173. 登楼（杜甫）
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现代汉语译文
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花近高楼伤客心，万方多难此登临。
现代汉语译文
繁花靠近高楼，反而伤了客居者的心；万方多难之际，我登上此楼。
以乐景起而伤字先出：花开得越好，越照出乱世的反常。万方多难是全诗的纲领，登临二字把人放到位。
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锦江春色来天地，玉垒浮云变古今。
现代汉语译文
锦江的春色从天地之际涌来，玉垒山的浮云阅尽古今之变。
来天地、变古今把空间与时间一并打开。浮云在古典语汇里兼指时局变幻，这一句景中已有史。
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北极朝廷终不改，西山寇盗莫相侵。
现代汉语译文
朝廷如北极星终究不会改换，西山的寇盗休想再来侵扰。
北极喻朝廷正统。此联针对吐蕃陷京、代宗复辟的时事，语气斩钉截铁——议论入诗而气不弱。
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可怜后主还祠庙，日暮聊为梁甫吟。
现代汉语译文
可怜蜀汉后主那样的昏君还有祠庙受祭，日暮时分，我姑且吟一曲《梁甫吟》。
借后主讽代宗宠信宦官。梁甫吟是诸葛亮隐居时所吟之曲——结句把自己放在诸葛亮的位置上，志向与失望同在。
赏析 · Commentary
登楼不写楼：一首「地志诗」的野心 · Climbing a Tower Without Writing the Tower: the Ambition of a Poem as Gazetteer
题目是登楼，诗里却找不到这座楼的样子——没有栏杆、没有檐角、没有楼中之人。杜甫把五十六字全花在楼外：锦江、玉垒、北极、西山、后主祠庙。这首诗体现杜诗「以天地之大观注入一座楼」的写法。颈联直接发议论（朝廷终不改、寇盗莫相侵），在律诗里是大胆的做法，前人赞其「句句含讽，字字有关合」。楼只是一个观察点，真正被建造的是一幅帝国西南的形势图——这也是为什么历代选家把它当作杜甫七律的骨架作品。
The title says climbing a tower, yet in the poem the tower never appears — no railing, no eaves, no figure within. Du Fu spends all fifty-six characters outside it: the Brocade River, Jade Rampart, the pole star, the western hills, the shrine of a fallen kingdom. The poem pours the scope of heaven and earth into a single tower. The third couplet argues outright — the court shall never be moved, come no more to invade — a bold move in regulated verse, praised as every line carrying its barb, every word finding its target. The tower is only a vantage; what gets built is a strategic map of the empire's southwest — which is why anthologists have always treated it as load-bearing among his seven-character regulated poems.
借蜀汉说唐：尾联的双层话 · Speaking of Tang Through Shu Han: the Two Layers of the Closing
可怜后主还祠庙表面是怀古，实际锋刃向内：后主刘禅是出名的昏君，这样的人尚且有庙受祭——言外是代宗朝政日坏、宦官程元振之流专权，皇帝却安稳如故。这一讽不能明说，杜甫借一江之隔的蜀汉旧事说出，字面全是历史，锋芒全在当下。结句的梁甫吟同样是双层的：诸葛亮未遇时吟此曲，杜甫吟它，是自比未遇之才，也是替朝廷惋惜。日暮聊为四字最沉：聊是无可奈何的姑且——一个自认为有经世之才的人，最后只能唱一支旧曲子。
Pity the last ruler of Shu — even such a king still has his shrine reads as nostalgia and cuts inward: Liu Shan was a byword for misrule, and even he keeps his shrine — the implication, that in the present reign, governance decaying and eunuchs in power, the emperor sits as secure as ever. The barb cannot be spoken directly, so Du Fu borrows the old Shu Han across the river: the surface all history, the edge all present. The Liangfu song of the final line is double too: the tune Zhuge Liang chanted before he was found; Du Fu chanting it casts himself as unfound talent and mourns, on the court's behalf, the waste of it. Dusk, for now, is the heaviest phrase: for now is the resignation of a man certain of his statecraft, ending with nothing but an old song.
与《登高》并读：两首登临的分工 · Read Beside Climbing High: How Two Climbing Poems Divide the Work
《登高》与《登楼》常被并提，同为杜甫夔州前后的七律高峰，气质截然不同：《登高》向内，写一个病人独登台的身世之感，悲在个人；《登楼》向外，写万方多难中的天下形势，悲在时代。前者以八层悲意的对句见密度，后者以议论与用典见胆力。两首合读几乎就是杜甫晚年的自我介绍：身体的痛苦与家国的痛苦，他从不肯只写一样。沈德潜评《登楼》「气象雄伟，笼盖宇宙」，评《登高》则归之于「沉郁顿挫」——同一副身躯里的两种呼吸。
Climbing High and The Climbing Tower are constantly paired — twin summits of his regulated verse around the Kuizhou years, with utterly different breaths: Climbing High turns inward, a sick man alone on a terrace and the sorrow of one life; The Climbing Tower turns outward, the shape of the world in a time of troubles, the sorrow of an age. The first wins by the density of its eight-layered grief in a couplet; the second by the nerve of argument and allusion. Read together they are Du Fu's late self-introduction: bodily pain and national pain, and he refuses ever to write only one. Shen Deqian praised the Tower for grandeur that canopies the universe, and Climbing High for the deep and broken cadence — two kinds of breathing in one body.