horse's hooves" to describe this tender green shallow grass, which is a scene that is right in front of us.

46. “孤山寺北贾亭西，水面初平云脚低。”意为：从孤山寺的北面来到贾亭西边，湖水新涨与岸相平，与低垂的云气连成一片。孤山在西湖之中，把西湖隔为里外二湖，山上有寺，名孤山寺，南朝陈文帝天嘉年间建造。其地清幽秀丽，为湖中登览胜地。贾亭，是唐朝人贾全任杭州刺史时建造。开端一句点明了诗人春游是从孤山寺、贾亭一带起程的。第二句写诗人了望湖面，春水新涨，几与岸平，所以说“初平”；天空云气低垂，接近水面，所以说“云脚低”。

46. "To the north of Gushan Temple and to the west of Jia Pavilion, the water surface is just level with the clouds at their feet." This means: From the north of Gushan Temple, one comes to the west of Jia Pavilion, where the lake has just risen to the level of the shore, merging into a seamless blend with the low-hanging clouds. Gushan is located in the middle of West Lake, dividing it into an inner and outer lake. There is a temple on the mountain, known as Gushan Temple, which was built during the Tianjia era of Emperor Wen of the Southern Chen Dynasty. The location is serene and beautiful, making it a splendid spot for sightseeing on the lake. Jia Pavilion was constructed by Jia Quan, a minister in the Tang Dynasty who served as the governor of Hangzhou. The first line indicates that the poet's spring outing started from the area around Gushan Temple and Jia Pavilion. The second line describes the poet looking out over the lake, where the spring water has just risen to almost the level of the shore, hence the term "just level." The sky is filled with low-hanging clouds, nearly touching the water surface, thus referred to as "the clouds at their feet."

47. 卖门神掉江里人财两空

47. Selling the guardian gods ended up with both people and money falling into the river.

48. 事实上，白居易在这首诗中所表达的那种对于春天或美好事物的敏锐观察与体验，在许多古代诗人中都是非常常见的，唯其如此，他们才能像白居易一样，在春天刚刚来到人间时，就已经欣喜地发现，并为之感动不已，激起他们创作的欲望，写下动人的诗篇，留给后人以丰富的美学享受。像白居易那样，并不会因为只有几只黄莺在树上啼唱，只有几家房檐下燕子在搭窝而感到遗憾，反而会因此感觉到春天的脚步已经越来越近，而感到欣喜异常，从而写出“几处早莺争暖树，谁家乳燕啄新泥”这样动人的诗句的例子是很多的。比如韩愈就有一篇描写早春的名诗，同样不是歌颂春光烂漫时的美景，而是为人们展示出一种充满生机与希望的景象。诗的名字叫《早春呈水部张十八员外》，韩愈一共写了两首，我们不妨向大家介绍第一首：

48. In fact, the keen observation and experience of spring or beautiful things expressed in this poem by Bai Juyi is very common among many ancient poets. It is precisely for this reason that they could, like Bai Juyi, joyfully discover and be deeply moved by the arrival of spring, which激发 their desire to create and write touching poems, leaving后人 with abundant aesthetic enjoyment. Like Bai Juyi, they would not feel regretful just because there are only a few orioles chirping on the trees and only a few swallows building nests under the eaves of a few houses, but would instead feel an unusual sense of joy, writing moving lines such as "In several places, the early orioles compete for the warm trees, whose nests are built with new earth by the swallows of whom?" There are many examples of this. For instance, Han Yu has a famous poem depicting the early spring, which is not about praising the beautiful scenery during the blooming of spring, but rather shows a scene full of vitality and hope. The poem is titled "Early Spring Presentation to Water Department Zhang Shiyi," and Han Yu wrote two poems in total. We may introduce the first one to you:

49. 中，贾全为杭州，于西湖造亭，为‘贾公亭’。”白居易此次春行距贾全造亭不过二十余年，“贾公亭”当还存在，但现在已难觅它的踪迹。据白居易此诗，则贾公亭大致也在孤山的西北侧，则白居易此行的起点大约在今里西湖西岸的北山路中段。到过西湖的人都知道，这是观赏西湖景致的颇佳角度。从这里人们的视线可作扇面延伸，既能一目了然地看清里西湖，又可透过白堤看到外西湖更开阔澹远的湖面，有近有远，虚实相参，西湖的美景可尽收眼中。

49. Among them, Jia Quan built a pavilion in Hangzhou, on the West Lake, which was named the 'Jia Gong Pavilion.' Bai Juyi's spring trip this time was less than twenty years after Jia Quan built the pavilion, so the 'Jia Gong Pavilion' should still exist. However, it is now difficult to find its traces. According to Bai Juyi's poem, the 'Jia Gong Pavilion' was roughly located in the northwest side of Gushan. Therefore, Bai Juyi's starting point for this trip was approximately in the middle section of Beishan Road on the west bank of the modern Li West Lake. Those who have visited the West Lake know that this is a very good perspective for appreciating the beauty of the lake. From here, one's gaze can fan out, allowing a clear view of the inner West Lake, and through the White Causeway, one can see the broader and more distant surface of the outer West Lake, with a combination of near and far, real and虚. The beauty of the West Lake can be fully seen in one's eyes.

50. 钱塘湖春行 ·白居易

50. A Spring Walk at Qiantang Lake · Bai Juyi

51. 闯江湖的买卖骗人

51. The business of swindling people in the world of江湖.

52. 更值得玩味的是诗人的笔法。无论是交待观赏的立足点，还是总体描绘湖上景象，他都不是呆板地描叙。写位置，他忽北忽西；写景致，他忽高忽低。左右变幻，上下呼应，跌宕多姿，隐约透露出诗人既兴奋又闲暇、既深情又从容的观赏心态，并为全诗定下了轻松活泼的情感基调。

52. What is more intriguing is the poet's style. Whether he is describing the vantage point for viewing or painting the overall scene on the lake, he does not resort to stiff narration. In describing location, he shifts between north and west; in depicting scenery, he varies from high to low. The changes from left to right and from up to down are varied, harmonizing vertically and horizontally, creating a dynamic and charming effect. It subtly reveals the poet's excited yet leisurely, passionate yet composed attitude towards observation, and sets a light and lively emotional tone for the entire poem.

53. 长江里的石头经过风浪

53. The stones in the Yangtze River have endured storms and waves.

54. 从孤山寺的北面到贾亭的西面，湖面春水刚与堤平，白云重重叠叠，同湖面上的波澜连成一片。

54. From the north of Gu Shan Temple to the west of Jia Ting, the spring water on the lake is just level with the embankment. White clouds pile up and overlap, merging into one with the ripples on the lake surface.

55. 长江里漂木头付（浮）之东流

55. Logs floating down the Yangtze River to the east.

56. 菜籽鱼儿过江翻不起大浪

56. The little crucian carp swimming across the river cannot stir up big waves.

57. 江边的鹅卵石圆滑

57. The pebbles by the riverbank are smooth and round.

58. 钱塘湖是西湖的别名。提起西湖，人们就会联想到苏轼诗中的名句：“欲把西湖比西子，淡妆浓抹总相宜。”（《饮湖上初晴后雨》）读了白居易这诗，仿佛真的看到了那含睇宜笑的西施的面影，更加感到东坡这比喻的确切。

58. Qiantang Lake is also known as West Lake. When people mention West Lake, they naturally think of the famous lines from Su Shi's poem: "If I were to compare West Lake to Xishi, she would be equally beautiful with light or heavy makeup." (From "Drinking Tea by the Lake After the Rain") Reading Bai Juyi's poem, one can almost see the graceful and smiling image of Xishi, and feel even more accurately the metaphor made by Dongpo.

59. 一脚跨过钱塘江说大话

59. Talk big by stepping over the Qiantang River

60. 钱塘江里洗被单大摆布

60. Washing bedding in the Qiantang River in grand style

61. 中国历史上，在天堂杭州当剌史的可以说是不乏名人，不过，最有名的要算是唐朝和宋朝的两位大文豪白居易和苏东坡了。他们不但在杭州任上留下了叫后人缅怀的政绩，而且也流传下来许多描写杭州及其西湖美景的诗词文章与传闻轶事，所以又有人们称他们为“风流太守”。白居易的七律《钱塘湖春行》就是为人们所熟知的一篇，这首诗不但描绘了西湖旖旎骀荡的春光，以及世间万物在春色的沐浴下的勃勃生机，而且将诗人本身陶醉在这良辰美景中的心态合盘托出，使人在欣赏了西湖的醉人风光的同时，也在不知不觉中深深地被作者那对春天、对生命的满腔热情所感染和打动了。

61. In the history of China, there have been many famous figures who served as prefects in the heavenly city of Hangzhou. However, the most famous among them are the two great literary giants of the Tang and Song dynasties, Bai Juyi and Su Dongpo. Not only did they leave behind notable achievements during their tenure in Hangzhou that are still remembered by later generations, but they also passed down many poems, articles, and legends depicting the beauty of Hangzhou and its West Lake, earning them the nickname "Elegant Prefects." Bai Juyi's "Spring Walk Around the Qiantang Lake" is a well-known piece. This poem not only depicts the charming spring scenery of the West Lake and the vibrant vitality of all things under the spring's embrace, but also fully reveals the poet's own intoxication with the beautiful moment. It makes the reader, while enjoying the enchanting scenery of the West Lake, also unconsciously infected and moved by the author's passionate enthusiasm for spring and life.

62. 钱塘江里的乌龟随潮流

62. The turtles in the Qiantang River follow the tides.

63. 我最喜爱西湖东边的美景，游览不够，尤其是绿色杨柳荫下的白沙堤。

63. I am particularly fond of the beautiful scenery to the east of West Lake, which I have not had enough time to explore, especially the white sand beach under the green willow shade.

64. 破船过江人人自危

64. A broken boat crossing a river, everyone feels endangered.

65. 李逵打宋江过后赔礼

65. Li Kui made amends after beating Song Jiang.

66. 喝江水说海话无边无沿?>

66. Drinking river water and talking about the sea, boundless and endless?

67. 大河边上的望江亭近水楼台

67. The Wangjiang Pavilion by the river, a place with a view of the water.

68. 钱塘江涨潮大起大落

68. The tides in the Qiantang River fluctuate greatly.

69. 绣球抛到大江中团圆不到底

69. The embroidery ball is thrown into the great river, but the reunion is incomplete at the bottom.

70. 江里的木偶随大流

70. The wooden puppets in the river follow the mainstream.

71. 绝妙山水不朽诗章——白居易《钱塘湖春行》赏析

71. Marvelous Landscape, Timeless Poetic Chapter — An Appreciation of Bai Juyi's "Spring Walk at Qiantang Lake"

72. 前四句写湖上春光，先点明环境，然后写景；后四句专写湖东景色，然后点明环境。前后衔接非常自然。

72. The first four lines describe the spring scenery on the lake, first indicating the environment and then painting the scenery; the last four lines focus solely on the scenery to the east of the lake, followed by a clarification of the environment. The transition between the two halves is very natural.

73. “几处早莺争暖树，谁家乳燕啄新泥。乱花渐欲迷人眼，野草才能没马蹄。”这四句是白居易此诗的核心部分，也就是最为抢眼的句子，同时也是白诗描写春光特别是描写西湖春光的点睛之笔。几处，是好几处，甚至也可以是多处的意思。用“早”来形容黄莺，体现了白居易对这些充满生机的小生命的由衷的喜爱：树上的黄莺一大早就忙着抢占最先见到阳光的“暖树”，生怕一会儿就会赶不上了。一个“争”字，让人感到春光的难得与宝贵。而不知是谁家檐下的燕子，此时也正忙个不停地衔泥做窝，用一个“啄”字，来描写燕子那忙碌而兴奋的神情，似乎把小燕子也写活了。这两句着意描绘出莺莺燕燕的动态，从而使得全诗洋溢着春的活力与生机。黄莺是公认的春天歌唱家，听着她们那婉转的歌喉，使人感到春天的妩媚；燕子是候鸟，她们随着春天一起回到了家乡，忙着重建家园，迎接崭新的生活，看着她们飞进飞出地搭窝，使人们倍加感到生命的美好。

73. "In several places, early orioles vie for the warm trees, whose nests the swallows are busily making with new mud. The wild flowers are beginning to enthrall the eyes, while the untamed grasses can only hide the horse's hooves." These four lines are the core of Bai Juyi's poem, the most eye-catching sentences, and also the highlight of his poetry depicting spring, especially the spring of West Lake. "Several places" refers to more than one, or even multiple places. Using "early" to describe the orioles reflects Bai Juyi's heartfelt affection for these lively little creatures: the orioles on the trees are busy early in the morning to claim the "warm trees" first to see the sunlight, fearing they might miss it. The word "vie" makes one feel the rarity and preciousness of springtime. And at this moment, it is not clear whose eaves the swallows are busy building nests, with the word "pecking" describing the busy and excited demeanor of the swallows, as if bringing the little swallows to life. These two lines deliberately depict the dynamic scenes of the orioles and swallows, thus infusing the entire poem with the vitality and vitality of spring. The oriole is widely recognized as the springtime singer, and listening to their melodious voices makes one feel the charm of spring; the swallows are migratory birds, returning with spring to their hometown, busy rebuilding their nests and welcoming a new life. Watching them fly in and out to build their nests, it makes people feel even more deeply the beauty of life.

74. 这是一首观赏西湖风景的诗，是白居易写景诗中的名篇，作于白居易长庆三年或四年春任杭州刺史时。钱塘湖，即今杭州西湖，因地处秦代钱唐县而得名。春行，春天绕湖而行，观赏风景。此诗处处紧扣环境和季节的特征，把早春的西湖描绘得生机盎然。

74. This is a poem that admires the scenery of West Lake, a famous piece among Bai Juyi's landscape poems, written during the third or fourth year of the Changqing era when Bai Juyi served as the刺史 (governor) of Hangzhou. Qiantang Lake, known today as West Lake in Hangzhou, got its name due to its location in the Qiantang County during the Qin Dynasty. "Spring Journey" refers to walking around the lake in spring to enjoy the scenery. The poem is closely tied to the characteristics of the environment and the season, vividly depicting the vibrant West Lake in early spring.

75. ，因国事日非，朝中朋党倾轧，屡次上书又不被理睬，正任中书舍人的白居易请求外任，被出为杭州刺史。已值“知天命”之年的白居易不再是那个“唯歌生民病，愿得天子知”的愤激的青年，他的人生态度多了一份恬淡、超然与从容，从而有了更适宜的心情静观世事、领略山水、品味人生。对于杭州，白居易并不陌生。青少年时代，因河南家乡藩镇战乱不休，他曾南下投奔在杭州作县尉的堂兄，在这里生活过一段时间。这段早年时种下的情愫，使他对杭州除了向往之外，更多了一份亲切感。三十多年过去了，西湖畔的一花一木都还风景如旧否？这一切无疑一直在令他梦魂萦牵。出刺杭州的任命，对他来说可谓正中下怀。他怀着极其轻松喜悦的心情赴任，途中就写下了《暮江吟》（一道残阳铺水中）这样的写景佳制。到杭州后，他更是诗兴大发，留下了一系列描绘这里佳丽风光的不朽佳作，《钱塘湖春行》就是其中之

75. Due to the country's deteriorating situation and the infighting among political factions in the court, Bai Juyi, who was then serving as the Secretary of the中书省, repeatedly submitted memorials that were ignored. Faced with this, he requested an appointment to an external post and was appointed as the Governor of Hangzhou. By then, Bai Juyi, who had reached the age of "knowing his destiny," was no longer the passionate young man who "only sang about the people's sufferings, hoping the emperor would know." His attitude towards life had become more tranquil, detached, and composed, allowing him to calmly observe the world, appreciate landscapes, and savor life. To Hangzhou, Bai Juyi was not a stranger. During his youth, as the warlord conflicts in his hometown of Henan continued, he had traveled south to seek refuge with his cousin, who was serving as a County Magistrate in Hangzhou, and had lived there for a period of time. This early affection he had developed for Hangzhou, besides his longing, also gave him a sense of familiarity. More than thirty years had passed, and had the scenery by the West Lake remained as beautiful as before? All these undoubtedly kept haunting him. The appointment as the Governor of Hangzhou was a perfect match for his wishes. He went to his post with a light and joyful heart, and during the journey, he composed the beautiful poem "Evening Song of the River" (A fading sun laid on the water). After arriving in Hangzhou, his poetic inspiration surged, leaving behind a series of timeless masterpieces that depicted the beautiful scenery of the place, with "Spring Walk in Qiantang Lake" being one of them.

76. 钱塘江涨大潮一浪高一浪；后浪推前浪；来势凶猛；涌上来了

76. The Qiantang River experiences a large spring tide with one wave higher than the last; the later wave pushes the former wave; the momentum is fierce; the waves surge up.

77. 万紫千红 风流太守花间客

77. A myriad of colors and a thousand reds; A风流mandarin and a guest among the flowers.

78. “最爱湖东行不足，绿杨阴里白沙堤。”意为：最喜爱湖东一带的美景，在那绿杨阴里的白沙堤上观光让人留连忘返。诗人信马而游，从孤山寺一带来到湖东白沙堤，岸边的野花，路上的嫩草，堤两旁的绿树，让他深深地感受到冬天过后的春的气息，冗务之余的赏春的愉悦。

78. "The beauty of the east lake is insufficiently explored, where the white sand embankment lies under the green willow shade." This means: The poet's love for the beautiful scenery of the east lake is endless, and visiting the white sand embankment shrouded in the shade of green willows is so captivating that it leaves one reluctant to leave. Riding freely, the poet travels from the Gu Shan Temple area to the white sand embankment on the east lake, deeply feeling the spring after the winter from the wildflowers by the shore, the tender grass on the path, and the green trees on both sides of the embankment, all of which bring him the joy of appreciating spring amidst the busy official duties.

79. “几处早莺争暖树，谁家新燕啄春泥。”意为：见几处早春的黄莺争相飞往向阳之树，衔泥筑巢的不知是谁家新来的燕子？这两句从动物的变化写早春气象。黄莺儿是春天的歌手，燕儿是候鸟，春天从南方飞来。所以人们常用“莺歌燕舞”、“叶绿花红”来形容春天的景象。“争暖树”、“啄春泥”准确地写出了早春乍暖还寒的季节特征，整个画面生动有趣，充满活力。“几处”、“谁家”也把握住了早春鸟儿活动的“度”，使人联想到齐已《早梅》诗中“前村深雪里，昨夜一枝开”中“一枝”的妙处。

79. "In several places, early magpies compete for the warm trees, and who knows which new swallow is foraging for spring mud?" This means: seeing several early spring magpies competing to fly towards sunny trees, who knows which new swallow is gathering mud to build a nest? These two lines describe the early spring atmosphere through the changes of animals. The magpies are the singers of spring, and the swallows are migratory birds, coming from the south in spring. Therefore, people often use "magpies singing and swallows dancing" and "leaves green and flowers red" to describe the scene of spring. "Competing for warm trees" and "foraging for spring mud" accurately describe the characteristic of early spring's cold and warm fluctuations. The whole picture is vivid and interesting, full of vitality. "Several places" and "who knows" also grasp the "degree" of the activities of birds in early spring, evoking the charm of "one branch" in Qi Yi's poem "Early Plum Blossom" where "one branch blooms in the deep snow of the village last night."

80. 诗的前四句写湖上春光，范围上宽广的，它从“孤山”一句生发出来；后四句专写“湖东”景色，归结到“白沙堤”。前面先点明环境，然后写景；后面先写景，然后点明环境。诗以“孤山寺”起，以“白沙堤”终，从点到面，又由面回到点，中间的转换，不见痕迹。结构之妙，诚如薛雪所指出：乐天诗“章法变化，条理井然”（《一瓢诗话》）。这种“章法”上的“变化”，往往寓诸浑成的笔意之中；倘不细心体察，是难以看出它的“条理”的。

80. The first four lines of the poem describe the spring scenery on the lake, which is broad in scope and originates from the line "Solitary Mountain"; the last four lines focus on the scenery of "Lake East", leading back to "White Sand Embankment". The poem first points out the environment, then describes the scenery; later, it first describes the scenery, then points out the environment. The poem starts with "Solitary Mountain Temple" and ends with "White Sand Embankment", moving from point to surface and then back to the point, with the transition being untraceable. The clever structure is exactly as Xue Xue pointed out: "The structure of Le Tian's poetry changes, and the order is in place" (from "One Scoop of Poetry Talk"). This kind of "change" in "structure" is often embodied in the seamless writing style; if not carefully observed, it is difficult to see its "order".