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汉 Han · 古诗 Ancient poem

回车驾言迈

Turning the Carriage, I Drive On

古诗十九首（无名氏）

Anonymous (Nineteen Old Poems)

羁旅Theme 哲理Philosophy 时序Theme 感怀memory

回车驾言迈，悠悠涉长道。
四顾何茫茫，东风摇百草。
所遇无故物，焉得不速老。
盛衰各有时，立身苦不早。
人生非金石，岂能长寿考。
奄忽随物化，荣名以为宝。

I turn the carriage and drive on; long, long I cross the endless road.
I look all around, how vast and empty; the east wind sways the hundred grasses.
All I meet is nothing of the old; how can one not swiftly age?
Rise and fall each has its season; bitter that I built my standing not early.
Human life is not metal or stone; how could it long endure?
In a breath we follow things and perish; hold glorious fame as the treasure.

Listen

Meaning

I turn the head of the carriage and urge the horses onward, traveling far on the long road. I look around and all is vast and empty; the east wind stirs the hundred grasses. Nothing I meet is the old thing; how can one not quickly grow old? Rise and fall each has its own time; I only regret I did not establish myself sooner. Human life is not firm as metal and stone; how can it last long in years? In a sudden moment we follow all things into change; only glorious name is worth treasuring.

回转车头，驾着马儿启程，悠远地跋涉在漫漫长道上。四下回望，一片苍茫无际，东风吹动百草。一路所遇再没有旧时的景物，怎不让人迅速衰老？盛衰各有其时，只恨立身建功苦于不早。人生并非金石般坚固，岂能长久地高寿？倏忽之间便随万物化去，唯有荣名值得当作珍宝。

Appreciation

This poem stirs by travel, moving from scene to reason, natural in structure. It opens 'I turn the carriage and drive on; long, long I cross the endless road' to narrate and set the theme; 'I look all around, how vast and empty; the east wind sways the hundred grasses' writes the traveler's loneliness in a vast far-view and the detail of swaying grass, feeling within scene; 'All I meet is nothing of the old; how can one not swiftly age' passes from the change of things to the aging of man, a deft transition; the middle 'Rise and fall each has its season; bitter that I built my standing not early' turns to life's lament; it ends with 'Human life is not metal or stone' and 'In a breath we follow things and perish' writing life's frailty to the utmost, finally closing on 'hold glorious fame as the treasure', turning the sense of void into the positive self-urging of building virtue and name. The language is plain yet the thought deep; taste and feeling blend, a model of the Nineteen Old Poems' 'meaning without end'.

【白话串讲】 “回车驾言迈，悠悠涉长道。四顾何茫茫，东风摇百草”——调转车马远行，四顾茫茫。“所遇无故物，焉得不速老”——看到的一切都不是旧物，人怎么能不老？“人生非金石”——人生不是金石。【意象与手法】本诗以行旅起兴，由景及理，结构自然。开篇「回车驾言迈，悠悠涉长道」叙事点题，「四顾何茫茫，东风摇百草」以苍茫远景与摇草细节写行旅之孤寂，景中寓情；「所遇无故物，焉得不速老」由物变悟人老，过渡巧妙；中段「盛衰各有时，立身苦不早」转入人生感慨；末以「人生非金石」「奄忽随物化」极写生命脆薄，终以「荣名以为宝」收束，将虚无之感化为立德立名的积极自勉。语言平浅而思致深沉，理趣与诗情交融，是《十九首》「意味无穷」的范例。【情感与主旨】《回车驾言迈》为《古诗十九首》第十三首（依李善《文选》次序）。《古诗十九首》系东汉末年下层文士所作的一组五言诗，非一人一时，反映建安前夜社会动荡、士人游宦无成、生命意识觉醒的时代心理。此诗写诗人驱车远行、见物候变迁而触发人生苦短、当及早立身、以荣名自励的感慨。东汉末年察举崩坏、宦官专权，士人功名无门，遂于行旅中寄寓「盛衰有时、立身苦晚」的焦虑，是乱世文人生命哲学的典型写照，亦开魏晋「人的觉醒」之先声。【名句点睛】中高考常考：一、意象与情景，「东风摇百草」「四顾何茫茫」如何营造苍茫孤寂之境并触发人生之慨；二、「所遇无故物，焉得不速老」由物变悟人老的过渡之妙；三、「人生非金石」「奄忽随物化」的生命哲思；四、结句「荣名以为宝」的立意，以及与《驱车上东门》及时行乐态度的比较。

Background

Turning the Carriage, I Drive On is the thirteenth of the Nineteen Old Poems (by Li Shan's Wen Xuan order). The Nineteen Old Poems are a group of five-character poems by lower-class scholars of the late Eastern Han, not one man one time, reflecting the age-psychology of social turmoil before the Jian'an era, wandering scholars with no success, and an awakening of the sense of life. This poem writes the poet driving far, moved by the changing seasons to the lament that life is short, that one should establish oneself early, and spur himself by glorious name. In the late Eastern Han, the recommendation system broke, eunuchs seized power, scholars had no gate to fame, and so in travel they lodged the anxiety of 'rise and fall have their season, bitter that standing came not early', a typical portrait of the disordered-age scholar's life-philosophy, and a precursor to the Wei-Jin 'awakening of the individual'.

《回车驾言迈》为《古诗十九首》第十三首（依李善《文选》次序）。《古诗十九首》是东汉末年下层文士所作的一组五言诗，非一人一时一地之作，反映了建安前夜社会动荡、士人游宦无成、生命意识普遍觉醒的时代心理。此诗写诗人驱车远行，于长道之上见物候变迁、故物不存，遂触发人生苦短、当及早立身、以荣名自励的感慨。东汉末年，察举制度崩坏，宦官外戚专权，仕进之途壅塞，寒门士人功名无门，辗转于游宦之路，于行旅中切身体会到生命的流逝与功业的无成，遂有「盛衰有时、立身苦晚」的焦虑。这种焦虑是乱世文人生命哲学的真实写照，也是魏晋「人的觉醒」思潮的先声——在个体生命意识觉醒之前，诗人们首先在时间之流中看清了自己，此诗正是这种觉醒在诗歌中的凝练表达。《古诗十九首》之名始见于梁萧统《文选》，其作者、年代自六朝以来聚讼纷纭，今人多以为系东汉末年（约桓灵之际至建安前）下层文士所作，历数十年积累而成，李善注《文选》亦云「并云古诗，盖不知作者」。此组诗所写，不外游子思妇、人生短促、朋友离别诸端，而皆出于游宦无成的寒士之口，故人称其为汉末士人生活的真实投影。汉代实行察举征辟之制，士人须远赴京师或州郡求举，往往游宦不归；至桓灵之世，宦官外戚专权，察举多被权贵把持，寒士仕进之路益窄，遂有「回车」「长道」之叹。此诗所写驱车远行、四顾苍茫的情景，正是无数汉末士人共同的生命经验，故能引起深广的共鸣。

Art

The poem stirs by a journey, moving from scene to principle, its structure natural. The opening 'I turn the carriage and drive on; long, long I cross the endless road' narrates and names the theme; 'I look all around, how vast and empty; the east wind sways the hundred grasses' writes the traveler's lone journey in a vast prospect and the detail of swaying grass, feeling lodged in scene; 'All I meet is nothing of the old; how can one not swiftly age' moves from the changing world to man's aging, a skillful bridge; the middle 'Rise and fall each has its season; bitter that I built my standing not early' turns to life's sigh; it closes with 'Human life is not metal or stone' and 'In a breath we follow things and perish' pushing life's frailty to the extreme, finally 'hold glorious fame as the treasure' gathering the void into the positive self-encouragement of virtue and name. Plain in language yet deep in thought; wit and poetic feeling fused, a prime instance of the Nineteen Old Poems' 'endless meaning'.

此诗以行旅起兴，由景及理，结构自然天成。开篇「回车驾言迈，悠悠涉长道」以叙事点题，一个「回车」写出行程的转折，「悠悠涉长道」以「悠悠」状道路之漫长，亦暗含心绪之茫然；「四顾何茫茫，东风摇百草」以苍茫的远景与摇动的百草写行旅之孤寂，景中寓情——「茫茫」写空间的空阔，「摇」写时间的流转，一望之下，物候已变。接着「所遇无故物，焉得不速老」由物之变悟人之老，是全文的转折枢纽；「盛衰各有时，立身苦不早」由自然规律转入人生感慨，点出「立身」之志与「不早」之憾；「人生非金石，岂能长寿考」以金石反衬人生之脆薄；末二句「奄忽随物化，荣名以为宝」以「奄忽」写生命之倏忽，终以「荣名以为宝」收束，将虚无之感化为立德立名、及时自勉的积极态度。全诗语言平浅而思致深沉，景、理、情层层递进，是《十九首》「深衷浅貌、语短情长」的典范。全诗十六句，章法为「起—承—转—合」：起二句叙事点题，承二句写景寓情，至此皆行旅之景；「所遇无故物，焉得不速老」一转，由物变转入人老，是全诗枢纽；「盛衰各有时，立身苦不早」再进一层，由「老」而及「立身」；「人生非金石，岂能长寿考」三转，由立身之憾逼出生命之脆；末二句「奄忽随物化，荣名以为宝」合拢全篇，以荣名收束，卒章显志。句式上，诗中反诘（「焉得」「岂能」）与直陈（「各有时」「以为宝」）交替，议论中不失情韵；「悠悠」「茫茫」叠字起兴，「速老」「长寿考」「奄忽」层层逼紧，节奏由舒缓而急促，与情感的渐次激越相应。

Allusions

The phrase 'I turn the carriage and drive on' borrows a Book of Songs line pattern ('yan' is a particle, as in 'I drive and go wandering' of Bei Feng's Spring Water); 'drive on' means to go, clearly showing the old poems' absorption of the Songs' diction. 'Human life is not metal or stone' reverses the Laozi idea that 'metal and stone endure', using their firmness to set off life's frailty. 'Glorious fame' comes from the Han scholars' esteem for the 'three immortalities' (virtue, merit, words); 'hold glorious fame as the treasure' is that idea poeticized. The allusions melt without trace, all touching the thought of life and fame, embodying the Han five-character's character of 'deep feeling in plain form'.

此诗用典融化无痕，皆关生命与功名之思。「回车驾言迈」化用《诗经》句式：「言」为语助词，无实义，如《邶风·泉水》「驾言出游」、《卫风·氓》「静言思之」，古诗承其句法，使五言句古雅有致；「迈」训行，与《诗》「行迈靡靡」（《王风·黍离》）一脉相承，暗含行路迟迟的苍茫之感。「人生非金石」反用《老子》「金石长久」之喻——老子以金石喻长久，诗人反其意而用之，谓人生不如金石之坚，反衬生命之脆薄，是「翻案」用典的早期范例。「荣名」一词语出汉世士人重「不朽」的观念，《左传》三不朽（立德、立功、立言）至汉世演为荣名之思，诗中「荣名以为宝」正是这一思想的诗化表达。全诗用典不着痕迹，深衷浅貌，体现汉末五言诗融经史于常语的特色。「驾言迈」之「言」承《诗经》「驾言出游」「静言思之」等句，为无义语助，然其古雅之趣正是《十九首》「深衷浅貌」的语言底色；「行迈」连用亦见《王风·黍离》「行迈靡靡，中心摇摇」，写行路之缓与心之摇荡，此处「驾言迈」遥接此意。「人生非金石」一句，《古诗十九首》他篇（如《驱车上东门》「人生忽如寄，寿无金石固」）亦反复出现，可见「金石」之喻为汉末士人共同的语汇，其源或出于《老子》「夫物芸芸」与「金石」恒久之喻，而诗人反用之以写人生之脆。「荣名」二字，上承《左传》三不朽，下开建安「文章不朽」之论，是汉末士人生命价值观的诗化凝缩，全诗用典化用无痕，浑然天成。

Commentary

Liu Xie's Wen Xin Diao Long speaks of them as a whole as seamless; Zhong Rong's Shi Pin places the Nineteen Old Poems in the 'top grade', saying 'the language is gentle and fair, the meaning sad and far, soul-shaking, almost a thousand gold per word'. The modern Ye Jiaying says of this poem 'from the change of scene it drives straight at life's uncertainty, finally resting in glorious fame as the treasure, a typical late-Han scholar's self-examination of life'.

《古诗十九首》在文学史上地位极高，刘勰《文心雕龙·明诗》称其「结体散文，直而不野，婉转附物，怊怅切情」，统言其浑成之美；钟嵘《诗品》置《古诗》于「上品」，谓「文温以丽，意悲而远，惊心动魄，可谓几乎一字千金」，尤重其言浅意深、感人至深的力量。《回车驾言迈》一篇，正是这种评价的绝佳注脚：全诗十六句，无一奇字僻典，而把行旅的苍茫、物候的变迁、生命的短促、立身的焦虑、荣名的自勉层层写出，情理兼胜。今人叶嘉莹评此诗「由景物的变迁直逼生命的无常，最终归于荣名之宝，是汉末文人生命反省的典型」，可谓探骊得珠。与《驱车上东门》的及时行乐相比，此诗以荣名自励，见出汉末士人面对生命短促的另一种姿态——不流于颓放，而以立德立名超越死亡，这种「向死而生」的精神，正是《十九首》高出一般感伤之作的地方。《文选》卷二十九收《古诗十九首》，李善注谓「古诗，盖不知作者，或云枚乘，疑不能明」，然自钟嵘《诗品》定其为「上品」以来，历代评论不绝。刘勰《文心雕龙·明诗》谓古诗「观其结体散文，直而不野，婉转附物，怊怅切情，实五言之冠冕也」，此评虽统论十九首，而《回车驾言迈》一篇最足当之：其叙事之直而不野、说理之婉转附物、抒情之怊怅切情，皆臻极诣。近人朱自清《古诗十九首释》、叶嘉莹《汉魏六朝诗讲录》皆专章论此诗，叶氏更以「由景物之变迁直逼生命之无常」为全诗血脉。此诗与《涉江采芙蓉》《明月皎夜光》等同为十九首中「士人感怀」一类的代表，其「荣名」之思，实为建安诗人「建功立业」意识的先声。

Prosody

Form Old Poem (Eastern Han five-character verse)古诗（东汉五言诗）

Rhyme road, grass, old, early, endure, treasure (you, xiao, hao merged rhyme). Five-character, not bound to strict regulated rhyme道、草、老、早、考、宝（幽、宵、豪通韵），五言古体，不依严格官韵

Tone pattern Five-character, natural level-oblique, first and third characters free, ancient form五言自然平仄，以音节自然为主，一三不论、二四分明者少，古体自由

Reading note One of the Nineteen Old Poems; ancient, untrammeled, wit and feeling fused.《回车驾言迈》为东汉五言古诗，属《古诗十九首》之一。古体诗不受近体平仄、对仗的严格约束，此诗十六句，句句五言，以「二、三」为基本音节单位，读来从容匀称，如「回车/驾言迈」「悠悠/涉长道」，节奏平缓而富余韵。在用韵上，古体诗不依严格的官韵，此诗「道、草、老、早、考、宝」等韵字，大体属于幽、宵、豪等韵部的通押，或句句押韵（如「道—草」）、或隔句押韵，自由流转，无近体的一韵到底之严，正见汉诗用韵的宽泛自然。全诗平仄不究，然声调自然谐和：开篇叙事，音节舒缓；中段反诘议论（「焉得不速老」「岂能长寿考」），声调顿挫；结句「奄忽随物化，荣名以为宝」以「宝」字收束，铿然有力。这种以内容情调驭声律的做法，是汉魏古诗「天然去雕饰」的声律美学，对后世五言诗的声律探索（如曹植、阮籍）影响深远。

Line by line

回车驾言迈，悠悠涉长道

I turn the carriage and drive on; long, long I cross the endless road.

回转车头，驾着马儿启程，悠远地跋涉在漫漫长道上。

I turn the chariot and drive on, faring endlessly along the long road.

起笔以叙事开篇，「回车」点出此行的转折——或因前程受挫、或因道路改易，诗人掉转车头重新上路；「驾言迈」承《诗经》「驾言出游」之句法，古雅而从容，「迈」字写出前行的不断延续。「悠悠涉长道」是全篇的定调之句：「悠悠」既写道路之漫长无尽，亦写心绪之茫无归着，一语双关；「涉」字本用于涉水，移以写陆路之行，更添跋涉的艰辛感。两句写行旅而不止于行旅，长道悠悠、前途茫茫，正是游宦无成的寒士人生处境的象征，为下文「四顾茫茫」「所遇无故物」的苍茫之感预埋了伏笔，起笔即定全诗苍茫孤寂的基调。

The poem opens on the road. I turn the chariot and drive on, faring endlessly along the long road. The turn of the chariot is a change of course, and the endless road is the metaphor: a life spent wandering without arrival. The word faring (wading, though on land) gives the walking the labor of crossing water. To have described a long journey would be travel; the turned chariot on the endless road is the life.

四顾何茫茫，东风摇百草

I look all around, how vast and empty; the east wind sways the hundred grasses.

四下回望，一片苍茫无际，东风吹动百草。

I look around, how vast the distance; the east wind stirs the hundred grasses.

「四顾何茫茫」以问叹之语写放眼四望之景：「茫茫」状田野之空旷无垠，更状心绪之无所依托，空间之苍茫与心境之茫然合而为一；「何」字以感叹强化语气，如闻诗人临风长叹之声。「东风摇百草」以一「摇」字写尽物候的变迁：东风即春风，春风一起，百草摇动，草木由枯而荣、由荣而枯的循环正在眼前上演。一个「摇」字既是实写草之动摇，亦暗含时光之摇荡、生命之摇落，动感中见苍凉。两句一远一近、一静一动，以苍茫远景与摇草细节写行旅之孤寂，景中寓情，触发下文由物变而悟人老的感慨，是全诗由景入理的枢纽。

The look around. I look out, how vast the distance; the east wind stirs the hundred grasses. The vastness is both the landscape and the mind: nothing familiar, nowhere to rest. The wind stirring the grasses is the season turning. The two images (vastness, moving grass) are the traveler's unease. To have said the countryside was empty and the grass was blowing would be scenery; the vast look and the wind-stirred grasses are the unease.

所遇无故物，焉得不速老

All I meet is nothing of the old; how can one not swiftly age?

一路所遇再没有旧时的景物，怎不让人迅速衰老？

Nothing I meet is the old thing; how could I not grow old quickly?

此二句是全诗的转折枢纽，由景物的变迁直逼生命的衰老。「所遇无故物」写行旅所见：旧时的景物已荡然无存，一切都已翻新——物尚如此，何况于人？「焉得不速老」以反诘语气出之，谓面对如此剧烈的物变，人怎能不迅速地衰老。一个「速」字写出衰老之快、之无可避免，充满紧迫感。此句的深刻之处在于：它不是抽象的感叹，而是由「无故物」的具体观察推导而来，物变人老，如影随形，逻辑严整而情感充沛。由物及人、由景入理，过渡自然无痕，正是《十九首》「深衷浅貌」的典型笔法，理趣盎然而不失诗意。

The deduction. Nothing I meet is the old thing; how could I not grow old quickly? The reasoning is the poem's method: the world has renewed itself, and the traveler has not. The rhetorical question admits no answer. To have said everything was new and I felt old would be a feeling; the absence of old things and the forced quick aging are the feeling.

人生非金石，岂能长寿考

Man is not metal or stone; how could he live forever?

人生并非金石般坚固，岂能长久地高寿？

Man is not metal or stone; how could he live to a great age?

「人生非金石」以金石之坚固反衬人生之脆薄，是汉诗中反复出现的经典比喻。「金」指金属之坚，「石」指山石之久，皆以坚固持久著称；诗人反用其意，谓人非金石，不能如金石般长久。「岂能长寿考」以反诘句式出之，「长寿考」即长久高寿之意，「考」训老、寿。两句以「非—岂能」的否定加反诘，把人生之有限写得斩钉截铁，不留余地。此句承前文「焉得不速老」而来，由「速老」进而写「难寿」，层层递进，把生命的脆弱推到极处，为结句「奄忽随物化」的倏忽之叹蓄足势能，也逼出「荣名以为宝」的积极归宿。

The second premise. Man is not metal or stone; how could he live to a great age? The hardness of metal and stone is the standard against which human frailty is measured. The question repeats the poem's method: a fact stated, then turned into an inevitability. To have said men are mortal would be a truism; the not-metal-not-stone and the rhetorical question about long life are the truism's force.

奄忽随物化，荣名以为宝

In a breath we follow things and perish; hold glorious fame as the treasure.

倏忽之间便随万物化去，唯有荣名值得当作珍宝。

In a flash I shall pass away with all things; let honorable fame be my treasure.

末二句是全诗情感与哲思的总收束。「奄忽」训迅疾，状生命之倏忽即逝，与前文「速老」呼应，把人生的短暂推到顶点；「随物化」本《庄子》「化」之思想，谓人终将与万物同归于尽，一「随」字写出个体在自然大化面前的渺小与无奈。然而诗人不就此陷入虚无，笔锋一转，「荣名以为宝」以「宝」字立起全篇的价值归依：既然生命倏忽难久，则唯有立德立名、以荣名传世，方能超越死亡、获得永恒。由悲到勉，一跌一起，将虚无之感化为积极自励的力量，结得斩截有力。此二句是汉末士人「向死而生」生命哲学的凝练表达，亦见《十九首》于感伤之中自有其刚健的精神底色。

The conclusion. In a flash I shall pass away with all things; let honorable fame be my treasure. The suddenness is the climax of the mortality argument, and the turn to fame is the poem's answer: since the body vanishes, only reputation endures. The treasure is the chosen value. To have said we should seek fame since life is short would be a maxim; the flash of dissolution and the treasure of honorable fame are the maxim.

Study

Word focus

言 The word 'yan' is a particle with no lexical meaning, as in the Book of Songs; 'I drive on' reads smoother and more archaic for it, showing the old poems' inheritance of the Songs' diction. 「回车驾言迈」之「言」为语助词，无实义，其作用是调整音节、凑足五言，并使句式古雅。此字承《诗经》句法而来：《邶风·泉水》「驾言出游」、《邶风·柏舟》「静言思之」、《卫风·氓》「言既遂矣」，皆以「言」为发语或语助。古诗十九首大量吸收《诗经》语汇句法，「言」字即其一例，使文人五言在民歌的清新之外，兼得经典的雅正。此字虽无实义，却非可有可无：删去则「回车驾迈」不成句读，音节亦失其从容；保留则五言句式完整，读来有「一唱三叹」之致。以虚字入诗而增古意，正是汉诗炼字的高妙处，也见出《十九首》对《诗经》传统的自觉承继。

焉得 'How can one not' is a rhetorical 'how could one fail to'; it presses the inevitability of aging from the world's change, a worried, urgent accent. 「焉得不速老」之「焉得」意为怎得、怎么能，是反诘之辞。诗人不用陈述语气说「必然速老」，而以反诘出之，语气更加强烈，情感的张力更足——「焉得不速老」比「必当速老」多一层不容辩驳的力度，仿佛面对物变，衰老之必然已无可置疑。反诘之中还暗含不甘与无奈：诗人何尝愿意速老？只是物变如此，无可奈何。「焉得」二字将「速老」的必然与诗人的不甘一并写出，声情并作。此字在《十九首》中屡见（如「焉得不成双」），是汉诗以虚词传情的常见手法，浅白而有力，正见汉人炼字于平常处见精神的特点。

奄忽 'In a breath' means in a sudden moment; it writes life's swift passing from being to perishing, the single word that weights the poem's mortality. 「奄忽随物化」之「奄忽」训迅疾、倏忽，写生命消逝之快，是此诗炼字的点睛处。与「速老」之「速」相比，「奄忽」更强调刹那之间的骤变：不是渐次衰老，而是倏忽之间便随万物化去，死亡的突然性、不可预期性尽在其中。「奄忽」为汉魏诗常用之词（如《焦仲卿妻》「奄奄黄昏后」），此字音短促、义迅疾，读来有急管繁弦之感，与「随物化」的苍茫相配，倍增人生须臾的紧迫感。此字与「金石」对举：金石之久与奄忽之速，一恒一瞬，对照鲜明，把生命之脆薄写足，为「荣名以为宝」的抉择提供了最有力的动因，是理解全诗逻辑枢纽的关键字。

荣名 'Glorious fame' means honored name; 'hold glorious fame as the treasure' turns the void of mortality into the positive self-urging of virtue and lasting name, the poem's closing anchor. 「荣名以为宝」之「荣名」意为荣誉、功名，即美名传世，是此诗的价值归依所在。汉世士人继承《左传》三不朽（立德、立功、立言）的思想，以声名不朽为超越死亡的方式，「荣名」一词正是这种「不朽」观念的诗化表达。诗人面对人生非金石、奄忽随物化的宿命，不取及时行乐之颓放，而取「荣名以为宝」的自勉，以「宝」字把荣名置于至高无上的位置——人生可逝，荣名不灭，立德立名成为对抗时间的方式。此字使全诗由哀伤转入刚健，由虚无转为自励，是理解汉末士人生命哲学的关键词。后世曹丕「年寿有时而尽，荣乐止乎其身，二者必至之常期，未若文章之无穷」之论，正与此一脉相承。