清 Qing · 诗 Poem
永和宫词
The Song of the Palace of Eternal Harmony
扬州明月杜陵花，夹道香尘迎丽华。
长安明月东风夜，秾李夭桃夹城陌。
翠羽流苏出天上，黄金屈曲成龙章。
四十离宫罢管弦，三千粉黛委尘烟。
永和宫里长生殿，日出南窗萤火见。
传闻生理渐艰难，隐忍委裘还顾恋。
Along the road, fragrant dust welcomes the fair Lihua.
Chang'an's bright moon, an east-wind night;
Lush plum and young peach line the city's paths.
Kingfisher plumes and flowing tassels, as from heaven;
Gold bent and curved into dragon-and-phoenix signs.
Forty detached palaces cease their strings and pipes;
Three thousand powdered beauties sink into dust-smoke.
In the Palace of Eternal Harmony, the Hall of Everlasting Life;
At sunrise, south windows show only fireflies.
It is said her living grew gradually hard;
Hiding her pain, she clasps her fur and still looks back in love.
Meaning
Yangzhou's moon and Duling's flowers, amid fragrant dust along the road, welcome the beautiful consort. Chang'an's moon shines on an east-wind night; lush plum and young peach bloom along the city's streets. Kingfisher plumes and flowing tassels seem sent from heaven; gold bent and curved is carved into dragon-and-phoenix patterns. Forty detached palaces cease their music; three thousand powdered beauties are cast into dust-smoke. In the Palace of Eternal Harmony, the Hall of Everlasting Life; at sunrise the south windows show only fireflies. It is said her bodily state grew gradually hard; hiding her pain, she clasps her fur and looks back still in love.
扬州的明月、杜陵的繁花，夹道香尘之中迎来了美丽的妃子。长安的明月照着东风之夜，秾李夭桃开满夹城之陌。翠羽流苏的车驾仿佛出自天上，黄金屈曲雕成龙章凤彩。四十座离宫罢休了管弦之乐，三千粉黛委弃于尘烟之中。永和宫里的长生殿，日出之时南窗只见萤火明灭。传闻她的身体日渐艰难，仍隐忍地抱裘回头顾恋。
Appreciation
This poem typically shows the strength of the 'Meicun manner': it unfolds the palace affair in seven-character song-form, with lush diction and neat antithesis. The opening 'Yangzhou's bright moon, Duling's flowers' at once uses place-names for beauty, secretly foreshadowing rise and fall; 'kingfisher plumes' and 'gold bent' write the utmost luxury. In structure it sharply turns from the height of favor to 'cease their strings' and 'sink into dust-smoke', then enters the fireflies and sickbed love of the Palace of Eternal Harmony - layer on layer of frustration, joyous scene for sorrow, splendor wrapping grief. It transforms the imagery of the 'Song of Everlasting Sorrow' yet finds its own voice; the sound and feeling are long and distant, reading it one has the effect of 'hearing an air of spring-sorrow, unknowingly the tears wet the lapel'.
【白话串讲】 吴伟业写明朝末年的永和宫：“四十离宫罢管弦，三千粉黛委尘烟”——崇祯帝的田贵妃。“传闻生理渐”——王朝将亡，美人将逝。吴伟业写深宫，写的是整个王朝的倒计时。 【意象与手法】 此诗典型体现「梅村体」之长：以七言歌行铺叙宫闱情事，辞藻绵丽、对仗精工。「扬州明月杜陵花」起笔即以地名代丽质，暗伏兴废；「翠羽流苏出天上，黄金屈曲成龙章」极写承恩之奢，以天上、龙章喻其尊贵。章法上由承恩之盛陡转「四十离宫罢管弦，三千粉黛委尘烟」之衰，一盛一衰，对照鲜明；再入「永和宫里长生殿，日出南窗萤火见」的凄凉，化用《长恨歌》长生殿意象而自出机杼；末以「传闻生理渐艰难，隐忍委裘还顾恋」写病中顾恋，层层顿挫。全篇以乐景写哀、华笔裹悲，声情绵邈，读来有「如听伤春曲，不觉涕沾巾」之效。 【情感与主旨】 吴伟业（1609—1672），字骏公，号梅村，江苏太仓人，明末清初诗坛巨擘。《永和宫词》为其梅村体七言歌行名篇，约作于入清之后，借崇祯帝田贵妃（田秀英）事以写明亡之痛。田妃聪慧擅琴，深得崇祯宠爱，后因病失宠、早逝，明社亦屋。伟业身历鼎革，以宫词追叙前朝繁华与倾覆，实借儿女之情写兴亡之感：写田妃之盛，即是写大明之盛；写田妃之衰，即是写大明之亡。这是典型的诗史笔法，亦暗含遗民不忍明言的故国之思。 【名句点睛】 「扬州明月杜陵花，夹道香尘迎丽华」以地名代丽质、暗用张丽华亡国美人典，伏下兴废之慨；「四十离宫罢管弦，三千粉黛委尘烟」以数字对举写前朝繁华一朝委尽，力重千钧；「永和宫里长生殿，日出南窗萤火见」化用《长恨歌》而自出新意，以萤火写繁华消歇，最为警策。考题多从梅村体特征入手：概括其七言歌行、辞藻绵丽、铺叙婉转、以史入诗的特点，分析其如何化用《长恨歌》《琵琶行》的意象与章法，以及如何借田妃一人写一代兴亡。
Background
Wu Weiye (1609-1672), courtesy Jun'gong, style Meicun, of Taicang in Jiangsu, was a giant of the late-Ming / early-Qing poetry world. 'The Song of the Palace of Eternal Harmony' is a famous seven-character song-form of his 'Meicun manner', likely written after the Ming fell, using the affair of the Chongzhen emperor's Consort Tian (Tian Xiuying) to write the pain of the Ming's ruin. Consort Tian was clever and skilled at the qin, deeply favored, later fell ill, lost favor, and died young, and the Ming house also fell. Weiye lived through the dynastic change; in palace-song he recounts former splendor and overthrow, in truth using a man-and-woman's love to write the feeling of rise and fall - a typical 'poetry as history' brush, and also secretly holding the loyalist's unspoken thought of the lost state.
吴伟业（1609—1672），字骏公，号梅村，江苏太仓人，明末清初诗坛巨擘。崇祯四年（1631）进士，授翰林院编修，官至南京国子监司业。明亡之后，他曾一度隐居，后被迫出仕清朝，任国子监祭酒，不久以病辞归。这种两朝经历使他终身负疚，诗中多写故国之思与身世之悲。《永和宫词》为其梅村体七言歌行名篇，约作于入清之后，借崇祯帝田贵妃（田秀英）事以写明亡之痛。田妃出身陕西，聪慧善琴，深得崇祯宠爱，居永和宫；后因屡遭周皇后等排挤，又患重病，渐失宠爱，崇祯十五年（1642）病逝，年仅三十余岁。次年李自成攻破北京，崇祯自缢煤山，明社遂屋。吴伟业以宫词追叙田妃由承恩到失宠到病逝的往事，实借儿女之情写兴亡之感：田妃之盛衰正与大明之盛衰同步，宫闱琐事之中寄寓着国运兴亡的大主题。此诗与《圆圆曲》并称梅村歌行双璧，是梅村体以一人一事写一代兴衰的典型，亦暗含遗民不忍明言的故国之思，是理解吴伟业诗史精神与清初士人心态的重要文本。
Art
This poem typically shows the strength of the 'Meicun manner': it unfolds the palace affair in seven-character song-form, with lush diction and neat antithesis. The opening 'Yangzhou's bright moon, Duling's flowers' uses place-names for beauty, secretly foreshadowing rise and fall; 'kingfisher plumes' and 'gold bent and curved' write the utmost luxury. In structure it sharply turns from the height of favor to 'cease their strings' and 'sink into dust-smoke' of decline, then enters the fireflies and sickbed love of the Palace of Eternal Harmony - layer on layer of frustration, joyous scene for sorrow, splendor wrapping grief. It transforms the imagery of the 'Song of Everlasting Sorrow' yet finds its own voice; the sound and feeling are long and distant, reading it one has the effect of 'hearing an air of spring-sorrow, tears unknowingly wetting the lapel'.
此诗虽仅十二句，却典型体现了梅村体的章法之妙。前四句写田妃承恩之盛：「扬州明月杜陵花，夹道香尘迎丽华」以地名代丽质，扬州月、杜陵花皆以风物之美写人之美，暗用张丽华典，伏下兴废之慨；「长安明月东风夜，秾李夭桃夹城陌」以秾李夭桃写其少艾之容，夹城陌路，风光旖旎；「翠羽流苏出天上，黄金屈曲成龙章」以车驾仪仗写其尊贵，「出天上」「成龙章」极尽夸饰，如见其仪从之盛。第五六句陡然转折：「四十离宫罢管弦，三千粉黛委尘烟」，由极盛直落极衰，以数字对举写前朝后宫一朝委尽——「罢」「委」二字，将繁华断送于一瞬，章法上的大起大落正是梅村体顿挫之法的体现。第七八句「永和宫里长生殿，日出南窗萤火见」化用《长恨歌》「七月七日长生殿」之句而自出机杼：长生殿本为盟誓之地，此处却写日出南窗、唯见萤火，繁华之地成了荒凉之墟，以乐境转悲境，兴亡之意陡生。末二句「传闻生理渐艰难，隐忍委裘还顾恋」写田妃病中顾恋，以「隐忍」「顾恋」写尽失宠者的辛酸与不甘。全篇由盛而衰、由荣而悴，层层顿挫，以乐景写哀、以华笔裹悲，正是梅村体丽而能哀、华而能沉的集中体现。
Allusions
The poem's allusions secretly inherit the 'Song of Everlasting Sorrow'. 'In the Palace of Eternal Harmony, the Hall of Everlasting Life' plainly transforms Bai Juyi's 'on the seventh day of the seventh month, the Hall of Everlasting Life', using Tang Minghuang and Yang Guifei to darkly figure Chongzhen and Consort Tian - both fitting the palace and double-meaning rise and fall. 'Lihua' borrows Chen Houzhu's favored consort Zhang Lihua to point at Consort Tian, using a fallen-state beauty to shadow the former dynasty's decline. 'Duling flowers' uses Du Fu's native-place allusion, secretly holding the thought of the lost state. As a whole it uses Tang to speak of Ming, borrowing the ancient to mourn the present - Meicun's habitual skill of 'keeping history in poetry'; the allusions melt without trace into the unfolding, adding pathos without hindering the fluent beauty.
此诗用典暗承《长恨歌》而以唐喻明，是梅村体借古伤今的惯技。「永和宫里长生殿」显然化用白居易《长恨歌》「七月七日长生殿，夜半无人私语时」，以唐明皇、杨贵妃的盟誓之地暗喻崇祯、田妃的宫闱情事，既切宫闱又双关兴亡——唐有马嵬之变，明有甲申之难，两代帝妃的爱情都断送于国破之时，典故的移用使个人的情事获得了历史的纵深。「丽华」借陈后主宠妃张丽华指代田妃：张丽华以美色惑主，陈为隋所灭，是著名的亡国美人；诗人以「迎丽华」写田妃入宫，既写其美，又暗伏美人倾国的兴亡暗示，一笔两用。「杜陵花」用杜甫桑梓之典：杜陵为汉宣帝陵，亦为杜甫祖籍所在，诗人以杜陵代指长安，暗含故国之思——而「扬州明月」则令人想起杜牧「二十四桥明月夜」的扬州繁华，扬州、杜陵对举，一地繁华一名都旧地，皆有沧桑之感。「秾李夭桃」语出《诗经·召南·何彼秾矣》「何彼秾矣，华如桃李」，写女子青春之美，用典不着痕迹。「黄金屈曲成龙章」暗写田妃的尊贵与天家气象。全篇典故皆融入铺叙之中，不着痕迹，增其哀婉而不碍流丽，正是以诗存史的笔法。
Commentary
This poem stands with the 'Ballad of Yuan Yuan' as the twin jewels of Meicun's songs; the early-Qing elders Gong Dingzi and others highly praised it, saying 'like hearing an air of spring-sorrow, unknowingly the tears wet the lapel'. Zhao Yi's Ou Bei Poetry Talks says of Meicun 'using Tang masters' tone to write this dynasty's affairs; though the ages differ, the spirit is as one'. Today's Qing-poetry scholars mostly take 'The Song of the Palace of Eternal Harmony' as a model of 'poetry as history', praising its 'beautiful yet able to grieve, splendid yet able to sink' - enough to show its undying value of lodging the millet-grief in palace-song.
《永和宫词》与《圆圆曲》并称梅村歌行双璧，历来评价极高。清初龚鼎孳等诸老极推此诗，谓其如听伤春曲、不觉涕沾巾，正指其以华美之笔写沉痛之情的感染力。赵翼《瓯北诗话》称梅村以唐人格调写本朝故事、时代虽殊神情如一，以此诗观之，其化用《长恨歌》而自出机杼、以唐喻明而神情酷肖，正是此评的绝佳注脚。今之治清诗者，多以《永和宫词》为诗史范本：它以一妃之盛衰写一代之兴亡，以宫闱琐事写国运大事，正是梅村体以一人一事写一代兴衰的典型章法。此诗的价值有三：其一，从诗史角度看，它继承白居易《长恨歌》、元稹《连昌宫词》的叙事传统而注入明清易代的时代内容，使宫词这一体裁获得新的历史深度；其二，从情感角度看，它写田妃失宠病逝的辛酸，暗含作者对故国的追怀与身仕两朝的隐痛，「隐忍委裘还顾恋」实是遗民心理的投射；其三，从艺术角度看，其辞藻之绵丽、对仗之精工、章法之顿挫，代表了清初歌行的最高成就。故论者赞其丽而能哀、华而能沉，足见其以宫词寄黍离之悲的不朽价值。
Prosody
Line by line
扬州明月杜陵花，夹道香尘迎丽华。
Yangzhou's bright moon, Duling's flowers; along the road, fragrant dust welcomes the fair Lihua.
扬州的明月、杜陵的繁花，夹道香尘之中迎来了美丽的妃子。
The moon of Yangzhou, the flowers of Duling, and the scented dust along the road welcomes the fair Lihua.
起笔即以地名代丽质，是全诗的纲领。「扬州明月」令人想起杜牧「二十四桥明月夜」的扬州盛景，「杜陵花」则借汉宣帝陵、杜甫桑梓暗指长安，两处地名皆以风物之美写人之美，未见其人，先见其地之繁华，正是梅村体以景写人的惯技。「夹道香尘」写迎驾之盛，香尘二字兼写仪仗之华丽与道路之喧阗；「迎丽华」暗用陈后主宠妃张丽华之典——张丽华为著名的亡国美人，诗人以之指代田妃，既写其美，又暗伏美人倾国的兴亡暗示。起笔十四字，一地二典，繁华与兴亡并见，为全篇由盛转衰的章法立下伏线，足见梅村用笔之绵密。
The opening uses place names for beauty from the first stroke, the charter of the whole. The moon of Yangzhou calls up Du Mu's Yangzhou of the moonlit night on the twenty-four bridges; the flowers of Duling borrow the tomb of Emperor Xuan of Han and Du Fu's native place to point secretly at Chang'an; the two place names both write human beauty through the beauty of scenery — before seeing the person, seeing the splendor of the place, precisely the Meicun style's habitual way of writing the person through scene. The scented dust along the road writes the splendor of the welcome: scented dust at once the splendor of the retinue and the bustle of the road. Welcomes the fair Lihua secretly uses the allusion to Zhang Lihua, the favorite consort of the Chen Houzhu — Zhang Lihua, the famous beauty who brought down a kingdom; the poet uses her for Consort Tian, writing her beauty and secretly planting the hint of beauty that overturns the state and the rise and fall. Opening fourteen characters, one place, two allusions, splendor and fall seen together, planting the foreshadowing for the poem's turn from glory to ruin, showing the density of Meicun's brush.
翠羽流苏出天上，黄金屈曲成龙章。
Kingfisher plumes and flowing tassels, as from heaven; gold bent and curved into dragon-and-phoenix signs.
翠羽流苏的车驾仿佛出自天上，黄金屈曲雕成龙章凤彩。
Kingfisher plumes and tassels descend as if from heaven; gold is twisted and carved into dragon patterns.
此二句极写田妃承恩之盛。「翠羽流苏」写车驾仪仗之华美，翠羽为饰、流苏垂垂，色彩鲜明；「出天上」更以夸张之笔写其仪从仿佛自天而降，尊贵非凡。「黄金屈曲成龙章」写车饰之精：黄金屈曲盘绕，雕成龙形纹章，暗示田妃之尊贵已近天家气象。「出天上」「成龙章」皆是夸饰之辞，把承恩之时的煊赫写到极致。而唯其写到极致，后文「四十离宫罢管弦，三千粉黛委尘烟」的陡然跌落才更具震撼力——以乐景写哀、以盛衬衰，正是梅村体顿挫章法的关键。同时，「天上」「龙章」又暗合皇家气象，为下文「长生殿」的兴亡暗示预作铺垫，一笔而数意兼到。
The two lines write to the utmost the splendor of Consort Tian's favor. Kingfisher plumes and tassels write the richness of the carriage retinue: kingfisher plumes for adornment, tassels hanging, the colors bright. As if from heaven exaggerates the retinue as if descending from the sky, nobly beyond compare. Gold is twisted and carved into dragon patterns writes the fineness of the carriage adornment: gold twisted in coils, carved into the dragon pattern, hinting that Consort Tian's nobility has neared the imperial air. As if from heaven and carved into dragon patterns are both rhetorical flourishes, writing the dazzle of the favored hour to the utmost. Precisely because it is written to the utmost, the later sudden fall of forty outer palaces have silenced their pipes and strings, three thousand powdered beauties are abandoned to the dust and smoke carries the greater shock — writing grief through a joyous scene, setting decay against splendor, precisely the key to the Meicun style's cadenced craft. At the same time, from heaven and dragon pattern secretly answer the imperial air, preparing the foreshadowing of the Hall of Long Life below, one brush carrying several meanings.
四十离宫罢管弦，三千粉黛委尘烟。
Forty outer palaces have silenced their pipes and strings; three thousand powdered beauties are abandoned to the dust and smoke.
四十座离宫罢休了管弦之乐，三千粉黛委弃于尘烟之中。
Forty detached palaces have ceased their music; three thousand powdered beauties are left to the dust and smoke.
此联是全篇由盛转衰的枢纽，也是梅村体以数字铺陈写兴亡的典型笔法。「四十离宫」极言离宫之多，「三千粉黛」极言宫女之众，皆以夸张数字写前朝后宫之盛；而「罢管弦」「委尘烟」以两个动词将这一切断送——管弦之声一朝罢歇，三千佳丽委弃于国破的尘烟之中。数字愈大，断送愈惨，盛衰对照的震撼力愈强。「罢」「委」二字皆轻而实重：不写金戈铁马，不写城破国亡，只写离宫罢乐、粉黛委尘，以宫闱的寂灭写国运的倾覆，正是以小见大、以婉写烈的笔法。此联与「翠羽流苏出天上」形成强烈的盛衰对比，十四字间，繁华成空，读之令人心惊。
The couplet is the hinge of the poem's turn from glory to ruin, and the typical Meicun way of writing rise and fall through numbered lists. Forty outer palaces press the multitude of the outer palaces; three thousand powdered beauties press the host of palace women, both using exaggerated numbers for the splendor of the former court and harem. The two verbs silenced and abandoned deliver all of this: the music of the pipes and strings hushed in a morning, the three thousand beauties abandoned in the dust and smoke of the fallen state. The larger the numbers, the more miserable the delivery, the stronger the shock of the contrast. The words silenced and abandoned are both light yet weighty: not writing spears and horses, not the city's fall and the state's ruin, but only the outer palaces' music hushed and the beauties left to dust, writing the overturn of the nation through the silence of the inner chambers, precisely the brush of the great through the small, of the fierce through the tactful. The couplet forms a strong contrast with kingfisher plumes and tassels descend as if from heaven: within fourteen characters, splendor turns to void, reading till the heart starts.
永和宫里长生殿，日出南窗萤火见。
In the Palace of Eternal Harmony, the Hall of Everlasting Life; at sunrise, south windows show only fireflies.
永和宫里的长生殿，日出之时南窗只见萤火明灭。
The Hall of Long Life in the Yonghe Palace: at sunrise, by the south window, only fireflies are seen.
此联化用《长恨歌》而自出机杼，是理解全诗的关键。「长生殿」直承白居易「七月七日长生殿，夜半无人私语时」——那是唐明皇与杨贵妃盟誓之地，象征帝妃爱情的永恒；诗人却将「长生殿」置于「永和宫」之中，以田妃居所暗合唐宫旧典，以唐喻明，一笔双关。「日出南窗萤火见」更以反常之景写凄凉：日出之时本不当见萤火，而南窗之下唯见萤火明灭，说明殿中早已人去楼空、荒凉至极——不是深夜无人的冷清，而是连白日都只见萤火的死寂。长生殿本为爱情与永生的象征，如今却成了荒墟，帝妃之情、皇家之盛，皆随国破而化为萤火微光。化典而不滞于典，以乐境写哀境，正是梅村丽而能哀的典范。
The couplet transforms the Song of Everlasting Sorrow with an independent hand, the key to the whole poem. The Hall of Long Life directly carries Bai Juyi's on the seventh day of the seventh month, in the Hall of Long Life, at midnight and none by, they whispered — the place of the oath between Minghuang and Yang Guifei, the symbol of the eternity of imperial love; yet the poet places the Hall of Long Life within the Yonghe Palace, using Consort Tian's dwelling to answer the old allusion of the Tang palace, figuring the Ming through the Tang, one brush double-edged. At sunrise, by the south window, only fireflies are seen further writes desolation through an anomalous scene: at sunrise fireflies should not be seen, yet beneath the south window only the flickering fireflies appear, showing the hall long since emptied of people, desolate to the utmost — not the quiet of a midnight with no one, but the stillness of day that sees only fireflies. The Hall of Long Life was properly the symbol of love and eternal life, yet has now become a ruin; the imperial pair's feeling, the royal splendor, all turned to a firefly's glimmer with the fall of the state. Transforming the allusion without being bound by it, writing grief through a joyous scene, precisely the model of Meicun's beauty that can grieve.
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Compare Tang's unfold with Qing's lodging.
白居易《长恨歌》以七言歌行写唐明皇与杨贵妃的生死之恋，「天长地久有时尽，此恨绵绵无绝期」以情之绵长写恨之无尽；吴伟业《永和宫词》化用其长生殿意象与铺叙章法，写崇祯田妃的盛衰。差异在：白诗以情为纲，重在帝妃爱情的悲剧，兴亡只是背景；吴诗以史为纲，重在借宫闱写国运，「四十离宫罢管弦，三千粉黛委尘烟」写的是后宫之寂灭，实是明亡之缩影。白诗是长庆体的抒情极致，吴诗是梅村体的以诗存史，一情一史，正可见宫词传统由唐入清的演进，亦见吴伟业对白居易既有继承更有超越。
圆圆曲 The Ballad of Yuan Yuan 吴伟业 · 同作者、同梅村体、同借女性命运写鼎革 Same / differ (same author, same Meicun manner, same borrowing a woman's fate to write the dynastic change)Read together to see Meicun's structure of 'writing a generation's rise-fall through one person, one affair'.
《圆圆曲》与《永和宫词》并称梅村歌行双璧。《圆圆曲》写陈圆圆与吴三桂「冲冠一怒为红颜」的乱世姻缘，「恸哭六军俱缟素，冲冠一怒为红颜」名句传诵；《永和宫词》写田妃的承恩与失宠。二诗皆以一人一事写一代兴衰：圆圆之命运系于三桂之叛，田妃之盛衰系于明祚之兴亡，皆借女性的荣枯写家国的崩解。差异在：圆圆是乱世中身不由己的飘零者，田妃是深宫中由盛而衰的失宠者；《圆圆曲》以冲冠一怒的戏剧性见长，《永和宫词》以隐忍委裘的沉咽见长。并读二诗，可见梅村体如何以儿女之情写兴亡之感、以一人之命运写一代之沧桑。
马嵬 Mawei 吴伟业 · 同作者梅村体，皆借帝妃事写亡国之痛 Same / differ (same author, Meicun song-form; both write rise-fall through women)One writes Consort Tian, one Yang Guifei; compare their lodging the pain of the lost state through the palace.
吴伟业《马嵬》组诗写唐明皇杨贵妃马嵬之变，沉痛苍凉；《永和宫词》则写崇祯田妃。二诗皆以唐喻明、借古伤今：马嵬之变是唐由盛转衰的转折，甲申之难是明由存而亡的终点，诗人借两代帝妃的悲剧，写尽身历鼎革的黍离之悲。差异在：《马嵬》为七绝组诗，篇幅短小，以凝练警策胜；《永和宫词》为七言歌行，铺叙婉转，以绵丽沉咽胜。一短一长、一警一婉，正见梅村驾驭各种体裁的功力，合观尤能体会其以唐人格调写本朝故事的深意。