172. 登高（杜甫）
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现代汉语译文
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风急天高猿啸哀，渚清沙白鸟飞回。
现代汉语译文
风急天高，猿声哀啸；水中小洲清冷，白沙映着盘旋的鸟。
一句三景（风天猿、渚沙鸟），十四字无一闲字。猿啸哀定了声音，鸟飞回定了动作，全联在急与旋中。
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无边落木萧萧下，不尽长江滚滚来。
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无边的落叶萧萧而下，不尽的长江滚滚而来。
无边、不尽把空间和时间同时放到最大。萧萧是耳中的秋，滚滚是眼前的逝——千古名联，气象全在这两组叠字里。
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万里悲秋常作客，百年多病独登台。
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万里之外，悲秋时节，常年作客；一生多病，独自登上高台。
十四字含八层悲意（万里、悲秋、作客、常、百年、多病、独、登台），宋人罗大经细数过。独字是八层里最重的一层。
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艰难苦恨繁霜鬓，潦倒新停浊酒杯。
现代汉语译文
一生艰难困苦，恨双鬓白霜日繁；穷困潦倒之中，又新近戒了浊酒。
新停浊酒杯的停是因病戒酒：连借酒浇愁也被剥夺。全诗以「新停浊酒杯」收束，停字点出因病戒酒、愁无可解。
赏析 · Commentary
被推为七律第一的一首诗 · The Poem Ranked First Among All Seven-Character Regulated Verse
明代胡应麟《诗薮》推此诗为「古今七言律第一」，理由是通篇对仗而气脉流转：首联句中自对（风急对天高、渚清对沙白），颔联颈联上下相对，尾联依然工对——八句皆对是律体的极限做法，稍有不慎就板滞，而这首读来毫无对仗的束缚感。杨伦《杜诗镜铨》说它「高浑一气，古今独步」。写此诗时杜甫流寓夔州，五十六岁，离去世只有三年：重九登高，独自一人，酒精性病已重到必须戒酒。诗的每一个字都是这个处境的直接产物。
Hu Yinglin's Ming-dynasty Poetry Shelves ranks it first among all seven-character regulated poems, ancient and modern, on the grounds that it is parallel throughout yet flows as one breath: the first couplet pairs within the lines (wind against sky, islet against sand), the second and third couplets pair across, and the close remains strict — eight lines all parallel is the extreme limit of the form, one slip from stiffness, and this poem reads without the least sense of constraint. Yang Lun's Mirror of Du Fu calls it one breath, lofty and whole, unique through the ages. Du Fu wrote it a refugee in Kuizhou, fifty-six, three years from death: climbing on the Double Ninth, alone, his illness already grave enough to force him off wine. Every character is the direct product of that situation.
十四字八层悲：罗大经的计数 · Eight Layers of Grief in Fourteen Characters: Luo Dajing's Count
宋人罗大经《鹤林玉露》把万里悲秋常作客，百年多病独登台拆成八层悲意：万里（离乡之远）、悲秋（时节之哀）、作客（漂泊之身）、常作客（漂泊之久）、百年（暮齿）、多病（衰疾）、登台（登高怀远）、独（无人相伴）。计数虽近游戏，却道出杜诗的一个秘密：他的沉郁不是形容词堆出来的，是名词与动词的密度堆出来的。这一联没有任何「愁」「恨」的字面，悲意全在客观的处境罗列里——处境本身已经是悲的极限，再加情绪词反而轻了。
The Song critic Luo Dajing, in his Jade Dew of the Crane Forest, splits the couplet into eight layers of grief: ten thousand li (the distance from home), grieving autumn (the season's sorrow), being a stranger, forever a stranger (the length of exile), a hundred years (late age), sickness (decline), climbing the terrace (the height that invites longing), and alone (no one beside). The counting is half a game, but it exposes the secret of Du Fu's depth: his gloom is not piled up from adjectives but from the density of nouns and verbs. Not one literal word of sorrow appears in the couplet — the grief lies wholly in the catalog of objective circumstances, which is itself grief at its limit; add emotion words and the weight would only lighten.
新停浊酒杯：结尾的反高潮 · The Newly Stopped Cup: the Anti-climax of the Ending
按律诗的路数，尾联应该把全诗的悲情推到最高。杜甫反着写：艰难苦恨落到鬓毛上，潦倒落到酒杯上——而且是新停的杯。停字一出，全诗的声音忽然降下来：一个连酒都不能喝的病人，登高、望秋、忆万里、数百年，最后手里什么都没有。评家常说这个结尾「收得住」，住在哪里？住在身体上。前面七句是精神的腾挪，最后一句回到肉体：病、老、穷、戒酒。正因为悲到极处还落回一个具体的、被剥夺的动作，这首诗的悲才不飘——它长在一个真实的身体上。
By convention the final couplet should lift the poem's sorrow to its peak. Du Fu writes it backward: hardship and bitter regret settle onto the temples, destitution onto the wine cup — and a newly stopped cup at that. Once stopped appears, the poem's voice suddenly comes down: a man too ill to drink, who has climbed, watched the autumn, remembered ten thousand li and counted a hundred years, ends with nothing in his hand. Critics say the ending is held in. Held where? In the body. Seven lines of spiritual flight, and the last returns to flesh: illness, age, poverty, abstinence. Because the extreme grief falls back onto one concrete, deprived action, the sorrow of the poem never floats — it is rooted in a real body.