谢池春
李之仪
残寒消尽，疏雨过、清明后。花径款余红，风沼萦新皱。乳燕穿庭户，飞絮沾襟袖。正佳时仍晚昼，著人滋味，真个浓如酒。
频移带眼，空只凭厌厌瘦。不见又思量，见了还依旧，为问频相见，何似长相守。天不老，人未偶，且将此恨，分付庭前柳。
译文：冬日的残寒散尽，下过稀疏的春雨已过了清明时候。花间的小径聚敛着残余的落红，微风吹过池沼萦绕起新的波绉，小燕子在庭院门窗间穿飞，飘飞的柳絮沾上了衣襟两袖。正是美妙时辰，夜晚连着白昼。令人感到滋味深厚，真个是浓似醇酒。频繁地移动腰带的空眼，只是那么白白眼看着病恹恹地消瘦，不见她却又相思，见了她却还是分离，相思依旧。为此要问与其频频相见，何如永远亲密厮守？天公无情天不老，人有情却落得孤独无偶，这份相思别恨谁理解，姑且将它交托庭前的垂柳。
作者简介：李之仪(1038～1117）北宋词人。字端叔，自号姑溪居士、姑溪老农。汉族，沧州无棣（庆云县）人。哲宗元祐初为枢密院编修官，通判原州。元祐末从苏轼于定州幕府，朝夕倡酬。元符中监内香药库，御史石豫参劾他曾为苏轼幕僚，不可以任京官，被停职。徽宗崇宁初提举河东常平。后因得罪权贵蔡京，除名编管太平州（今安徽当涂），后遇赦复官，晚年卜居当涂。著有《姑溪词》一卷、《姑溪居士前集》五十卷和《姑溪题跋》二卷。
赏析：该词是抒写伤春相思之作。上片写清明景象：“余红”敛繁于花径，“新皱”萦适于池沼，“乳燕”穿飞于庭户，“飞絮”沾惹于襟袖。一句一景，而敛、萦、穿、沾四个动词使地、池、空、人四幅画面有声有色，动静兼备，错落有致地同物及人。冬日的残寒散尽，下过稀疏的春雨已过了清明时候。花间的小径聚敛着残余的落红，微风吹过池沼萦绕起新的波绉，小燕子在庭院门窗间穿飞，飘飞的柳絮沾上了衣襟两袖。下片抒相思愁恨，频移带眼含蓄地暗示相思日深，乃至为相思煎熬而恹恹病瘦。“何以”二字透出一种无把握的犹疑味道，显然造成相思苦恼现状的原因，是一种个人难以抗拒或难以解决的力量。天公无情天不老，人有情却落得孤独无偶，这份相思别恨谁理解，姑且将它交托庭前的垂柳。全词上片以景写情，真个浓如酒。下片叙别相后相思，以生动活的俚俗之语，写细腻委婉的别离之情。这首词写春思委婉细腻，情意缠绵，情景兼美。
英译：
LI Zhiyi – Lyrics to an Adagio of a Pond of Withered Spring
Faded has what remains of winter cold,
A light drizzle has been, so has the vernal equinox.
Paths are paved with petals and their remaining crimson,
And the breeze continues to wrinkle the pond surface.
Swallow fledglings flit their way across the courtyard,
Drifting catkins cling to sleeves and collars.
Nice is the weather, day and night,
That invites one to savour, for it certainly is as potent as wine.
I've been needing to again shift my belt hole,
Only because I've thinner become.
Not seeing her makes me miss her,
Yet seeing her makes no difference at all.
Being able to see her every now and again
Is no comparison to having her companion lifelong.
Heaven ages not, yet we haven't been able to life partners become.
Let me dispose of my regret and leave it with the willows in the courtyard.
谢池春
李之仪
残寒消尽，疏雨过、清明后。花径款余红，风沼萦新皱。乳燕穿庭户，飞絮沾襟袖。正佳时仍晚昼，著人滋味，真个浓如酒。
频移带眼，空只凭厌厌瘦。不见又思量，见了还依旧，为问频相见，何似长相守。天不老，人未偶，且将此恨，分付庭前柳。
译文：冬日的残寒散尽，下过稀疏的春雨已过了清明时候。花间的小径聚敛着残余的落红，微风吹过池沼萦绕起新的波绉，小燕子在庭院门窗间穿飞，飘飞的柳絮沾上了衣襟两袖。正是美妙时辰，夜晚连着白昼。令人感到滋味深厚，真个是浓似醇酒。频繁地移动腰带的空眼，只是那么白白眼看着病恹恹地消瘦，不见她却又相思，见了她却还是分离，相思依旧。为此要问与其频频相见，何如永远亲密厮守？天公无情天不老，人有情却落得孤独无偶，这份相思别恨谁理解，姑且将它交托庭前的垂柳。
作者简介：李之仪(1038～1117）北宋词人。字端叔，自号姑溪居士、姑溪老农。汉族，沧州无棣（庆云县）人。哲宗元祐初为枢密院编修官，通判原州。元祐末从苏轼于定州幕府，朝夕倡酬。元符中监内香药库，御史石豫参劾他曾为苏轼幕僚，不可以任京官，被停职。徽宗崇宁初提举河东常平。后因得罪权贵蔡京，除名编管太平州（今安徽当涂），后遇赦复官，晚年卜居当涂。著有《姑溪词》一卷、《姑溪居士前集》五十卷和《姑溪题跋》二卷。
赏析：该词是抒写伤春相思之作。上片写清明景象：“余红”敛繁于花径，“新皱”萦适于池沼，“乳燕”穿飞于庭户，“飞絮”沾惹于襟袖。一句一景，而敛、萦、穿、沾四个动词使地、池、空、人四幅画面有声有色，动静兼备，错落有致地同物及人。冬日的残寒散尽，下过稀疏的春雨已过了清明时候。花间的小径聚敛着残余的落红，微风吹过池沼萦绕起新的波绉，小燕子在庭院门窗间穿飞，飘飞的柳絮沾上了衣襟两袖。下片抒相思愁恨，频移带眼含蓄地暗示相思日深，乃至为相思煎熬而恹恹病瘦。“何以”二字透出一种无把握的犹疑味道，显然造成相思苦恼现状的原因，是一种个人难以抗拒或难以解决的力量。天公无情天不老，人有情却落得孤独无偶，这份相思别恨谁理解，姑且将它交托庭前的垂柳。全词上片以景写情，真个浓如酒。下片叙别相后相思，以生动活的俚俗之语，写细腻委婉的别离之情。这首词写春思委婉细腻，情意缠绵，情景兼美。
英译：
LI Zhiyi – Lyrics to an Adagio of a Pond of Withered Spring
Faded has what remains of winter cold,
A light drizzle has been, so has the vernal equinox.
Paths are paved with petals and their remaining crimson,
And the breeze continues to wrinkle the pond surface.
Swallow fledglings flit their way across the courtyard,
Drifting catkins cling to sleeves and collars.
Nice is the weather, day and night,
That invites one to savour, for it certainly is as potent as wine.
I've been needing to again shift my belt hole,
Only because I've thinner become.
Not seeing her makes me miss her,
Yet seeing her makes no difference at all.
Being able to see her every now and again
Is no comparison to having her companion lifelong.
Heaven ages not, yet we haven't been able to life partners become.
Let me dispose of my regret and leave it with the willows in the courtyard.