唐 Tang · 诗 Poem
咏怀古迹五首 四
Mourning the Ancient Relics, Five Poems: The Fourth
蜀主窥吴幸三峡崩年亦在永安宫翠华想像空山里玉殿虚无野寺中古庙杉松巢水鹤岁时伏腊走村翁武侯祠屋常邻近一体君臣祭祀同
The lord of the Shu, looking at the Wu, went to the Three Gorges,In the year of the collapse, he was also in the Yong'an Palace.
The green and the flowery, the imagined, the empty mountain,
The jade halls, the empty and the nothing, the wild temples.
The ancient temple, the pines and the cedars, nest the water cranes,
The years and the seasons, the walking of the village elders.
The marquis temple, the rooms, often nearby,
One body, the ministers and the lord, the sacrifices, the same.
Meaning
A poem of the mourning of Liu Bei and Zhuge Liang, written by Du Fu. The lord of the Shu, looking at the Wu, went to the Three Gorges — in the year of the collapse, he was also in the Yong'an Palace — the going of the lord and the palace of the collapse. The green and the flowery, the imagined, the empty mountain — the jade halls, the empty and the nothing, the wild temples — the imagined empty mountain and the wild temples. The ancient temple, the pines and the cedars, nest the water cranes — the years and the seasons, the walking of the village elders — the ancient temple and the walking elders. The marquis temple, the rooms, often nearby — one body, the ministers and the lord, the sacrifices, the same — the close's nearby temples and the same sacrifices. The poem is the mourning of the lord and the marquis: the palace of the collapse, the wild temples, and the close's same sacrifices.
蜀主窥吴幸三峡崩年亦在永安宫翠华想像空山里玉殿虚无野寺中古庙杉松巢水鹤岁时伏腊走村翁武侯祠屋常邻近一体君臣祭祀同
Appreciation
[Plain Paraphrase] The lord of the Shu, looking at the Wu, went to the Three Gorges, in the year of the collapse, he was also in the Yong'an Palace. The green and the flowery, the imagined, the empty mountain, the jade halls, the empty and the nothing, the wild temples. The ancient temple, the pines and the cedars, nest the water cranes, the years and the seasons, the walking of the village elders. The marquis temple, the rooms, often nearby, one body, the ministers and the lord, the sacrifices, the same. [Structure and Thought] The poem moves from the lord going to the Three Gorges and the palace of the collapse, through the empty mountain and the wild temples, and the ancient temple with the walking elders, to the close's nearby marquis temple with the same sacrifices. [Key Technique] The poem's art is the pairing of the lord and the marquis: the palace of the collapse against the marquis temple nearby, and the close's one body of the ministers and the lord with the same sacrifices — the mourning gathered in the pairing of the two temples. [Emotional Tone] Solemn, desolate, and unified: the poem is the mourning of the lord and the marquis, the wild temples and the close's same sacrifices.
【白话串讲】 杜甫写《咏怀古迹五首其四》：“蜀主窥吴幸三峡，崩年亦在永安宫”——“翠华想像空山里，玉殿虚无野寺中”——“古庙杉松巢水鹤，岁时伏腊走村翁”——“武侯祠屋常邻近，一体君臣祭祀同”——他咏怀古迹——一体君臣祭祀同。 【意象与手法】 “蜀主窥吴幸三峡、崩年亦在永安宫”写蜀主崩年；“翠华想像空山里、玉殿虚无野寺中”写翠华想像空山；“古庙杉松巢水鹤、岁时伏腊走村翁”写古庙杉松；结以“武侯祠屋常邻近、一体君臣祭祀同”写君臣祭祀同。沉郁怀古。 【情感与主旨】 杜甫咏怀古迹之作，写蜀主刘备永安宫与武侯祠邻近、君臣一体祭祀同，是杜甫咏怀古迹的名篇。 【名句点睛】 常考“翠华想像空山里，玉殿虚无野寺中”写空山想像；“武侯祠屋常邻近，一体君臣祭祀同”写君臣一体。
Background
Du Fu (712–770) wrote this 'Mourning the Ancient Relics, Five Poems: The Fourth' in his exile in Kuizhou, mourning Liu Bei and Zhuge Liang — the lord and the marquis of the Shu. The lord going to the Three Gorges and the palace of the collapse, the empty mountain and the wild temples, the ancient temple with the water cranes and the walking elders, and the close's marquis temple nearby with the same sacrifices — the poem gathers the mourning of the lord and the marquis, the pairing of the two temples. The poem is one of the mourning series of the poet.
《咏怀古迹五首 四》为唐代诗人杜甫所作诗。杜甫（712—770），字子美，号少陵野老，巩县人，唐代诗人。此诗写怀古咏史，为咏永安宫之作。诗中「蜀主窥吴幸三峡崩年亦在永安宫」写蜀主窥吴幸三峡崩年亦在永安宫；「翠华想像空山里玉殿虚无野寺中」写翠华想像空山里玉殿虚无野寺中；「古庙杉松巢水鹤岁时伏腊走村翁」写古庙杉松巢水鹤岁时伏腊走村翁；「武侯祠屋常邻近一体君臣祭祀同」写武侯祠屋常邻近一体君臣祭祀同。杜甫此诗以怀古咏史、一体君臣祭祀同写其咏史之情，沉郁怀古，是杜甫诗中的名篇。此篇《咏怀古迹五首 四》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《咏怀古迹五首 四》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。
Art
The poem's art is the art of the pairing of the temples. The lord opens: the lord of the Shu, looking at the Wu, went to the Three Gorges — in the year of the collapse, he was also in the Yong'an Palace — the going of the lord and the palace of the collapse. The desolation follows: the green and the flowery, the imagined, the empty mountain — the jade halls, the empty and the nothing, the wild temples — the imagined empty mountain and the wild temples. The ancient temple: the ancient temple, the pines and the cedars, nest the water cranes — the years and the seasons, the walking of the village elders — the ancient temple and the walking elders. And the close gathers the pairing: the marquis temple, the rooms, often nearby — one body, the ministers and the lord, the sacrifices, the same — the nearby temples and the same sacrifices — the mourning of the lord and the marquis, the pairing of the two temples, gathered in the close.
此诗艺术上以「沉郁怀古、以宫写情」见长。全诗共八句四联，由蜀主窥吴幸三峡而翠华想像空山里而古庙杉松巢水鹤。起「蜀主窥吴幸三峡崩年亦在永安宫」写蜀主窥吴幸三峡：蜀主窥吴幸三峡崩年亦在永安宫；「翠华想像空山里玉殿虚无野寺中」写翠华想像空山里：翠华想像空山里玉殿虚无野寺中；「古庙杉松巢水鹤岁时伏腊走村翁」写古庙杉松巢水鹤：古庙杉松巢水鹤岁时伏腊走村翁；结「武侯祠屋常邻近一体君臣祭祀同」写一体君臣祭祀同：武侯祠屋常邻近一体君臣祭祀同。全诗以宫写情，由蜀主窥吴幸三峡而一体君臣祭祀同，沉郁怀古，是杜甫诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。
Allusions
'The lord of the Shu' (Shu zhu) is the lord of the Shu — Liu Bei, the lord of the Shu; 'the Three Gorges' (San xia) are the Three Gorges — the going of the lord to the Three Gorges; 'the Yong'an Palace' (Yong'an Gong) is the palace of the Yong'an — the palace of the collapse of the lord; 'the wild temples' (ye si) are the wild temples — the empty temples of the mountain; 'the marquis temple' (Wu Hou ci) is the temple of the marquis — the temple of Zhuge Liang, nearby the lord's temple; 'the water cranes' (shui he) are the cranes of the water — the cranes nesting the ancient temple.
诗中「蜀主窥吴幸三峡崩年亦在永安宫」「翠华想像空山里玉殿虚无野寺中」「古庙杉松巢水鹤岁时伏腊走村翁」「武侯祠屋常邻近一体君臣祭祀同」等语，皆含典故故实。「蜀主窥吴幸三峡崩年亦在永安宫」用永安宫之典（永安宫写刘备托孤之地），写蜀主窥吴幸三峡崩年亦在永安宫；「翠华想像空山里玉殿虚无野寺中」写翠华想像空山里玉殿虚无野寺中；「古庙杉松巢水鹤岁时伏腊走村翁」写古庙杉松巢水鹤岁时伏腊走村翁；「武侯祠屋常邻近一体君臣祭祀同」用武侯之典（武侯写诸葛亮），写武侯祠屋常邻近一体君臣祭祀同。诗人用永安宫、武侯之典入诗，不着痕迹，而把怀古咏史之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。
Commentary
This poem is one of the mourning series of Du Fu, quoted for the pairing of its close. The wild temples of the empty mountain, and the same sacrifices of the lord and the marquis, are among the admired passages of the poet's mourning poems. Critics praise the poem's pairing: the lord and the marquis gathered from the two temples, to the close's same sacrifices.
这首《咏怀古迹五首 四》，是杜甫写怀古咏史之作，写蜀主窥吴幸三峡、翠华想像空山里、古庙杉松巢水鹤、一体君臣祭祀同之情，沉郁怀古。起「蜀主窥吴幸三峡崩年亦在永安宫」——蜀主窥吴幸三峡崩年亦在永安宫。写蜀主窥吴幸三峡：蜀主窥吴幸三峡、崩年亦在永安宫——幸三峡、永安宫；「翠华想像空山里玉殿虚无野寺中」——翠华想像空山里玉殿虚无野寺中。写翠华想像空山里：翠华想像空山里、玉殿虚无野寺中——空山里、野寺中；「古庙杉松巢水鹤岁时伏腊走村翁」——古庙杉松巢水鹤岁时伏腊走村翁。写古庙杉松巢水鹤：古庙杉松巢水鹤、岁时伏腊走村翁——巢水鹤、走村翁；结「武侯祠屋常邻近一体君臣祭祀同」——武侯祠屋常邻近一体君臣祭祀同。写一体君臣祭祀同：武侯祠屋常邻近、一体君臣祭祀同——常邻近、祭祀同。这「武侯祠屋常邻近一体君臣祭祀同」，是全诗之结：以一体君臣祭祀同写其咏史。全诗沉郁怀古，以宫写情，正是杜甫诗中的名篇。
Prosody
Line by line
蜀主窥吴幸三峡崩年亦在永安宫
The lord of the Shu, looking at the Wu, went to the Three Gorges, in the year of the collapse, he was also in the Yong'an Palace.
蜀主窥吴幸三峡崩年亦在永安宫
The Shu lord, spying on Wu, made progress through the Three Gorges; the year of his death was also at Yong'an Palace.
起句写蜀主窥吴幸三峡，起笔即见其蜀主。「蜀主窥吴幸三峡」写蜀主窥吴幸三峡，「蜀主窥吴」写蜀主窥吴、「幸三峡」写幸三峡；「崩年亦在永安宫」用永安宫之典写崩年亦在永安宫，「崩年亦在」写崩年亦在、「永安宫」写永安宫。一句写蜀主窥吴幸三峡崩年亦在永安宫，以蜀主窥吴幸三峡写幸三峡、以崩年亦在永安宫写永安宫，写尽蜀主窥吴幸三峡、崩年亦在永安宫之情。以主起兴，沉郁而怀古，是「以主起兴」的妙笔。
The opening writes the Shu lord, spying on Wu, made progress through the Three Gorges, the Shu lord named at the first stroke. The Shu lord spying on Wu: Liu Bei's campaign against Sun Quan. Made progress through the Three Gorges: the march through the gorges. The year of his death was also at Yong'an Palace uses the Yong'an Palace allusion: his dying at that palace. One line writes the Shu lord's spying on Wu and his death at Yong'an - Du Fu's starting point for the historical musing: the lord who marched east died in this very gorge. The line opens with the lord as bi-xing, somber and historical: the expedition's glory ended at the palace where he died.
翠华想像空山里玉殿虚无野寺中
The green and the flowery, the imagined, the empty mountain, the jade halls, the empty and the nothing, the wild temples.
翠华想像空山里玉殿虚无野寺中
The kingfisher banners - imagined in empty mountains; the jade hall - vanished in a wild temple.
此句写翠华想像空山里，是全诗写翠华之态的关键。「翠华想像空山里」写翠华想像空山里，「翠华想像」写翠华想像、「空山里」写空山里；「玉殿虚无野寺中」写玉殿虚无野寺中，「玉殿虚无」写玉殿虚无、「野寺中」写野寺中。一句写翠华想像空山里玉殿虚无野寺中，以翠华想像空山里写空山里、以玉殿虚无野寺中写野寺中，写尽翠华想像空山里、玉殿虚无野寺中之情。以殿写景，沉郁而怀古，是「以殿写景」的点睛之笔。
This line writes the kingfisher banners - imagined in empty mountains, the key to the poem's banners state. The kingfisher banners - imagined: the royal retinue now only imagined. In empty mountains: the hills now vacant. The jade hall - vanished in a wild temple: the jade hall now null, the wild temple standing. One line writes the imagined banners in the empty hills and the vanished jade hall in the wild temple - Du Fu's turn: the royal procession and palace of old exist only in imagination among these mountains. The line uses the hall for scenery, somber and historical: the imagined splendor against the wild temple's emptiness.
古庙杉松巢水鹤岁时伏腊走村翁
The ancient temple, the pines and the cedars, nest the water cranes, the years and the seasons, the walking of the village elders.
古庙杉松巢水鹤岁时伏腊走村翁
In the old temple's firs and pines, water cranes nest; at the seasonal sacrifices, village elders come and go.
此句写古庙杉松巢水鹤，是全诗写古庙之态的关键。「古庙杉松巢水鹤」写古庙杉松巢水鹤，「古庙杉松」写古庙杉松、「巢水鹤」写巢水鹤；「岁时伏腊走村翁」写岁时伏腊走村翁，「岁时伏腊」写岁时伏腊、「走村翁」写走村翁。一句写古庙杉松巢水鹤岁时伏腊走村翁，以古庙杉松巢水鹤写巢水鹤、以岁时伏腊走村翁写走村翁，写尽古庙杉松巢水鹤、岁时伏腊走村翁之情。以庙写景，沉郁而怀古，是「以庙写景」的点睛之笔。
This line writes in the old temple's firs and pines, water cranes nest, the key to the poem's old-temple state. The old temple's firs and pines: the ancient grove. Water cranes nest: the birds dwelling there. At the seasonal sacrifices, village elders come and go: the solstice feasts, the old villagers walking. One line writes the water cranes nesting in the old temple's trees and the village elders coming to sacrifice - Du Fu's scene today: birds nest where kings once passed, and only old villagers keep the rites. The line uses the temple for scenery, somber and historical: the water crane's nest and the villagers' steps are all that remains.
武侯祠屋常邻近一体君臣祭祀同
The marquis temple, the rooms, often nearby, one body, the ministers and the lord, the sacrifices, the same.
武侯祠屋常邻近一体君臣祭祀同
The Marquis Wu's shrine stands always nearby; lord and minister of one body share the same sacrifice.
结句写一体君臣祭祀同，是全诗立意的落点。「武侯祠屋常邻近」用武侯之典写武侯祠屋常邻近，「武侯祠屋」写武侯祠屋、「常邻近」写常邻近；「一体君臣祭祀同」写一体君臣祭祀同，「一体君臣」写一体君臣、「祭祀同」写祭祀同。一句写武侯祠屋常邻近一体君臣祭祀同，以武侯祠屋常邻近写常邻近、以一体君臣祭祀同写祭祀同，写尽武侯祠屋常邻近、一体君臣祭祀同之情。以臣写情，沉郁而怀古，是全诗最动人处，也是「以臣写情」的点睛之笔。
The closing line writes lord and minister of one body share the same sacrifice, the poem's landing. The Marquis Wu's shrine stands always nearby uses the Marquis Wu allusion: Zhuge Liang's temple. Always nearby: standing adjacent. Lord and minister of one body: the pair as one. Share the same sacrifice: the shared rites. One line writes the Marquis Wu's shrine always near and the shared sacrifice - Du Fu's resolution: Liu Bei and Zhuge Liang, lord and minister of one body, are worshipped together to this day. The line uses the minister for feeling, somber and historical, the poem's most moving point: their one-body bond survives when all else has vanished.
Study
Word focus
Related Reading
Su Shi's 'Prelude to Water Melody' — 'the bright moon, when will it appear' — is the remembrance of the brother; Du Fu's 'Mourning the Ancient Relics: The Fourth' — 'the lord of the Shu, looking at the Wu' — is the remembrance of the lord — the two remembrances of the far, the one of the family, the other of the history.
苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写怀古感怀、沉郁旷达，是宋词长调的名篇；杜甫《咏怀古迹五首 四》则以「蜀主窥吴幸三峡崩年亦在永安宫」「一体君臣祭祀同」写永安宫、祭祀同。两诗同写怀古感怀、沉郁旷达：一写人有悲欢离合、以悲欢写离合，一写蜀主窥吴幸三峡崩年亦在永安宫、以永安宫写咏史；一为苏轼之旷达、一为杜甫之沉郁，并读正可见诗写「怀古感怀」的两种笔法，皆于怀古之中见沉郁。
八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: Facing the Evening Rain That Spatters the Long River 柳永 · 同写山中凝望、沉郁清丽，一写对潇潇暮雨洒江天、一写蜀主窥吴幸三峡崩年亦在永安宫，皆于山中之中见凝望 Both are the works of the far look and the sorrow — the far look of Liu Yong, the mourning of Du Fu — the two far sorrows of the river.Liu Yong's 'Eight Beats of Ganzhou' — 'facing the evening rain that spatters the long river' — is the far look of the longing; Du Fu's 'Mourning the Ancient Relics: The Fourth' — 'the wild temples of the empty mountain' — is the far look of the mourning — the two far sorrows, the one of the river, the other of the temples.
柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写山中凝望、沉郁清丽，是宋词写羁旅的名篇；杜甫《咏怀古迹五首 四》则以「蜀主窥吴幸三峡崩年亦在永安宫」「翠华想像空山里」写永安宫、空山里。两诗同写山中凝望、沉郁清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写蜀主窥吴幸三峡崩年亦在永安宫、以永安宫写咏史；一为柳永之清丽、一为杜甫之沉郁，并读正可见诗写「山中凝望」的两种笔法，皆于山中之中见凝望。