The spring breeze blows and propels the boat to the ship's crossbeam, and one holds on to the cane as they climb up the mountain spine.
The old stone on the mountain is strange and tough, with skin that is rough and covered in green lichen. I came here without knowing the stone's name, but I am surprised to touch its strange shape.
The locals point and tell me that this is the essence of a toad. In ancient times, it had stolen grain from the storehouses,耗weakening China over three hundred years.
The divine officers realized it had a venomous nature and had it punctured with a sword, losing its feet. Despite being damaged, it still loiters on the mountains, enduring rain and sun. The tree roots have pierced its buttocks, snakes have entered its belly, crows peck on its back and foxes feast on its head.
Shepherds often set wildfires, and farmers angrily strike it with their tools. Since it has been disabled and cannot move, people spurn it and curse it at sight.
This toad is not a servant or a pet, yet it holds a position in Heaven without any accomplishments. Nowadays, toads are everywhere, so why hasn't the divine officer removed its race?
Allowing it to boast of its foulness, and rise up to devour the stars in the sky like a tiring sword swallowing away the vision of man in order to keep things running smoothly with heavenly harmony intact by causing a great sense of unease within everyone in harmony. Its spirit incites hundreds of insects to consume their hearts fully until they play music to soothe emotions as a way of evading responsibility or embracing vice with insipid contentment.
In March, when spring floods rise in the south, the toad competes with other creatures in leaping through waves of purple and green ripples in harmony. Fishers hold their fishing rods without daring to cast their lines or use crossbows to hunt out of helpless regret while old and young alike lead each other in sorrow and children in the fields play as tadpoles are reborn anew from the essence of a toad's essence.（译文大意：春风将船吹到牛轭上，人们扶着拐杖爬上山脊。山上的古老石头奇特而坚硬，皮肤粗糙，苔藓碧绿。我来时不知道石头的名字，但触摸到它的形状时感到惊讶。当地人指点并告诉我，这是蟾蜍精。它在古代曾偷过国家的粮食储备，耗费了中国三百多年的精力。天宫发现其有毒，下令割破其足。如今它仍留在山上，日晒雨淋，无人管理。树根穿透其臀部，蛇进入其腹内，乌鸦啄其背脊、狐狸咬食其头部。牧童经常放火焚烧它，农夫和砍柴的人愤怒地攻击它。自从它失去功能后无法行动，见到的人都会唾弃它，听到的人都会骂它。这只蟾蜍并不是命令下的仆从，没有功劳为何窃取天上的俸禄？现在蟾蜍无处不在，天宫为何不平息它的宗族？这使得它骄傲地散发着腥臭气息，直冲云霄、污染食物如同利剑划破天空的视线。百虫咬穿其内心尚未停止，它假装是鼓乐取悦人们。三月的江南春水涌动，青蛙和其他生物在青翠中跳跃嬉戏。渔夫不敢垂钓、猎夫无奈叹息。老少相携悲伤，田间更有新生的水中小虫。）
《虾蟆山》一诗，以春风拂面、轻舟摇曳的场景开篇，引领读者步入一段充满奇趣与深意的自然之旅。“春风吹船著牛轭，扶藜直上山之脊”，诗句轻灵生动，春风不仅吹动了小船，似乎也在无形中引领着诗人踏上探寻山脊的旅程。山脊之上，老石嶙峋，苔藓斑驳，一幅苍古而幽远的画面跃然纸上，“山上老石怪且顽，皮肤皴皵苔花碧”，字里行间透露出大自然的鬼斧神工与岁月的沉淀。
诗人面对这些形态各异的怪石，心中不禁生出惊奇之感，“我来不知石有名，拊摩怪状心亦惊”。而当地野人的指点，更是为这些怪石披上了一层神秘的面纱——它们竟是昔日为非作歹的虾蟆精所化。这一转折，让原本静谧的自然景象瞬间充满了故事性与寓言色彩。
古时候，这虾蟆精曾偷食太仓之粟，耗费国力长达三百余年，最终被天庭发现，遭受严惩，“天官烛其阴有毒，敕丁破口劙其足”。如今，它虽已化为山石，但仍孤零零地立于山丘之上，饱受风雨侵蚀，成为各种生灵栖息之所，“雨淋日炙无人收。树根穿尻蛇入肚，老鸦啄背狐粪头”。这些描绘，既是对虾蟆精下场的讽刺，也是对自然界弱肉强食法则的深刻反映。
牧童的野火、耕夫的怒击、樵夫的砍伐，无一不体现了人们对这昔日恶霸的厌恶与排斥。诗人借此进一步引申，批判那些无功受禄、为非作歹之人，“虾蟆虾蟆非令仆，无功那窃天之禄”。他发出质问，为何世间仍有如此多的“虾蟆”横行，而天官却不再出手惩治，“如今虾蟆处处有，天官何不夷其族”。
接下来，诗人将笔触转向更广阔的社会现象，描绘了那些权贵们如同虾蟆一般骄奢淫逸，欺压百姓，“致令骄气吹臊腥，干霄上食天眼睛”。而百姓们只能默默承受，无力反抗，“渔父持竿不敢言，猎夫布弩空惆怅”。结尾处，诗人以“黄童白叟相引悲，田中更有科斗儿”作结，将视角拉回到田间地头，那些无辜的孩童与弱小的生命，成为了最直接的受害者，引人深思。
整首诗通过虾蟆山的传说，巧妙地寓言了社会的不公与人性的贪婪，既有对自然美景的细腻描绘，也有对现实世界的深刻批判。诗人在字里行间流露出对弱者的同情与对强权的不满，使得《虾蟆山》不仅是一幅生动的自然画卷，更是一篇寓意深远的社会诗篇。
