74. 哀江头（杜甫）
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现代汉语译文
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少陵野老吞声哭，春日潜行曲江曲。
现代汉语译文
少陵的野老吞着声音哭，春天里偷偷地走在曲江的曲折处。
「吞声」是哭得出不了声，「潜行」是不敢让人看见。两个动作定了全诗的处境。
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江头宫殿锁千门，细柳新蒲为谁绿。
现代汉语译文
江边的宫殿锁着千重门，细柳新蒲为谁而绿。
「为谁绿」是问句。景还是去年的景，看景的人不在了。
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忆昔霓旌下南苑，苑中万物生颜色。
现代汉语译文
回忆从前霓旌下到南苑，苑里的万物都生出光彩。
从眼前的锁门转到回忆。句子的温度也变了，一下亮起来。
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昭阳殿里第一人，同辇随君侍君侧。
现代汉语译文
昭阳殿里的第一人，与君王同辇，随侍在君王身旁。
「第一人」指杨贵妃。昭阳殿是汉成帝宠妃赵飞燕的宫殿，借来用。
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辇前才人带弓箭，白马嚼啮黄金勒。
现代汉语译文
辇前的才人带着弓箭，白马咀嚼着黄金的勒口。
写盛时的排场，用的是细节：才人身上的弓箭、马嘴里咬着的金勒。
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翻身向天仰射云，一箭正坠双飞翼。
现代汉语译文
转身朝天，仰头射向云里；一箭正射下一对飞鸟。
一箭双翼，写的是准。这一笔把盛时的意气写足，也衬出后来的落空。
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明眸皓齿今何在，血污游魂归不得。
现代汉语译文
明亮的眼睛、洁白的牙齿，如今在哪里？血污了游魂，回不来了。
「明眸皓齿」是刚才那位射鸟的人。「血污游魂」指马嵬驿的事，杜甫写得很轻，不做渲染。
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清渭东流剑阁深，去住彼此无消息。
现代汉语译文
清渭向东流，剑阁深远；去的和留的，彼此都没有消息。
一句水分东西，一句人分去留。两地之间没有消息，也就没有了关系。
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人生有情泪沾臆，江水江花岂终极。
现代汉语译文
人生有情，泪水沾湿胸口；江水和江花，难道有尽头吗。
前句写人有限，后句写景无限。两句之间不加连接，落差自己出来。
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黄昏胡骑尘满城，欲往城南望城北。
现代汉语译文
黄昏里胡人的骑兵尘土满城，想往城南走，却望着城北。
「欲往城南望城北」是方向错乱，写成身体的失序。全诗停在这一句上。
赏析 · Commentary
「明眸皓齿」和「血污游魂」是同一个人 · Bright Eyes and the Bloodied Soul Are One Person
前面写才人射鸟，一句「一箭正坠双飞翼」，写足了盛时的意气；紧接两联，明眸皓齿忽然变成血污游魂，中间没有过渡，也没有一句解释。杜甫不提马嵬驿，不提六军不发，只把两张面孔并排放在一起。这个处理方式比直接写事更重：读者知道这中间发生了什么，而诗不肯说。同一首诗里，前一半是他在曲江边回忆的繁华，后一半是同一个地方、同一个人的结局。杜甫不评论，也不控诉，只让「今何在」三个字自己去问。
Earlier the palace woman shoots at a bird, and one arrow brought down a pair of wings writes the confidence of the good days to the full; two couplets later bright eyes and white teeth have become a bloodied wandering soul, with no transition and no explanation. Du Fu does not mention Mawei, does not mention the army refusing to move; he lays two faces side by side. The handling is heavier than narrating the event: the reader knows what happened in between, and the poem refuses to say it. In the same poem, the first half is the splendor he remembers by the Qujiang, the second the end of that same person in that same place. Du Fu neither comments nor accuses; he lets where are they now do the asking.
「吞声哭」和「潜行」定了全诗的处境 · Swallowed Weeping and Slipping Set the Whole Situation
开头两句里有两个动作：哭，但哭声咽回去；走，但走得很小心。这两个动作说明杜甫当时是什么处境——他在一个被占领的城里，怀念的是旧朝的宫廷，不能明着来。整首诗的声调都是从这九个字里长出来的：明明有很多话，说出来全是压着的；明明在写繁华，落笔都在写锁、写深、写无消息。结尾「欲往城南望城北」也是同一个人的动作——想走一个方向，身体却朝另一个方向去。首尾两个动作，把这个人的状态框住了。
The opening two lines hold two actions: weeping, with the sound swallowed; walking, with great care. They say what Du Fu's position was — inside an occupied city, mourning the former court, unable to do it openly. The tone of the whole poem grows out of those words: there is a great deal to say, and all of it comes out pressed down; he is writing splendor, and everything he sets down is locked, deep, wordless. The closing he means to go south of the city yet looks north of it is the same man's action — to intend one direction while the body takes another. Two actions, head and tail, frame the man's condition.
「人生有情」和「江水江花」为什么并排写 · Why Human Feeling Stands Beside River Water and Flowers
「人生有情泪沾臆，江水江花岂终极」，前一句说的是人的有限：有情，所以会哭，泪水有一个源头，也会流完。后一句说的是景的无限：江水一直流，江花一年一年开，没有尽头。杜甫把这两件事放在一起，不解释它们的关系，让读者自己去感受那个不对称——一个会结束的东西在看一个不会结束的东西。这个写法出现在结尾之前，紧接着才是黄昏、胡骑、满城尘土，于是那点哲理立刻被现实盖住，诗也没有停在感慨上，又落回了眼前。
Man, having feeling, wets his breast with tears; but river water and river flowers — do they ever end? The first line gives human finitude: having feeling means weeping, and tears have a source and will run out. The second gives the boundlessness of scenery: the river runs on, the flowers open year after year, without end. Du Fu sets the two together and does not explain their relation, leaving the reader to feel the asymmetry — something that ends looking at something that does not. The passage comes just before the close, and immediately after come dusk, nomad cavalry and dust over the whole city, so the reflection is covered by the actual at once and the poem does not settle into musing but falls back to the present.