南北朝 Northern and Southern Dynasties · 诗 Poem
暂使下都
Sent Briefly Down to the Capital
大江流日夜，孤舟聊暂因。
云霓纷飒沓，倚棹见重阁。
日华川上动，风光草际浮。
徒念关山远，终知反路长。
秋河曙耿耿，寒渚夜苍苍。
引领见京室，宫雉正相望。
金波丽鳷鹊，玉绳低建章。
驱车鼎门外，思见昭丘阳。
驰晖不可接，何况隔两乡。
风云有鸟路，江汉限无梁。
常恐鹰隼击，时菊委严霜。
寄言罻罗者，寥廓已高翔。
Rainbow clouds gather thick and swift; leaning on the oar I see the tiered towers.
The brightness of the sun quivers on the stream; the light of the wind floats over the grass.
In vain I think how far the passes and hills; at last I know how long the road back.
The autumn River of Heaven glimmers toward dawn; the cold islets lie grey through the night.
I crane my neck and see the chambers of the capital; the palace battlements gaze back at me.
Golden waves gild the Zhique Tower; the Jade Cord star hangs low over Jianzhang.
I drive my carriage beyond the Ding Gate, longing to see again the sunlight on Zhao's mound.
The racing radiance cannot be overtaken—how much less, with two countries between us.
Through wind and cloud there is a road for birds, but the Jiang and the Han allow no bridge.
Ever I fear the strike of hawk and falcon, the season's chrysanthemum falling to harsh frost.
Send word to those who spread the fowler's net: into the boundless void I have already flown high.
Meaning
The great river runs on day and night, and my lone boat moors here for a while. Rainbow clouds drift thick and fast, and leaning on the oar I see the tiered towers far off. The brightness of the sun dances on the water, and the light of the wind floats over the tips of the grass. In vain I think how distant the passes and hills are, and at last I know how long the road home will be. Toward dawn the autumn River of Heaven glimmers, and through the night the cold islets lie grey. Craning my neck I see the palaces of the capital, whose battlements gaze back at me from far away. Golden moonlight makes the Zhique Tower shine, and the Jade Cord star hangs low over the Jianzhang Palace. I drive my carriage out beyond the Ding Gate, longing to see once more the sunlight on Zhao's mound. The racing light of the sun cannot be caught up with, still less when two countries lie between. Through wind and cloud there is a road for birds to fly, but the Jiang and the Han set a barrier where no bridge stands. Always I fear the strike of hawk and falcon, and the chrysanthemum of the season withering under harsh frost. Send word to the man who spreads the fowler's net: I have already flown high into the boundless sky.
大江日夜奔流不息，孤舟暂且依泊于此。云霓纷纷飘洒，倚棹遥见重重楼阁。日华在川上跃动，风光在草际轻浮。空自念及关山遥远，终知归返之路漫长。秋夜银河曙光耿耿，寒洲夜色苍苍。引颈远望京城宫室，宫墙雉堞正遥遥相望。金波使鳷鹊观生辉，玉绳星低垂建章。驱车出了鼎门之外，思念再见昭丘的阳光。驰逝的光阴不可追接，何况又隔在两乡。风云中自有飞鸟之路，江汉却限以无桥。常恐鹰隼击来，秋菊委落于严霜。寄语那张网罗的人：我已高飞于寥廓之上。
Appreciation
Xie Tiao wrote this on being sent from the western headquarters at Jingzhou down to the capital, and it fuses travel record, landscape, feeling and veiled statement in a single piece. The description is remarkably fine: 'The brightness of the sun quivers on the stream; the light of the wind floats over the grass' brings water-light and wind-colour alive with two verbs, and has always been counted a famous couplet, while 'Golden waves gild the Zhique Tower; the Jade Cord star hangs low over Jianzhang' renders the magnificence of the capital palaces in exactly matched parallel. Structurally the poem moves from what is seen from the boat into the capital itself, and then turns at the Ding Gate into fear of the hawk's strike, so that the brighter the scene grows the more precarious the heart becomes. The language is fresh and smoothly turning, already close to Tang regulated verse, and shows the Yongming manner at its best, both fully opened to sound and colour and rounded and flowing.
【白话串讲】 “大江流日夜，孤舟聊暂因”——谢朓暂住下都：长江日夜奔流，孤舟暂泊。“徒念关山远，终知反路长”——想念远方的关山，回去的路却很长。 【意象与手法】 此诗融纪行、写景、抒情、寄托于一炉，以舟行京华之途为线索层层铺展。写景尤工，「日华川上动，风光草际浮」以「动」「浮」二字写活水光风色，向称名句；「金波丽鳷鹊，玉绳低建章」状京城宫阙之壮丽，对仗精切。章法上由舟行所见渐入京邑，再由「驱车鼎门外」转出「常恐鹰隼击」的忧惧，景愈丽而心愈危，以乐景反衬忧思，结于「寥廓已高翔」的超脱。语言清新流转，已具唐律雏形，体现永明体「声色大开」而又「圆美流转」的特质，是谢朓纪行诗中的代表作。 【情感与主旨】 谢朓（464—499），南齐「永明体」代表诗人。此诗作于齐建武年间，谢朓由荆州随王府奉使还都建康，途中夜泊新林，赠西府同僚。时竟陵王萧子良已殁，随王萧子隆亦将离荆，谢朓预感京邑政治险恶、前途未卜，故于纪行中暗藏忧谗畏讥之惧。末「常恐鹰隼击」「寄言罻罗者」正是此种心境的夫子自道，既写羁旅飘零之思，又寄明哲保身之旨，是其「清丽」诗风中的沉郁之作。 【名句点睛】 「日华川上动，风光草际浮」以「动」「浮」二字写活水光风色，静景动写，向称名句；「常恐鹰隼击，时菊委严霜」以鹰隼喻谗人、以秋菊自比，沉郁顿挫；结句「寄言罻罗者，寥廓已高翔」超脱高迈，明哲保身之旨尽在其中。此诗为南北朝谢朓之作，精要赏析详见下方深度赏析。
Background
Xie Tiao (464-499) was the representative poet of the Yongming style under the Southern Qi. This poem was written in the Jianwu years, when Xie Tiao, then a literary officer in the establishment of the Prince of Sui at Jingzhou, was sent on commission back to the capital at Jiankang; he set out by night from Xinlin for the capital and presented the poem to his colleagues at the western headquarters. By then the Prince of Jingling, Xiao Ziliang, was dead, and Xiao Zilong, Prince of Sui, was also about to leave Jingzhou; Xie Tiao sensed that the politics of the capital were dangerous and his own future uncertain, and so hid a fear of slander and censure inside a travel poem. The closing lines about ever fearing the strike of hawk and falcon and sending word to those who spread the fowler's net are precisely his own account of that state of mind, and make this a brooding work within his generally clear and beautiful style.
谢朓（464—499），字玄晖，陈郡阳夏人，南齐永明体代表诗人，与沈约、王融等共游竟陵王萧子良西邸，世称竟陵八友。此诗作于齐明帝建武年间，谢朓时为随王萧子隆镇西功曹、文学，随府荆州；后奉敕还都，由新林夜渡，赴京邑建康，途中作此诗赠西府同僚，题中「下都」即指建康。其时政治风云突变：永明末竟陵王萧子良已薨，齐明帝萧鸾以宗室篡立，大戮高武子孙，随王萧子隆亦将离荆州入京，恐遭不测；谢朓奉使还都，置身党争漩涡，预感京邑险恶、前途未卜。故全诗以纪行为表，实寄忧谗畏讥之怀——末段「常恐鹰隼击，时菊委严霜」以鹰隼喻谗人构陷，以秋菊自比将委严霜；结句「寄言罻罗者，寥廓已高翔」自明远离祸网之志，正是此种心境的夫子自道。此诗是谢朓身世际遇的缩影，亦南齐政治高压下文士心理的真实写照，在其「清丽」诗风中别具沉郁一格。后谢朓果以党争牵连下狱死，年仅三十六，诗中之惧竟成谶语，读来尤令人慨叹。
Art
The poem fuses travel record, landscape, feeling and veiled statement in one vessel. The description is especially skilled: 'The brightness of the sun quivers on the stream; the light of the wind floats over the grass' uses two verbs to bring water-light and wind-colour to life, and has always been reckoned a famous couplet; 'Golden waves gild the Zhique Tower; the Jade Cord star hangs low over Jianzhang' renders the magnificence of the capital palaces, with parallelism finely cut. In structure it moves from what the boat passes gradually into the capital, and then from 'I drive my carriage beyond the Ding Gate' turns out into the fear of 'Ever I fear the strike of hawk and falcon', so that the more beautiful the scene the more perilous the heart, and a happy prospect sets off an anxious mind. The language is fresh and fluent and already contains the germ of Tang regulated verse, embodying the Yongming quality of full sound and colour joined to rounded and flowing beauty.
此诗融纪行、写景、抒情、寄托于一炉，章法以舟行京途为经、以心绪变化为纬，由江行夜泊写到京阙在望，再转入忧谗惧祸的内心剖白，最后以高翔远举自解，一线贯通而波澜层叠。写景尤工：「日华川上动，风光草际浮」以「动」「浮」二字写活水光风色——日影在江波上跃动，光风在草际间轻浮，静景动写，向称名句；「金波丽鳷鹊，玉绳低建章」以金波、玉绳状星月之光，「丽」「低」二字写宫阙之壮丽与夜色之深，对仗精切，气象宏丽。章法上由舟行所见渐入京邑，再由「驱车鼎门外，思见昭丘阳」的怀旧转出「常恐鹰隼击」的忧惧，景愈丽而心愈危，以乐景反衬忧思，深得比兴之旨。语言清新流转、声调浏亮，已具唐律雏形；通篇偶对渐多而转折自如，体现永明体「声色大开」而又「圆美流转」的特质。全诗纪行而不滞于景，写景而不离乎情，寄意深微，是其「清丽」诗风中沉郁与超旷并见的一篇。
Allusions
Zhique and Jianzhang are both names of Han palace buildings, used here for the palaces of Jiankang. Zhao's mound is the tomb of King Zhao of Chu, by which Xie Tiao uses the land of Chu to stand for his former travels in Jing and Xiang. The strike of hawk and falcon comes from the Book of Songs, Lesser Odes, where hawk and falcon fly high to heaven, and figures the plotting of small men; the fowler's net is a small net for catching birds and figures the disaster of being trapped by intrigue. 'Into the boundless void I have already flown high' transforms the line in the Songs of Chu, Nine Arguments, where the phoenix soars all the higher, and declares that the poet will fly high and escape harm. Each allusion has its particular reference and fits his situation exactly, showing the Yongming poets' gift for allusion that is easy to recognise.
此诗用典密合身世，各有所指。其一，「鳷鹊」「建章」皆汉代宫观名——鳷鹊观、建章宫为汉长安著名宫阙，谢朓借以指代建康宫室，以汉京喻南朝帝都，写京阙之壮丽，亦暗含对新朝气象的观望；「金波」本指月光，《汉书·礼乐志》有「月穆穆以金波」之语，「玉绳」为星名，皆承汉乐府与天文意象而来。其二，「昭丘」指楚昭王墓，在今湖北当阳，谢朓以楚地自喻荆襄旧游，出鼎门（洛阳城门名，借指建康城门）而思昭丘，点出西府荆州与京邑的两地之思。其三，「鹰隼击」暗用《诗经·小雅》「鴥彼飞隼，其飞戾天」之意，喻小人构陷之祸，而「时菊委严霜」以秋菊委霜自伤，兼含《楚辞》香草之喻。其四，「罻罗」为捕鸟小网，出《礼记·王制》「鸠化为鹰……设罻罗」，喻罗织罪名的政敌；「寥廓已高翔」化用《楚辞·九辩》「凤愈飘翔而高举」，自明远离祸网、高飞远举之志。典故皆取之经籍楚骚，转以自况，密合身世，见永明诗人「易见事」而「用事不使人觉」之长。
Commentary
Shen Yue said that 'in two hundred years there has been no such poetry', praising Xie Tiao to the utmost. Li Bai's line about the man who could say that the clear river is as still as unbleached silk, and who therefore made him remember Xie Xuanhui for ever, shows how completely he admired him. Yan Yu of the Song, in Canglang's Remarks on Poetry, placed Xie Tiao at the head of the Tang manner. Sources of Ancient Poetry includes this piece and praises it as first among the clear and beautiful. The Selections of Refined Literature also includes it, with Li Shan's full annotation of the palace allusions. Wang Fuzhi said of the lines about sending word to those who spread the fowler's net that their 'lodged meaning is deep and subtle, and they attain the purpose of the poets of the Airs'. This poem of Xie Tiao's in fact opens both the Tang tune of regulated verse and the Tang line of travel and landscape writing.
谢朓此诗在南朝即享盛名。沈约读其诗，叹为「二百年来无此诗」，极推谢朓；梁武帝萧衍亦云「三日不读谢诗，便觉口臭」，可见时誉之隆。后世评家尤重此篇：宋严羽《沧浪诗话》谓谢朓之诗「已有全篇似唐人者」，列为唐风之先；清沈德潜《古诗源》录此篇，赏其「清丽居宗」；《文选》亦录之，李善详注其宫观诸典。李白于朓诗倾心不已，「解道澄江净如练，令人长忆谢玄晖」直以玄晖自比，其「清水出芙蓉」之论正由谢朓清丽一路而来。王夫之评「寄言罻罗者」数句「托意深微，得风人之旨」，点出其比兴之深。此诗实开唐人律调与纪行写景一路：五言八句的偶对趋向、情景交融的写法、以行旅写心境的模式，皆在盛唐律诗与纪行诗中得到回响。永明体的声律试验、谢朓的清丽诗风，于此篇中皆有典型呈现，故论南北朝诗，此作是不可或缺的枢纽。今日读之，犹能于清词丽句中想见南朝文士临渊履薄之态，其文学与人生交织的深度，正是其跨越千载而常读常新的根本原因。
Prosody
Line by line
大江流日夜，孤舟聊暂因。
The great river flows day and night; my lonely boat finds brief harbor here.
大江日夜奔流不息，孤舟暂且依泊于此，起笔即见壮阔与飘零。
The great river flows on day and night; my lonely boat rests briefly here.
起笔两句为全诗定调，以大江与孤舟对举，立见壮阔与飘零并存之境。「大江流日夜」写长江不舍昼夜、奔流不息，横贯空间、纵贯时间，气象开张，化用《论语》「逝者如斯夫」之意而更见浩荡；「孤舟聊暂因」写一叶孤舟暂且依泊于江畔，「聊」字见出随遇而安的勉强，「暂」字点明此泊非终、前路未定，羁旅无依之感油然而生。大江之永恒流动与孤舟之暂泊不定形成强烈对照：江水日夜如斯，而舟人前程渺茫，壮阔的时空背景反衬出个体的渺小与漂泊。两句一阔一狭、一动一静、一恒一暂，以对仗起笔，音节浏亮，已见永明体炼句之工。此联不仅写眼前江景，更为全诗「徒念关山远」「常恐鹰隼击」的忧惧与「寥廓已高翔」的超脱埋下伏笔，是全篇情感与章法的总起。
The river. The great river flows day and night; my lonely boat finds brief harbor here. The great-river-flows-day-night and the lonely-boat-brief-harbor are the opening. To have flowed day and night would be a flowing; the the-great-river-flows-day-and-night-my-lonely-boat-finds-brief-harbor-here is the flowing.
日华川上动，风光草际浮。
Sunlight quivers on the river; wind-light floats above the grasses.
日华在川上跃动，风光在草际轻浮，以「动」「浮」二字写活水光风色。
Sunlight stirs on the river; wind-light floats at the edge of the grass.
此联为全诗写景名句，以「动」「浮」二字写活水光风色，向称画工之笔。「日华川上动」写日光映照江面，光波随水流动，一个「动」字使静态的日影化为跃动的光流；「风光草际浮」写和风拂过草尖，光影在草际间轻轻浮动，一个「浮」字将无形的风光写得可见可触。二字皆化静为动，体物入微：日华本无动，因川流而觉其动；风光本无浮，因草际而见其浮——以物之动写光之动，以草之浮写风之浮，主客相生，意境空灵。对仗上，「日华」对「风光」，「川上」对「草际」，「动」对「浮」，工稳而不板滞，平仄相间，音节流美。此联写的是舟行新林途中清晨江畔之景，光风霁月，一片澄明，正与后文「徒念关山远」的愁思形成乐景衬哀的对照，亦见谢朓善于捕捉自然光影、以清丽之笔写景的过人之处。
The light. Sunlight quivers on the river; wind-light floats above the grasses. The sunlight-quivers-river and the wind-light-floats-grasses are the scene. To have quivered on the river would be a quivering; the sunlight-quivers-on-the-river-wind-light-floats-above-the-grasses is the quivering.
金波丽鳷鹊，玉绳低建章。
Golden moonlight gilds the Zhizhi Tower; the Jade Rope star hangs low over Jianzhang.
金波使鳷鹊观生辉，玉绳星低垂建章宫，写京城宫阙壮丽。
Golden moonlight makes the Zhizhi tower splendid; the Jade Rope star hangs low over Jianzhang palace.
此联写夜抵京邑、宫阙在望之景，借汉代宫观指建康宫殿，对仗精切，气象宏丽。「金波」指月光，《汉书·礼乐志》有「月穆穆以金波」之语，此处以金波写月光洒落宫阙，「丽」字形容词作动词，言月光使鳷鹊观焕然生辉，炼字精警；「玉绳」为北斗七星中的星名，玉绳低垂建章宫，写夜深星移、宫观高耸入云，「低」字既写星之位置，亦衬宫阙之高。鳷鹊、建章皆汉长安宫观名，借以指代建康宫室，以汉京喻帝都，气象与典重并见。对仗上，金波对玉绳、「丽」对「低」、鳷鹊对建章，色彩、亮度、方位一一相配，工绝而流转，已具唐人律句规模。此联写京阙之壮丽，正是乐景；然京华虽丽，实为险地，宫阙越高，危机越近，故紧接着「驱车鼎门外」转入忧惧，以乐景反衬忧思，深得章法之妙。
The moon. Golden moonlight gilds the Zhizhi Tower; the Jade Rope star hangs low over Jianzhang. The golden-moonlight-gilds-Zhizhi and the Jade-Rope-star-hangs-Jianzhang are the palace. To have gilded the tower would be a gilding; the golden-moonlight-gilds-the-zhizhi-tower-the-jade-rope-star-hangs-low-over-jianzhang is the gilding.
常恐鹰隼击，时菊委严霜。
Ever fearing the falcon's swoop, as autumn chives wilt under the harsh frost.
常恐鹰隼击来，秋菊委落于严霜，以鹰隼喻谗人，写忧谗惧祸之心。
Ever fearing the falcon's swoop; the autumn chives wilt under the harsh frost.
此联是全诗忧惧之情的核心，以鹰隼喻谗人构陷，以秋菊自比将委严霜，沉郁顿挫。「常恐」二字直揭心怀，一个「常」字写这种恐惧并非一时之感，而是长悬于心、无日或释；「鹰隼击」暗用《诗经·小雅》飞隼戾天之象，喻权奸之迫害如鹰隼搏击，咄咄逼人；「时菊委严霜」以秋菊凌霜而终将委落自比，兼含《楚辞》香草美人之喻——菊本高洁，严霜酷烈，正写诗人处身危境、孤芳自危的处境。两句一写迫害之烈，一写自伤之深，上句言外患，下句言内忧，对仗而意脉相连。谢朓身历竟陵王、随王相继失势之变，深知京邑政治险恶，故有此鹰隼严霜之惧；然其忧而不馁、惧而不屈，下文「寄言罻罗者，寥廓已高翔」即由此逼出，是沉郁中见风骨之笔。
The falcon. Ever fearing the falcon's swoop, as autumn chives wilt under the harsh frost. The ever-fearing-falcon-swoop and the autumn-chives-wilt-harsh-frost are the fear. To have feared the swoop would be a fearing; the ever-fearing-the-falcon's-swoop-as-autumn-chives-wilt-under-the-harsh-frost is the fearing.
寄言罻罗者，寥廓已高翔。
Tell the spreaders of the nets: I have soared beyond their reach.
寄语那张网罗的人，我已高飞于寥廓之上，结得超脱，明哲保身之旨。
Send word to the spreaders of the net: I have soared high into the vastness.
结句以明志作收，超脱高迈，是全诗忧惧的升华与解脱。「寄言罻罗者」直呼罗织陷害之人，正告之辞，凛然而不卑怯；「罻罗」为捕鸟小网，出《礼记·王制》，喻政敌罗织罪名之网，诗人以鸟自喻，将政治迫害喻为张网捕雀，形象鲜明；「寥廓已高翔」化用《楚辞·九辩》「凤愈飘翔而高举」，言己已如凤鸟展翅，高翔于寥廓苍穹之上，网罗虽密，其如我何？两句前呼后应：上句写网罗之险，下句写高翔之脱，险愈甚而脱愈决，以超旷化解忧惧，明哲保身之旨尽在其中。此结既回应全篇「孤舟」「暂因」的飘零与「常恐鹰隼击」的忧危，又翻上一层，见谢朓身处政治险境而能自持、自解、自振的人格。以「高翔」收束舟行纪事，意境由低回而开阔，余韵悠长，遂成千古名结。
The flight. Tell the spreaders of the nets: I have soared beyond their reach. The tell-spreaders-of-nets and the soared-beyond-their-reach are the close. To have soared beyond their reach would be a soaring; the tell-the-spreaders-of-the-nets-i-have-soared-beyond-their-reach is the soaring.
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Related Reading
Both come from the Southern Dynasties, and together they show the difference in flavour between literati verse and folk song.
《西洲曲》与《暂使下都》同出南朝，却代表两种截然不同的诗歌路数。《西洲曲》为南朝乐府民歌，以女子口吻写相思，四句一换韵、重章叠句，语言俚俗明快，如「海水梦悠悠，君愁我亦愁」，情感坦露而缠绵；谢朓此诗为文人纪行之作，以士人视角写羁旅京华之思，句句对仗、炼字精工，情感含蓄而深沉，如「日华川上动，风光草际浮」之清丽、「常恐鹰隼击」之忧惧。二者对读，可见南朝诗歌的两大流向：民歌之自然天籁与文人之人工雕琢。然其同处亦深：皆善以景物传情，皆以流动的意象写绵长的心绪，且《西洲曲》之「南风知我意，吹梦到西洲」与谢朓「风云有鸟路」之望风寄意，皆以自然之物通情，可互证南朝诗风之细腻。此诗与民歌一雅一俗、一凝一放，恰成南朝诗坛的双璧。
归园田居 Returning to Dwell in Garden and Field 陶渊明 · 异（异代/题材：一山水纪行一田园） Different (different periods, different subjects: a landscape travel poem beside a pastoral poem)Both write nature well; compare Xie Tiao's clear beauty with Tao Yuanming's plainness.
陶渊明《归园田居》与谢朓《暂使下都》皆善写自然，而风格迥异，正可比较晋宋之际诗风之转。陶诗写田园：「方宅十余亩，草屋八九间」「暧暧远人村，依依墟里烟」，以白描勾勒，平淡自然，不着雕饰，其自然乃是铅华洗尽后的本真；谢诗写山水：「日华川上动，风光草际浮」「金波丽鳷鹊，玉绳低建章」，以炼字敷彩，清新工丽，其自然乃是精心熔铸后的明净。陶之平淡出于胸次之旷达（归田是主动的逃逸），谢之清丽出于处境之险危（还都是被动的奉使），故陶诗平和冲淡、了无挂碍，谢诗于清丽中暗藏忧惧。题材上，一写田园隐逸，一写山水纪行；手法上，一以赋笔直陈，一以对仗写景。合观二家，可见中国山水田园诗由陶之「平淡」到谢之「清丽」的演进，亦见隐逸之志与仕宦之忧两种士人心态在诗中的投影。
哀江南赋 Lament for the South 庾信 · 异（同南北朝/体裁：一诗一赋，皆寓危惧） Different (same period, different form: a poem beside a rhapsody, both lodging fear)Xie Tiao fears slander and Yu Xin laments disorder; the two may be read together for how Southern Dynasties writers recorded danger.
谢朓《暂使下都》与庾信《哀江南赋》同出南北朝，皆以个人身世写家国危惧，而一诗一赋、一南一北、一忧谗一哀乱，正可互参南朝文人的危惧书写。谢朓身处南齐宗室内争，以「常恐鹰隼击，时菊委严霜」写忧谗畏讥，以「寄言罻罗者，寥廓已高翔」自求解脱，其惧是政治网罗下的自保之惧，忧而不怨，结于超脱；庾信身历侯景之乱与梁亡入北，以「见钟鼎于金张，闻弦歌于许史」追怀故国，以「哀江南」寄兴亡之痛，其哀是国破家亡后的沉痛之哀，哀而难已，结于悲怆。同写危惧，谢朓敛于一身之进退，庾信张于一国之兴废；同用典故，谢朓借汉宫楚丘自喻，庾信取《楚辞》招魂之旨。二作对照，可见南北朝文人在乱世中的两种姿态：谢朓之高翔远举与庾信之泣血招魂，皆是中国文学中乱世书写的重要一脉。