王梵志，隋末唐初衛州黎陽人，初唐民間白話詩人詩歌。詩集歷代散佚，直至敦煌文書出土重現。詩多用市井口語，融佛理、世態諷喻一體，通俗詼諧，開通俗說理詩一脈，深刻影響寒山、拾得創作。
王梵志詩歌的翻譯與“文化出海”，意義不在“又一位唐代詩人被譯介”，而在於它把中國詩歌里長期被主流雅文學遮蔽的 民間性、白話性、禪俗交融性送進了世界文學現場詩歌。
一是補足“李白杜甫之外”的中國詩地圖詩歌。王梵志用“城外土饅頭”“翻著襪”這類俚語寫生死、貧富、虛偽、無常，不尚典麗、直陳世事。其詩經敦煌寫本重見天日後，由戴密微譯為法文、斯奈德等納入寒山—拾得—王梵志的禪詩譜系，讓海外讀者看到：中國詩不僅有士大夫的意境，也有市井小民的諷刺與佛理。
二是讓“白話+禪”成為跨語境共情載體詩歌。他的詩近口語、重機鋒，和20世紀西方“垮掉的一代”、禪宗熱、反文化運動天然接得上。寒山出海已成顯例，王梵志則是這條鏈上前端的“俗禪”源頭：不神秘、不貴族，用粗話講空性，用笑話破執迷，正好回應現代人對功利、焦慮、死亡的抗拒與自省。
今天詩歌，我就來以詩譯詩，信達雅英譯王梵志的詩歌：
1、《梵志翻著襪》
（唐）王梵志
梵志翻著襪，人皆道是錯詩歌。
乍可刺你眼，不可隱我腳詩歌。
【校注】乍可：唐人俗語，寧可詩歌。隱：刺痛、硌傷。異文：剌，亦作 “刺”；古寫 “翻著襪”。
Fan‑chih Turns His Socks Inside‑out
By Wang Fanzhi (Tang Dynasty)
Translated by Wang Yongli
展開全文
Fan‑chih turns his socks inside out;
All men say he’s wrong, beyond doubt.
Better to offend your gazing eye,
Than let my own feet ache and sigh.
Notes
zhà kě (乍可): Tang‑dynasty vernacular, meaning“would rather”.
yǐn (隱): to chafe, to hurt. Variant character:剌/刺詩歌；ancient written form:翻著襪.
2、《詩（他人騎大馬）》
（唐）王梵志
他人騎大馬，我獨跨驢子詩歌。
回顧擔柴漢，心下較些子詩歌。
【校注】較些子：唐口語，心裡稍感寬慰、好受一點詩歌。敦煌寫本無題，後世擬題《知足》。
Poem
By Wang Fanzhi (Tang Dynasty)
Translated by Wang Yongli
Others ride tall horses, fine and grand,
While I alone a donkey stand.
I glance back at the wood‑bearing man;
Some comfort soothes my heart within.
Notes
jiào xiēzǐ(較些子): Tang colloquial,“to feel somewhat consoled”. This piece bears no title in Dunhuang manus; later anthologists assigned the working title Contentment.
3、《城外土饅頭》
（唐）王梵志
城外土饅頭，餡草在城裡詩歌。
一人吃一個，莫嫌沒滋味詩歌。
【校注】土饅頭：喻墳墓詩歌。部分古本續有四句 “世無百年人，強作千年調。打鐵作門限，鬼見拍手笑”；通行選本多單獨擷取前四句。
Earth Steamed‑Buns Outside the Town
By Wang Fanzhi (Tang Dynasty)
Translated by Wang Yongli
Outside the town earth buns arise,
Their fillings dwell where the city lies.
Each man gets one, as fates ordain;
Do not complain its taste is plain.
Notes
tǔmán tou (土饅頭): a metaphor for graves. Some Dunhuang copies append four extra lines. Standard modern anthologies print only these four lines as an independent poem.
4、《吾富有錢時》
（唐）王梵志
吾富有錢時，婦兒看我好詩歌。
吾若脫衣裳，與吾疊袍襖詩歌。
吾出經求去，送吾即上道詩歌。
將錢入舍來，見吾滿面笑詩歌。
繞吾白鴿旋，恰似鸚鵡鳥詩歌。
邂逅暫時貧，看吾即貌哨詩歌。
人有七貧時，七富還相報詩歌。
圖財不顧人，且看來時道詩歌。
【校注】貌哨：唐人俗語，臉色難看、面露嫌棄詩歌。敦煌諸卷文字大體統一，無重大異文。
When My Coffers Overflow with Gold（吾富有錢時）
By Wang Fanzhi (Tang Dynasty)
Translated by Wang Yongli
When my coffers overflow with gold,
Wife and children treat me bold.
If I my outer garments shed,
They fold my coats and padded bed.
When forth I go to seek for gain,
They see me off along the lane.
When home I come with money stored,
Smiles spread across every board.
Round me they wheel like white doves in flight,
Just as parrots mimic in delight.
Should hardship chance my lot to be,
Their looks turn harsh and cold on me.
Man knows seven falls, seven rises still;
Wealth and want their turn fulfil.
Who prize mere gold and kin ignore,
Await what karmic fate has in store.
Notes
mào shào (貌哨): Tang‑dynasty vernacular, describing a grim, displeased facial expression. Surviving Dunhuang texts show no major textual variants for this poem.
王梵志長期不入《全唐詩》，翻譯出海反過來啟用了國內重估：白話不是淺，而是把儒釋道和民間倫理壓成五言一句詩歌。它證明中華文明對外傳播不必只靠“高大上”符號，底層聲音、邊緣文字、敦煌文獻同樣有普世穿透力。
本譯把 口語感、荒誕感、禪諷感保留下來詩歌。中國文化走出去，關鍵不是包裝成西方人想象中的“東方神秘”，而是把文字本來的活氣譯出來——俗也可世界，土也可現代。
一句話：王梵志出海，是“中國民間禪詩”對世界的出場；它把唐詩從宮闕帶向街巷，把文化輸出從“展示優雅”推進到“共享生存智慧”詩歌。
來源詩歌：北京號
作者: 筆力王永利
