175. 阁夜（杜甫）
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现代汉语译文
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岁暮阴阳催短景，天涯霜雪霁寒宵。
现代汉语译文
岁末的光阴催逼着日渐短促的白昼，天涯霜雪初停，寒夜放晴。
催字把季节写成有意志的力量。短景是冬至前后的白昼，霜雪霁是雨雪初晴——时间地点在两句里全部交清。
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五更鼓角声悲壮，三峡星河影动摇。
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五更时分军中鼓角的声音悲壮，三峡的星空银河倒映在江中，随波影动。
上句是耳中的夜，下句是眼里的夜。星河影动摇既写江景，也暗写时局——天下人事都在晃动。
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野哭千家闻战伐，夷歌数处起渔樵。
现代汉语译文
战事让千家万户在旷野上痛哭，几处渔人樵夫的歌声起了，唱的是夷地的曲调。
野哭与夷歌是两种声音的对照：哭的是战乱，歌的是日常——日常照旧进行，反而更衬出战争的残酷。
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卧龙跃马终黄土，人事音书漫寂寥。
现代汉语译文
诸葛亮（卧龙）与公孙述（跃马）终究都归于黄土；人间的事、亲友的音书，都任其寂寥吧。
夔州有卧龙（武侯）祠与公孙述白帝城遗迹：贤如诸葛、僭如公孙，同归一死。漫寂寥是强自排遣的语——既然如此，音书断绝又何必介怀。
赏析 · Commentary
一夜之内的四种声音 · Four Kinds of Sound in a Single Night
这首诗的听觉结构极完整：鼓角（军声）、野哭（民声）、夷歌（边地日常之声），加上无声的霜雪与星河，构成一个雪夜的全部声响。杜甫在夔州的夜里并不只是听，他在分辨——鼓角悲壮是军情，野哭千家是战伐的消息，夷歌数处是渔樵照旧的生计。三种声音彼此无关，又共同指向同一件事：战争没有让世界停下来。夜越静，各处的声音越清楚，历史的厚度就在声音的层次里。
The poem's acoustic architecture is complete: drums and bugles (the army's sound), a thousand households weeping (the people's), frontier songs of fishermen and woodcutters (daily life at the edge) — with the soundless frost, snow and star river around them, the full audioscape of a snow night. In the Kuizhou nights Du Fu did not merely hear; he sorted: the mournful grandeur of the bugles is military situation, the thousand households weeping is news of war, the scattered songs are livelihood going on as usual. Three kinds of sound, unrelated yet all pointing one way: the war has not stopped the world. The thickness of history lives in these layers of sound, clearest in the stillest hours.
卧龙与跃马：把诸葛亮和僭主放在一行里 · Crouching Dragon and the Leaping Horse: a Chancellor and a Usurper in One Line
夔州本地的两位古人：诸葛亮（卧龙）忠于汉室，公孙述（跃马）趁乱在西川称帝、后被刘秀所灭。把他们放进同一句「终黄土」，等于说：忠与僭、贤与暴，在死亡面前等值。这不是虚无，是杜甫式的清醒——颈联还在为千家的野哭动容，尾联忽然把时空拉到百年尺度，用「终」字把一切收掉。但收掉之后，人事音书漫寂寥的漫字露出了强排遣的痕迹：真放得下的人不说「任凭」，只有放不下的人才会说。这一层口不对心，正是这首诗最动人的地方。
Two local ancients of Kuizhou: Zhuge Liang, the Crouching Dragon, loyal to Han; Gongsun Shu, the leaping horse, who seized imperial title in the west mid-chaos and was destroyed by Liu Xiu. Setting them in one line, both came at last to yellow earth, says: loyal and usurping, worthy and violent, equal before death. This is not nihilism but Du Fu's brand of clarity — the third couplet still moved by the weeping of a thousand households, the last suddenly pulls to the scale of a century and gathers everything under the word at last. Yet after the gathering, the phrase let them be silent shows the seams of forced consolation: one truly released does not say let it be; only one not released says so. That misfit between mouth and heart is the poem's most moving layer.
短景与长夜：岁末的时间感 · Short Days and Long Nights: the Feeling of Time at Year's End
首联写冬至前后的白昼：一年里最短的白日被阴阳（光阴）催着走。这个开头给全诗定下「时间不够用」的基调——夜于是格外长，声音格外密，思绪格外远。杜甫写此诗时在大历元年冬，距他去世不足五年，安史之乱虽平而吐蕃、军阀之乱方起，「人事音书漫寂寥」的倦怠一半来自年龄，一半来自时局。同期所作《白帝》等诗都共享这种岁暮的紧迫感：天黑得越来越早，而人间的问题一件也没有少。
The opening writes the days before the solstice: the year's shortest daylight hurried along by the alternation of light and dark. It sets the poem's keynote — time running short — and so the night is longer, the sounds denser, the thoughts farther. Du Fu wrote this in the winter of 766, less than five years before his death; the An Lushan rebellion was over but Tibetan and warlord troubles rising, and the weariness of let the affairs of men be silent comes half from age, half from the times. Poems of the same season share this year-end urgency: the sky darkens earlier, and not one of the world's problems has diminished.