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清 Qing · 诗 Poem

秋心

An Autumn Heart

龚自珍

Gong Zizhen

秋心如海复如潮，但有秋魂不可招。
漠漠郁金香在臂，亭亭古玉佩当腰。
气寒西北何人剑，声满东南几处箫。
斗大明星烂无数，长天一月坠林梢。

An autumn heart like the sea, and again like the tide;
but there is an autumn soul that cannot be called back.
The vague perfume of geissospermum lies on my arm;
a fine ancient jade pendant hangs at my waist.
The air is cold in the northwest — who now carries a sword?
Sound fills the southeast — how many flutes are playing?
Bright stars as large as a dou blaze without number;
and a single moon falls from the long sky into the treetops.
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Meaning

Gong Zizhen pours a whole autumn mood into eight lines: his heart swells like the sea and the tide, yet the soul he would summon will not come; he wears only the perfume and jade of a cultured gentleman; he looks west to the frontier where no one now carries a sword, and east to a land full of flutes; and above, the stars blaze while one moon sinks into the treetops. It is the portrait of a man out of tune with his age — able, unwanted, and lonely in the sight of it.

秋心如海复如潮，但有秋魂不可招。漠漠郁金香在臂，亭亭古玉佩当腰。气寒西北何人剑，声满东南几处箫。斗大明星烂无数，长天一月坠林梢。

Appreciation

[Plain Paraphrase] The poem opens by naming its own emotion: an autumn heart as boundless as the sea and as restless as the tide, and yet the autumn soul it would summon will not answer. In place of the soul the poet wears only the emblems of a gentleman — the perfume of geissospermum on his sleeve, an ancient jade pendant at his waist. He looks to the northwest and finds no one there carrying a sword; he listens to the southeast and hears flutes rather than arms. Above him the stars blaze like grain-doubles, and one moon sinks slowly into the treetops. [Structure] The four couplets move from an inward mood to an outward scene, and each turns its own corner: feeling, then ornaments, then the public world, then the sky. Nothing develops; the poem accumulates parallel images of a single condition. [Imagery] Gong Zizhen's signature contrast is present throughout — the sword of the northwest against the flute of the southeast, blazing stars against the one falling moon. The sword stands for the option of public service, the flute for the culture that has replaced it, and the falling moon for the poet's own quiet extinction within that culture.

【白话串讲】 龚自珍写《秋心》：“秋心如海复如潮，但有秋魂不可招”——“漠漠郁金香在臂，亭亭古玉佩当腰”——“气寒西北何人剑，声满东南几处箫”——“斗大明星烂无数，长天一月坠林梢”——他写秋心——秋心如海复如潮。 【意象与手法】 “秋心如海复如潮，但有秋魂不可招”以海潮喻秋心；“漠漠郁金香在臂，亭亭古玉佩当腰”以香玉佩饰写高洁；“气寒西北何人剑，声满东南几处箫”以剑箫写文武之志；结以“斗大明星烂无数，长天一月坠林梢”以明星坠月写孤寂。意象密集、沉郁顿挫。 【情感与主旨】 感怀秋思之作，以秋心之浩茫写怀才不遇与忧时之愤，剑箫意象寄寓其既思经世又慕清狂的矛盾，是龚自珍“剑气箫心”诗风的代表。 【名句点睛】 常考“秋心如海复如潮，但有秋魂不可招”以海潮喻秋心；“气寒西北何人剑，声满东南几处箫”以剑箫写文武之志。

Background

Gong Zizhen (1792–1841), courtesy name Siren, so-called Ding'an, was from Renhe in Zhejiang; he was a thinker, poet and man of letters of the Qing. This poem belongs to a group of autumn meditations written in his thirties, when he was restless, unemployed, and moving repeatedly between the capital and his native place. His reputation rests on the collection Ding'an Collection, in which he developed what later readers called the 'sword and flute' style — the sword of his ambition to serve the state, the flute of his talent for lyric writing and his taste for the ornamental.

《秋心》为清代诗人龚自珍所作诗。龚自珍（1792—1841），字璱人，号定盦，浙江仁和人，清代思想家、诗人、文学家。此诗写感怀秋思，为秋日感怀之作。诗中「秋心如海复如潮，但有秋魂不可招」写秋心如海复如潮，但有秋魂不可招；「漠漠郁金香在臂，亭亭古玉佩当腰」写漠漠郁金香在臂，亭亭古玉佩当腰；「气寒西北何人剑，声满东南几处箫」写气寒西北何人剑，声满东南几处箫；「斗大明星烂无数，长天一月坠林梢」写斗大明星烂无数，长天一月坠林梢。龚自珍此诗以感怀秋思、长天一月坠林梢写其秋思之情，沉郁秋思，是龚自珍诗中的名篇。此篇《秋心》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《秋心》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem is a regulated octave, and its art lies in making a fixed form carry unbalanced feeling. The two central couplets are parallel constructions of striking density: 'the air is cold in the northwest — who now carries a sword?' against 'sound fills the southeast — how many flutes are playing?' The contrast is not only of object but of direction: the northwest is where the poet's work should be, the southeast where his song actually is. The last couplet changes scale entirely, from a crowded sky of stars to a single moon descending into a tree, so that the crowd and the lonely figure stand side by side. Gong Zizhen keeps his rhymes on the iao group, so every line ends on a long open vowel that does not close; the sound of the poem widens as it ends rather than resolving.

此诗艺术上以「沉郁秋思、以秋写情」见长。全诗共八句四联，由秋心如海复如潮而漠漠郁金香在臂而气寒西北何人剑。起「秋心如海复如潮，但有秋魂不可招」写秋心如海复如潮：秋心如海复如潮，但有秋魂不可招；「漠漠郁金香在臂，亭亭古玉佩当腰」写漠漠郁金香在臂：漠漠郁金香在臂，亭亭古玉佩当腰；「气寒西北何人剑，声满东南几处箫」写气寒西北何人剑：气寒西北何人剑，声满东南几处箫；结「斗大明星烂无数，长天一月坠林梢」写长天一月坠林梢：斗大明星烂无数，长天一月坠林梢。全诗以秋写情，由秋心如海复如潮而长天一月坠林梢，沉郁秋思，是龚自珍诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

'Autumn soul' (秋魂) follows the convention whereby the season is personified as a being that can be summoned; the poet's autumn mood is thus given an interlocutor, and its refusal to appear is the poem's first disappointment. 'Geissospermum perfume' (郁金香) is the fragrance said to linger on the clothes of whoever wears it, and 'ancient jade pendant' (古玉佩) is the ornament of the cultured gentleman; the classical figure is of the worthy man kept out of office precisely because he carries these about him. The fall of the moon into the treetops follows the old topos of the setting sun fading behind trees, and poem-ends that sink into the treetops became common thereafter.

诗中「秋心如海复如潮但有秋魂不可招」「漠漠郁金香在臂亭亭古玉佩当腰」「气寒西北何人剑声满东南几处箫」「斗大明星烂无数长天一月坠林梢」等语，皆含典故故实。「秋心如海复如潮但有秋魂不可招」写秋心如海复如潮但有秋魂不可招；「漠漠郁金香在臂亭亭古玉佩当腰」用郁金香、玉佩之典（郁金香写香气，玉佩写高洁），写漠漠郁金香在臂亭亭古玉佩当腰；「气寒西北何人剑声满东南几处箫」写气寒西北何人剑声满东南几处箫；「斗大明星烂无数长天一月坠林梢」写斗大明星烂无数长天一月坠林梢。诗人用郁金香、玉佩之典入诗，不着痕迹，而把感怀秋思之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

'Autumn heart' became a famous phrase after this poem, and later writers used it whenever they wanted to describe an emotion too large for its own cause. The poem's standing rests on the contrast in its middle couplets: the frontier where a sword should be, and the southeast where flutes are heard. Since the twentieth century readers have also read the poem as an allegory of the widening gap between the Qing state's rhetoric of martial vigour and a literati culture that could only sing. Whether or not that reading was intended, the eight lines remain among the best short poems of the early nineteenth century.

这首《秋心》，是龚自珍写感怀秋思之作，写秋心如海复如潮、漠漠郁金香在臂、气寒西北何人剑、长天一月坠林梢之情，沉郁秋思。起「秋心如海复如潮，但有秋魂不可招」——秋心如海复如潮，但有秋魂不可招。写秋心如海复如潮：秋心如海复如潮、但有秋魂不可招——复如潮、不可招；「漠漠郁金香在臂，亭亭古玉佩当腰」——漠漠郁金香在臂，亭亭古玉佩当腰。写漠漠郁金香在臂：漠漠郁金香在臂、亭亭古玉佩当腰——香在臂、玉当腰；「气寒西北何人剑，声满东南几处箫」——气寒西北何人剑，声满东南几处箫。写气寒西北何人剑：气寒西北何人剑、声满东南几处箫——何人剑、几处箫；结「斗大明星烂无数，长天一月坠林梢」——斗大明星烂无数，长天一月坠林梢。写长天一月坠林梢：斗大明星烂无数、长天一月坠林梢——烂无数、坠林梢。这「斗大明星烂无数，长天一月坠林梢」，是全诗之结：以长天一月坠林梢写其秋思。全诗沉郁秋思，以秋写情，正是龚自珍诗中的名篇。

Prosody

Form A regulated poem in seven characters to the line (qiyan lushi): eight lines in four ordered couplets诗（七言律诗）
Rhyme The rhymes lie on the iao group: 潮 chao, 招 zhao, 腰 yao, 箫 xiao, 梢 shao. All are level tones of the same vowel, so the poem ends each couplet on the same long open sound; the ear is left hanging, which is fitting for a poem about a mood that cannot be settled.此诗为七言律诗，共八句四联。押韵：「潮」「招」「腰」「箫」「梢」押萧部韵。首联起、颔联承、颈联转、尾联合，平仄相间，正与写感怀秋思的沉郁秋思相称，也见其以七律写秋思的工稳。
Tone pattern The first couplet opens broad and heavy — 'an autumn heart like the sea, and again like the tide' — and closes on a note that will recur at the end; the second couplet is slower still, choosing two images of restraint, perfume and jade. The third couplet is the most forceful, for two oblique-tone endings in a row make the line clipped, and the final couplet falls from many stars to one moon, closing on a level tone. The whole is a regulated poem that behaves like an irregular one.句式上，「秋心如海复如潮，但有秋魂不可招」写秋心如海复如潮，音节沉郁；「漠漠郁金香在臂，亭亭古玉佩当腰」写漠漠郁金香在臂，音节低回；「气寒西北何人剑，声满东南几处箫」写气寒西北何人剑，音节激宕；结「斗大明星烂无数，长天一月坠林梢」写长天一月坠林梢，音节苍茫。全诗音节随情起伏，由沉郁而低回、由激宕而苍茫，正合七律「工稳」之妙，读来如感怀秋思、长天一月坠林梢之音，沉郁而动人。
Reading note Gong Zizhen chose the most formal of verse forms for a poem about being out of step with the world, and that tension is part of the effect. The parallelism of the third couplet is exact enough to be felt as a designed confrontation. The rhyme on -ao throughout gives the poem a long, hollow echo, and the final image — one moon sinking into the treetops — leaves the reader with a picture and no solution. This is what 'sword and flute' poetry sounds like when the sword is sheathed.此诗为七言律诗，是龚自珍写感怀秋思之作，也是其诗中的名篇。全诗的艺术特色在于「沉郁秋思、以秋写情」：「秋心如海复如潮，但有秋魂不可招」写秋心如海复如潮、「漠漠郁金香在臂，亭亭古玉佩当腰」写漠漠郁金香在臂、「气寒西北何人剑，声满东南几处箫」写气寒西北何人剑、「斗大明星烂无数，长天一月坠林梢」写长天一月坠林梢。全诗沉郁秋思，以秋写情。尤为精妙者，是「漠漠郁金香在臂」用郁金香之典；而「长天一月坠林梢」写尽坠林梢，正是龚自珍诗「沉郁秋思」的典范，为历代选本所常收。《秋心》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

秋心如海复如潮，但有秋魂不可招。

An autumn heart like the sea, and again like the tide; but there is an autumn soul that cannot be called back.

秋心如海复如潮，但有秋魂不可招。

The autumn heart is like a sea, again like a tide; yet the autumn spirit cannot be summoned back.

起句写秋心如海复如潮，起笔即见其秋心。「秋心如海复如潮」写秋心如海复如潮，「秋心如海」写秋心如海、「复如潮」写复如潮；「但有秋魂不可招」写但有秋魂不可招，「但有秋魂」写但有秋魂、「不可招」写不可招。一句写秋心如海复如潮但有秋魂不可招，以秋心如海复如潮写复如潮、以但有秋魂不可招写不可招，写尽秋心如海复如潮、但有秋魂不可招之情。以秋起兴，沉郁而秋思，是「以秋起兴」的妙笔。

The opening writes the autumn heart like a sea, again like a tide, the autumn heart visible from the first stroke. The autumn heart is like a sea, again like a tide says the autumn heart as a sea, and again as a tide. Yet the autumn spirit cannot be summoned back says but the autumn soul cannot be called back. One line: the autumn heart sea-like and tide-like, the autumn spirit beyond recalling. Writing the autumn heart's being sea- and tide-like, writing the spirit's not to be summoned, exhausting the autumn heart's sea and tide and the spirit's irrecoverableness. Rising on autumn, somber with autumn thought, the fine brush of raising feeling through autumn.

漠漠郁金香在臂，亭亭古玉佩当腰。

The vague perfume of geissospermum lies on my arm; a fine ancient jade pendant hangs at my waist.

漠漠郁金香在臂，亭亭古玉佩当腰。

Fragrant orchids lie faint on the arm; an ancient jade pendant stands at the waist.

此句写漠漠郁金香在臂，是全诗写郁金香之态的关键。「漠漠郁金香在臂」用郁金香之典写漠漠郁金香在臂，「漠漠」写漠漠、「郁金香在臂」写郁金香在臂；「亭亭古玉佩当腰」用玉佩之典写亭亭古玉佩当腰，「亭亭古玉」写亭亭古玉、「佩当腰」写佩当腰。一句写漠漠郁金香在臂亭亭古玉佩当腰，以漠漠郁金香在臂写在臂、以亭亭古玉佩当腰写当腰，写尽漠漠郁金香在臂、亭亭古玉佩当腰之情。以香写情，沉郁而秋思，是「以香写情」的点睛之笔。

The line writes faint fragrant orchids on the arm, the key to the manner of the fragrant orchid. Fragrant orchids lie faint on the arm uses the allusion to the fragrant orchid, writes the faint fragrance on the arm. An ancient jade pendant stands at the waist uses the allusion to the jade pendant, writes the upright ancient jade worn at the belt. One line: the faint orchid on the arm, the standing jade at the waist. Writing the orchid's presence on the arm, writing the jade's hanging at the waist, exhausting the orchid on the arm and the jade at the waist. Writing feeling through fragrance, somber with autumn thought, the pointed brush of writing feeling through fragrance.

气寒西北何人剑，声满东南几处箫。

The air is cold in the northwest — who now carries a sword? Sound fills the southeast — how many flutes are playing?

气寒西北何人剑，声满东南几处箫。

In the northwest, cold with spirit, whose sword? In the southeast, ringing everywhere, how many flutes?

此句写气寒西北何人剑，是全诗写西北之态的关键。「气寒西北何人剑」写气寒西北何人剑，「气寒西北」写气寒西北、「何人剑」写何人剑；「声满东南几处箫」写声满东南几处箫，「声满东南」写声满东南、「几处箫」写几处箫。一句写气寒西北何人剑声满东南几处箫，以气寒西北何人剑写何人剑、以声满东南几处箫写几处箫，写尽气寒西北何人剑、声满东南几处箫之情。以剑写情，沉郁而秋思，是「以剑写情」的点睛之笔。

The line writes in the northwest, cold with spirit, whose sword?, the key to the manner of the northwest. In the northwest, cold with spirit, whose sword? writes the cold vigor of the northwest, the question of whose sword. In the southeast, ringing everywhere, how many flutes? writes the sound filling the southeast, the question of how many flutes. One line: the northwest's cold and whose sword, the southeast's sound and how many flutes. Writing the northwest's coldness and whose sword, writing the southeast's full sound and the flutes, exhausting the cold vigor and the ringing flutes. Writing feeling through the sword, somber with autumn thought, the pointed brush of writing feeling through the sword.

斗大明星烂无数，长天一月坠林梢。

Bright stars as large as a dou blaze without number; and a single moon falls from the long sky into the treetops.

斗大明星烂无数，长天一月坠林梢。

Stars as big as dippers glitter, past counting; in the vast sky, one moon sinks to the treetops.

结句写长天一月坠林梢，是全诗立意的落点。「斗大明星烂无数」写斗大明星烂无数，「斗大明星」写斗大明星、「烂无数」写烂无数；「长天一月坠林梢」写长天一月坠林梢，「长天一月」写长天一月、「坠林梢」写坠林梢。一句写斗大明星烂无数长天一月坠林梢，以斗大明星烂无数写烂无数、以长天一月坠林梢写坠林梢，写尽斗大明星烂无数、长天一月坠林梢之情。以月写情，沉郁而秋思，是全诗最动人处，也是「以月写情」的点睛之笔。

The close writes one moon in the vast sky sinking to the treetops, the landing point of the poem's intent. Stars as big as dippers glitter, past counting writes the dipper-sized bright stars, glittering beyond count. In the vast sky, one moon sinks to the treetops writes the one moon in the long sky, falling to the tree tips. One line: the countless glittering stars, the one moon sinking to the treetops. Writing the stars' countless glitter, writing the moon's falling to the treetops, exhausting the glittering stars and the falling moon. Writing feeling through the moon, somber with autumn thought, the most moving passage of the poem, and the pointed brush of writing feeling through the moon.

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Word focus

秋心 'Autumn heart' — the heart disposed to autumn, or simply the mournful feeling proper to the season, and after this poem the standard phrase for it in Chinese. In 'an autumn heart like the sea, and again like the tide' it is both the poet's mood and the season itself; the comparison gives the feeling volume and motion, and the poem takes its title from these words. 「秋心」写秋心如海复如潮，是写秋心之态的关键。「秋心如海复如潮」着一「秋心」，写秋心——着一「秋心」，写秋心如海复如潮，见其心之秋。两字写尽秋心之态，是「以词写心」的妙笔。「秋心」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
秋魂 'Autumn soul' — the soul of the season, imagined as a being who can be summoned; the word 招 (to summon) makes this a deliberate rite rather than a fancy. In 'there is an autumn soul that cannot be called back,' the poet's summons fails and what should have answered him does not, which is why the poem's loneliness is stated as a failed attempt rather than a sentiment. 「秋魂」写但有秋魂不可招，是写秋魂之态的关键。「但有秋魂不可招」着一「秋魂」，写秋魂——着一「秋魂」，写但有秋魂不可招，见其魂之秋。两字写尽秋魂之态，是「以词写魂」的点睛之词。「秋魂」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
郁金香 'Geissospermum' or 'turmeric perfume' — the fragrant root from which the perfume of the same name is distilled, said to leave its scent on the clothes of whoever wears it. In 'the vague perfume lies on my arm' the reference is to a gentleman's ornament, and our poet has nothing left to show for his cultivation but his ornaments. 「郁金香」写漠漠郁金香在臂，是写郁金香之态的关键。「漠漠郁金香在臂」着一「郁金香」，写郁金香——着一「郁金香」，写漠漠郁金香在臂，见其香之郁金。三字写尽郁金香之态，是「以词写香」的点睛之词。「郁金香」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
明星 'Bright star' — a star of the first magnitude. In 'bright stars as large as a dou blaze without number' the phrase 斗大 (as large as a dou, the ancient grain measure) is a colloquial exaggeration of size, and the sky is crowded with great blazing stars. In the next clause this crowd of light is set against the single moon that is falling. 「明星」写斗大明星烂无数，是写明星之态的关键。「斗大明星烂无数」着一「明星」，写明星——着一「明星」，写斗大明星烂无数，见其星之明。两字写尽明星之态，是「以词写星」的点睛之词。「明星」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

水调歌头·明月几时有 Tune: 'A Song of the River in the Sky' — When Will the Moon Be Bright? 苏轼 · 同写秋夜感怀、沉郁旷达，一写人有悲欢离合、一写斗大明星烂无数长天一月坠林梢，皆于秋夜之中见沉郁 Both are autumn-night meditations; one answers sorrow with reason, the other refuses comfort

Su Shi's 'Shui Diao Ge Tou' — 'in man there are joys and sorrows, in the moon both darkening and brightening; this has never been otherwise in ages past' — takes the alternation of things as the condition of life and answers his own question with composure. Gong Zizhen's poem begins from the same season but will not accept the arrangement: his heart is as wide as the sea and as restless as the tide, and the soul he calls does not return. The two poems state the same facts and draw opposite conclusions, which is the most useful thing about reading them together.

苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写秋夜感怀、沉郁旷达，是宋词长调的名篇；龚自珍《秋心》则以「斗大明星烂无数，长天一月坠林梢」「秋心如海复如潮」写坠林梢、复如潮。两诗同写秋夜感怀、沉郁旷达：一写人有悲欢离合、以悲欢写离合，一写斗大明星烂无数长天一月坠林梢、以秋心写秋思；一为苏轼之旷达、一为龚自珍之沉郁，并读正可见诗写「秋夜感怀」的两种笔法，皆于秋夜之中见沉郁。

 八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: 'Against the Drizzling Rain Sweeping the River and Sky' 柳永 · 同写秋声凝望、沉郁清丽，一写对潇潇暮雨洒江天、一写气寒西北何人剑声满东南几处箫，皆于秋声之中见凝望 Both write of autumn weather and a gaze fixed outward; one on a river of rain and mist, one on the frontier and the southeast

Liu Yong's 'Ba Sheng Gan Zhou' — 'against the drizzling rain that sweeps the river and the sky' — sets a traveller in a vast autumn landscape of rain, mist and a horizon that runs off endlessly, and the melancholy comes from scale. Gong Zizhen's poem also fixes its gaze outward, to the northwest, then the southeast, then the sky, but its scale is compressed into eight lines of seven syllables. Where Liu Yong's grief is that of a journey that will not end, Gong Zizhen's is that of a talent with nowhere to be used. The earlier poem is horizontal; this one is vertical.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写秋声凝望、沉郁清丽，是宋词写羁旅的名篇；龚自珍《秋心》则以「气寒西北何人剑，声满东南几处箫」「漠漠郁金香在臂」写几处箫、郁金香。两诗同写秋声凝望、沉郁清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写气寒西北何人剑声满东南几处箫、以秋心写秋思；一为柳永之清丽、一为龚自珍之沉郁，并读正可见诗写「秋声凝望」的两种笔法，皆于秋声之中见凝望。