雙語詩歌翻譯|孫武·《孫子兵法--軍爭篇》

《孫子兵法--軍爭篇》是春秋末年的齊國人孫武的作品。軍爭篇是《孫子兵法》的第七篇，本篇以“詐”“動”“分合”為指導，論述軍隊在戰(zhàn)場上實際接戰(zhàn)中的戰(zhàn)機選擇問題，要求指揮者創(chuàng)造戰(zhàn)機，不失時機地把握戰(zhàn)機。

《孫子兵法---軍爭篇》

孫子曰：

凡用兵之法，將受命于君，合軍聚眾，交和而舍，莫難于軍爭。軍爭之難者，以迂為直，以患為利。故迂其途，而誘之以利，后人發(fā)，先人至，此知迂直之計者也。

故軍爭為利，軍爭為危。舉軍而爭利，則不及；委軍而爭利，則輜重捐。是故卷甲而趨，日夜不處，倍道兼行，百里而爭利，則擒三將軍。勁者先，疲者后，其法十一而至；五十里而爭利，則蹶上將軍，其法半至；三十里而爭利，則三分之二至。是故軍無輜重則亡，無糧食則亡，無委積則亡。

故不知諸侯之謀者，不能豫交；不知山林、險阻、沮澤之形者，不能行軍；不用鄉(xiāng)導者，不能得地利。故兵以詐立，以利動，以分合為變者也。故其疾如風，其徐如林，侵掠如火，不動如山，難知如陰，動如雷震。掠鄉(xiāng)分眾，廓地分利，懸權(quán)而動。先知迂直之計者勝，此軍爭之法也。

《軍政》曰：“言不相聞，故為金鼓；視不相見，故為旌旗?！狈蚪鸸撵浩煺?，所以一人之耳目也；人既專一，則勇者不得獨進，怯者不得獨退，此用眾之法也。故夜戰(zhàn)多火鼓，晝戰(zhàn)多旌旗，所以變?nèi)酥恳病?/p>

故三軍可奪氣，將軍可奪心。是故朝氣銳，晝氣惰，暮氣歸。故善用兵者，避其銳氣，擊其惰歸，此治氣者也。以治待亂，以靜待嘩，此治心者也。以近待遠，以佚待勞，以飽待饑，此治力者也。無邀正正之旗，勿擊堂堂之陳，此治變者也。

故用兵之法，高陵勿向，背丘勿逆，佯北勿從，銳卒勿攻，餌兵勿食，歸師勿遏，圍師必闕，窮寇勿迫，此用兵之法也。

Manoeuvring

Sun WU

Normally, in war, the general receives his commands from the sovereign. During the process from assembling his troops and mobilising the people to blending the army into a harmonious entity and encamping it, nothing is more difficult than the art of manoeuvering for advantageous positions. What is difficult about it is to make the devious route the most direct route and to turn disadvantage to advantage. Thus, march by an indirect route and divert the enemy by enticing him with a bait. So doing, you may set out after he does and arrive at the battlefield before him. One able to do this shows the knowledge of the artifice of diversion.

Therefore, both advantage and danger are inherent in manoeuvering for an advantageous position. One who sets the entire army in motion with impediments to pursue an advantageous position will not attain it. If he abandons the camp and all the impediments to contend for advantage, the stores will be lost. Thus, if one orders his men to make forced marches without armour, stopping neither day nor night, covering double the usual distance at a stretch, and doing a hundred li to wrest an advantage, it is probable that the commanders will be captured. The stronger men will arrive first and the feeble ones will struggle along behind; so, if this method is used, only one-tenth of the army will reach its destination. In a forced march of fifty li, the commander of the van will probably fall, but half the army will arrive. In a forced march of thirty li, just two-thirds will arrive. It follows that an army which lacks heavy equipment, fodder, food, and stores will be lost.

One who is not acquainted with the designs of his neighbors should not enter into alliances with them. Those who do not know the conditions of mountains and forests, hazardous defiles, marshes and swamps, cannot conduct the march of an army. Those who do not use local guides are unable to obtain the advantages of the ground. Now, war is based on deception. Move when it is advantageous and create changes in the situation by dispersal and concentration of forces. When campaigning, be swift as the wind; in leisurely marching, majestic as the forest; in raiding and plundering, be fierce as fire; in standing, firm as the mountains. When hiding, be as unfathomable as things behind the clouds; when moving, fall like a thunderbolt. When you plunder the countryside, divide your forces. When you conquer territory, defend strategic points. Weigh the situation before you move. He who knows the artifice of diversion will be victorious. Such is the art of manoeuvering.

The Book of Military Administration says: 'As the voice cannot be heard in battle, drums and gongs are used. As troops cannot see each other clearly in battle, flags and banners are used.' Now, gongs and drums, banners and flags are used to unify the action of the troops. When the troops can be thus united, the brave cannot advance alone, nor can the cowardly withdraw. This is the art of directing large masses of troops. In night fighting, use many torches and drums, in day fighting, many banners and flags, in order to guide the sight and hearing of the troops.

Now, an army may be robbed of its spirit and its commander deprived of his confidence. At the beginning of a campaign, the spirits of soldiers are keen; after a certain period of time, they flag, and in the later stage thoughts turn towards home. And therefore, those skilled in war avoid the enemy when his spirit is keen and attack him when it is sluggish and his soldiers homesick. This is the control of the moral factor. In good order, they await a disorderly enemy; in serenity, a clamorous one. This is control of the mental factor. Close to the field of battle, they await an enemy coming from afar; at rest, they await an exhausted enemy; with well-fed troops, they await hungry ones. This is control of the physical factor. They do not engage an enemy advancing with well-ordered banners nor one whose formations are in impressive array. This is control of the factor of changing circumstances.

Therefore, the art of employing troops is that when the enemy occupies high ground, do not confront him uphill, and when his back is resting on hills, do not make a frontal attack. When he pretends to flee, do not pursue. Do not attack troops whose spirits are keen. Do not swallow bait. Do not thwart on an enemy who is running homewards.

Leave a way of escape to a surrounded enemy, and do not press a desperate enemy too hard. Such is the art of employing troops.