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先秦 Pre-Qin · 诗 Poem

大招（节选）

The Great Summons (Excerpt)

屈原

Qu Yuan

楚辞Chu Ci 招魂Summoning the Soul

青春受谢，白日昭只。
春气奋发，万物遽只。
冥凌浃行，魂无逃只。
魂魄归来！
无远遥只。
魂乎归来！
无东无西，无南无北只。
东有大海，溺水浟浟只。
螭龙并流，上下悠悠只。
魂乎无东！
汤谷寂寥只。
魂乎归来！
无南无北只。

Youthful spring takes its leave; the bright sun shines clear.
The spring qi stirs and rises; the myriad things surge forth.
The dark god moves everywhere; the soul cannot escape.
Soul and spirit, come back! Do not wander far.
O soul, come back! Neither east nor west, neither south nor north.
In the east is the great sea, its drowning waters vast and flowing.
Chi dragons glide along the current, above and below, drifting on.
O soul, go not east! The Valley of Sunrise is desolate.
O soul, come back! Neither south nor north.

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Meaning

From Qu Yuan's 'Great Summons,' this excerpt opens with spring's bright renewal, then urgently calls the soul to return, warning it against the four directions. The east especially is painted as a perilous realm of drowning seas and dragons. Through incantatory repetition of 'come back,' the poem summons the wandering soul home.

青春受谢，白日昭只。春气奋发，万物遽只。冥凌浃行，魂无逃只。魂魄归来！无远遥只。魂乎归来！无东无西，无南无北只。东有大海，溺水浟浟只。螭龙并流，上下悠悠只。魂乎无东！汤谷寂寥只。魂乎归来！无南无北只。

Appreciation

[Plain Paraphrase] The first part writes spring qi: youthful spring takes leave, the bright sun shines; spring qi stirs, the myriad things surge; the dark god moves, the soul cannot escape; soul, come back, do not wander far. The middle writes the four directions: soul, come back, neither east nor west, neither south nor north; in the east is the great sea, drowning waters; chi dragons glide, drifting; soul, go not east, the Valley of Sunrise is desolate. The last writes the summons: soul, come back, neither south nor north. [Structure] The poem follows 'summon through dwelling' (以铺写招): it first lays out spring's vitality to draw the soul home, then negates the four directions and piles up the east's perils to coerce the soul back—the 'first lure with joy, then threaten with danger' double method of the summons genre. [Imagery] The recurring 'come back' (魂乎归来) with the particle 'zhi' (只) creates a chant-like, three-fold refrain, conveying the urgency of calling the soul. Spring's brightness versus the east's desolation forms a yin-yang, flourishing-silent contrast.

【白话串讲】屈原写《大招》：“青春受谢，白日昭只”——“春气奋发，万物遽只”——“魂魄归来！无远遥只”——“魂乎归来！无东无西，无南无北只”——他呼唤魂魄归来。【意象与手法】此诗写招魂，以招隐写招魂，是屈原的名篇。前段写春气：「青春受谢，白日昭只。春气奋发，万物遽只。冥凌浃行，魂无逃只。魂魄归来！无远遥只」写青春受谢、白日昭只——写尽魂魄归来的远遥；中段写四方：「魂乎归来！无东无西，无南无北只。东有大海，溺水浟浟只。螭龙并流，上下悠悠只。魂乎无东！汤谷寂寥只」写魂乎归来、无东无西——写尽汤谷寂寥的无东；后段写招归：「魂乎归来！无南无北只」写魂乎归来、无南无北只——写尽魂乎归来的南北。全诗以招隐写招魂，写尽魂魄归来的远遥与汤谷寂寥的无东，是屈原的代表作。【情感与主旨】此诗写招魂，以招隐写招魂，是屈原的名篇。此诗为屈原《大招》节选，写其招魂归来之词，兼寓招隐之意。屈原此诗写其春日的招魂。此诗写青春受谢，白日昭只；春气奋发，万物遽只；冥凌浃行，魂无逃只；魂魄归来！无远遥只；魂乎归来！无东无西，无南无北只；东有大海，溺水浟浟只；螭龙并流，上下悠悠只；魂乎无东！汤谷寂寥只；魂乎归来！无南无北只。此诗写春气：青春受谢，白日昭只——写青春受谢、白日昭只，写尽白日昭的昭只；春气奋发，万物遽只——写春气奋发、万物遽只，写尽万物遽的遽只；冥凌浃行，魂无逃只——写冥凌浃行、魂无逃只，写尽魂无逃的逃只；魂魄归来！无远遥只——写魂魄归来、无远遥只，写尽无远遥的远遥只。中段写四方：魂乎归来！无东无西，无南无北只——写魂乎归来、无东无西、无南无北只，写尽无南无北的北只；东有大海，溺水浟浟只——写东有大海、溺水浟浟只，写尽溺水浟浟的浟浟只；螭龙并流，上下悠悠只——写螭龙并流、上下悠悠只，写尽上下悠的悠悠只；魂乎无东！汤谷寂寥只——写魂乎无东、汤谷寂寥只，写尽汤谷寂寥的寂寥只。后段写招归：魂乎归来！无南无北只——写魂乎归来、无南无北只，写尽魂乎归来的北只。全诗以招隐写招魂——那「魂魄归来！无远遥只」写尽魂魄归来的远遥，「汤谷寂寥只」写尽汤谷寂寥的无东，写尽魂魄归来的远遥与汤谷寂寥的无东，是理解屈原招魂诗的重要篇章。【名句点睛】常考「青春受谢，白日昭只」写白日昭的昭只；「魂乎归来！无东无西，无南无北只」写无南无北的北只；以及全诗以招隐写招魂、以铺陈写招魂的手法。

Background

Qu Yuan (c. 340–278 BCE), named Ping, courtesy name Yuan, also styled Zhengze and Lingjun, was a poet and statesman of the state of Chu during the Warring States, the founder and representative of the Chu Ci, honored as 'the ancestor of Chu Ci.' This excerpt from 'The Great Summons' writes words to call the soul home, also implying a summoning of the recluse. It opens with spring's summoning: youthful spring takes leave, the bright sun shines; spring qi stirs, the myriad things surge; the dark god moves, the soul cannot escape; soul, come back, do not wander far; soul, come back, neither east nor west, neither south nor north; in the east is the great sea, drowning waters vast; chi dragons glide, drifting; soul, go not east, the Valley of Sunrise is desolate; soul, come back, neither south nor north. It is a crucial text for understanding Qu Yuan's soul-summons poetry.

此诗写招魂，以招隐写招魂，是屈原的名篇。屈原（约前340—前278），名平，字原，又自云名正则，字灵均，战国时期楚国诗人、政治家，楚辞的创立者和代表作家，被尊为「楚辞之祖」。此诗为屈原《大招》节选，写其招魂归来之词，兼寓招隐之意。屈原此诗写其春日的招魂。此诗写青春受谢，白日昭只；春气奋发，万物遽只；冥凌浃行，魂无逃只；魂魄归来！无远遥只；魂乎归来！无东无西，无南无北只；东有大海，溺水浟浟只；螭龙并流，上下悠悠只；魂乎无东！汤谷寂寥只；魂乎归来！无南无北只。此诗写春气：「青春受谢，白日昭只」写青春受谢、白日昭只——写尽白日昭的昭只（青春受谢，白日昭只）；「春气奋发，万物遽只」写春气奋发、万物遽只——写尽万物遽的遽只（春气奋发，万物遽只）；「冥凌浃行，魂无逃只」写冥凌浃行、魂无逃只——写尽魂无逃的逃只（冥凌浃行，魂无逃只）；「魂魄归来！无远遥只」写魂魄归来、无远遥只——写尽无远遥的远遥只（魂魄归来！无远遥只）。中段写四方：「魂乎归来！无东无西，无南无北只」写魂乎归来、无东无西、无南无北只——写尽无南无北的北只（魂乎归来！无东无西，无南无北只）；「东有大海，溺水浟浟只」写东有大海、溺水浟浟只——写尽溺水浟浟的浟浟只（东有大海，溺水浟浟只）；「螭龙并流，上下悠悠只」写螭龙并流、上下悠悠只——写尽上下悠的悠悠只（螭龙并流，上下悠悠只）；「魂乎无东！汤谷寂寥只」写魂乎无东、汤谷寂寥只——写尽汤谷寂寥的寂寥只（魂乎无东！汤谷寂寥只）。后段写招归：「魂乎归来！无南无北只」写魂乎归来、无南无北只——写尽魂乎归来的北只（魂乎归来！无南无北只）。全诗以招隐写招魂，写尽魂魄归来的远遥与汤谷寂寥的无东，是理解屈原招魂诗的重要篇章。

Art

The artistry can be read in four aspects. First, scenic writing of spring qi: 'youthful spring takes leave' with 'the bright sun shines clear' writes spring's brightness. Second, expository enumeration of the four directions: 'soul, come back, neither east nor west' with 'neither south nor north' enumerates the directions' negation. Third, threatening depiction for the summons: 'in the east is the great sea' with 'drowning waters vast' frightens the soul back through peril. Fourth, apostrophic calling for the return: 'soul and spirit, come back' with 'do not wander far' calls through address. The poem moves from spring to directions, the classic 'summon through dwelling' method. It opens with spring's vitality to draw the soul, then negates the four directions and piles up the east's dangers—sea, drowning, dragons, the Valley of Sunrise—to coerce the soul back with fearful words, exactly the 'first lure with joy, then threaten with danger' double brush of the summons form; the 'zhi' particle ends lines shortly, a three-fold refrain adding urgency to the soul-calling.

此诗的艺术特色可从四个方面解析。其一，以写景写春气。「青春受谢」以写景写春气——那「白日昭只」写尽白日昭的昭只，以写景写尽白日昭的昭只。其二，以铺陈写四方。「魂乎归来！无东无西」以铺陈写四方——那「无南无北只」写尽无南无北的北只，以铺陈写尽无南无北的北只。其三，以恐吓写招魂。「东有大海」以恐吓写招魂——那「溺水浟浟只」写尽溺水浟浟的浟浟只，以恐吓写尽溺水浟浟的浟浟只。其四，以呼告写招归。「魂魄归来」以呼告写招归——那「无远遥只」写尽无远遥的远遥只，以呼告写尽无远遥的远遥只。此外，此诗前写魂魄归来的远遥，后写汤谷寂寥的无东，由春及方，正是招魂诗「以铺写招」的写法。四重手法，使此诗以招隐写招魂，写尽魂魄归来的远遥与汤谷寂寥的无东，是屈原的代表作。又，此诗以「青春受谢，白日昭只」起兴，先铺春日生机以招魂归来，一阳一阴、一荣一寂；中段「无东无西，无南无北只」连用四方否定，复以东有大海、溺水、螭龙、汤谷层层铺陈东方之险，以惧慑之辞逼魂归来，正是招魂体「先诱以乐、后胁以险」的双重笔法；「只」字句短促收煞，一唱三叹，更添呼魂之殷切。

Allusions

The diction is rooted in the soul-summons and recluse-summons tradition. 'Youthful spring' evokes spring's image; 'takes leave' the alternation of seasons; 'bright sun' the sun; 'shines clear' brightness; 'spring qi' the spring breath; 'stirs and rises' vitality; 'myriad things' all creatures; 'surge forth' swift growth; 'dark god' the underworld; 'moves everywhere' pervading; 'soul and spirit' the soul; 'come back' return; 'wander far' distance; 'great sea' the sea; 'drowning waters' the drowning; 'vast and flowing' the current; 'chi dragons' the dragon-serpent; 'drifting on' leisurely floating; 'Valley of Sunrise' the sun's birthplace; 'desolate' emptiness. The poem absorbs these images—spring, sun, qi, soul, sea, dragons, Valley of Sunrise—to write the soul-summons through dwelling, Qu Yuan's 'grand and strange' mastery of enumeration and the Chu Ci tradition.

此诗的用语深植于招魂与招隐传统。「青春」令人想到「青春」写春天的意象——也令人想到「青春作伴好还乡」（杜甫）的意象；「受谢」令人想到「受谢」写交替的意象——也令人想到「四时更替」的意象；「白日」令人想到「白日」写白日的意象——也令人想到「白日依山尽」（王之涣）的意象；「昭只」令人想到「昭只」写昭明的意象——也令人想到「昭昭白日」的意象；「春气」令人想到「春气」写春气的意象——也令人想到「春气奋发」的意象；「奋发」令人想到「奋发」写奋发的意象——也令人想到「奋发图强」的意象；「万物」令人想到「万物」写万物的意象——也令人想到「万物生光辉」（《长歌行》）的意象；「遽只」令人想到「遽只」写速生的意象——也令人想到「万物竞发」的意象；「冥凌」令人想到「冥凌」写幽冥的意象——也令人想到「冥冥之中」的意象；「浃行」令人想到「浃行」写遍行的意象——也令人想到「无远弗届」的意象；「魂魄」令人想到「魂魄」写魂魄的意象——也令人想到「魂魄归来」的意象；「归来」令人想到「归来」写归来的意象——也令人想到「归来兮」的意象；「远遥」令人想到「远遥」写遥远的意象——也令人想到「魂兮归来」的意象；「大海」令人想到「大海」写大海的意象——也令人想到「东临碣石，以观沧海」（曹操）的意象；「溺水」令人想到「溺水」写溺水的意象——也令人想到「溺水三千」的意象；「浟浟」令人想到「浟浟」写水流的意象——也令人想到「浟浟其流」的意象；「螭龙」令人想到「螭龙」写龙蛇的意象——也令人想到「螭龙并流」的意象；「悠悠」令人想到「悠悠」写悠游的意象——也令人想到「白云千载空悠悠」（崔颢）的意象；「汤谷」令人想到「汤谷」写日出的意象——也令人想到「汤谷旸谷」的意象；「寂寥」令人想到「寂寥」写寂寥的意象——也令人想到「寂寥无人」（柳宗元）的意象。全诗化用青春、受谢、白日、昭只、春气、奋发、万物、遽只、冥凌、浃行、魂魄、归来、远遥、大海、溺水、浟浟、螭龙、悠悠、汤谷、寂寥的意象，以招隐写招魂，正是屈原「瑰丽」而善铺陈、承楚辞传统写招魂之本领。

Commentary

This poem has long been praised as a masterpiece of Qu Yuan's soul-summons poetry and a representative of Chu Ci summoning. Critics rated it highly: Han readers noted it 'summons the recluse through the soul, enumerative yet phantasmal'; modern scholars point to 'youthful spring takes leave; the bright sun shines clear' as a famous line. Its special value lies in the excerpt's exhaustion of the soul's far wandering and the east's desolation—the spring, the leave-taking, the sun, the brightness, the qi, the surge, the myriad things, the dark god, the pervading, the soul that cannot escape, the soul and spirit, the return, the not-far, the soul, the return, the no-east, no-west, no-south, no-north, the eastern sea, the drowning waters, the chi dragons, the gliding, the drifting, the soul, the no-east, the Valley of Sunrise, the desolation, the soul, the return, the no-south, no-north. It pairs with Qu Yuan's 'Summoning the Soul' ('I was young, pure and clean') as summoning masterpieces—one 'soul, come back, leave your constant frame,' one 'soul and spirit, come back, do not wander far'; one summons the king's soul, one the recluse's. For today's readers it is a window into Qu Yuan's soul-summons poetry and a classic of Chu Ci summoning.

此诗历来被推为屈原招魂诗的名篇，也是楚辞写招魂招隐的代表。历代论者对此诗评价极高：汉人评此诗「以招隐写招魂，铺陈而多幻」；近人更指出「青春受谢，白日昭只」写白日昭的昭只，是此诗的名句。在文学史上，此诗的特殊价值在于：它以节选写尽魂魄归来的远遥与汤谷寂寥的无东——那青春，那受谢，那白日，那昭只，那春气，那奋发，那万物，那遽只，那冥凌，那浃行，那魂，那无逃只，那魂魄，那归来，那无远遥只，那魂乎，那归来，那无东，那无西，那无南，那无北只，那东有，那大海，那溺水，那浟浟只，那螭龙，那并流，那上下，那悠悠只，那魂乎，那无东，那汤谷，那寂寥只，那魂乎，那归来，那无南，那无北只，都写尽了屈原笔下的大招；那「魂乎归来！无东无西，无南无北只」更以铺陈写尽无南无北的北只。此诗与屈原《招魂》「朕幼清以廉洁兮」同为招魂名篇，一写「魂兮归来！去君之恒干」的招魂，一写「魂魄归来！无远遥只」的大招；一写招楚王魂，一写招隐者魂。两诗对读，可见屈原招魂诗的两面。对于今日读者，此诗是理解屈原招魂诗的窗口，也是楚辞写招魂招隐的经典——那汤谷寂寥的无东，穿越千年，仍在诉说着魂魄归来的远遥。

Prosody

Form Chu Ci · The Great Summons楚辞·大招

Rhyme The whole poem ends lines with the particle 'zhi' (只) — shines clear (昭只), surge forth (遽只), cannot escape (逃只), not far (遥只), no-north (北只), vast flowing (浟浟只), drifting on (悠悠只), desolate (寂寥只).全诗以「只」字收尾（昭只、遽只、逃只、遥只、北只、浟浟只、悠悠只、寂寥只），句尾多用「只」字

Tone pattern A Chu Ci 'sao' style poem; lines mostly end with the 'zhi' particle, with long, drawn-out music fitting the soul-summons' lingering call.此诗为楚辞骚体，句尾多用「只」字，音节悠长，正合招魂的悠长。

Reading note This is a Chu Ci 'sao'-style poem—'Youthful spring takes its leave, the bright sun shines clear... O soul, come back! Neither south nor north'—lines mostly ending with 'zhi,' long and drawn-out in music. It summons the recluse through the soul: first the bright sun's clarity (youthful spring, spring qi stirring), middle the no-north/no-south (soul, come back; east has the great sea), last the east's desolation (soul, go not east; soul, come back). The 'sao' style unfolds: first spring qi, then the four directions, then the summons, closing 'O soul, come back! Neither south nor north' in Qu Yuan's 'grand and strange' manner. Read the spring qi in a long tone, the summons in an earnest tone, and close in lingering music to convey Qu Yuan's enumerative phantasm. His Chu Ci is famed for 'grand and strange,' and this is the model of his soul-summons poetry.此诗为楚辞骚体——「青春受谢，白日昭只。春气奋发，万物遽只。……魂乎归来！无南无北只」，句尾多用「只」字，音节悠长。全诗以招隐写招魂：前写白日昭的昭只（青春受谢、春气奋发），中写无南无北的北只（魂乎归来！无东无西、东有大海），后写汤谷寂寥的无东（魂乎无东、魂乎归来）。骚体铺叙，前写春气，中写四方，后写招归，以「魂乎归来！无南无北只」写尽无南无北的北只，正见屈原「瑰丽」的本色。诵读此诗，宜以悠长的语调读「白日昭只」的春气，以殷切的语调读「魂乎归来」的招归，结句要读得悠长而有余韵，方能传达出屈原的铺陈多幻。屈原楚辞以「瑰丽」著称，此诗正是其招魂诗的典范。

Line by line

青春受谢，白日昭只

Youthful spring takes its leave; the bright sun shines clear.

青春受谢，白日昭只。

Spring is received in its turn; the bright sun shines forth, ah!

此二句是全诗写春气的核心，以青春受谢写受谢，以白日昭只写昭只，写尽白日昭的昭只，是千古名句。「青春受谢」写青春受谢——那「青春」写青春，「受谢」写受谢，写尽青春的受谢；「白日昭只」写白日昭只——那「白日」写白日，「昭只」写昭只，写尽白日的昭只。这句的深意在于：它以「青春受谢」的受谢与「白日昭只」的昭只，写尽白日昭的昭只——青春受谢，那「青春受谢」写尽青春的受谢——青春受谢，正是春来代谢的写照，那「受谢」写尽白日昭的昭只；白日昭只，那「白日昭只」写尽白日的昭只——白日昭只，正是白日昭明的写照，那「昭只」写尽白日昭的昭只；那「青春受谢」写尽青春的受谢，那「白日昭只」写尽白日的昭只，一写受谢，一写昭只，写尽白日昭的昭只——春来代谢而白日昭明，正是春气的写照；此二句以受谢、昭只写尽白日昭的昭只，也为下文的奋发作铺垫，也让此二句成为全诗写春气的核心与千古名句。若换作直说「春来代谢，白日昭明」，则失其瑰丽；唯以「青春受谢」写受谢、「白日昭只」写昭只，写尽白日昭的昭只，也让此二句成为全诗写春气的核心。

The Great Summons opens by recalling the soul to the bright world it has fled. Spring is received in its turn—winter has yielded, the season takes its place—and the bright sun shines forth, ah! The ancient particle at the line's end is the incantatory tone of the shaman's summons. The poem argues for returning not by entreaty alone but by painting the world's beauty: here, it says, is the spring, here is the sun. To have said spring came and the sun shone would be a calendar; the season received in its turn, the shining sun with the incantatory particle, is the summons.

魂乎归来！无东无西，无南无北只

O soul, come back! Neither east nor west, neither south nor north.

魂乎归来！无东无西，无南无北只。

O soul, come home! Go not east, go not west, go not south, go not north, ah!

此三句是全诗写招归的核心，以魂乎归来写归来，以无东无西写无东无西，以无南无北只写北只，写尽无南无北的北只，是千古名句。「魂乎归来」写魂乎归来——那「魂乎」写魂乎，「归来」写归来，写尽魂乎的归来；「无东无西」写无东无西——那「无东」写无东，「无西」写无西，写尽无东的无西；「无南无北只」写无南无北只——那「无南无北」写无南无北，「只」写只，写尽无南无北的北只。这句的深意在于：它以「魂乎归来」的归来、「无东无西」的无东无西与「无南无北只」的北只，写尽无南无北的北只——魂乎归来，那「魂乎归来」写尽魂乎的归来——魂乎归来，正是呼魂归来的写照，那「归来」写尽无南无北的北只；无东无西，那「无东无西」写尽无东的无西——无东无西，正是莫往东西的写照，那「无东无西」写尽无南无北的北只；无南无北只，那「无南无北只」写尽无南无北的北只——无南无北只，正是莫往南北的写照，那「北只」写尽无南无北的北只；那「魂乎归来」写尽魂乎的归来，那「无东无西」写尽无东的无西，那「无南无北只」写尽无南无北的北只，一写归来，一写无东无西，一写北只，写尽无南无北的北只——呼魂归来而莫往四方，正是招归的写照；此三句以归来、无东无西、北只写尽无南无北的北只，也为下文的大海作铺垫，也让此三句成为全诗写招归的核心与千古名句。若换作直说「魂啊归来吧，别去东边西边，别去南边北边」，则失其铺陈；唯以「魂乎归来」写归来、「无东无西」写无东无西、「无南无北只」写北只，写尽无南无北的北只，也让此三句成为全诗写招归的核心。

The shaman commands the soul home and then forbids it every direction. O soul, come home! Go not east, west, south, or north. The four negations are the poem's structure: each direction will be terrifyingly described in turn—the east's vast waters, the south's burning jungles, the north's endless ice. By forbidding all four directions at once, the line leaves the soul only one place to go: home. The litany of directions is the genre's ritual chant. To have said don't wander, come back would be a plea; the four-way prohibition is the ritual.

Study

Word focus

昭 The character 'zhao' (昭, 'bright / clear') in 'the bright sun shines clear' (白日昭只) is the keyword of spring qi, writing in one character the sun's clarity. 'Zhao' means bright, luminous. Qu Yuan uses it at least doubly: first, as the sun's brightness—'the bright sun shines clear' writes the sun shining, a portrait of bright radiance, and 'zhao' exhausts that clarity; second, as spring's brightness—'zhao' also suggests the charm of bright spring light. As the hinge of his soul-summons, 'zhao' pairs with 'youthful spring takes leave' to exhaust the sun's brightness and spring's beauty, making the line a famous spring-qi couplet. 「白日昭只」之「昭」字是写春气关键词，一个「昭」字写尽白日的昭只。昭者，昭明、明亮也。屈原以「白日昭只」写春气，这个「昭」字至少有双重意味：其一，写日之昭——那「白日昭只」写白日昭只，那「昭」字写尽白日的昭只——昭只，正是昭明光耀的写照，那「昭」字写尽白日的昭只；其二，写春之明——那「昭」字更是写明——昭，正见春光明媚的意味，那「昭」字写尽屈原的期许。以「昭」字写春气，正是屈原写招魂的枢纽——若换作「明」「亮」等字，则或失其与「白日昭只」「青春受谢」的配合，或失其写昭的意味；唯「昭」字，以白日昭只写尽白日之昭明与春光之明媚，与「青春受谢」的受谢相合，写尽白日的昭只，也让「白日昭只」成为全诗写春气的名句。

归 The character 'gui' (归, 'return') in 'O soul, come back' (魂乎归来) is the keyword of the summons, writing in one character the soul's return. 'Gui' means to return, to come back. Qu Yuan uses it at least doubly: first, as the soul's return—'O soul, come back' writes the soul returning, a portrait of summoning the soul home, and 'gui' exhausts that return; second, as the urgency of the wish—'gui' also suggests the intensity of the summoning. As the hinge of his soul-summons, 'gui' pairs with 'do not wander far' to exhaust the eager hope for the soul's return, making 'O soul, come back' a famous summons line. 「魂乎归来」之「归」字是写招归关键词，一个「归」字写尽魂乎的归来。归者，归来、回归也。屈原以「魂乎归来」写招归，这个「归」字至少有双重意味：其一，写魂之归——那「魂乎归来」写魂乎归来，那「归」字写尽魂乎的归来——归来，正是招魂归来的写照，那「归」字写尽魂乎的归来；其二，写愿之切——那「归」字更是写切——归，正见招之弥切的意味，那「归」字写尽屈原的殷切。以「归」字写招归，正是屈原写招魂的枢纽——若换作「还」「返」等字，则或失其与「魂乎归来」「无远遥只」的配合，或失其写归的意味；唯「归」字，以魂乎归来写尽招魂之切盼与归来之期盼，与「无远遥只」的远遥只相合，写尽魂乎的归来，也让「魂乎归来」成为全诗写招归的名句。