136. 蜀先主庙（刘禹锡）
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现代汉语译文
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天地英雄气，千秋尚凛然。
现代汉语译文
笼罩天地的英雄之气，千年之后依然令人敬畏。
「凛然」是令人敬畏的样子。开篇不写庙、不写像，先写一股气，把所要写的人抬到天地之间。
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势分三足鼎，业复五铢钱。
现代汉语译文
天下形成三足鼎立的格局，他立志恢复汉室的五铢钱。
「三足鼎」指魏蜀吴三分天下。「五铢钱」是汉朝的货币，刘备铸五铢钱，是承续汉统的表示。两句各出一典，都是政治抱负。
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得相能开国，生儿不象贤。
现代汉语译文
得到诸葛亮这样的宰相，得以开国立业；生的儿子却不像父亲那样贤明。
「得相」指三顾茅庐得孔明，「生儿」指后主刘禅。「能」与「不」两个字把成败一并说尽。
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凄凉蜀故妓，来舞魏宫前。
现代汉语译文
最凄凉的是蜀国旧日的歌妓，来到魏国的宫殿前献舞。
蜀亡后，刘禅的乐工舞伎被迁到洛阳。末句不评论，只把场景摆出来，亡国的意味全在其中。
赏析 · Commentary
咏史诗的四个层次 · Four Layers in a Poem on History
刘禹锡从「气」写起，再写功业，再写得失的关键，最后写亡国的场景。四联是一次收紧：先天地，再天下，再一个人的决策（得相、生儿），最后落在一群歌妓身上。最宏观和最微观就这样对上了。咏史诗的难处是既要见识又要具体，刘禹锡用「五铢钱」「蜀故妓」这类实物把见识钉住了。
Liu Yuxi begins with an air, moves to achievement, then to the hinge of gain and loss, and ends with a scene of ruin. The four couplets tighten: heaven and earth, then the realm, then one man's decisions (a minister found, a son begotten), and at last a group of singers. The largest scale meets the smallest. The difficulty in a historical poem is having both insight and concreteness, and Liu Yuxi pins his insight down with objects like the wu-zhu coin and the Shu dancers.
「能」与「不」 · "Could" and "Did Not"
第三联是全诗的判断所在。上下两句只差一个字，一个是「能」，一个是「不」。刘备得孔明而能开国，刘禅有同样的基业却不能守，原因在一贤一不肖。刘禹锡没有写「可惜」「可叹」，只把两个字并在一起，褒贬就出来了。咏史写到这种不动声色的地方，比大声感叹更有力。
The third couplet is where the judgement sits. The two halves differ by one character: "could" and "did not." Liu Bei had Zhuge Liang and could found a state; Liu Shan inherited the same foundation and could not keep it, and the difference is a worthy son or an unworthy one. Liu Yuxi writes no "alas" and no lament; he sets the two words side by side and the verdict is there. History written this quietly hits harder than history that shouts.
为什么末句落在歌妓身上 · Why the Poem Ends on the Dancers
「来舞魏宫前」这个场景在史书里有出处：蜀亡后刘禅被迁洛阳，乐工舞伎随行，后来还有「乐不思蜀」的故事。刘禹锡选这个场面做结尾，是因为它同时含着两件事——旧国的音乐还在，可演出的地方变了。亡国不是一纸降书，是这种日常的错位。一个具体的画面，比一句「社稷倾覆」留得更久。
"Dancing before the palace of Wei" has a source: after Shu fell, Liu Shan was moved to Luoyang with his musicians, and the story of "not thinking of Shu" comes later. Liu Yuxi ends here because the scene holds two things at once — the old state's music survives, and the place of performance has changed. The fall of a country is not a signed surrender but this kind of daily dislocation. A concrete picture outlasts a phrase like "the altars overturned."