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唐 Tang · 诗 Poem

咏怀古迹·其五

Meditations on Ancient Sites · No. 5

杜甫

Du Fu

怀古nostalgia 咏史historical reflection

诸葛大名垂宇宙，宗臣遗像肃清高。
三分割据纡筹策，万古云霄一羽毛。
伯仲之间见伊吕，指挥若定失萧曹。
运移汉祚终难复，志决身歼军务劳。

Zhuge Liang's fame endures through the universe;
As a court pillar his portrait stands solemn, pure and high.
The three-way partition he wrought by patient plan;
One white feather in the myriad ages' sky.
Among Yi and Lü his equal—there you see them;
In settled command he puts Xiao and Cao to shame.
The Han mandate shifted and could not return;
His will unshaken, he died in the camp, spent by toil.

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Meaning

Zhuge Liang's great name endures through the universe; as a court pillar his portrait inspires awe, pure and lofty. The three-kingdom partition and Shu's hold were all his planning; his worth is like a single white feather high in the eternal sky. His deeds match Yi Yin and Lü Shang; in calm command he puts Xiao He and Cao Shen to shame. Yet the Han mandate had shifted and could not be restored; his will unbroken, he died in the army, worn by the toil of war.

诸葛亮的大名永垂宇宙之间，作为宗臣的遗像令人肃然起敬、清峻高洁。三分天下、割据巴蜀全凭他运筹谋划，其才德如万古云霄中一只洁白的羽毛卓尔不群。其功业可与伊尹、吕尚并肩，从容指挥令萧何、曹参失色。奈何汉室气运已移终难复兴，他矢志不渝却身死军中、劳瘁而亡。

Appreciation

The whole poem argues yet never dries, its wonder in layer on layer of contrast, step by step ascending. The first couplet's 'endures through the universe' and 'solemn, pure and high' sets a lofty key from the void. The second, 'The three-way partition he wrought by patient plan; one white feather in the myriad ages' sky,' uses the 'feather' to figure his lofty, uncapturable purity—an image strange and absolute. The third, 'Among Yi and Lü his equal; in settled command he puts Xiao and Cao to shame,' lines up four ancient worthies to lift Zhuge as chief of all good ministers. The close, 'The Han mandate shifted and could not return,' turns sharply to grief, reverence holding pain, breath grand, argument carrying feeling.

【白话串讲】 “诸葛大名垂宇宙，宗臣遗像肃清高”——杜甫凭吊诸葛亮：“三分割据纡筹策，万古云霄一羽毛”。他写诸葛亮的鞠躬尽瘁，也写自己一生“致君尧舜”却无成的遗憾。【意象与手法】全诗以议论为诗而毫不枯槁，妙在层层衬托、步步升高。首联“垂宇宙”“肃清高”劈空定下崇高基调【情感与主旨】《咏怀古迹》五首是杜甫于大历元年（766）居夔州时所作，分咏庾信、宋玉、王昭君、刘备、诸葛亮等，借以抒身世之感与家国【名句点睛】中高考常考：其一，颈联“伯仲之间见伊吕，指挥若定失萧曹”的衬托，答出以四古贤烘托孔明为良相之冠

Background

The five Meditations on Ancient Sites were written by Du Fu in the first year of Dali (766) while he lived at Kuizhou, each on Yu Xin, Song Yu, Wang Zhaojun, Liu Bei, Zhuge Liang, to voice his own fate and the sorrow of the age. The fifth sings Zhuge's temple; Du Fu then drifted in the southwest, his great will unspent, more than five hundred years after the Martial Marquis died. Admiring Kongming's 'utmost devotion till death' yet grieving his 'campaign not won,' he blended history, antiquity and self-pity in a reverent hand—reverence holding the chord 'his will unbroken, he died'—a model of Du Fu's deep, restrained, halted style.

此诗为大历元年（766）杜甫流寓夔州（今重庆奉节）时所作《咏怀古迹》五首的第五首，咏诸葛亮。《咏怀古迹》五首分咏庾信、宋玉、王昭君、刘备、诸葛亮，然皆借古人之事，抒一己之怀。夔州地近白帝城，有刘备托孤之永安宫与诸葛亮八阵图遗迹，杜甫居夔期间，多次凭吊蜀汉古迹，写下《蜀相》《八阵图》《武侯庙》等咏诸葛之作，此诗即其一。诸葛亮（181—234），字孔明，辅佐刘备建立蜀汉，官至丞相，鞠躬尽瘁、死而后已，是杜甫终生仰慕的贤相典范。杜甫之所以再三咏叹诸葛亮，除夔州近其遗迹外，更因二人在「才高而志不遂」上心心相印：诸葛亮「出师未捷身先死」，杜甫则怀济世之志而终生未展，故借诸葛以自寓，既仰其功业之高，复叹其运命之蹇。此诗以议论为诗，通篇赞颂诸葛亮的名节、才略与劳瘁，是全组诗中情感最为高亢的一首，与第一首咏庾信的萧瑟沉郁形成鲜明对照。版本上，此诗文字稳定，唯「三分割据纡筹策」之「纡」字，或作「纡」，通行本一致。还应指出，杜甫对诸葛亮的崇仰，不仅出于对其功业的敬佩，更出于对其「鞠躬尽瘁，死而后已」人格的认同——这与杜甫自己「致君尧舜上，再使风俗淳」的抱负，以及「葵藿倾太阳」的忠忱，实为一脉相通。故杜甫咏诸葛诸作，字字是诸葛，又字字是自己。此诗将诸葛亮置于伊吕萧曹之上，赞其功业之隆、品格之高，又叹其「运移汉祚」之恨、劳瘁之亡，一褒一惜之间，正寄寓了杜甫对自己「才高而命蹇」命运的深沉感慨。

Art

The poem argues as verse yet never withers, its craft in rising contrast. The first couplet sets the lofty tone; the second figures his purity with the 'feather,' strange and high; the third arrays four ancients to crown Zhuge as the first minister; the close whirls to grief, reverence holding pain, breath vast, argument with feeling.

此诗的艺术特色，在于「以议论为诗而不枯槁」，全赖层层衬托、步步升高的手法。首联「诸葛大名垂宇宙，宗臣遗像肃清高」，劈空而起，以「垂宇宙」的宏阔写其名之不朽，以「肃清高」的肃穆写其像之清高，为全诗定下崇高而庄严的基调。颔联「三分割据纡筹策，万古云霄一羽毛」，上句写其功业——三分天下的艰难筹划，尽出于其胸中韬略；下句写其品格——如万古云霄中一只洁白的羽毛，超然高举、卓尔不群，以「羽毛」喻人，是杜甫的奇笔，既见其清高，又见其孤绝。颈联「伯仲之间见伊吕，指挥若定失萧曹」，以四位古贤相层层烘托：其功业可与伊尹、吕尚并肩，其谋略指挥令萧何、曹参失色，两重衬托，把诸葛亮推到良相之冠的地位。尾联「运移汉祚终难复，志决身歼军务劳」，则陡然一跌，写汉祚已移、天命难违，纵有伊吕之才，终不免「出师未捷」之憾，全诗在崇高的赞颂中归于深沉的叹惋。八句一气盘旋，先扬后抑，褒中寓惜，正是杜诗「沉郁顿挫」的极致。此外，此诗以议论为诗而能摇曳生姿，关键在「形象化」的功夫：「万古云霄一羽毛」以喻代论，将抽象的品格化为可视的意象；「伯仲之间」「指挥若定」以典故与场景写功业，将抽象的功绩化为可感的画面。全诗虽通篇议论，却句句有形象、字字见情韵，绝无宋人以议论为诗的枯槁之病。这种「议论的形象化」，正是杜甫对咏史诗艺术的重大贡献，也为后世刘禹锡、李商隐的咏史议论之作开辟了道路。

Allusions

The allusions all concern a minister's deeds. 'Court pillar' from the Han Shu (Biography of Xiao He and Cao Shen): 'one may call him a court pillar,' a minister revered by later ages. 'Yi Lü' are Yi Yin and Lü Shang; 'Xiao Cao' are Xiao He and Cao Shen, famed ministers—Du Fu uses them to set Zhuge beside the ancient sages. 'Feather' from Yang Xiong's Fa Yan: 'the wild goose flies far, what can the archer seize?'—figure of uncapturable purity. 'Han mandate' means the Han house's fortune. The allusions circle the one thread of 'good minister,' apt and exact, showing both Kongming's place and Du Fu's learning.

此诗用典皆属史传，精切而有力。「伊吕」指伊尹与吕尚（姜太公），伊尹辅商汤灭夏，吕尚佐周武王灭商，皆开国元勋，后遂以「伊吕」为贤相之极。杜甫以「伯仲之间见伊吕」写诸葛亮，谓其功业与伊吕不相上下，这是极高的评价。「萧曹」指萧何与曹参，汉初名相，萧何镇守后方、供给军粮，曹参继之，史称「萧规曹随」。「指挥若定失萧曹」谓诸葛亮之运筹指挥、从容若定，使萧曹二相亦为之逊色，此亦烘托之笔。「宗臣」一词，语出《汉书》，指为后世宗仰的辅弼大臣，杜甫用以称诸葛亮，与其「垂宇宙」的大名相副。「羽毛」喻高洁之物，鸾凤之羽，出《楚辞》以来以鸾凤喻贤的传统，杜甫以「万古云霄一羽毛」状诸葛亮之超然高举，既是写其品格清高，也是写其才德之高、孤傲千古。尾联「运移汉祚」暗用《后汉书》以来「汉祚中衰」的史家之论，写天命已移、人力难回，与诸葛亮《出师表》「鞠躬尽瘁，死而后已」的孤忠相映，一叹之中，深寓对英雄末路的无限惋惜。还应指出，「羽毛」之喻，学界亦有他解：或谓以鸾凤之羽喻诸葛亮的高洁，或谓以「一羽」状其在万古云霄中独标高格，或谓暗用《诗经·小雅·鹤鸣》「鹤鸣于九皋，声闻于天」的贤者之象，诸说皆通。无论何解，「万古云霄一羽毛」都以其超拔的意象与深远的寄托，成为咏诸葛诗中最具神韵的一笔，千古传诵，而歧解纷呈，也正见其意蕴之丰与杜诗之不可穷尽。

Commentary

The Song critic Su Shi said 'the cypress by the Martial Marquis's temple, with Du Fu's inscribed poem, best catches Kongming's heart.' The Yuan critic Zhao Fang judged 'the former praises his cause, the latter grieves its failure—deep, restrained, tragic.' The Qing critic Qiu Zhaoao, in Du Shi Xiang Zhu, said 'the Yi-Lü Xiao-Cao couplet praises the Marquis to the utmost.' Pu Qilong, in Du Shi Xin Jie, called it 'the one of the five that stands alone, highest.' The modern Liang Qichao named it 'Du Fu's representative work of hero-worship.' All prize its craft of ancient worthies as foil and grief as close.

《咏怀古迹》其五咏诸葛亮，是杜甫咏史怀古的名篇，历代评价极高。宋代刘克庄《后村诗话》评此诗「武侯千载一人，杜公此诗亦千载一诗」，推为双绝。罗大经《鹤林玉露》析「万古云霄一羽毛」，谓其「状孔明高洁，如鸾凤之翔于云霄」，深得杜意。明代王嗣奭《杜臆》评此组诗，谓「五章皆借古以自咏，而此章咏武侯，尤见公一生心迹」，指出其自寓之旨。仇兆鳌《杜诗详注》于此诗广引诸家，析「伯仲」「失」诸字之妙。清代沈德潜《唐诗别裁》选此诗，评以「议论之工，此为绝唱」，推其为以议论入诗而不失情韵的典范。浦起龙《读杜心解》谓此诗「如万丈红霞，从空而起」，状其气魄之雄。近人论杜诗，多以此诗与《蜀相》《八阵图》合观，为杜甫「咏诸葛组诗」的完整图景：一抒仰慕，一叹身歼，一寓己怀。此诗在当代亦长期入选中小学教材，其「以议论为诗、以衬托见意」的笔法，是古典咏史怀古诗教学的经典范本。此诗对后世的咏史怀古诗影响至为深远：其「以议论为诗、以衬托见意」的笔法，被刘禹锡《蜀先主庙》、李商隐《筹笔驿》等咏史名篇直接继承；「万古云霄一羽毛」的比喻，更成为汉语中赞人高洁的经典语汇，为后人所反复化用。而杜甫咏诸葛组诗所确立的「仰其高、叹其恨、寓己怀」的三重情感结构，也成为中国咏史怀古诗的基本范式。可以说，此诗与《蜀相》《八阵图》等作，共同奠定了诸葛亮在诗歌史上的崇高形象，其影响远超文学，及于整个民族的文化记忆。

Prosody

Form Seven-character regulated poem (seven-character lü)七言律诗

Rhyme Ping-shui rhyme, lower-level two xiao group (high, feather, Cao, toil rhyme; 'feather' stands for mao, read as mao rhyming xiao; universe does not rhyme); first line not entering rhyme平水韵下平四豪韵，押「高」「毛」「曹」「劳」四韵，一韵到底

Tone pattern Oblique-onset, first-line-not-entering-rhyme form; level-oblique per rule仄起首句不入韵式。首句「诸葛大名垂宇宙」平仄仄平平仄仄，次句「宗臣遗像肃清高」平平平仄仄平平，三句「三分割据纡筹策」平平仄仄平平仄，四句「万古云霄一羽毛」仄仄平平仄仄平，五句「伯仲之间见伊吕」仄仄平平仄平仄（特殊拗句），六句「指挥若定失萧曹」仄平仄仄仄平平，七句「运移汉祚终难复」仄平仄仄平平仄，八句「志决身歼军务劳」仄仄平平平仄平。除第五句用「平平仄平仄」特殊拗格外，大体合律。

Reading note A model Du Fu lü; middle two couplets finely antithetical; deep, restrained, halted.此诗为七言律诗仄起首句不入韵正格，押下平四豪韵，四韵皆属豪韵，一韵到底。豪韵为阳声韵，开口呼，音色高亢嘹亮，与诗中「垂宇宙」「云霄」「肃清高」的崇高气象声情相合；「高」「毛」「曹」「劳」四个韵脚，「高」「毛」写其品格之高洁，「曹」「劳」写其功业与劳瘁，声义的转换恰与诗意由赞颂而叹惋的推进同步。平仄上，全诗大体合律，唯第五句「伯仲之间见伊吕」用「仄仄平平仄平仄」的特殊拗句（即第五、六字平仄互换的「平平仄平仄」式），这是律诗中最常见的拗救格式，杜甫于此用之，使整饬的格律中见出顿挫，与「见伊吕」的奇崛之思正相应和。对仗上，中间两联「三分割据纡筹策」对「万古云霄一羽毛」、「伯仲之间见伊吕」对「指挥若定失萧曹」，皆工整精切而气格高华，尤其颔联以「一羽毛」对「纡筹策」，虚实相生，千古称绝。全诗声律的昂扬与情感的崇高相为表里，正是杜甫晚年七律「沉郁顿挫、气象雄浑」的典型。

Line by line

诸葛大名垂宇宙，宗臣遗像肃清高

Zhuge's great name hangs over the universe; the ancestral minister's relic image stands pure and lofty.

诸葛亮的大名永垂宇宙之间，作为宗臣的遗像令人肃然起敬、清峻高洁。

Zhuge Liang's great name hangs forever over the universe; the image of this pillar minister stands pure and venerable.

首联劈空而起，以「垂宇宙」三字写诸葛亮大名的不朽，将一己的名声与宇宙的浩瀚并置，气象极为宏阔；「宗臣遗像肃清高」则由名及像，写瞻仰遗像时的肃穆之情，「肃清高」三字，既状遗像的清峻高洁，也写诗人面对先贤时肃然起敬的心境。「垂宇宙」是空间的无限，「肃清高」是品格的崇高，一名一像、一外一内，把诸葛亮的伟岸形象推至神圣的高度。此联的妙处，在于以极简的笔墨，写出诸葛亮在历史长河中的永恒地位，也为全诗的赞颂奠定了庄严的基调，读来如见武侯遗像，肃然立于眼前。

The opening couplet bursts from nowhere, using hangs over the universe three characters to write Zhuge Liang's immortal fame, placing his single reputation beside the universe's vastness, the air most grand. The ancestral minister's relic image stands pure and lofty passes from name to image, writing the reverent feeling at gazing at the relic portrait; pure and lofty at once describes the image's clear austerity and writes the poet's awe before the ancient worthies. Hangs over the universe is space's infinitude; pure and lofty is character's sublimity; one name one image, one outer one inner, pushing Zhuge Liang's towering image to a sacred height. The couplet's subtlety lies in using the simplest brush to write Zhuge Liang's eternal place in the historical river, also laying the solemn keynote for the whole poem's praise; reading it, one seems to see the Marquis Wu's relic image standing solemnly before the eyes.

三分割据纡筹策，万古云霄一羽毛

Through the three-way division he bent his stratagems; through all ages, one feather in the cloud-sky.

三分天下、割据巴蜀全凭他运筹谋划，其才德如万古云霄中一只洁白的羽毛卓尔不群。

The three-way division and rival states were all his planning; through ten thousand ages he is one feather soaring in the clouds.

颔联是咏诸葛亮的名联，上句写其功业，下句写其品格，一实一虚，相得益彰。「三分割据纡筹策」写诸葛亮为刘备筹划三分天下的大计，「纡筹策」三字写其运筹帷幄、曲折筹划的韬略之深；「万古云霄一羽毛」则以奇喻收束，写诸葛亮如万古云霄中一只洁白的羽毛，超然高举、卓尔不群。「羽毛」喻人，千古奇绝——它既写其清高孤洁的品格，又写其超拔尘世、翱翔云表的形象，还暗含「一枝独秀、千古无双」之意。此联妙在虚实相生，以「羽毛」之轻写品格之重，以「云霄」之高写孤绝之深，正是杜诗「想落天外」的奇笔。

The second couplet is the famous couplet on Zhuge Liang; the upper line writes his achievement, the lower his character, one solid one void, each enhancing the other. Through the three-way division he bent his stratagems writes Zhuge Liang planning for Liu Bei the grand design of dividing the realm in three; bent his stratagems writes the depth of his strategy within the tent. Through all ages, one feather in the cloud-sky then closes in a strange metaphor, writing Zhuge Liang like a white feather in the cloud-sky of ten thousand ages, transcendent, soaring, peerless. Feather as metaphor for a man, strange and superb through the ages - it at once writes his pure, lonely character, his image beyond the mortal world soaring above the clouds, and secretly holds the meaning of one branch alone glorious, peerless through the ages. The couplet's subtlety lies in void and solid generating: using the feather's light to write character's weight, the cloud-sky's height to write isolation's depth - precisely Du Fu's thought-beyond-the-heavens strange brush.

伯仲之间见伊吕，指挥若定失萧曹

Among Yi and Lü his equal—there you see them; in settled command he puts Xiao and Cao to shame.

其功业可与伊尹、吕尚并肩，从容指挥令萧何、曹参失色。

He ranked with Yi Yin and Jiang Ziya; his calm command put Xiao He and Cao Cao to shame.

颈联以四位古贤相层层烘托诸葛亮，是全诗「以议论为诗」的精华。「伯仲之间见伊吕」写其功业之高——伊尹、吕尚是开国元勋，诸葛亮可与他们并驾齐驱、不分伯仲；「指挥若定失萧曹」写其才略之优——萧何、曹参是汉初名相，而诸葛亮指挥若定、从容不迫，竟使萧曹相形失色。「见伊吕」是抬高，「失萧曹」是衬托，一褒一贬（相对而言），双重烘托，把诸葛亮推到良相之冠的至高地位。此联纯以议论出之，却毫无枯槁之感，全因「伯仲」「若定」诸词形象生动、气韵流转，正是杜甫「以议论为诗而不失情韵」的典范。

The third couplet sets off Zhuge Liang layer upon layer with four ancient worthies, the poem's essence of using argument as poetry. His equals were Yi Yin and Jiang Ziya writes the height of his achievement - Yi Yin and Jiang Ziya were founding meritorious ministers; Zhuge Liang could stand shoulder to shoulder with them, peer for peer. His calm command put Xiao He and Cao Cao to shame writes the excellence of his talent - Xiao He and Cao Cao were early Han's famous chancellors, yet Zhuge Liang's calm, unhurried command made them pale by comparison. Equals with Yi and Lü is elevation; outshone Xiao and Cao is foil; one praise one dispraise (relatively), double setting, pushing Zhuge Liang to the supreme place of the foremost chancellor. This couplet purely in argument, yet no dryness at all, all because peers, calm command and the rest are vivid words, the air flowing - precisely Du Fu's model of argument as poetry without losing savor.

运移汉祚终难复，志决身歼军务劳

The Han mandate shifted and could not return; his will unshaken, he died in the camp, spent by toil.

奈何汉室气运已移终难复兴，他矢志不渝却身死军中、劳瘁而亡。

The Han fortune had shifted; restoration was beyond reach. His will unshaken, he died worn out by the toil of campaigns.

尾联笔锋陡转，由极度的赞颂跌入深沉的叹惋。「运移汉祚终难复」写天命已移、汉室气数已尽，纵有伊吕之才、萧曹之略，也终究无法逆转历史的潮流，这是对「出师未捷身先死」的深沉解释；「志决身歼军务劳」则写诸葛亮「鞠躬尽瘁，死而后已」——他矢志复兴汉室，志意坚决，却终因军务劳瘁而身死军中。一「终」字写天命之不可违，一「劳」字写人力之竭尽，两相对照，英雄的悲壮尽在其中。此联与前六句的高亢赞颂形成强烈反差，先扬后抑，褒中寓惜，正是杜甫对诸葛亮「才高而命蹇」命运的无限感慨，也暗寓了自己「致君尧舜」而终不可得的自伤。

The closing couplet's brush turns abruptly, from extreme praise into deep sigh. Fortune shifted the Han mandate; restoration was ever hard writes the mandate's shift, the Han house's fortune exhausted; even with Yi and Lü's talent, Xiao and Cao's strategy, history's current could not be reversed - the deep explanation for the march on the expedition died before victory. His will firm, his body spent in the toil of war then writes Zhuge Liang's bend the back to the ground, death and no more - his will firm to restore the Han, yet at last his body died in camp worn by military toil. One终 writes fate's irreversibility; one劳 writes human effort's exhaustion; set against, the hero's grief is all within. This couplet forms a sharp contrast with the previous six's high praise; first lift then press, praise holding pity - precisely Du Fu's infinite sigh over Zhuge Liang's high talent and hard fate, also secretly holding his own self-pity on guiding the prince to Yao and Shun yet never attaining it.

Study

Word focus

垂 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「垂」字用在「诸葛大名垂宇宙」，写诸葛亮名声之不朽。它本义为自上而下的悬垂，引申为流传、留存，此处用「垂」字，既有「永垂不朽」的时间绵延之意，又有「大名悬于宇宙之间」的空间辽阔之感，一名而兼时空两重境界。若易为「传」「留」等字，则只见时间的流传，不见空间的恢宏；着一「垂」字，诸葛亮的大名便如日月星辰般高悬于宇宙之间，永恒而不坠。杜甫以「垂宇宙」三字开篇，气象之大、立意之高，为全诗定下了崇高庄严的基调，也为后文的层层烘托蓄足了声势。

羽毛 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「羽毛」二字是「万古云霄一羽毛」的奇喻，堪称杜诗炼字与设喻的绝唱。以「羽毛」喻人，前此未见：它既写诸葛亮品格之高洁——鸾凤之羽，不染尘埃；又写其形象之超拔——如羽翔于云霄，卓尔不群；更暗含「一枝独秀」之意——万古以来的云霄之上，唯此一羽。以「羽毛」之轻、之微，写诸葛亮之名之重、之巨，反差之中愈见其奇崛。此喻之妙，在于它不以实象写人，而以虚象传神，将诸葛亮抽象的高洁品格，化为一只翔于云霄的洁白羽毛，可感可见，千古之下，犹令人仰止。

失 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「失」字用在「指挥若定失萧曹」，是颈联烘托之笔的关键。它写萧何、曹参这两位汉初名相，在诸葛亮面前「失色」——即相形见绌、黯然无光。「失」字不作「逊」作「愧」，而作「失」，极见匠心：它写的不是萧曹主动的逊让，而是诸葛亮之才之高，使萧曹的光彩自然「失去」，即一种压倒性的、客观的超越。以「失」字写衬托，比「胜」「过」「超」都更含蓄而有力——不言诸葛之胜，而萧曹之光已失，高下立判。杜甫以「见伊吕」抬其功业，以「失萧曹」衬其才略，一正一反，「失」字正是这双重衬托中画龙点睛的一笔。