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唐 Tang · 诗 Poem

咏怀古迹·其一

Chanting My Feelings at Ancient Sites, No. 1

杜甫

Du Fu

怀古History 咏史History

支离东北风尘际，漂泊西南天地间。
三峡楼台淹日月，五溪衣服共云山。
羯胡事主终无赖，词客哀时且未还。
庾信平生最萧瑟，暮年诗赋动江关。

Scattered in the northeast through the dust of war; drifting to the southwest between heaven and earth.
The towers of the Three Gorges drown the days and months; with the people of the Five Streams I share the cloud-clad hills.
The Jie Hu served their lords in the end with no faith; this man of words mourns the times and has not yet returned.
Yu Xin in his life was most desolate; in his last years his poems and rhapsodies moved the riverlands.

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Meaning

The first of Du Fu's five 'Ancient Sites' poems, written in Kuizhou, serves as a preface to the set. It states his own drifting in the southwest and his mourning of the earlier worthy Yu Xin, using personal exile to open the series' theme of fallen talents and ruined dynasties.

在东北战尘四起中流离失所，又漂泊到西南天地之间。三峡的楼台掩没了岁月光阴，与五溪的异服之人同处云山。羯胡之辈侍奉主上终究无赖反复，我这样的词客哀伤时世至今未得归还。庾信平生最为萧瑟凄凉，暮年的诗赋却震动了江关。

Appreciation

The first couplet presents himself as 'scattered' and 'drifting,' its antithesis fluid. The second writes long delay in the gorges and life among minority peoples, its imagery vast and lonely. The later lines turn to judgment, 'Jie Hu without faith' curses the rebels, 'man of words not returned' laments himself, and close on Yu Xin, past and present overlapping in restrained, stirring grief.

【白话串讲】杜甫写庾信：“庾信平生最萧瑟，暮年诗赋动江关”——庾信一生漂泊，晚年的诗赋却震动江关。杜甫写庾信，其实是在写自己。【意象与手法】首联以“支离”“漂泊”自况，对仗中见流转【情感与主旨】大历元年（766）杜甫流寓夔州，写成《咏怀古迹》五首【名句点睛】常考：一、首联空间对照（东北/西南）所寓漂泊之悲；二、尾联以庾信自况的手法与情感；三、“羯胡事主终无赖”的讽喻指向

Background

In the first year of Dali (766) Du Fu, living in exile in Kuizhou, wrote the five 'Ancient Sites' poems. This first is a general preface: not one site alone, but a statement of his own drifting southwest and his mourning of predecessors like Yu Xin. With the An Lushan rebellion just settled yet warlords unruly and Tibetans raiding, the aged, sick poet pours his pent-up feeling into old sites and old men; the series unfolds from here.

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》五首的第一首。《咏怀古迹》是一组以凭吊历史人物古迹为题的组诗，分咏庾信、宋玉、王昭君、刘备、诸葛亮五人，然其主旨不在怀古，而在借古人酒杯，浇自己块垒，抒写身世之悲与家国之思。第一首咏庾信，实为全组诗的总纲，也是杜甫的自况。庾信（513—581），字子山，南朝梁人，出使西魏而被留北方，历仕西魏、北周，位虽通显而常怀故国之思，晚年作《哀江南赋》与《拟咏怀》二十七首，风格萧瑟苍凉，是南北朝文学的集大成者。杜甫流寓西南、滞留异乡的境遇，与庾信羁留北国、暮年思乡的遭际高度相似，故引以为同调。「支离东北风尘际，漂泊西南天地间」所写的，正是安史之乱以来诗人自己由东北而西南的流离历程：自天宝末避乱，由长安而秦州、同谷，再入蜀，辗转漂泊，与庾信之「流离播迁」遥相映照。此诗的写作，距杜甫去世仅四年，是其晚年诗艺与心境最成熟、也最沉郁时期的产物。还应指出，此组诗的分咏对象并非随意拈来，而各有寄托：庾信之羁旅、宋玉之悲秋、昭君之怨旷、刘备之托孤、诸葛亮之身歼，皆与杜甫晚年的漂泊、怀才、思归、忧国相契合，构成一条「古人与我」的精神线索。其一以庾信为组诗之首，实有「以文士失路自伤」的纲领意义，故后世论此组诗者，多以首章为「自序」，次章以下方为「分咏」。这一结构，正是杜甫晚年组诗艺术高度成熟的标志。

Art

The opening 'scattered' and 'drifting' present himself, fluid within the antithesis. 'The towers of the Three Gorges drown the days' writes long delay; 'with the Five Streams people share cloud-hills' writes life among aliens, imagery vast. The last four lines move from narration to judgment, 'Jie Hu without faith' curses the rebels, 'man of words not returned' laments himself, closing on Yu Xin, past and present overlapping, restrained and stirring; it already sets the set's key.

此诗的艺术特色，在于「借古自况」的深婉笔法。全诗八句，前六句写己，后二句写庾信，然字字是己，又字字是庾信，人我两忘，古今交融。首联「支离东北风尘际，漂泊西南天地间」，以「支离」「漂泊」自况，又以「东北」「西南」的空间对照，勾画出半生流离的轨迹；「风尘」「天地」两个阔大意象，将一己的漂泊置于苍茫的宇宙之间，愈显其孤微。颔联「三峡楼台淹日月，五溪衣服共云山」，写眼前夔州的久滞之况：「淹日月」写岁月虚掷的无奈，「共云山」写与蛮荒异俗共处的落寞，一联之中，时间与空间、繁华与荒远交织。颈联「羯胡事主终无赖，词客哀时且未还」，笔锋一转，由己之漂泊联想到乱之根源：羯胡无赖，致时局板荡；词客哀时，遂羁留不返，此联既是写庾信遭际的实笔，也是杜甫对自身命运的深沉喟叹。尾联「庾信平生最萧瑟，暮年诗赋动江关」，以「萧瑟」总括庾信一生，又以「动江关」肯定其暮年诗赋的不朽，明赞庾信，实亦自期。全诗对仗工稳而气脉流转，沉郁顿挫，是杜甫七律晚年风格的典型。此外，此诗的对仗艺术尤为精湛：「支离」对「漂泊」、「东北」对「西南」、「风尘」对「天地」，皆是「流水对」与「当句对」的结合，既见工整，又见流转；「三峡楼台」对「五溪衣服」、「淹日月」对「共云山」，则以实对实、以虚对虚，空间的开阔与心境的孤寂交相映衬。尤其「萧瑟」二字，既是写庾信，又是写秋景，更是写心境，一词三用，将咏史、写景、抒情熔于一炉，正是杜甫晚年炼字炼句已臻化境的明证。

Allusions

'Yu Xin' is the Northern-Southern Dynasties writer who in his late years was detained in the Northern Zhou and wrote 'Lament for the South' and others, his style desolate yet moving the riverlands. Du Fu revered Yu Xin and here uses his late-life exile and world-shaking writings as a mirror for himself. 'Jie Hu' refers to the rebel An Lushan and others, using the past to censure the present. 'Five Streams clothing' uses the Later Han 'Wuling Five Streams Man' to sketch border alien custom.

此诗用典皆围绕庾信的身世与文学成就展开。庾信羁留北朝、思归不得的遭际，是理解全诗的关键。杜甫「词客哀时且未还」暗用庾信《哀江南赋》「不无危苦之辞，唯以悲哀为主」之意，以「哀时」二字总括其赋的精神。「暮年诗赋动江关」则直指《哀江南赋》，此赋以骈俪之文写亡国之痛，中云「信年始二毛，即逢丧乱，藐是流离，至于暮齿」，又有「江关」之语写长江之阻，故杜甫以「动江关」赞其晚年赋作震动江南江北。「萧瑟」一词，兼用庾信《哀江南赋序》「年始二毛」之悲凉与宋玉《九辩》「悲哉秋之为气也，萧瑟兮草木摇落而变衰」的悲秋传统，以秋之萧瑟写人之凄凉，一举两得。「羯胡」一词，本指北方少数民族，此指安禄山等安史叛军，庾信所处侯景之乱，与此暗合，故「事主终无赖」既可解为写安禄山之叛唐，亦可解为写侯景之乱梁，一语双关，正是杜甫以古喻今、以今映古的深婉之笔。还应指出，「支离」一词兼用《庄子》「支离疏」之典，既状流离之形，又暗含乱世苟全的隐士之思，一字而两义；「萧瑟」一词则兼用宋玉《九辩》悲秋之典与庾信《哀江南赋》之悲凉，将秋之萧瑟、人之凄怆、文之苍凉三层意蕴叠合。杜甫用典之妙，正在于这种一字多义、一典多层的「密度」，使有限的字句承载起深厚的历史与情感，非熟读经史者不能尽其底蕴。

Commentary

Qing scholar Qiu Zhaoao's Du Fu Detailed Commentary says this chapter 'narrates his own drifting, then ends on Yu Xin, mirroring the ancients with himself.' Ming critic Hu Yinglin called Du's regulated verse 'restrained and stirring' (chenyu dunzuo); this opening already shows it. Later readers take 'in his last years his poems moved the riverlands' as Du Fu's own confession of the fallen talented man.

《咏怀古迹》五首是杜甫七律的巅峰组诗，历代评家对此组诗评价极高。其一作为组诗之首，尤受推重。王嗣奭《杜臆》评此诗「首章以庾信自比，而全组之旨已见」，指出其「借古自况」的纲领地位。仇兆鳌《杜诗详注》引诸家之说，析「支离」「漂泊」四字为「通身骨子」，谓全诗由此生发。浦起龙《读杜心解》论此组诗，谓「咏怀古迹，不是咏古迹而怀古，乃是借古迹以自咏」，点明其本质。沈德潜《唐诗别裁》选此组诗，评其一「以庾信自况，而末二语尤沉痛」，特别拈出「暮年诗赋动江关」的沉郁。杨伦《杜诗镜铨》亦盛赞此诗「一气旋转，最为沉著」。近人论杜甫夔州诗，多以《咏怀古迹》五首与《秋兴八首》《诸将五首》并举，为杜甫晚年「组诗抒情」艺术的三大结晶。此组诗在当代亦长期入选中小学教材，其一以庾信自况的笔法，成为古典诗歌「用典寄托」教学的经典案例。此诗对后世咏史诗的影响亦深：其「借古自况、人我交融」的笔法，成为后世咏史怀古诗的典范范式，从李商隐的咏史诗到陆游、文天祥的怀古之作，莫不深受其沾溉。而「支离漂泊」四字，更凝固为汉语中形容乱世流离的习语。可以说，此诗既是一首凭吊庾信的佳作，也是杜甫为自己晚年漂泊生涯所写的一篇最沉痛的「诗序」，其情感之深、寄托之远，在七律中罕有其匹。

Prosody

Form Seven-character regulated verse (qilü)七言律诗

Rhyme Pingshui rhyme, upper-level fifteenth Shan (间, 山, 还, 关)平水韵上平十五删韵，押「间」「山」「还」「关」四韵，一韵到底

Tone pattern First line enters rhyme; level-onset first-line pattern平起首句不入韵式。首句「支离东北风尘际」平平平仄平平仄，次句「漂泊西南天地间」平仄平平平仄平，三句「三峡楼台淹日月」平仄平平平仄仄，四句「五溪衣服共云山」仄平平仄仄平平，五句「羯胡事主终无赖」仄平仄仄平平仄，六句「词客哀时且未还」平仄平平仄仄平，七句「庾信平生最萧瑟」仄仄平平仄平仄（特殊拗句），八句「暮年诗赋动江关」仄平平仄仄平平。除第七句用「平平仄平仄」特殊拗格外，大体合律。

Reading note The first poem of the Ancient Sites set, a general preface; the regulated verse is restrained, the two middle couplets tight in antithesis.此诗为七言律诗平起首句不入韵正格，押上平十五删韵，四韵皆属删韵，一韵到底。删韵为阳声韵，收音于鼻音「n」，音色沉稳而悠远，与诗中「漂泊」「淹留」「哀时」的沉郁情调声情相合；「间」「山」「还」「关」四个韵脚，皆含开阖之致，「间」「山」写空间之辽阔，「还」「关」写归途之阻绝，声与义在此互为表里。平仄上，全诗大体合律，唯第七句「庾信平生最萧瑟」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，杜甫于此用之以避熟求生，使全诗在整饬中见顿挫，与「最萧瑟」的沉痛内容正相应和。对仗上，中间两联「三峡楼台淹日月」对「五溪衣服共云山」、「羯胡事主终无赖」对「词客哀时且未还」，皆工整精切而气脉流转，毫无板滞之病。全诗声律的整饬与情感的沉郁相为表里，正是杜甫晚年七律「晚节渐于诗律细」的明证。

Line by line

支离东北风尘际，漂泊西南天地间

Broken and scattered in the northeast's smoke and dust; drifting between heaven and earth in the southwest.

在东北战尘四起中流离失所，又漂泊到西南天地之间。

Broken and wandering in the northeast's war dust; drifting between heaven and earth in the southwest.

首联以「支离」「漂泊」两个同义反复的词自况，写尽半生颠沛的辛酸。「支离」本为肢体残破、身形憔悴之貌，引申为流离失所；「漂泊」写居无定所、随遇而安。两词并置，如自诉平生。对仗上，「东北」对「西南」，「风尘」对「天地」，空间方位与阔大意象的对举，将一己的漂泊置于苍茫的历史与宇宙之间——东北的战尘、西南的天地，既是实写诗人由乱离而入蜀的行程，也是虚写整个时代的动荡。此联一气直下，为全组诗立下「自伤漂泊」的总纲，也为下文转入庾信的自况埋下伏笔。

The opening couplet uses broken and drifting two synonymous reduplicative words to write himself, exhausting the bitterness of half a lifetime's upheaval. Broken originally means limbs shattered, form haggard, extended to displaced. Drifting writes no fixed dwelling, settling where one lands. The two words side by side, like a self-accusation of his life. In parallel, northeast against southwest, smoke and dust against heaven and earth; space-direction and vast imagery set against, placing his own drifting within the vast history and cosmos - the northeast's war dust, the southwest's heaven and earth, at once the real journey from the disorder into Shu, and the void writing of the whole age's turmoil. This couplet flows in one breath, establishing the whole group's total outline of self-pity on drifting, and planting the伏笔 for the later turning to Yu Xin's self-comparison.

三峡楼台淹日月，五溪衣服共云山

The Three Gorges towers delay the days; with the Wuxi tribes I share the cloud-mountains.

三峡的楼台掩没了岁月光阴，与五溪的异服之人同处云山。

The Three Gorges towers detain the months and years; with Wuxi's oddly-clad tribes I share the cloud-clad mountains.

颔联写眼前夔州的滞留之况。「三峡楼台」指夔州依山傍水的楼台城郭，「淹日月」着一「淹」字，写岁月在此地久久滞留、虚掷难返，既有时间上的久滞，又有心境上的淹留不归。「五溪」指湖南武陵一带五溪蛮所居之地，「五溪衣服」写当地蛮夷的奇装异服，「共云山」写与异俗之民同处荒远云山之间。一联之中，「楼台」对「衣服」，「日月」对「云山」，繁华与蛮荒、时间与空间交织，写出诗人既见三峡楼台之壮观、又感异乡异俗之孤寂的复杂心境，是杜诗「以实写虚」的典范。

The second couplet writes the present detention in Kuizhou. The Three Gorges towers means Kuizhou's towers and city walls built by the water; delay the days uses one delay, writing the years long detained here, wasted and hard to return - both time's long delay and the mind's lingering, unreturning. Wuxi means the lands of the Wuxi tribes around Wuling in Hunan; Wuxi clothing writes the local tribes' strange dress; share the cloud-mountains writes dwelling with these peoples of alien customs in the wild clouded mountains. Within one couplet, towers against clothing, days against cloud-mountains; splendor against the wild, time against space interwoven, writing the poet's complex mind of seeing the Three Gorges towers' grandeur yet feeling the alien customs' loneliness - Du Fu's model of writing the void through the solid.

羯胡事主终无赖，词客哀时且未还

The Jie barbarians, serving their lord, were never to be trusted; the poet grieves the age and has not yet returned.

羯胡之辈侍奉主上终究无赖反复，我这样的词客哀伤时世至今未得归还。

The Jie rebel, serving his lord, was faithless to the end; the poet grieves the troubled age and cannot yet return.

颈联由己之漂泊追到乱之根源，是全诗思力的所在。「羯胡」指安禄山等叛军，「事主终无赖」写他们身受皇恩却反复无常、终成叛逆，直斥安史之乱的祸源。「词客哀时且未还」中的「词客」，既指羁留北朝的庾信，也指滞留西南的诗人自己；「哀时」写对时局的悲悯，「且未还」写有家难归的无奈。此联妙在一语双关：表面上句写安禄山、下句写庾信，实则句句关合杜甫自身——正是因羯胡之乱，才致词客流离不返。以古映今、人我交融，正是杜甫「借古自况」最见功力之处。

The third couplet traces from his own drifting to the root of the disorder, the poem's thought-power's place. The Jie barbarians means An Lushan and the rebels; serving their lord, never to be trusted writes their receiving imperial favor yet turning faithless, ending in rebellion, directly denouncing the source of the An Lushan rebellion. The poet in the grieves the age and has not yet returned: poet at once means Yu Xin detained in the Northern Dynasty and the poet himself detained in the southwest; grieves the age writes compassion for the troubled times; not yet returned writes the helplessness of home unreachable. The couplet's subtlety lies in its double meaning: on the surface the upper line writes An Lushan, the lower Yu Xin; in truth every line touches Du Fu himself - precisely because of the Jie rebellion, the poet could not return. Using antiquity to mirror the present, man and self fused - precisely Du Fu's most skillful place in using antiquity for self-comparison.

庾信平生最萧瑟，暮年诗赋动江关

Yu Xin's whole life was bleakest; in his later years his poems and rhapsodies shook the river passes.

庾信平生最为萧瑟凄凉，暮年的诗赋却震动了江关。

Yu Xin's life was most desolate; in his old age his verse and rhapsodies stirred the river passes.

尾联是全诗的点题与收束。「萧瑟」二字总括庾信一生：身经丧乱、羁留异国、晚景凄凉，兼用宋玉《九辩》悲秋之意，写尽其「平生」的凄怆。「暮年诗赋动江关」则陡然一振，写庾信晚年的《哀江南赋》等作品震动江关、流传不朽。此联表面咏庾信，实则自况——杜甫以「萧瑟」自伤平生，又以「诗赋动江关」自期身后，暗含一层沉痛的慰藉：身世虽萧瑟，文章却可不朽。这一抑一扬之间，正是杜甫对自身命运与文学价值的终极思考，余韵深长，令人低回不已。

The closing couplet is the poem's theme-stroke and close. Bleakest sums Yu Xin's whole life: surviving the collapse, detained in a foreign land, a desolate old age, also using Song Yu's Nine Arguments autumn grief, exhausting the pathos of his whole life. In his later years his verse and rhapsodies stirred the river passes then suddenly rises, writing Yu Xin's late works like Lament for the South shaking the river passes, flowing immortal. On the surface this couplet sings of Yu Xin; in truth it is self-comparison - Du Fu uses bleakest to self-pity his own life, and verse and rhapsodies stirred the river passes to self-expectation for after death, secretly holding a layer of grievous comfort: though the lot be bleak, writing can be immortal. Between this press and lift lies Du Fu's ultimate reflection on his own fate and literary value; the aftertaste long, making one linger.

Study

Word focus

支离 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「支离」一词，本出《庄子·人间世》「支离疏」之典，写形体残缺者，后引申为破碎、流离、憔悴之义。杜甫用于「支离东北风尘际」，以「支离」自状流离失所、形容憔悴的境况，既写出战乱中身心的创伤，又暗含《庄子》中那个虽形残而保身的隐士形象，透出乱世苟全的无奈与自嘲。此词与下句「漂泊」对举，「支离」状其形之损，「漂泊」状其身之流，合而写尽半生颠沛的惨状。杜甫晚年诗中屡用「支离」，如「支离漂泊」「支离东北」，已成一己流离生涯的固定印记，一个词便是一段血泪史。

淹 The 'drown' (淹) in 'towers drown the days and months' (淹日月) means to sink and delay, writing how time is spent in vain amid drifting, with helplessness. 「淹」字用在「三峡楼台淹日月」，是颔联的点睛之笔。它本义为浸渍、滞留，此处写岁月在三峡之地久久滞留，兼有两层意思：一是时间之久，诗人滞留夔州，岁月仿佛在此淹留不去，虚掷难返；二是心境之困，人被羁于异乡，如物之淹于水中，欲脱不能。一个「淹」字，将「日月」这一抽象的时间具象化为可滞留、可淹没之物，写出诗人对光阴空逝的痛惜与对归期无望的焦虑。若易为「度」「过」等字，则只见时间的流逝，不见滞留的煎熬，「淹」字之沉痛正在于此。

动 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「动」字收束「暮年诗赋动江关」，是全诗情感的高点。它写庾信暮年的诗赋震动了江关，即《哀江南赋》等作品在江南江北广为流传、影响深远。「动」字比「传」「震」「名」都更见力度与气象，它写的不只是名声的传播，而是一种足以撼动山川、激荡人心的文学力量。杜甫以「动江关」赞庾信，实是自期——他相信自己乱离漂泊的沉郁诗篇，也终将如庾信之赋那样震动天下、传之久远。一个「动」字，将前文所有萧瑟、漂泊、哀时的沉痛，忽然翻转为对文学不朽价值的坚信，抑扬之间，杜诗沉郁中的高华尽出。