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明 Ming · 诗 Poem

秋望

Autumn Prospect

李梦阳

Li Mengyang

边塞frontier 壮志heroic resolve 怀古History

黄河水绕汉宫墙，河上秋风雁几行。
客子过壕追野马，将军弢箭射天狼。
黄尘古渡迷飞挽，白月横空冷战场。
闻道朔方多勇略，只今谁是郭汾阳。

The waters of the Yellow River wind about the Han palace wall;
over the river an autumn wind, and a few lines of wild geese.
The soldier crosses the moat, chasing the wild-horse haze;
the general sheathes his arrows, ready to shoot the Wolf of Heaven.
Yellow dust at the ancient ford blurs the hurrying supply trains;
a white moon lies across the sky, cold upon the battlefield.
They say the northern march has many bold and able men—
but who today is a Guo of Fenyang?

Listen

Meaning

The rolling waters of the Yellow River curl about the wall that guards the Han frontier; over the river the autumn wind blows and a few lines of wild geese pass. Soldiers on the border cross the moat in pursuit of the drifting dust of the plain, and the general gathers his arrows into the quiver, ready to shoot down the Wolf of Heaven. Yellow dust hangs over the ancient ford so that the carts and boats bringing grain can hardly be made out; a white moon lies across the sky and the empty battlefield is cold. They say the northern march has no lack of brave and resourceful commanders, but who among them today could be another Guo Ziyi?

滚滚黄河水环绕着汉家长城，河上秋风阵阵，几行大雁飞过。戍边士卒越过壕沟追逐扬起的烟尘，将军将箭收入袋中、整装待发要射落天狼。黄河古渡黄尘迷漫，飞挽粮草的车船忙乱难辨；明月横空，清冷的战场一片寂寥。听说北方多有勇略之将，只是如今谁还能是那郭子仪般的人物？

Appreciation

The whole poem keeps to its title: nothing is described but what the eye takes in from the lookout, and yet every scene gives off the chill of autumn and a heavy anxiety for the border. The opening couplet begins on a great scale, river and wall and wind and geese, open and faintly desolate; the second shows the troops making ready, valour caught in movement; the third sets the noisy dust of the ford against the silent moon on the battlefield, one bright and one dark. The last couplet passes from scene to argument and closes on a question, so that the poem moves from landscape to men and from men to policy, deep in tone and strong in spirit.

【白话串讲】 “黄河水绕汉宫墙，河上秋风雁几行”——李梦阳写边塞秋望：黄河绕着长城，秋风里大雁南飞。“闻道朔方多勇略，只今谁是郭汾阳”——听说北方多勇将，可如今谁是郭子仪？【意象与手法】全诗紧扣「秋望」二字，所写无非望中所见，而景中无不透出凄清肃杀的秋气与浓重的忧边之情。首联以大景起手，黄河、长城、秋风、飞雁，气象开阔而略带萧瑟；颔联「追野马」「射天狼」写将士整备，于动态中见勇武；颈联「黄尘古渡」与「白月战场」一闹一静、一明一暗，对照强烈；尾联由景入议，借古讽今。章法上层层推进，由景及人、由人及政，结以反诘，沉郁顿挫，风力遒上。【情感与主旨】李梦阳（1473—1530），明代前七子领袖，倡「文必秦汉，诗必盛唐」。此诗约作于弘治十三年（1500）其以户部主事奉命犒赏榆林驻军时。明代弘治间，鞑靼部屡犯西北边境，战云频仍。诗人亲历边塞，登临眺望，见黄河绕墙、秋风雁行，联想到将士秣马厉兵而朝中良将难觅，遂借「秋望」以抒御边之忧与渴求郭子仪式人物之思，是一首典型的现实关怀之作。【名句点睛】中高考命题常取两端。一是意象与意境：「黄河水绕汉宫墙」「白月横空冷战场」的边塞秋色；二是用典与情感：「射天狼」「郭汾阳」的典故与借古讽今、「只今谁是郭汾阳」的反诘之妙。

Background

Li Mengyang (1473 to 1530) was the leader of the Former Seven Masters of the Ming and urged that prose must follow the Qin and Han and poetry the High Tang. This poem was written around the thirteenth year of the Hongzhi reign, in 1500, when he was sent as a vice-director in the Ministry of Revenue to reward the garrison at Yulin. In the Hongzhi years the Tatars repeatedly raided the north-western border and war clouds gathered. Standing on the frontier himself and looking out, seeing the Yellow River curl round the wall and the wild geese ride the autumn wind, he thought of soldiers grooming their horses and sharpening their weapons while the court could find no great commander, and so used the title Autumn Prospect to voice his anxiety over the border and his longing for a man like Guo Ziyi; it is a poem of real and present concern.

李梦阳（1473—1530），字献吉，号空同子，庆阳（今甘肃庆阳）人，明代「前七子」领袖，与何景明等倡「文必秦汉，诗必盛唐」的复古主张，在明代文坛影响极大。此诗约作于弘治十三年（1500），时李梦阳以户部主事奉命犒赏榆林（今陕西榆林，明代九边重镇之一）驻军。明代中叶，北方的鞑靼部（蒙古瓦剌之后裔）屡犯西北边境：弘治年间，小王子（达延汗）多次率部南侵，河套地区（今内蒙古鄂尔多斯一带）成为明蒙拉锯的前线，边患频仍，战云密布。李梦阳亲历边塞，登临眺望：黄河绕墙、秋风雁行、士卒操练、古渡运粮，一派临战气象；然而联想朝中，良将难觅，遂借「秋望」以抒御边之忧与渴求良将之思。诗中的「汉宫墙」即明代长城（以汉喻明），「朔方」指北方边境，「郭汾阳」即唐代名将郭子仪（封汾阳郡王，曾为朔方节度使，平定安史之乱，再造唐室）——李梦阳以「只今谁是郭汾阳」的反诘，既写对当世良将的渴慕，也暗含对朝廷用人失当的隐忧，是一首将边塞写实与借古讽今熔于一炉的现实关怀之作，也是「前七子」宗唐主张（学盛唐边塞诗的雄浑与风骨）的成功实践。

Art

The whole poem keeps to its title: nothing is described but what is seen from the lookout, and yet every scene gives off the chill severity of autumn and a heavy anxiety for the frontier. The opening couplet begins on a large scale, Yellow River and long wall, autumn wind and flying geese, open in atmosphere and faintly desolate; the second couplet, with the chase across the moat and the arrow aimed at the Wolf of Heaven, shows the troops making ready and catches valour in movement; the third sets the yellow dust of the ancient ford against the white moon on the cold battlefield, one loud and one silent, one bright and one dark, in sharp contrast; the closing couplet passes from scene to argument, using the past to criticize the present. The structure advances step by step, from scene to men and from men to policy, and ends with a rhetorical question, deep-toned, halting and strong in spirit.

此诗艺术之妙，在「紧扣『秋望』、层层推进」的章法与「动静相生、借古讽今」的笔致。全诗八句，句句是「望」中所见，而景中无不透出秋气与忧情。首联「黄河水绕汉宫墙，河上秋风雁几行」以大景起手：黄河环绕长城，「绕」字写河势之蜿蜒，也暗写防线之绵长；河上秋风，大雁南飞，「几行」写雁阵之稀落，秋气萧瑟——气象开阔而略带苍凉，是「秋望」的全景。颔联「客子过壕追野马，将军弢箭射天狼」由景及人：戍卒越过壕沟追逐扬尘（「野马」指田野间升腾的雾气尘埃，一解为尘沙），将军藏箭于袋、引弓欲射天狼——「追」「射」写临战整备的紧张，于动态中见勇武，「天狼」用《楚辞·九歌·东君》「举长矢兮射天狼」之典，暗指御敌。颈联「黄尘古渡迷飞挽，白月横空冷战场」一闹一静：黄尘弥漫的古渡口，飞挽（快速运送粮草的车船）忙乱难辨，是「动」是「闹」；明月横空，清冷的战场寂寥肃杀，是「静」是「冷」——「迷」「冷」二字写尽战地的紧张与凄清，对照强烈。尾联「闻道朔方多勇略，只今谁是郭汾阳」由景入议：听说北方多勇略之将，可如今谁还能是郭子仪那般的人物？以反诘收束，借古讽今，把望中所见收拢为对国事的忧思。全诗由景及人、由人及政，层层推进，结以反诘，沉郁顿挫，风力遒上。

Allusions

There are three allusions here. The first is the Han palace wall, which on the surface means a wall of the Han but in fact means the long wall built in the north-west near Datong under the Ming, the boundary between the Ming and the Tatars; using the Han to stand for the Ming is reserved and powerful, and one text reads instead 'Han frontier wall'. The second is the Wolf of Heaven, the name of a star which the ancients held to portend invasion when it appeared, and the Songs of Chu has the line about raising the long arrow to shoot the Wolf of Heaven, so that shooting it here means beating back the invader. The third is Guo of Fenyang, that is the Tang general Guo Ziyi, once military commissioner of Shuofang, who put down the An Lushan rebellion, remade the Tang and was enfeoffed as Prince of Fenyang; the poet's question about who today could be such a man lodges his longing for a commander and his unspoken fear. The allusions are apt and never impede the flow.

此诗用典贴切自然，有三处最为关键。「汉宫墙」一作「汉边墙」，表面写汉代宫墙，实指明代长城——明代长城东起鸭绿江、西至嘉峪关，正是明与鞑靼的边界，李梦阳以「汉」代「明」，以古喻今，含蓄沉雄，暗含「汉家」的正统意识与对边患的忧思；「天狼」出《楚辞·九歌·东君》「青云衣兮白霓裳，举长矢兮射天狼」——天狼星古以为主兵侵、主盗贼（《史记·天官书》「狼角变色，多盗贼」），「射天狼」即以弓箭射向主兵灾之星，喻抗击入侵之敌，李梦阳以「将军弢箭射天狼」写将士御敌之志，用典古雅而气象雄壮；「郭汾阳」即唐代名将郭子仪——安史之乱中郭子仪任朔方节度使，收复两京，平定叛乱，封汾阳郡王，是「再造唐室」的功臣，诗人以「只今谁是郭汾阳」反诘，既写对当世良将的渴慕，也暗含对时无良将的隐忧——明代边患频仍而朝中乏将，正需郭子仪式的人物，而「谁是」一问，答在无人的沉默中。三典一以汉喻明、一以星喻敌、一以古将讽今，皆贴切自然，不碍畅达，正是「前七子」以学问为诗而不失雄浑的本色。

Commentary

The Ming Shi Bie Cai includes this poem and ranks it among the best frontier poems; Qian Zhonglian's dictionary of Yuan, Ming and Qing poetry calls it strong in spirit, generous and bleak. Wang Shizhen's Yiyuan Zhiyan said that Li Mengyang's seven-character regulated verse is grand and tragic, and this piece is the proof of it. Modern critics of the Former Seven Masters often complain of their imitation, but for this poem they generally allow that he wrote his own dynasty's border troubles in the forms of the Han and Tang, drawing feeling out of scene without falling into formula. Shen Deqian went further and said that the closing question about who today is a Guo of Fenyang has the echo of Du Fu, which shows how nearly its deep tone approaches the old master.

此诗历代评价极高，被视为明代边塞诗的杰作。《明诗别裁》录此诗并推为边塞杰作，沈德潜评「只今谁是郭汾阳」一结「有少陵遗响」，以为其沉郁处直追杜甫——李梦阳倡「诗必盛唐」，此诗之气象与风骨正见其学杜之深；王世贞《艺苑卮言》论李梦阳七律「雄浑悲壮」，此篇实为其说之证——「黄河水绕汉宫墙」的开阔、「雷声千嶂」式的雄景（此诗为「黄尘古渡迷飞挽，白月横空冷战场」的对照）皆见其雄，「只今谁是郭汾阳」的忧思又见其悲。钱仲联《元明清诗鉴赏辞典》称此诗「风力遒劲，慷慨悲凉」，点出其于雄浑之中暗藏忧患的双重品格。近人论「前七子」，每病其「摹拟」之弊（如「诗必盛唐」的机械模仿），然于此诗则多许其「以汉唐之格写本朝之边患」——李梦阳学盛唐不是拟古，而是借盛唐的雄浑笔法写明代真实的边患与忧思，由景生情、由情入政，不落空套，是「复古」而能「通变」的典范。此诗在文学史上的价值，在于它代表了明代边塞诗的最高成就：上承盛唐边塞诗（王昌龄、岑参）的雄浑，下启清代边塞诗（黄景仁、龚自珍）的忧思，是研究明代「宗唐」理论与实践关系的关键文本。

Prosody

Form Seven-character regulated verse七言律诗（七律）

Rhyme Ping-shui rhyme, lower level seven yang group (wall, geese, wolf, field, Fenyang), the first line entering the rhyme平水韵·下平七阳（墙、行、狼、场、阳），首句入韵，一韵到底，韵部洪亮开阔，正合边塞雄浑气象。

Tone pattern Level onset with the first line entering the rhyme; the middle two couplets are neatly parallel平起首句入韵式，平仄合律：平平仄仄仄平平（黄河水绕汉宫墙）……颔颈二联对仗工整（过壕对弢箭、追对射、古渡对横空、迷对冷），音节铿锵。

Reading note A work of the Ming masters who took the Tang for their model, strict in form; one text reads 'Han frontier wall' for 'Han palace wall', making the long wall explicit while still using the Han to stand for the Ming.此诗为七言律诗，是明代「前七子」宗唐（学盛唐七律，特别是杜甫）的典范之作，格律严整而气象雄浑。七律体制，首联起、颔联承、颈联转、尾联合，此诗严守章法：首联以大景起（黄河长城、秋风雁行），写「秋望」之全景；颔联承写将士整备（追野马、射天狼），由景及人；颈联转写战场之景（黄尘古渡、白月战场），由动转静；尾联合以忧思（谁是郭汾阳），由景入议，借古讽今。用韵上，全诗押下平七阳韵（墙、行、狼、场、阳），音色洪亮开阔，与黄河长城、千军万马的雄浑气象相谐；平仄上，平起首句入韵，颔颈二联对仗工整——「客子」对「将军」、「过壕」对「弢箭」、「追野马」对「射天狼」、「黄尘」对「白月」、「古渡」对「横空」、「迷飞挽」对「冷战场」，字字相对，无一失粘，可见李梦阳对七律格律的娴熟。此诗的艺术特色，在于「以盛唐之格写本朝之边患」：章法、对仗、气象皆宗杜（「黄河水绕汉宫墙」有老杜「锦江春色来天地」的句法），而「射天狼」「郭汾阳」的用典与「只今谁是」的反诘，是明代士人面对鞑靼边患的真切忧思，格律是盛唐的，忧患是明代的，这正是「前七子」复古运动「取法乎上」的成功实践，也是研究明代七律与盛唐七律关系的重要文本。

Line by line

黄河水绕汉宫墙，河上秋风雁几行

The waters of the Yellow River wind about the Han palace wall; over the river an autumn wind, and a few lines of wild geese.

滚滚黄河水环绕着汉家长城，河上秋风阵阵，几行大雁飞过。

The Yellow River winds round the Han walls; above it autumn wind, a few lines of wild geese.

首联以大景起手，是全诗「秋望」的全景镜头。「黄河水绕汉宫墙」写地——黄河滚滚，环绕着汉家的长城：「绕」字写河势之蜿蜒——黄河九曲，环绕边墙，如一条巨龙盘绕在防线之上，既写地理之实（黄河与长城在西北交汇），又暗含「防线绵长」之意；「汉宫墙」以汉喻明，含蓄地写出长城的正朔意识。「河上秋风雁几行」写时——河上秋风阵阵，几行大雁南飞：「秋风」点秋，「雁几行」写雁阵之稀——大雁南飞，正是秋深的标志，而「几行」二字写雁之稀落，暗含边地之萧瑟（连雁都飞得零落）。此联的妙处在于「以景写秋、以秋写忧」：黄河、长城、秋风、飞雁，气象开阔而略带萧瑟，正是「秋望」的总起——望中所见皆是边塞的苍茫，而苍茫之中已暗藏忧思，为全诗定下了「雄浑而含悲」的基调。

The wall. The Yellow River winds round the Han walls; above it autumn wind, a few lines of wild geese. The river around the Han wall and the few lines of geese are the opening panorama. To have opened on the Yellow River wall would be a panorama; the yellow-river-winds-round-the-Han-walls-above-it-autumn-wind-a-few-lines-of-wild-geese is the panorama.

客子过壕追野马，将军弢箭射天狼

The soldier crosses the moat, chasing the wild-horse haze; the general sheathes his arrows, ready to shoot the Wolf of Heaven.

戍边士卒越过壕沟追逐扬起的烟尘，将军将箭收入袋中、整装待发要射落天狼。

The soldier crosses the moor chasing the wild dust; the general sheathes his arrows, aiming at the Sky Wolf.

颔联由景及人，写将士临战整备，是全诗「动」的极致。「客子过壕追野马」写戍卒——戍边的士卒（客子，离家戍边之人）越过壕沟，追逐扬起的尘沙（「野马」指田野间升腾的雾气尘埃，《庄子》「野马也，尘埃也」，一说指奔马）：「过壕」写训练之勤，「追野马」写追逐之疾——尘土飞扬中，戍卒驰骋操练，一派临战的紧张；「将军弢箭射天狼」写将军——将军将箭收入袋中（「弢」是藏箭之袋，此处作动词），引弓欲射天狼：「弢箭」写整装待发（箭在袋中，引而待发），「射天狼」用《楚辞·九歌·东君》「举长矢兮射天狼」之典，以天狼星喻入侵之敌——将军之「射天狼」，正是御敌卫国的壮志。此联的妙处在于「动静对照」：戍卒之「追」是动，将军之「弢」（藏而不发）是静——追是练兵，弢是待战，一追一弢，写尽边军秣马厉兵的临战状态，勇武之气，跃然纸上。

The general. The soldier crosses the moor chasing the wild dust; the general sheathes his arrows, aiming at the Sky Wolf. The soldier chasing the dust and the general sheathing arrows to shoot the Sky Wolf are the martial couplet. To have aimed at the Sky Wolf would be an allusion; the soldier-crosses-the-moor-chasing-the-wild-dust-the-general-sheathes-his-arrows-aiming-at-the-Sky-Wolf is the allusion.

黄尘古渡迷飞挽，白月横空冷战场

Yellow dust at the ancient ford blurs the hurrying supply trains; a white moon lies across the sky, cold upon the battlefield.

黄河古渡黄尘迷漫，飞挽粮草的车船忙乱难辨；明月横空，清冷的战场一片寂寥。

Yellow dust over the old ford blinds the speeding convoys; the white moon hangs across the sky, chilling the battlefield.

颈联一闹一静、一明一暗，是全诗对照最强烈处。「黄尘古渡迷飞挽」写「闹」——黄河古渡口，黄尘迷漫，「飞挽」（飞刍挽粟，急速运送粮草的车船）忙乱难辨：「迷」字写黄尘之浓（粮草车船在尘中若隐若现，分辨不清），也写战备之忙（大军将动，粮草先行，古渡口一片忙乱）——这是「动」是「闹」，是战前的喧嚣；「白月横空冷战场」写「静」——明月横空，清冷的战场寂寥肃杀：「白月」与「黄尘」相对（一白一黄），「横空」写月之孤悬，「冷战场」写战场之清冷——「冷」字以触觉写战后（或战前）的肃杀，月照战场，清辉如水，冷寂无声。此联的妙处在于「以对照写战地」：黄尘之闹与白月之静、古渡之忙与战场之冷，一明一暗、一动一静，写尽边地昼夜之景与战事之紧张——白天是粮草飞挽的喧嚣，夜晚是月照战场的清冷，日与夜、闹与静，皆是战云密布的投影。

The ford. Yellow dust over the old ford blinds the speeding convoys; the white moon hangs across the sky, chilling the battlefield. The yellow dust of the convoys and the white cold moon are the contrast. To have contrasted dust and moon would be a contrast; the yellow-dust-over-the-old-ford-blinds-the-speeding-convoys-the-white-moon-hangs-across-the-sky-chilling-the-battlefield is the contrast.

闻道朔方多勇略，只今谁是郭汾阳

They say the northern march has many bold and able men, but who today is a Guo of Fenyang?

听说北方多有勇略之将，只是如今谁还能是那郭子仪般的人物？

I hear the north has many brave commanders; but who, today, is another Guo Fenyang?

尾联由景入议，以反诘收束，是全诗借古讽今的点睛之笔。「闻道朔方多勇略」先扬——听说北方的朔方之地，多有勇略之将：「闻道」写传闻（听人说，非亲见），「朔方」指北方边境（亦暗含郭子仪曾任朔方节度使的旧事），「多勇略」写将才之众——表面是说边地多良将，为下句的反诘蓄势；「只今谁是郭汾阳」陡转反诘——只是如今，谁还能是那郭子仪般的人物呢？「只今」写当下（今不如昔），「谁是」以问作结——问遍当世，无人能答：勇略之将虽多，而郭汾阳（平定安史、再造唐室的千古良将）安在？此联的妙处在于「借古讽今」：以郭子仪之典讽当世之乏将——明代边患频仍，而朝中无人能当郭子仪之任，反诘之中，渴慕良将之忧与对朝廷用人的隐忧，皆在不言中。结以问句，余韵悠长，正是「有少陵遗响」的沉郁顿挫。

The Guo. I hear the north has many brave commanders; but who, today, is another Guo Fenyang? The Guo Ziyi longing is the close. To have longed for another Guo Ziyi would be a question; the I-hear-the-north-has-many-brave-commanders-but-who-today-is-another-Guo-Fenyang is the question.

Study

Word focus

绕 The one word 'wind about' gives the whole force of the Yellow River curling protectively along the frontier wall; there is motion inside stillness, and it both dignifies the terrain and hints at how long the line of defence must be. 「黄河水绕汉宫墙」之「绕」字，写黄河环绕长城之势，是全诗首联的传神字。「绕」字至少有三重妙处：一是写河势之蜿蜒——黄河九曲，环绕边墙，如巨龙盘绕，一个「绕」字把河与墙的空间关系写得生动如画：不是「流」（直线的），不是「临」（静态的），而是「绕」（回环的）——河绕着墙，墙守着河，山河相依，防线绵长；二是写防线之绵长——「绕」字暗含长城之曲（长城依山势而蜿蜒，黄河绕城而行），一河一墙，互为表里，写出明代西北防线的纵深；三是写气象之雄浑——黄河之大与长城之壮，「绕」字将二者绾合为一个整体意象，起笔即是「大景」，为全诗定下雄浑的基调。若易为「临」「抱」「环」等字，或失其蜿蜒、或失其动态；唯「绕」字能同时写河势之曲与气象之雄，是李梦阳炼字「一字立骨」的典范。

弢箭 A quiver is the bag that holds arrows, and here the word is used as a verb: the general gathers his arrows and waits to loose them. It is more archaic than the commoner word for sheathing, and shows a calm bearing in the face of the enemy. 「将军弢箭射天狼」之「弢箭」，是全诗最见功力的炼字。「弢」本为藏箭之袋（《左传》「弢以藏矢」），此处作动词用，意为「把箭收入弢中」——「弢箭」不是「搭箭」（引弓欲射），而是「藏箭」（箭在弢中，引而待发）：藏而不发，正是「引而不发，跃如也」的临战状态——箭在袋中，随时可出；弓在手中，蓄势待发。此字的妙处在于「以静写动」：弢箭之「弢」是静（箭藏袋中），而「射天狼」之「射」是动（矢将离弦）——藏与射之间，是临战前最紧张的瞬间，写尽将军的从容与威势。若易为「弯弓」「搭箭」，则只写其动而失其蓄势；唯「弢箭」一词，以「藏」写「待」，把将军整装待发、引而待命的姿态写得既含蓄又雄壮，与上句「追野马」的戍卒之动形成对照，是全诗炼字最精处，也见李梦阳「以学问为诗」而能化古雅为雄浑的本领。

冷 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「白月横空冷战场」之「冷」字，以触觉写战后（或战前）战场的清冷，是全诗写「静」的诗眼。「冷」字的妙处有三：一是写月光之寒——白月横空，清辉如水，「冷」字把月光的视觉之白化为触觉之寒，月照战场，寒气袭人；二是写战场之寂——战场本是厮杀之地，而今（或战前）一片寂寥，「冷」字写尽「战场」的肃杀——不是热闹的厮杀，而是清冷的对峙，冷月之下，唯余寂静与杀机；三是写心境之肃——「冷」字是诗人望中的感受：望见月照战场，心中生寒——为将士之命运而寒，为边患之未已而寒，冷月是景，冷心是情，景情交融。此字还与上句「迷」字相对：「迷」写黄尘之乱（视觉之乱），「冷」写白月之寒（触觉之寒）——一乱一冷、一闹一静，写尽边地昼夜之景。若易为「照」「映」等字，则失其触觉与情感；唯「冷」字能以一字写尽战场的凄清与诗人的忧思，是「前七子」炼字的典范。

秋望