Listen to this article孙其峰 隶书：杜甫《八阵图》
【释文】功盖三分国，名高八阵图。江流石不转，遗恨失吞吴。
【款识】乙亥之元，其峰。
【注释】八阵图：由八种阵势组成的图形，用来操练军队或作战。三分国：指三国时魏、蜀、吴三国。石不转：指涨水时，八阵图的石块仍然不动。失吞吴：是吞吴失策的意思。
【简析】
这是作者初到夔州时作的一首咏怀诸葛亮的诗，写于大历元年（766）。“八阵图”，指由天、地、风、云、龙、虎、鸟、蛇八种阵势所组成的军事操练和作战的阵图，是诸葛亮的一项创造，反映了他卓越的军事才能。
“功盖三分国，名成八阵图”，这两句赞颂诸葛亮的丰功伟绩。第一句是从总的方面写，说诸葛亮在确立魏蜀吴三分天下、鼎足而立局势的过程中，功绩最为卓绝。三国并存局面的形成，固然有许多因素，而诸葛亮辅助刘备从无到有地创建蜀国基业，应该说是重要原因之一。杜甫这一高度概括的赞语，客观地反映了三国时代的历史真实。第二句是从具体的方面来写，说诸葛亮创制八阵图使他声名更加卓着。对这一点古人曾屡加称颂，如成都武侯祠中的碑刻就写道：“一统经纶志未酬，布阵有图诚妙略。”“江上阵图犹布列，蜀中相业有辉光。”而杜甫的这句诗则是更集中、更凝炼地赞颂了诸葛亮的军事业绩。
头两句诗在写法上用的是对仗句，“三分国”对“八阵图”，以全局性的业绩对军事上的贡献，显得精巧工整，自然妥帖。在结构上，前句劈头提起，开门见山；后句点出诗题，进一步赞颂功绩，同时又为下面凭吊遗迹作了铺垫。
“江流石不转，遗恨失吞吴。”这两句就“八阵图”的遗址抒发感慨。“八阵图”遗址在夔州西南永安宫前平沙上。据《荆州图副》和刘禹锡《嘉话录》记载，这里的八阵图聚细石成堆，高五尺，六十围，纵横棋布，排列为六十四堆，始终保持原来的样子不变，即使被夏天大水冲击淹没，等到冬季水落平川，万物都失故态，唯独八阵图的石堆却依然如旧，六百年来岿然不动。前一句极精炼地写出了遗迹这一富有神奇色彩的特征。“石不转”，化用了《诗经·邶风·柏舟》中的诗句“我心匪石，不可转也”。在作者看来，这种神奇色彩和诸葛亮的精神心志有内在的联系：他对蜀汉政权和统一大业忠贞不二，矢志不移，如磐石之不可动摇。同时，这散而复聚、长年不变的八阵图石堆的存在，似乎又是诸葛亮对自己赍志以殁表示惋惜、遗憾的象征，所以杜甫紧接着写的最后一句是“遗恨失吞吴”，说刘备吞吴失计，破坏了诸葛亮联吴抗曹的根本策略，以致统一大业中途夭折，而成了千古遗恨。
当然，这首诗与其说是在写诸葛亮的“遗恨”，无宁说是杜甫在为诸葛亮惋惜，并在这种惋惜之中渗透了杜甫“伤己垂暮无成”（黄生语）的抑郁情怀。
这首怀古绝句，具有融议论入诗的特点。但这种议论并不空洞抽象，而是语言生动形象，抒情色彩浓郁。诗人把怀古和述怀融为一体，浑然不分，给人一种此恨绵绵、余意不尽的感觉。
【Simple Translation】
This poem was written in the first year of the Dali era (766) when the author first arrived in Kui Prefecture. “The Eight Formations” refers to a military drill and battle formation consisting of eight formations: heaven, earth, wind, clouds, dragon, tiger, bird and snake, which is one of Zhuge Liang’s creations and reflects his excellent military skills.
”These two lines praise Zhuge Liang’s great achievements. The first sentence is written from the general aspect, saying that Zhuge Liang had the most outstanding achievements in establishing the situation of the three kingdoms of Wei, Shu and Wu. There are many factors that contributed to the formation of the three kingdoms, but Zhuge Liang’s assistance to Liu Bei in creating the foundation of the state of Shu from scratch should be considered one of the important reasons. This highly generalized praise of Du Fu objectively reflects the historical reality of the Three Kingdoms era. The second sentence is written from a specific aspect, saying that Zhuge Liang’s creation of the eight formations made him more famous. For example, the inscription in the Wuhou Temple in Chengdu reads, “The unification of the warrior’s will is not yet fulfilled, but the layout of the eight formations is a wonderful strategy.” “The battlefield on the river is still laid out, and the phase in Shu is glorious.” This poem by Du Fu, on the other hand, praises Zhuge Liang’s military performance in a more focused and condensed manner.
The first two lines of the poem are written in pairs, “three divisions of the country” versus “eight formations”, with the overall performance of the military contribution, which seems to be delicate and neat, natural and appropriate. In the structure, the first line mentions the poem at the beginning and opens the door; the second line points out the title of the poem, further praising the achievements, and at the same time paving the way for the following venerable relics.
”The river flowing stone does not turn, the legacy is lost to swallow Wu.” These two lines express the sentiment about the ruins of the “Eight Formations”. The site of the “Eight Formations” is on the flat sand in front of Yong’an Palace in the southwest of Kui Zhou. According to the “Jingzhou Map Deputy” and Liu Yuxi’s “Jiaxian Lu”, the eight formations here are arranged into piles of fine stones, five feet high and sixty around, in a vertical and horizontal arrangement of sixty-four piles, which always remain unchanged in their original form, even if they are flooded by the summer water, and when the water falls in the winter, everything loses its old state, but the piles of stones of the eight formations remain the same as before, and remain unchanged for six hundred years. The first sentence is a very concise description of this magical feature of the relic. The phrase “the stone does not turn” is a translation of the verse “My heart is not a stone, but a stone that cannot be turned” from the poem “Psalm Book – Name and Wind – Park Boat”. In the author’s view, this magical color is intrinsically related to Zhuge Liang’s spiritual ambition: his loyalty to the Shu Han regime and the great cause of unification is as unshakable as a rock. At the same time, the existence of the eight piles of stones, which are scattered and reunited, seems to be a symbol of Zhuge Liang’s regret for his own death, so the last line of Du Fu’s book is “the last regret of losing Wu”, saying that Liu Bei’s failure to swallow Wu destroyed Zhuge Liang’s fundamental strategy of uniting Wu against Cao, so that the unification project was aborted in the middle, and it became a lasting regret. The last line of the poem is “Lost Hate”.
Of course, this poem is not so much about Zhuge Liang’s “legacy” as it is about Du Fu’s regret for Zhuge Liang, which is permeated by Du Fu’s depressive sentiment of “hurting himself for not becoming a man in his twilight years” (Huang Sheng).
This poem is characterized by the incorporation of argument into the poem. However, this discussion is not empty and abstract, but the language is vivid and lyrical. The poet integrates the nostalgia for the past and the description of nostalgia into one, without any distinction, giving people a feeling that this hatred lingers on and the remaining meaning is inexhaustible.
