清 Qing · 文 Prose
左忠毅公逸事节选
An Anecdote of the Loyal and Stern Lord Zuo (excerpt)
先君子尝言，乡先辈左忠毅公视学京畿，一日，风雪严寒，从数骑出，微行入古寺。
庑下一生伏案卧，文方成草。
公阅毕，即解貂覆生，为掩户。
叩之寺僧，则史公可法也。
及试，吏呼名至史公，公瞿然注视，呈卷，即面署第一。
召入，使拜夫人，曰：‘吾诸儿碌碌，他日继吾志事，惟此生耳。
’及左公下厂狱，史朝夕狱门外。
逆阉防伺甚严，虽家仆不得近。
Show full original poem
先君子尝言，乡先辈左忠毅公视学京畿，一日，风雪严寒，从数骑出，微行入古寺。
庑下一生伏案卧，文方成草。
公阅毕，即解貂覆生，为掩户。
叩之寺僧，则史公可法也。
及试，吏呼名至史公，公瞿然注视，呈卷，即面署第一。
召入，使拜夫人，曰：‘吾诸儿碌碌，他日继吾志事，惟此生耳。
’及左公下厂狱，史朝夕狱门外。
逆阉防伺甚严，虽家仆不得近。
久之，闻左公被炮烙，旦夕且死，持五十金，涕泣谋于禁卒，卒感焉。
使史更敝衣，草屦，背筐，手长镵，为除不洁者，引入。
微指左公处，则席地倚墙而坐，面额焦烂不可辨，左膝以下筋骨尽脱矣。
史前跪抱公膝而呜咽。
公辨其声，而目不可开，乃奋臂以指拨眦，目光如炬，怒曰：‘庸奴！
此何地也，而汝来前！
国家之事糜烂至此，老夫已矣，汝复轻身而昧大义，天下事谁可支柱者？
不速去，无俟奸人构陷，吾今即扑杀汝！
’因摸地上刑械作投击势。
史噤不敢发声，趋而出。
Later, when Lord Zuo was thrown into the factory prison, Shi kept watch at the prison gate morning and night. The rebel eunuch's guard was extremely strict; not even a family servant could approach. After a long while, hearing that Lord Zuo had been tortured with the branding irons and would die any day, Shi took fifty pieces of gold, weeping, and pleaded with the jailer, who was moved. He had Shi change into ragged clothes and straw sandals, carry a basket on his back and a long spade in hand, and pass as a cleaner, then led him in. Secretly pointing out Lord Zuo's place: he sat on the ground leaning against the wall, his face and brow burned beyond recognition, the sinews and bone below the left knee wholly stripped away. Shi knelt forward and, embracing the lord's knees, sobbed. The lord knew his voice but could not open his eyes; he raised his arm and with his fingers pried open his eyelids, his gaze like torches, and raged: 'You worthless slave! What place is this, that you come forward? The state's affairs are utterly rotten; this old man is finished - yet you lightly risk yourself and are blind to the great duty. Who shall uphold the world's affairs? Leave at once, lest the traitors frame you; I will strike you dead this moment!' And he groped on the ground for the torture instruments and made as if to hurl them. Shi dared not utter a sound, but hurried out.
Meaning
A prose passage: Fang Bao records what his father told of Lord Zuo Guangdou's recognizing the young Shi Kefa - covering him with his sable coat in a temple, marking him first, and declaring him his successor - and later, in prison under the eunuch Wei Zhongxian, fiercely driving Shi away to protect him and the state, even threatening to strike him dead. It shows Zuo's clear eye for talent and his utter devotion to the realm above his own life.
先父曾说，乡里前辈左忠毅公任京城学政时，一日风雪严寒，带几名随从微服走进一座古寺。廊下有个书生伏案而睡，文章刚写完草稿。公读毕，解下貂皮大衣盖在他身上，并替他掩上门。问寺僧，才知是史可法。到考试时，吏员点到史公之名，公惊视，呈上考卷，当面批为第一，召他进来，让他拜见夫人，说：「我的几个儿子都平庸，将来继承我志向事业者，只有这个书生了。」 后来左公下厂狱，史可法每天守在狱门外。逆阉防范极严，连家仆也不得靠近。久之，听说左公受炮烙之刑，早晚将死，史持五十金哭求狱卒，卒被感动。一日让他换破衣草鞋，背竹筐，持长铲，装作打扫的人带进去，暗中指点左公所在：席地靠墙而坐，脸额烧焦无法辨认，左膝以下筋骨尽脱。史跪前抱住公膝呜咽。公听出声音，眼却睁不开，奋力用手指拨开眼眶，目光如炬，怒道：「庸奴！这是何地，你竟前来！国家之事败坏到这般，老夫完了，你再轻身而昧大义，天下事谁能支撑？不快走，等奸人陷害，我这就打死你！」摸地上刑具作投掷状。史不敢出声，快步退出。
Appreciation
The art of this prose lies in seeing the great in the small and writing the man through dialogue. The opening 'windy, snowy, bitter-cold' and 'plain disguise' first lay a cold, lone, stern scene. Recognizing Shi as he slept over his desk, taking off the sable to cover him and marking him first, shows in detail the sincerity of mentorship. The prison section shows especial force: it writes Lord Zuo's 'face and brow burned', 'sinews stripped', extreme agony, then 'raises his arm and pries his eyelids, gaze like torches' suddenly turns stern and fierce; the rage of 'you worthless slave' is both loud and stern, using Shi's sobbing to counterpoint his anger - deep love hence sharp rebuke. The whole uses no ornament, relying purely on plain description and dialogue to convey spirit; concise, stern, clean - exactly the utmost of Tongcheng prose's 'elegant cleanliness'.
【白话串讲】 方苞写左光斗和史可法的故事：大雪天，左光斗在古寺看到一个书生趴在案上睡着了，文章刚写好。他读完后，解下貂裘盖在他身上，替他把门关上——这个书生，就是史可法。 【意象与手法】 此文艺术之妙，在以小见大、以对话写人。开篇「风雪严寒」「微行」数语，先布清寒孤峭之境；识史于伏案之睡，解貂覆身、面署第一，于细节见知遇之诚。下狱一节尤见笔力：写左公「面额焦烂」「筋骨尽脱」极惨，而「奋臂拨眦，目光如炬」骤转刚烈；「庸奴」之斥声色俱厉，以史之「呜咽」反衬其「怒」，爱之深故责之切。 【情感与主旨】 左忠毅公即左光斗（1575—1625），明桐城人，官至左佥都御史，因弹劾魏忠贤下诏狱惨死，谥「忠毅」。本文作者方苞（1668—1749）为桐城派鼻祖，与左同乡，少闻长老称道其事，因据实笔录。文章借逸事表彰气节，既彰左公知人之明、以国事为重的风骨，亦寓故国之思与士人操守之教。 【名句点睛】 本文为高中文言文重要篇目。考点一：人物形象，概括左光斗「知人善任、刚毅忠烈、以国事为重」与史可法「忠勇感恩」的性格；考点二：细节描写与对话描写的表达效果；考点三：桐城派「雅洁」文风的体现。
Background
The Loyal and Stern Lord Zuo is Zuo Guangdou (1575-1625), of Tongcheng in Ming, who rose to vice-censor-in-chief and died miserably in the imperial prison for impeaching Wei Zhongxian, posthumously named 'Loyal and Stern'. The author Fang Bao (1668-1749) was founder of the Tongcheng school and a fellow townsman of Zuo; he heard elders praise the affair in his youth and recorded it faithfully. The Shi Kefa he records (style Daolin) later became Minister of War of the Southern Ming and died resisting the Qing. The piece was likely written in the Kangxi-Yongzheng years; through the anecdote it honors integrity, showing both Zuo's clear eye for men and his realm-first bone, and also lodging a thought of the lost state and a lesson in the scholar's conduct - a model of Tongcheng ancient prose, complete in both 'meaning and method'.
左忠毅公即左光斗（1575—1625），字遗直，明安庆府桐城人，官至左佥都御史。天启年间，宦官魏忠贤专权，左光斗与杨涟等弹劾魏忠贤三十二斩罪，反被构陷，下诏狱，受炮烙酷刑，惨死狱中，后追谥「忠毅」。史可法（号道邻）为左光斗视学京畿时识拔的弟子，后官至南京兵部尚书，明亡时坚守扬州，城破殉国。本文作者方苞（1668—1749），字灵皋，号望溪，清初桐城人，桐城派散文的创始人，与左光斗同乡，少时听父辈述说左公逸事，晚年据实笔录成文。文章约作于康熙、雍正间，借两件逸事表彰左公气节：前段写其视学京畿时风雪中识拔寒士史可法，见其知人之明；后段写其下狱后怒斥冒死探监的史可法，见其以国事为重的刚烈。全篇既彰左公风骨，亦暗寓故国之思与士人操守之教，是桐城古文「义法」兼备的典范之作。此文作于清初，方苞以明遗民之后而仕清，其内心深处对前朝忠烈之士的追慕，正寄托着「故国之思」的隐痛：借左光斗之忠烈、史可法之殉节，为明末士大夫的节操存照，既是表彰乡贤，也是以古励今，文字之外的寄托，正是桐城派「文以载道」的深层内涵。
Art
The art of this prose lies in seeing the great in the small and writing the man through dialogue. The opening 'windy, snowy, bitter-cold' and 'plain disguise' first lay a cold, lone, stern scene; recognizing Shi as he slept over his desk, taking off the sable to cover him and marking him first, shows in detail the sincerity of mentorship. The prison section shows especial force: it writes Lord Zuo's 'face and brow burned', 'sinews stripped', extreme agony, then 'raises his arm and pries his eyelids, gaze like torches' suddenly turns stern and fierce; the rage of 'you worthless slave' is both loud and stern, using Shi's sobbing to counterpoint his anger - deep love hence sharp rebuke. The whole uses no ornament, relying purely on plain description and dialogue to convey spirit; concise, stern, clean - exactly the utmost of Tongcheng prose's 'elegant cleanliness'.
此文艺术之妙，在以小见大、以对话写人。开篇「先君子尝言」以转述立起真实感，「风雪严寒，从数骑出，微行入古寺」数语，先布清寒孤峭之境，左公身居高位而微服出行、风雪中深入古寺，其勤于选才、不摆排场之风骨已见；识史于伏案之睡，「解貂覆生，为掩户」「面署第一」「使拜夫人」，一连串细节写尽知遇之诚，「吾诸儿碌碌，他日继吾志事，惟此生耳」一句，更见其识人之准、期望之重。后段下狱一节尤见笔力：先写「逆阉防伺甚严，虽家仆不得近」的戒备森严，再写史可法「持五十金，涕泣谋于禁卒」的冒险探监，层层铺垫后，左公出场：「面额焦烂不可辨，左膝以下筋骨尽脱矣」，以极惨之状写极烈之骨；而「奋臂以指拨眦，目光如炬」，骤转刚烈；「庸奴」之斥声色俱厉，以史之「呜咽」反衬其「怒」，爱之深故责之切。全文不施形容，纯赖白描与对话传神，简洁峻洁，正是桐城文「雅洁」之极致。此外，全篇以「两事」立骨：前事写识才（风雪访贤、解貂覆生、面署第一），后事写殉节（狱中惨状、拨眦怒斥、扑杀逼去），一知遇一死节，两事如双峰对峙，而「继吾志事」之言横贯其间，把左公的知人之明与史公的报恩之诚、殉国之烈一线串起，结构之精，正是「义法」之「法」的典范。
Allusions
The piece uses few yet apt allusions. 'Branding irons' were originally King Zhou of Shang's cruel punishment, here borrowed for the Wei eunuch's factory torture, secretly condemning the eunuch faction's brutality and also showing the extremity of Zuo's suffering. 'Worthless slave' is an ancient curse, seen in the Records of the Grand Historian; Zuo uses it to rage at his beloved student, writing to the utmost his urgency to put the state first. Also 'carry on my will and work' transforms the traditional phrase of ruler-minister, teacher-disciple entrustment. On the whole the piece is mainly factual; allusion only dots the eye, not flaunting learning yet forceful - in keeping with Fang Bao's 'no sayings of the recorded dialogues, no ornate parallel prose of the Wei-Jin Six Dynasties' doctrine of meaning-and-method.
文中用典不多而恰切，正合方苞「古文中不可入语录、魏晋六朝人藻丽俳语」的义法主张。「炮烙」本为商纣王所设酷刑（见《史记·殷本纪》），此处借指魏忠贤厂卫之毒刑，暗含对阉党暴行的谴责，亦见左公受祸之惨；「逆阉」指魏忠贤，阉为宦官之贬称，逆为其叛逆之罪状，一词兼含史笔与义愤；「庸奴」为古骂辞（见《史记》等），左公以此怒斥爱徒，极写其以国事为重的急切——以骂写爱，正是最动人处；「继吾志事」化用「志事」这一君臣、师弟相托的传统用语，暗含以国事相托的深意。整体而言，本文以纪实为主，典故仅点睛用之，不炫博而有力，白描与对话是主体，用典与史笔是点缀，正体现桐城派「言有物、言有序」的义法——文章以「义」（内容、思想）为根本，以「法」（章法、语言）为规矩，此篇正是其典范。「目不可开，乃奋臂以指拨眦」一节，又暗含《史记·伍子胥列传》「抉吾眼县吴东门之上」的遗恨意象：伍子胥抉目悬门，欲观越灭吴；左公拨眦怒斥，欲观天下事，一古一今，忠烈之气相通，方苞化用史迁笔法写左公惨状，正见桐城古文「神似太史公」的渊源。
Commentary
This piece has long been a Tongcheng prose representative; Yao Nai's Anthology of Ancient Prose must include it, praising its 'stern and clean, yet with bone and spirit rising'. The modern Qian Jibo says Fang Bao 'dotting history, in spirit like Sima Qian', especially admiring the prison-section. Today's textbooks often take it in as a model of character-and-narrative writing, praising that 'in the utmost misery there is the utmost fierce brush, love and hate clear, conduct stern' - enough to show its value of carrying the Way through prose, with integrity enduring.
此文向为桐城古文代表，姚鼐编《古文辞类纂》必录之，评其「峻洁而气骨遒上」。近人钱基博谓方苞「点染史事，神似司马迁」，于左公狱中一段尤为激赏：左公拨眦怒斥一节，神情语态如在目前，其笔力直追《史记》之写廉颇、项羽。今之教材多采入此文，以为写人叙事的范文，赞其「于极惨处有极烈之笔，爱憎分明而节操凛然」。此文的文学史价值有三：一是作为桐城派「义法」理论的实践范本，方苞倡导「言之有物、言之有序」，此文叙事简严、取舍得当，正是「义法」的典范；二是作为传记散文的杰作，不铺陈生平而只取两件逸事，以小见大、以少总多，为写人散文开辟了新径；三是作为气节教育的文本，左光斗的知人之明、殉国之烈，史可法的报恩之诚、殉节之忠，师徒两代忠烈的精神传承，使此文具有超越文学的思想力量。此文的文学史价值，还在于其为「传记散文」确立了「逸事体」的典范：不写人物生平全貌，而精选一两件最能见其精神的逸事，以小见大、以少总多，此体经方苞此篇而大备，其后姚鼐、曾国藩等桐城后学相沿成风；而文中师徒两代忠烈「志事相承」的主题，更使此文成为气节教育的不朽文本，其文与人之双美，千古少有。
Prosody
Line by line
先君子尝言，乡先辈左忠毅公视学京畿
My late father used to tell how our fellow-townsman, the late Lord Zhongyi, when he held the educational office in the capital,
先父曾说，乡里前辈左忠毅公任京城学政时。
My late father used to say: when the late Lord Zuo Zhongyi, our elder townsman, was inspector of studies in the capital region,
开篇以「先君子尝言」立起全文的叙事基调和真实感。「先君子」是对已故父亲的敬称，方苞以父亲口述的亲身见闻起笔，既表明所记逸事的来源有据、真实可信，也为全文蒙上一层追怀先贤、缅怀故老的温情与敬意；「乡先辈」三字更点明左光斗与方家的同乡关系——同是桐城人，乡邦先贤的流风余韵，正是方苞立传的动机所在；「视学京畿」交代左公的身份与职守（任京畿学政，即主持京城一带的科举考试），为下文风雪中识拔史可法的核心事件张本。此句虽只十五字，而叙事的缘起、人物的身份、情感的温度俱在其中，起笔平实而不平庸，正是桐城文「于平淡处见匠心」的典范开头。
The opening establishes the narrative tone and the sense of reality through my late father used to tell. My late father is the respectful name for the dead father; Fang Bao opens with the father's own eyewitness account, at once showing the source of the anecdote well-founded and trustworthy, and wrapping the whole in the warmth and reverence of remembering the worthies and the elders. The words elder townsman point out the fellow-townsman relation of Zuo Guangdou and the Fang family — both Tongcheng men; the lingering virtue of the local worthies is precisely the motive for Fang Bao's biography. Inspector of studies in the capital region tells Lord Zuo's standing and duty (holding the civil examinations of the capital district), preparing the core event of recognizing and raising Shi Kefa in the snow. The line is but fifteen characters, yet the narrative occasion, the person's standing, and the emotional warmth are all within; the opening plain yet not flat, precisely the model Tongcheng opening of craft within plainness.
即解貂覆生，为掩户
he at once unstrapped his sable robe and covered the scholar, and closed the door for him.
公读毕，解下貂皮大衣盖在他身上，并替他掩上门。
he at once unfastened his sable coat to cover the young man, and gently closed the door for him.
以两个极简的动作写左公爱才之诚，是全篇最见温情的细节。「解貂覆生」写左公读罢文章，见书生伏案而睡，便解下自己的貂皮大衣盖在他身上——貂裘本是贵重之物，学政解以覆一寒微书生，见其爱才之深、毫无官架；「为掩户」更写他轻轻掩上门，怕门缝的风吹着熟睡的书生——掩户这个动作何其细微，非真心爱才者不能为之。两个动作，一「覆」一「掩」，一写遮寒、一写挡风，如慈父待子，把一位朝廷学政对贫寒书生的怜惜与器重写得入木三分。此段与后文左公在狱中怒斥史可法的刚烈形成鲜明对照：对弟子是解貂覆身的温厚，对阉党是宁死不屈的刚烈，一温一烈，恰见左公人格的完整。
Two extremely simple actions write Lord Zuo's sincerity in loving talent, the warmest detail of the piece. He at once unstrapped his sable robe and covered the scholar writes that Lord Zuo, having read the essay and seeing the young man asleep over the desk, unstraps his own sable robe and covers him — the sable cloak is a costly thing, and the educational officer unstrapping it to cover a poor student shows the depth of his love and the absence of official pride. Closed the door for him further writes his gently shutting the door, fearing the draft through the crack will chill the sleeping scholar — how minute the action of closing the door, and none but a true lover of talent would do it. Two actions, cover and close, one of sheltering from the cold, one of keeping out the wind, like a father with his son, writing the tenderness and regard of a court educational officer for the poor student to the bone. The passage forms a sharp contrast with the later scene in prison where Lord Zuo sternly rebukes Shi Kefa: toward the disciple, the warmth of the unstrapped sable; toward the eunuch faction, the unyielding sternness to death; warmth and sternness, precisely the completeness of Lord Zuo's character.
吾诸儿碌碌，他日继吾志事，惟此生耳
My sons are all mediocrities; the one who will carry on my work in days to come is this young man.
我的几个儿子都平庸，将来继承我志向事业者，只有这个书生了。
My own sons are all mediocre; the one who will continue my aims and work in the future is none but this young man.
以一句家常语写尽知遇之深，是全文识人主题的点睛之笔。左公召史可法拜见夫人，当着妻子的面说：「吾诸儿碌碌，他日继吾志事，惟此生耳」——我的几个儿子都平庸，将来继承我志向事业的，只有这个书生。此语的深意有三：一是识人之准，一面之缘、一篇文章，便断定此人可托付平生志业，非有巨眼不能为此言；二是期许之重，「继吾志事」四字，把个人的志向、家国的责任一同托付，这是怎样的器重与信赖；三是对照之妙，「诸儿碌碌」与「惟此生」对举，宁以国事托付弟子而不以家事委诸亲子，正是古之君子「天下为公」的胸襟。此句伏下后文史可法冒死探监、扬州殉国的因果——左公之知遇，成就了史公之忠烈，师生间的精神传承，尽在此一言之中。
One household word writes the depth of the recognition, the pointed eye of the whole's theme of knowing men. Lord Zuo calls Shi Kefa to meet his wife, and before her says: my sons are all mediocrities; the one who will carry on my work in days to come is this young man. The deep meaning is threefold: first, the accuracy of recognition — one meeting, one essay, and he decides this man may be trusted with the cause of a lifetime; none but a gigantic eye could speak thus. Second, the weight of the expectation: the four words continue my work entrust at once the personal resolve and the responsibility for family and country — what regard and trust. Third, the beauty of the contrast: my sons all mediocrities set against this young man alone, entrusting the national cause to the disciple rather than the family affair to his own flesh and blood, precisely the ancient gentleman's all the world as one community. The line plants the cause and effect of the later Shi Kefa's risking death to visit the prison and his martyrdom at Yangzhou: Lord Zuo's recognition made Lord Shi's loyalty, and the spiritual transmission between teacher and student is all within this one word.
面额焦烂不可辨，左膝以下筋骨尽脱矣
Face and brow burnt and rotted past recognition; sinew and bone below the left knee all torn away.
脸额烧焦溃烂无法辨认，左膝以下的筋骨全部脱落了。
His face and forehead were charred and rotted past recognition; below the left knee, sinews and bones had all torn loose.
以触目惊心的白描写左公受刑之惨，为下文「目光如炬」的刚烈蓄势，是全文最震撼的画面。「面额焦烂不可辨」写脸与额头被炮烙烧得焦烂，面目全非、不可辨认——一个「焦」字、一个「烂」字，写尽酷刑之毒；「左膝以下筋骨尽脱矣」更写左膝以下的筋骨都脱落了，「筋骨尽脱」四字，把受刑后肢体的残毁写得如在目前，惨不忍睹。然而正是在这极惨的画面之后，左公「奋臂以指拨眦，目光如炬」——皮开肉绽、筋骨尽脱的躯体里，还有一双如炬的眼睛，还有满腔的忠愤！以极惨之形衬极烈之志，肉体愈残而精神愈刚，正是此段笔法的核心：不写左公如何悲苦呻吟，而写其残躯中的烈气，把一位忠臣的节操写到极致，令人读之凛然生敬。
The stark, shocking plain writing of Lord Zuo's torture stores force for the later eyes like torches, the most harrowing picture of the piece. Face and brow burnt and rotted past recognition writes the face and forehead seared by the branding iron, features gone, beyond recognition — the single words burnt and rotted exhaust the cruelty of the torture. Sinew and bone below the left knee all torn away further writes the torn sinews and bones below the left knee; the four words all torn away write the dismemberment of the limbs after torture as before the eyes, too pitiful to look at. Yet precisely after this most pitiful picture, Lord Zuo strains his arm and fingers aside his eyelids, his gaze like a torch — within the flayed flesh and torn sinews, there remain a pair of torch-bright eyes, and a breast full of loyal wrath! Setting the extremest form against the extremest will, the more broken the flesh the firmer the spirit, precisely the core of the brush: not writing Lord Zuo's grief and groaning, but the fierce spirit within the broken body, writing the integrity of the loyal official to the utmost, making the reader rise in reverence.
庸奴！此何地也，而汝来前
Worthless slave! What place is this, that you come before me?
庸奴！这是何地，你竟前来！
Worthless slave! What place is this, that you dare come before me?
以怒斥写深爱，是全篇对话描写的巅峰，也是左公形象的最后完成。史可法冒死探监，跪抱公膝呜咽，左公辨其声而目不可开，乃奋臂拨眦，目光如炬，第一句话便是「庸奴！此何地也，而汝来前」——这一声怒斥，看似绝情，实则最深情：他怒的不是弟子来看他，而是弟子竟敢以身犯险、闯入这九死一生之地！「此何地也」写狱中险境，「而汝来前」写史之冒失，其后的「国家之事糜烂至此，老夫已矣，汝复轻身而昧大义，天下事谁可支柱者」更道出怒斥的根本——不是惜己之命，而是忧国之士不可轻死；「吾今即扑杀汝」的作势欲击，更是以死相逼、逼弟子速离险地。以骂写爱、以怒写忧，爱之深故责之切，左公的刚烈与深谋、对弟子的期许与对国事的忧煎，尽在这一声「庸奴」之中。
Writing deep love through stern rebuke, the peak of the dialogue and the final completion of Lord Zuo's figure. Shi Kefa risks death to visit the prison, kneeling, embracing the lord's knee and sobbing; Lord Zuo hears his voice and cannot open his eyes, strains his arm and fingers aside his eyelids, his gaze like a torch, and the first word is: worthless slave! What place is this, that you come before me? This rebuke, seemingly heartless, is in fact the deepest love: he is not angry that the disciple has come to see him, but that the disciple dares risk himself, bursting into this place of nine deaths and one life! What place is this writes the prison's peril, that you come before me writes Shi's rashness; the following the affairs of the state are rotted to this, I am finished, and you again lightly risk yourself, blind to the great duty — who then can uphold the world? speaks the root of the rebuke — not grieving his own life, but anxious that the patriotic scholar must not lightly die; and the gesture of I will strike you dead this moment, threatening the blow, is pressing the disciple with death itself, urging him to leave the perilous place at once. Writing love through abuse, writing anxiety through wrath — the deeper the love, the sharper the reproof; Lord Zuo's sternness and deep foresight, his expectation of the disciple and his anguish for the state, are all within this one worthless slave.
Study
Word focus
Related Reading
Both fine Qing plain-description works; compare narrative and descriptive brush.
两篇同属清代散文而题材、笔法各异。《山市》为《聊斋志异》中的一篇，记山市蜃楼幻景，「无何，见宫殿数十所」到「一切乌有」的倏忽变幻，以细腻的笔触层层写景状物，笔法铺展、意象奇幻，是志怪小说家写幻景的典型；《左忠毅公逸事》则为桐城派传记散文，记左光斗识才、殉节两事，以白描与对话写人，笔法简严、气骨遒上。一状幻景、一记真人；一以铺写取胜、一以简严见长。两篇并读，可见清代散文的两种风格——蒲松龄的恣肆奇崛与方苞的雅洁谨严，亦可体会叙事散文与志怪小说在笔法上的分野。
项脊轩志（节选） Record of the Xiangji Studio (excerpt) 归有光 · 一写师弟气节、一写家族亲情，桐城文承归氏唐宋派，可比较简洁深情之异同 Same / differ (both Ming-line / Qing-inheriting-Ming character sketches; one writes teacher-disciple integrity, one family love)Tongcheng prose inherits Gui's Tang-Song school; compare their concise, deep feeling.
两篇同为中国散文史上写人叙情的名作，皆以简洁之笔写深挚之情。《项脊轩志》为归有光记项脊轩及家族琐事之作，「庭有枇杷树，吾妻死之年所手植也」以极平淡之语写悼亡之痛，情致缠绵，是明代唐宋派散文的代表；《左忠毅公逸事》则记左光斗识才殉节之事，以极简之笔写忠烈之气，风骨凛然，是清代桐城派散文的代表。一写家族之情、一写师徒之节；一缠绵一刚烈。两篇并读，可见归有光启桐城派的师承关系（方苞推崇归氏），亦可比较明清两代散文在抒情与言志上的不同侧重——归氏以情胜，方氏以义胜，皆为「于平淡处见真淳」的典范。
人间词话（节选） Remarks on Lyrics from the World of Men (excerpt) 王国维 · 一为叙事古文、一为论词诗话，可比较古文义法与词话品鉴之不同 Differ (one narrative ancient prose, one lyric criticism)Both Qing writings on literature; compare ancient-prose meaning-and-method with lyric criticism.
两篇同为清代（及近代）散文名作而性质迥异。《左忠毅公逸事》为叙事记人的古文，以白描、对话写人，讲求桐城派的「义法」与「雅洁」，重在「载道」；《人间词话》节选则为论词说理的词话，以「三境」说借词立论，讲求见识的精到与辞气的从容，重在「启智」。一记事、一说理；一以形象传神、一以议论警人；一为传统古文的殿军、一为近代文论的先声。两篇并读，可见中国散文由清代古文到近代学术随笔的演进，亦可比较「叙事之文」与「论理之文」在笔法、语言上的不同要求，正可体会文言散文体式之多样、功能之丰富。