168. 蜀相（杜甫）
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现代汉语译文
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丞相祠堂何处寻，锦官城外柏森森。
现代汉语译文
诸葛丞相的祠堂到哪里去寻？锦官城外，柏树长得一片森密。
自问自答的开头。柏森森三字既是实景，也是象征——柏树长青，恰配一位被历代记挂的丞相。
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映阶碧草自春色，隔叶黄鹂空好音。
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映着台阶的碧草自管自地铺着春色，隔着枝叶的黄鹂空自啼出好听的鸣声。
自、空两个字是诗眼：春色再好无人看，好音再美无人听——祠堂的寂寞写在草木上。
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三顾频烦天下计，两朝开济老臣心。
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刘备三顾茅庐，屡屡问以天下大计；诸葛亮辅佐两朝，献尽老臣的忠心。
三顾、两朝把一生功业收进两句话：前句写被知遇，后句写报知遇。开济两字尤其重：开创与匡扶，刘备的事业一半在他身上。
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出师未捷身先死，长使英雄泪满襟。
现代汉语译文
出师伐魏还没成功，自己先死了；这使得后世的英雄们长久地为他泪湿衣襟。
出师未捷指五丈原之死。英雄泪满襟不只替诸葛亮哭，也是所有壮志未酬者的共同眼泪——杜甫自己就在其中。
赏析 · Commentary
「自春色」「空好音」：两个字写尽祠堂的寂寞 · Of Its Own Spring Color, to No Listener Its Lovely Note: Two Words and the Shrine's Whole Solitude
碧草自春色、黄鹂空好音的「自」「空」二字，是历代评家公认的诗眼。字面上只是写景：草自绿，鸟自叫。但放在「丞相祠堂」这个语境里，两字忽然有了方向——这么好的春色，没有人来看；这么好的声音，没有人来听。来看祠堂的只有一个杜甫。这种写法比直接说「祠堂荒凉」高明得多：荒凉是从生机里看出来的，草越绿、鸟越响，无人光顾这件事越刺眼。邵博《邵氏闻见后录》记载他实地去看，武侯祠与先主庙相连，唐时已颇有游人；杜甫偏要写它的静，因为要写的是心里的那点独往之情。
The two words of its own and to no listener are acknowledged by every age of critics as the eyes of the poem. On the surface, pure scenery: the grass greens, the bird sings. But inside the frame of the Prime Minister's shrine they acquire a direction — such fine spring color, and no one to look; such a lovely song, and no one to hear. The only visitor is Du Fu himself. This is far subtler than declaring the shrine desolate: desolation is seen out of fullness of life — the greener the grass, the louder the bird, the more it stings that no one comes. Shao Bo's record of his own visit notes that by Tang times the shrine drew visitors; Du Fu insists on its stillness because what he is writing is that private feeling of coming alone.
颔联颈联：一联写祠堂，一联写功业 · One Couplet for the Shrine, One for the Career
这首七律的结构被反复称道：首联寻祠，颔联写祠中之景，颈联忽然跳到诸葛亮一生的功业（三顾、两朝），尾联落在他之死与后世之泪。从草木到天下，跨度极大，读来却顺——因为颈联才是诗人真正的目的地，写祠只是走近它的过程。三顾频烦天下计、两朝开济老臣心两句，十四个字概括了《三国志》里的半部书：被知遇之重，报知遇之忠。杜甫一生最重这种君臣际遇，他自己的「致君尧舜上」始终落空，写诸葛亮其实就是写自己求不到的东西。
The structure has been praised for centuries: the first couplet seeks the shrine, the second paints its scene, the third suddenly leaps to Zhuge Liang's whole career — three visits, two reigns — and the last falls on his death and the tears of later ages. From plants to all under heaven the span is enormous, yet the reading flows — because the third couplet is the poet's true destination; the shrine-writing was only the approach. Fourteen characters compress half the History of the Three Kingdoms: the weight of being sought, the loyalty that repays the seeking. Du Fu set the highest store by such meetings of ruler and minister; his own hope to assist a ruler like Yao and Shun never came true, and in writing Zhuge Liang he was writing the thing he could not obtain.
「长使英雄泪满襟」：替天下人哭 · Forever Making Heroes Wet Their Lapels: Weeping on Behalf of All
结句不说自己哭，说「英雄」哭——把个人的感动扩大成后世所有壮志未酬者的集体眼泪。这个英雄包括谁？陆游、文天祥读这两句都自认在其中；杜甫自己更在其中——写此诗时他刚到成都，安史之乱未平，个人的抱负与国家的恢复都遥遥无期。五丈原是诸葛亮事业的终点，也是这首诗情感的闸门：前六句越是从容（寻、看、思），最后一句的泪就越汹涌。后来成都武侯祠的名气越过隔壁的昭烈庙（刘备庙），民间认的是诸葛亮——这首诗多少参与了这份记忆的塑造：一句话让一千多年的读者都觉得，自己欠这位丞相一滴泪。
The close never says I wept; it says heroes weep — widening a private emotion into the collective tears of every later age whose ambitions outlived them. Who counts among the heroes? Lu You and Wen Tianxiang, reading these lines, counted themselves; Du Fu counts most of all — newly arrived in Chengdu, the An Lushan rebellion unended, his own ambitions and the dynasty's recovery equally deferred. Wuzhang Plains is both the end of Zhuge Liang's enterprise and the sluice-gate of the poem's feeling: the more composed the six lines before — seeking, seeing, remembering — the more the last line's tears surge. Later, the Wuhou Shrine at Chengdu outshone the neighboring Zhaolie Temple of Liu Bei in popular fame; this poem had its part in shaping that memory: one line persuaded a thousand years of readers that each owed the chancellor a tear.