174. 宿府（杜甫）
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现代汉语译文
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清秋幕府井梧寒，独宿江城蜡炬残。
现代汉语译文
清秋时节，幕府庭井边的梧桐透着寒意；独自宿在江城，蜡烛已燃到残段。
幕府是节度使府署，杜甫时任严武幕中参谋。独宿、烛残两个词定下全诗：一个人，一夜，将尽的光。
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永夜角声悲自语，中天月色好谁看。
现代汉语译文
长夜里号角的声音悲凉得像自言自语，中天的月色虽好，又有谁看？
角声自语是移情：声音没有听者，如同无人对话。好谁看三字硬到几乎不通，却正因不通而见情——月光好，可「谁」来一起看？
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风尘荏苒音书绝，关塞萧条行路难。
现代汉语译文
战乱绵延，亲友的音信断绝；关塞萧条，想走的路也走不通。
音书绝、行路难是进退两难：家书不来（退不回故乡），关塞阻隔（去无处可去）。在幕府本为谋生与避乱，处境却更孤。
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已忍伶俜十年事，强移栖息一枝安。
现代汉语译文
孤苦伶仃的日子已忍了十年，如今勉强移栖于此，像鹪鹩占一根树枝那样图个安身。
一枝用《庄子》鹪鹩巢林不过一枝的典。强移、一枝安都是自嘲：堂堂朝廷旧臣，如今只求一根树枝。十年指安史之乱以来的岁月。
赏析 · Commentary
幕府里的客：杜甫最狼狈的一份差事 · A Guest in Headquarters: Du Fu's Most Awkward Post
广德二年杜甫受严武之聘入剑南节度使幕府为参谋、检校工部员外郎——这是他一生最接近权力中枢的职位，也是最不自在的一段日子。幕僚须按时上班、与同僚酬应，而杜甫已经五十三岁、体弱多病，《新唐书》本传说他「旷放不自检」，同僚大概也难容他。这首诗写独自值宿幕府的一夜：烛残、角声、月色，三样都指向「无人」。颈联的进退两难是幕府处境的实质：为五斗米留下，家国两头都放不下。半年后他辞官回草堂，这首诗等于提前写了辞呈。
In 764 Du Fu accepted Yan Wu's invitation to join the Jiannan military commission as adviser — the closest he ever came to the center of power, and the most uncomfortable stretch of his life. Staff officers kept hours and made conversation, and Du Fu, fifty-three and frail, was by the New Tang History's account unrestrained and unable to discipline himself; colleagues must have found him hard to bear. The poem records one night alone on duty at headquarters: stub of candle, bugle note, moonlight — three things all pointing to no one. The third couplet's double bind is the substance of the position: staying for the rice, with neither home nor state released from the heart. Half a year later he resigned and went back to the thatched hall; this poem is his resignation letter, written in advance.
「好谁看」：一个几乎不合语法的结 · Who Is There to See It: an Ending That Nearly Breaks the Grammar
中天月色好谁看五字被历代评家反复讨论：语义是「月色好——谁看」。这种断裂让句子读起来有一步一停的哽咽感：好是月色的好，谁看是人间的空。有人主张读作「好谁看」即「与谁共看」，正解不必二选一——杜甫要的就是这个含混：月色的全部好处，落在没有人与他共看这个事实上。同一夜里的角声「悲自语」与之对偶：一个声音无人听，一片光无人看，幕府长夜的两半。
The five characters of the moonlight line have been debated line by line by critics: the sense demands lovely — but who to see. The fracture gives the line a halting, choked rhythm: lovely belongs to the moonlight, who to see belongs to the empty human world. Some read it as with whom shall I watch; no single reading needs to win — Du Fu wants exactly the ambiguity: all the moon's loveliness lands on the fact that no one shares it. The bugle note across the same night, sorrowing like a man talking to himself, answers it in parallel: one voice with no listener, one light with no viewer — the two halves of a headquarters night.
鹪鹩一枝：庄子典的自嘲用法 · A Wren's Single Branch: Self-Mockery in a Zhuangzi Allusion
鹪鹩巢于深林，不过一枝——这句话本义是「所需有限即是知足」。杜甫拿来形容自己在幕府谋一个栖身之位，却把典故的方向拧转了：庄子的鹪鹩是自由的，杜甫的鹪鹩是被迫的——强移栖息四个字里没有一个字是甘愿。用典而反用其意，是杜诗用典的常见手法：典故的体面衬出处境的不体面。十年伶俜与一枝栖息对读，一个是时间的长度，一个是空间的窄度，中间是一个五十三岁老人全部的余生。
The wren nesting in the deep forest needs but one branch — in Zhuangzi this is the doctrine that to need little is to be content. Du Fu takes it to describe lodging in a military headquarters, but twists the allusion's direction: Zhuangzi's wren is free; Du Fu's wren is cornered — in shifting my perch with an effort not one character is willing. Using a classical allusion against its own grain is standard practice in his verse: the allusion's dignity sets off the indignity of the situation. Ten years of loneliness against one branch of lodging: the length is time, the narrowness space, and between them sits the whole remainder of a man of fifty-three.