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　　詩(shī)人卻鐘情于夕陽(yáng)，吟唱：夕陽(yáng)無(wú)限好，只是近黃昏。畫(huà)家愛(ài)畫(huà)夕陽(yáng)，只惑于眼前景色，未必緣于詩(shī)人的感傷。我有時(shí)下午一點(diǎn)鐘便背著畫(huà)箱出發(fā)，趕到那遙遠(yuǎn)的高地或海岸，早早守候著，準(zhǔn)備捕捉無(wú)限好的夕陽(yáng)。日西斜，我和我已支撐開(kāi)的畫(huà)架的投影不斷伸長(zhǎng)的時(shí)候，明藍(lán)的天空漸漸轉(zhuǎn)向紫藍(lán)，紫紅，于是晚霞滿天，滿天的晚霞衛(wèi)護(hù)著，隱蔽著太陽(yáng)歸去。日落西山，黑夜很快就吞噬了眼前的世界。這瞬息萬(wàn)變的夕照與晨曦同樣不易繪畫(huà)，攝影師捕獲的夕陽(yáng)也往往與晨曦不易區(qū)分。莫奈的名作《日出的印象》似乎也可混淆為日落的印象。殷紅的太陽(yáng)在地平線上升起來(lái)，又在地平線上沉落下去，她在太空中放出的熱與光芒原是一樣的，只是由于地面上早晚熱量發(fā)散的差異，顯示了不同的天際色彩反映。晨曦的背景略偏溫涼，偏冷調(diào)，夕陽(yáng)則沐浴于溫暖的氛圍中。這些微妙的色調(diào)變化對(duì)畫(huà)家最敏感，但筆底的色調(diào)卻還是難于到位，故人們往往不易區(qū)別作品中表現(xiàn)的是晨曦還是夕陽(yáng)。

　　Poets love sunset, chanting: "O, the splendor of sunset, only to be marred by the approach of night." So do painters, although usually for a different reason—they're only triggered by the visual impact itself, not by a deep feeling for departing beauty. Sometimes I will set off at one in the afternoon, with the painter's box on my back, towards the highland or the seashore, waiting to capture the splendor of sunset. As the fiery ball sinks to its daily doom, the shadows of my own figure and the easel I had brought were increasingly lengthened on the sandy ground. The sky, once so blue, turns a purplish blue and then a purplish red. It soon changes into a vast expanse of multihued clouds. Escorted by them, the sun disappears below the horizon. Darkness finally falls, engulfing everything within its sphere. This fleeting splendor is just as hard to catch in a painting as daybreak. Sunset glows captured by a photographer are, too, hardly distinguishable from the first glimmer of day. Even Monet's renowned piece, "Impressions, Sunrise (Impression, Soleil Levant)," can easily be mistaken for a sunset scene. A bright sunrise, after all, isn't that different from a bright sunset. The sun emits the same heat and splendor whether it's sunrise or sundown. Only due to the different ways heat spreads on the earth's surface in the early mornings and late afternoons, different hues are seen around the horizon at different times of day. The background for first streaks of daylight tends to be lukewarm or chilly, whereas the setting sun is usually immersed in an aura of profuse warmth. A painter can be sensitive enough to such slight variations in tone, but sometimes he finds it hard to adjust them to his satisfaction. The subtle difference between sunrise and sundown is hard to define anyway.

　　然而人生的晨曦與夕陽(yáng)卻是那么分明，會(huì)有人錯(cuò)認(rèn)青春與遲暮?jiǎn)?？人們?ài)晨曦，也愛(ài)夕陽(yáng)。人們愛(ài)青春，也愛(ài)遲暮?jiǎn)?？旭日東升，夕陽(yáng)西下，雖相隔只12個(gè)小時(shí)，短短的12個(gè)小時(shí)，但她們永遠(yuǎn)不會(huì)相見(jiàn)。有人幻想晨曦與夕陽(yáng)有朝一日碰面了，那將是怎樣的歡欣啊!那是青春與遲暮的擁抱，人之始與人之終的交接，父與子的繼承。太陽(yáng)，獨(dú)自悠悠在寰宇循行，無(wú)端被晨曦和夕陽(yáng)各分了一半，難道只是緣于對(duì)人生朝暮的呼應(yīng)？

　　However, the distinction between sunrise and sundown in a man's life is clear-cut. Nobody will confuse senility with the flowering of youth. People can love both sunrise and sundown. But whereas they love youth, do they also love old age? There is only a gap of twelve hours between sunrise and sundown, yet the one will never have the chance to greet the other. Well-intentioned people like to imagine a meeting of the two. How wonderful if this fantasy could become a reality! It would be a hug between youth and age, the beginning of a human life linking hands with its end, the continuation of a father's existence through is son's flesh and blood. The sun, traveling alone across the heavenly dome, is bound to be split up, with one half of it going to dawn, and the other half, dusk. Doesn't this coincide with the futility of life's sunrise and sundown trying to look each other in the face?