176. 咏怀古迹·其一（杜甫）
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现代汉语译文
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支离东北风尘际，漂泊西南天地间。
现代汉语译文
在东北战乱的风尘里已经历尽离乱，如今又漂泊在西南的天地之间。
支离既是肢体破碎，也是生涯破碎。东北指安史乱中的中原，西南指蜀地——两句把十年流亡的两个阶段说尽。
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三峡楼台淹日月，五溪衣服共云山。
现代汉语译文
滞留三峡的楼台之间，日月虚度；与五溪一带穿着异服的人同处云山。
淹是虚耗。五溪在湘西，指与当地居民杂处。楼台、云山本是好景，加一个淹、一个共，就成了滞留者的景。
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羯胡事主终无赖，词客哀时且未还。
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羯人安禄山侍奉君主终究是个无赖之徒，而我这词客哀伤时局，至今未能还乡。
羯胡指安禄山，词客是杜甫自称，也暗指下文要写的庾信——由己入古的过渡句。
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庾信平生最萧瑟，暮年诗赋动江关。
现代汉语译文
庾信一生最为萧瑟凄凉，暮年的诗赋却震动了江关。
庾信由南入北、终生不得归，暮年文章愈工。以庾信自况：萧瑟是同，动江关是自许——我的暮年之笔也当如此。
赏析 · Commentary
五首组诗的总序：先写自己，再写古人 · The Preface-Poem: First the Self, Then the Ancients
《咏怀古迹》五首分咏庾信故宅、宋玉故宅、昭君村、先主庙、武侯祠，都在夔州、三峡一带。第一首是组诗的引子：先用四句交代自己的流亡路线（东北—西南），再用庾信把「咏怀」与「古迹」两条线接上。庾信是南朝使臣，被扣北方二十七年，杜甫对他晚年文章的评价极高（庾信文章老更成）。这首诗的安排暗示了全组的读法：后面四首写宋玉、王昭君、刘备、诸葛亮，写的都是杜甫自己——每一段古迹，都是一面照自己的镜子。
The five Meditations on Historic Sites take up Yu Xin's former house, Song Yu's, Wang Zhaojun's village, the temple of Liu Bei and that of Zhuge Liang — all in the Kuizhou and Three Gorges country. The first poem is the gateway to the set: four lines on his own route of exile (northeast, then southwest), then Yu Xin to weld the two themes, personal feeling and historic site, together. Yu Xin was a southern envoy detained in the north for twenty-seven years, and Du Fu prized his late writing above all (Yu Xin's art grew finer with age). The arrangement teaches how to read the rest: Song Yu, Zhaojun, Liu Bei and Zhuge Liang, to come, are all Du Fu — each historic site a mirror held up to himself.
「支离」与「漂泊」：动词里的身世 · Torn Apart and Drifting: a Life Inside Two Verbs
支离出自《庄子》支离疏的故事——一个形体残缺却得以保全的人。杜甫用这两个字，兼取「破碎」与「幸存」两义：乱离中活下来了，但活得很碎。漂泊更常见，妙在与天地间搭配：天地间三个字把漂泊的范围放到无限大，人反而显得极小。两句的对仗是地理的对仗（东北—西南），也是命运的对仗——刚躲开东北的战火，又困在西南的峡谷。杜甫七律的开头常这样做「全景交代」，把时间、空间、身份一次说清，然后才有余裕去写细节。
Torn apart echoes the Zhuangzi story of Shu the Crippled, a deformed man who survived by his deformity — Du Fu takes both senses, broken and spared: alive through the collapse, but living in fragments. Drifting is the plainer word, made strange by its partner: between heaven and earth stretches the wandering to infinity and shrinks the man to nothing. The parallelism is geographic (northeast, southwest) and fatal at once — barely clear of the northeastern war, stuck fast in the southwestern gorges. Openings of this panoramic kind, fixing time, space and identity in one stroke, are his habit in the regulated verse; only then does he afford the detail.
暮年诗赋动江关：一句自许的重量 · The Late Writing That Shook the Passes: the Weight of a Self-Promise
庾信早年是南朝的宫廷诗人，风格绮丽；被扣北国后，乡关之思涌进笔端，《哀江南赋》成为六朝文学的绝笔。杜甫认为庾信的价值恰恰在后半生——萧瑟成就了文章。把自己比作庾信，等于给自己下了一个判断：这一身流亡不是白受的，它将变成文字。后来黄庭坚等人评杜甫夔州诗「老而更严」，正应了这个自许。第五句羯胡事主终无赖把安禄山拉进来与庾信对照：一个负主，一个怀国——两相对照，谁是词客，谁是逆臣，不言自明。
The young Yu Xin was a court poet of the southern dynasties, his style ornate; detained in the north, homesickness flooded his pen, and the Lament for the South became the last word of Six Dynasties literature. Du Fu locates Yu Xin's worth precisely in his later half — bleakness made the writing. To liken himself to Yu Xin is to pass judgment on his own exile: these wandering years will not be wasted; they will become words. Later judges, Huang Tingjian among them, calling his Kuizhou poems stricter with age, were answering that self-promise. And the scoundrel of the third couplet, An Lushan, stands against Yu Xin as its dark double: one betrayed his lord, one longed for his country — poet and rebel need no further distinguishing.