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宋 Song · 词 Ci lyric

临江仙·夜饮东坡

Riverside Daffodils: Drinking at Night on East Slope

苏轼

Su Shi

哲理Philosophy 抒情Lyric

夜饮东坡醒复醉，归来仿佛三更。
家童鼻息已雷鸣。
敲门都不应，倚杖听江声。
长恨此身非我有，何时忘却营营。
夜阑风静縠纹平。
小舟从此逝，江海寄馀生。

Drinking at night on East Slope, I woke and drank again;
Returning, it seemed already the third watch.
The serving boy's snoring rumbles like thunder.
I knock at the door, but no one answers;
Leaning on my staff, I listen to the river's sound.
Long have I grieved that this body is not my own;
When shall I forget the ceaseless bustle?
The night deepens, the wind calms, the ripples are smooth.
In a little boat I will vanish hence,
And on rivers and seas entrust the rest of my life.

Listen

Meaning

Written in the third year of Yuanfeng (1082), when Su Shi, nearly three years after the Crow Terrace Poetry Case had sent him to Huangzhou as a demoted official, had opened wasteland on East Slope east of the city and taken the name of Dongpo Hermit. One night he drinks on East Slope, wakes drunk and drinks again, and returns near the third watch to find the door shut and the servant snoring; he knocks but no one answers, and leaning on his staff he listens to the sound of the river. Then he reflects: 'long have I grieved that this body is not my own, when shall I forget the ceaseless bustle?'—and at last, as the night deepens and the wind calms, resolves: 'in a little boat I will vanish hence, and on rivers and seas entrust the rest of my life.' The poet's release from the bitterness of official life, his longing for freedom, and his spaciousness of spirit, all carried in the night and the river.

夜里在东坡饮酒，醒了又醉，归来时仿佛已是三更天。家童的鼻息声已经响如雷鸣。敲门都没有人应，只好倚着手杖静听江水的涛声。常常遗恨这具身体不能由自己做主，什么时候才能忘却那些为利禄奔忙钻营的心事。夜深了风也静了，水面泛起细细的波纹。驾一叶小舟从此离去，把余生寄托在江海之中。

Appreciation

The ci excels in the flow of time and space and the turn from circumstance to philosophy. The first half writes the real scene, the second turns to the thought, from the drunken return to the river sound entering the ear, from the feeling of the self to the thought of rivers and seas, the layers clear yet all one. The opening, 'drinking at night on East Slope, I woke and drank again; returning, it seemed already the third watch,' points to the lateness of the hour and the depth of the drunkenness; the word 'seemed' writes the daze of drunken eyes. 'The serving boy's snoring rumbles like thunder' writes the deep silence of the night in hyperbole, the snoring like thunder setting off the stillness of the night, and the awkwardness of being shut out. 'I knock at the door, but no one answers; leaning on my staff, I listen to the river's sound' is the turning point of the whole ci: from the urgency of knocking to the calm of listening to the river, one urgent and one calm, from the human to the natural, the spirit opening with it. The second half, 'long have I grieved that this body is not my own,' speaks the heart directly, lifting the personal misfortune to a question of freedom; 'when shall I forget the ceaseless bustle?' writes the helpless self-release in a question.

【白话串讲】苏轼在黄州东坡喝酒，写临江仙：“夜饮东坡醒复醉，归来仿佛三更”。“家童鼻息已雷鸣。敲门都不应，倚杖听江声”——“长恨此身非我有，何时忘却营营”——“小舟从此逝，江海寄馀生”——传说他第二天不见了，以为他真坐船跑了。【意象与手法】此词叙事、写景、议论相结合，以夜饮归来为线索，由敲门不应、倚杖听江的实境，转入长恨此身非我有的哲思，再以江海寄馀生的想象作结，旷达中见深沉，是苏轼词以诗为词、以理入情的典范。【情感与主旨】全词写苏轼谪居黄州时期的苦闷与旷达：既恨身不由己、为尘事所累，又思超脱解脱、寄情江海，最终在夜阑风静的江声中找到内心的安宁，体现了东坡在逆境中自我排遣、超越苦难的精神境界。【名句点睛】常考『长恨此身非我有，何时忘却营营』的哲思，以及『小舟从此逝，江海寄馀生』的旷达与超脱。

Background

This ci was written in the third year of Yuanfeng (1082), when Su Shi, nearly three years after being demoted to the position of vice military training commissioner at Huangzhou for the Crow Terrace Poetry Case, was living as a disgraced official without real power and in hard straits. In the fourth year of Yuanfeng he opened wasteland on East Slope east of Huangzhou city and took the name of Dongpo Hermit, supporting himself by farming. This ci writes his night drinking on East Slope and his drunken return, from the period of self-sufficiency by farming. The three years at Huangzhou were a time of deep change in Su Shi's thought: from the setbacks of official life he gradually came to understand the impermanence of life, and turned to the Buddhist and Daoist for release, forming his spacious, transcendent attitude. The ci's 'long have I grieved that this body is not my own' transforms the philosophy of the Zhuangzi's 'Know Roaming North,' and 'in a little boat I will vanish hence, and on rivers and seas entrust the rest of my life' expresses the longing for a free life. According to Ye Mengde's Record of Words to Avoid the Heat, when this ci spread abroad, people thought Su Shi had really sailed away, and the prefect Xu Junyou, alarmed, hurried to look, only to find him sleeping soundly—a sign of the ci's great influence in its own day.

《临江仙·夜饮东坡》作于宋神宗元丰五年（1082年），苏轼因乌台诗案被贬黄州已近三年。乌台诗案是苏轼人生的重大转折，他险些丧命，出狱后被贬为黄州团练副使，实为带罪之身，无实权，生活困顿。元丰四年，苏轼在黄州城东的东坡开荒种地，自号东坡居士，以躬耕自给排遣苦闷。此词写他夜饮东坡、醉酒归来的情景，即作于这段躬耕自适的时期。黄州三年，是苏轼思想发生深刻变化的阶段：他从仕途的挫折中逐渐领悟到人生的无常，转而从佛老思想中寻求解脱，形成了旷达超脱的人生态度。词中长恨此身非我有，何时忘却营营，化用《庄子·知北游》汝身非汝有也的哲思；小舟从此逝，江海寄馀生，则表现了对自由生活的向往。据叶梦得《避暑录话》载，此词传出后，人们以为苏轼真的乘舟远去了，黄州太守徐君猷闻讯大惊，急忙赶去查看，却发现他正酣睡未起，可见此词在当时影响之大。

Art

The art lies in the flow of time and space and the turn from circumstance to philosophy. The first half writes the real scene, the second turns to the thought, the layers clear yet all one. The opening's 'seemed' writes the daze of drunken eyes; 'the snoring rumbles like thunder' sets off the silence of the night; 'leaning on my staff, I listen to the river's sound' is the turning point, from the urgency of knocking to the calm of listening, from the human to the natural. The second half speaks the heart directly, 'long have I grieved that this body is not my own,' lifting the personal misfortune to a question of freedom; 'the night deepens, the wind calms, the ripples are smooth' writes the tranquil scene and the tranquil heart in one stroke; and 'in a little boat I will vanish hence, and on rivers and seas entrust the rest of my life' closes on the transcendent longing, the whole ci from bitterness to calm to release, the complete course of self-redemption.

此词在艺术上以时空的流转与情理的转换见长。上片写实境，下片转哲思，由夜饮归来写到江声入耳，由身世之感写到江海之思，层次分明而浑然一体。开篇夜饮东坡醒复醉，归来仿佛三更，点出时间之晚、醉意之深，仿佛二字写尽醉眼朦胧的恍惚。家童鼻息已雷鸣，以夸张之笔写夜深人静，鼻息如雷反衬出夜的寂静，也写出被拒门外的尴尬。敲门都不应，倚杖听江声，是全词的转折：从敲门的急切到听江的沉静，一急一缓，由人事转向自然，心境也随之开阔。下片长恨此身非我有，直抒胸臆，把个人的遭际升华为对人生自由的追问；何时忘却营营，以设问写无奈的自我解脱。夜阑风静縠纹平，以景写情，江面的平静正是心境的平静。小舟从此逝，江海寄馀生，以想象之笔作结，把眼前的江声化为遨游江海的自由，余韵悠长。全词语言清旷，境界超逸，是苏轼旷达词风的代表作。

Allusions

The allusions are apt and natural. 'Long have I grieved that this body is not my own' transforms the Zhuangzi's 'Know Roaming North,' where Shun asks the assistant 'is not this body of yours not your own? then whose is it?'—the Zhuangzi's thought that all things are not my own, writing the grief of being unable to command oneself, and carrying Su Shi's own experience of the rise and fall of official life and the uncertainty of life and death. 'When shall I forget the ceaseless bustle?'—'ceaseless bustle' (yingying) comes from the Zhuangzi's 'Gengsang Chu,' 'do not let your thoughts bustle ceaselessly,' meaning to bustle about for fame and profit; Su Shi uses it to criticize the scramble of official life. 'The ripples are smooth'—the fine lines of the water like crepe, an image common in Song ci, used here more empty and limpid, secretly writing the clarity of the heart. 'In a little boat I will vanish hence, and on rivers and seas entrust the rest of my life' continues the old dream of 'a boat and a guitar in the lakes and seas' of the Tang-Song scholar-official, the eternal longing for freedom.

此词用典精当而自然。长恨此身非我有，化用《庄子·知北游》中舜问丞：汝身非汝有也，孰有之哉？以庄子万物皆非我所有的思想，写出身不由己的悲慨，也暗含苏轼对宦海浮沉、生死难料的切身体会。何时忘却营营，营营语出《庄子·庚桑楚》无使汝思虑营营，指为名利往来奔忙、劳心费神，苏轼借此批判仕途的钻营与奔竞。夜阑风静縠纹平，縠纹即绉纱上的细纹，形容水面的微波，此意象在宋词中常见，苏轼用之而更见空灵，暗写心境的澄澈。小舟从此逝，江海寄馀生，既暗用范蠡功成身退、泛舟五湖的典故，也融入了《庄子·列御寇》巧者劳而智者忧，无能者无所求，饱食而遨游，泛若不系之舟的逍遥境界。苏轼善以佛老思想化解人生的苦难，此词正是他以庄子哲学安顿心灵的典型，典故的运用不露痕迹，与眼前的江景、身世的感慨水乳交融。此词以东坡自号入词，亦暗含对白居易东坡种花的仰慕，典外有典，尤见匠心。

Commentary

This ci is one of Su Shi's most celebrated works of the Huangzhou period and a concentrated expression of his spacious spirit. Its value lies first in the true and profound course of the heart: from the bitterness of the drunken return, to the calm of listening to the river, to the transcendence of entrusting the rest of life to rivers and seas, it presents in full the process of self-redemption at the lowest point of life—both the grief of being unable to command oneself and the spaciousness of settling the spirit, the bitter and the broad interwoven, the very core of the Dongpo spirit. Second, it is a successful practice of writing ci as poetry: this ci brings narrative and argument into the ci, breaking the tradition of the ci as the lyric of the boudoir, and is one of the signs of Su Shi's reform of the ci. The story of its spread, that men thought he had really sailed away and the prefect hurried to look, has become an enduring anecdote of the Dongpo legend.

《临江仙·夜饮东坡》是苏轼黄州时期最负盛名的词作之一，也是其旷达精神的集中体现。此词的价值首先在于真实而深刻的心路历程：从夜饮醉归的苦闷，到倚杖听江的沉静，再到江海寄馀生的超脱，完整呈现了苏轼在人生低谷中自我救赎的过程，既有身不由己的悲慨，又有安顿心灵的旷达，悲与旷交织，正是东坡精神的核心。其次在于以诗为词的成功实践：此词以叙事、议论入词，打破了词为艳科的樊篱，把词的题材从花间樽前扩展到日常生活与哲思冥想，是苏轼对词体发展的重大贡献。再次在于其广泛的影响：小舟从此逝，江海寄馀生二句，千百年来为无数失意文人传诵，成为超脱尘世、归隐江湖的经典意象。清人评东坡词，谓其无意不可入，无事不可言，此词正是这一评价的绝佳注脚。它让后人看到，真正的旷达不是逃避，而是在苦难中依然保有对自由与美好的向往，此词遂成为黄州词中与《念奴娇·赤壁怀古》并立的精神坐标。

Prosody

Form Tune 'Riverside Daffodils' (double, fifty-eight characters)词牌临江仙，双调五十八字

Rhyme Each half has five lines and three level rhymes: geng, ming, sheng, ying, ping, sheng—all in the geng rhyme-group of the level tone, one rhyme to the end, the sound clear and long, fitting the spacious and transcendent feeling上下片各五句三平韵，更、鸣、声、营、平、生诸韵脚皆属平水韵下平八庚，一韵到底，音调清亮悠长，宜于抒发超旷之情。

Tone pattern The whole mixes seven-, six-, and five-character lines, as 'drinking at night on East Slope, I woke and drank again' (seven), 'returning, it seemed already the third watch' (six), 'leaning on my staff, I listen to the river's sound' (seven) and five, the seven-character lines full and the five-character lines bright, the rhythm level and long全词句式以七言、六言、五言相间，如夜饮东坡醒复醉（七言）、归来仿佛三更（六言）、敲门都不应（五言），长短错落，节奏疏朗；上下片末句皆为五言，声情于顿挫中见悠远。

Reading note The tune's mixture of seven-, six-, and five-character lines gives the whole a level, flowing rhythm, fitting the poet's release from bitterness to spaciousness.临江仙为唐教坊曲名，后用作词牌，双调五十八字，上下片各五句三平韵，另有多种变体。苏轼此词上下片句法完全一致，皆以七、六、七、五、五句式组成，是临江仙体的正格。全词押平声庚韵，更、鸣、声、营、平、生六字皆为开口洪亮之音，声音悠长开阔，正合词中超脱旷达的情怀。词中节奏的妙处在于长短句的交替：七言句如夜饮东坡醒复醉，读来舒展；六言句如归来仿佛三更，略见顿挫；五言句如敲门都不应，短促有力，至小舟从此逝，江海寄馀生，五言两句收束，声情于顿挫中归于悠远，仿佛江声渐远。苏轼并不刻意追求音律的精工，而重在以声传情，此词读来朗朗上口，声情与词意高度契合，体现了苏轼以诗为词、自由抒写的词风。

Line by line

夜饮东坡醒复醉，归来仿佛三更。

Drinking at night on East Slope, I woke and drank again; returning, it seemed already the third watch. (The opening points to the lateness of the hour and the depth of the drunkenness; the word 'seemed' writes the daze of drunken eyes.)

夜里在东坡饮酒，醒了又醉，归来时仿佛已是三更天。

Drinking at night on the Eastern Slope, sobering then reeling drunk; when I returned, it was nearly the third watch.

首二句写夜饮归来的情景，醒复醉三字是全词的起笔，也是理解全词的关键。醒复醉，不是一次痛饮，而是醒了又醉、醉了又醒，反复的醉与醒，写出借酒浇愁的无奈与内心深处的郁结——谪居黄州，报国无门，唯有以酒麻醉自己。东坡既是地名，又是苏轼躬耕自足、以东坡自号之地，夜饮东坡，暗含了与这片土地的特殊感情。归来仿佛三更，仿佛二字写尽醉眼朦胧、时间恍惚的状态，深夜独归，可见其孤独。这两句以平淡的叙述起笔，却为下文的敲门不应、倚杖听江埋下伏笔，也为全词由实入虚、由情入理作了铺垫，一个醉字，贯穿了整首词的情感基调。

The first two lines write the night-drinking return, the three words sobering-then-reeling the opening of the ci and the key to it. Sobering then reeling: not one deep drinking bout, but sobering and reeling, reeling and sobering, the repeated drunkenness and waking, writing the helplessness of the wine-drowning and the gloom deep in the heart — exiled in Huangzhou, no road to serve the country, and wine alone to numb oneself. The Eastern Slope both the place and the land where Su Shi tilled and named himself, the night drinking on the slope secretly carrying the special bond with this soil. Nearly the third watch: the two words nearly exhausting the drunken eyes' blur and the hour's trance, the late night's solitary return showing the loneliness. These two lines open in the plain narrative, and yet store ground for the below knocking-again-and-no-answer and the staff-leaning river listening, and prepare the ci's move from the real to the imagined, from feeling to reason, the one word drunkenness running through the whole ci's emotional tone.

敲门都不应，倚杖听江声。

I knock at the door, but no one answers; leaning on my staff, I listen to the river's sound. (The turning point of the whole ci: from the urgency of knocking to the calm of listening to the river, one urgent and one calm, from the human to the natural, the spirit opening with it.)

敲门都没有人应，只好倚着手杖静听江水的涛声。

Knocking at the door brings no answer; leaning on my staff, I listen to the river.

这两句是全词由人事转入自然、由烦躁转入宁静的枢纽，也是最具画面感的一笔。敲门都不应，写家童熟睡、无人应门，本是令人气恼的尴尬处境，但苏轼没有敲门不止、怨怒发作，而是转倚杖听江声——敲门与听江，一急一缓，一动一静，写出心境的变化。倚杖二字，写出一个独立江畔的身影；听江声，则把个人的小烦恼融入浩荡的江声之中。敲门无人应，天地却有回应，江声便是大自然对这位失意者的慰藉。这两句最妙处在于以江声化解敲门的不应，由人间烟火转向天地自然，心境随之开阔，为下片此身非我有的哲思作了铺垫，也初步展现了苏轼随遇而安、自得其乐的性格。

These two lines are the ci's hinge, turning from human affairs to nature, from agitation to stillness, and the most pictorial stroke. Knocking at the door brings no answer writes the servant boy asleep, no one opening, by nature an exasperating embarrassment, and Su Shi instead of knocking on and on in resentment turns to leaning on his staff to listen to the river — the knocking and the river listening, one urgent one slow, one motion one stillness, writing the mind's change. The two words leaning on my staff draw the figure standing alone by the river; listening to the river folds the personal small annoyance into the vast river's sound. The knocking and no answer, and yet heaven and earth answer, the river sound being nature's comfort to this frustrated man. The lines' greatest beauty lies in resolving the knocking's no-answer through the river's sound, turning from the human fireside to heaven and earth, the mind broadening, preparing ground for the below this body is not my own, and first showing Su Shi's temper of taking things as they come and finding joy in what is.

长恨此身非我有，何时忘却营营。

Long have I grieved that this body is not my own; when shall I forget the ceaseless bustle? (The heart spoken directly: the Zhuangzi's thought that all things are not my own, the grief of being unable to command oneself lifted to a question of freedom.)

常常遗恨这具身体不能由自己做主，什么时候才能忘却那些为利禄奔忙钻营的心事。

I always grieve that this body is not my own; when shall I forget the scheming?

这两句是全词的哲思核心，直抒胸臆，把个人的遭际升华为普遍的人生感慨。长恨此身非我有，化用《庄子·知北游》汝身非汝有也，苏轼借此写出身不由己之恨：为官身不由己，贬谪身不由己，生死也曾身不由己，乌台诗案的阴影犹在，此身何曾属于自己？何时忘却营营，营营指为功名利禄奔忙，苏轼身在仕途，明知营营之累而难以摆脱，何时二字的设问，写出想忘而忘不掉的无奈。这两句由听江声的宁静转入对人生的叩问，情感深沉而不颓丧，是苏轼在黄州经过痛苦思索后获得的清醒认识：既然此身非我所有，何必为营营所困？这种认识，正是下片江海寄馀生的旷达的思想基础。

These two lines are the ci's philosophical core, speaking the heart directly, raising the personal lot into the universal life sigh. I always grieve that this body is not my own borrows Zhuangzi's Knowledge Rambling North's your body is not yours, Su Shi using it to write the grief of the body's unfreedom: in office unfree, in exile unfree, even in life and death unfree, the shadow of the Wutai poem case still there, when has this body ever belonged to itself? When shall I forget the scheming? the scheming means the rushing for fame and profit, Su Shi in office, knowing the burden of the scheming and yet unable to cast it off, the two words when writing the helplessness of wishing to forget and unable. These two lines turn from the river-listening stillness to the questioning of life, the emotion deep and yet not sunk, the lucid understanding Su Shi won after the painful thought in Huangzhou: since this body is not mine, why be bound by the scheming? This understanding is precisely the intellectual ground for the below entrusting my remaining years to the rivers and seas.

小舟从此逝，江海寄馀生。

In a little boat I will vanish hence, and on rivers and seas entrust the rest of my life. (The close of transcendence: the night deepens, the wind calms, the ripples are smooth, and the poet resolves to vanish in a little boat and entrust the rest of his life to rivers and seas.)

驾一叶小舟从此离去，把余生寄托在江海之中。

Let a small boat slip away from here, and I will entrust my remaining years to the rivers and seas.

末二句是全词的高潮与点睛之笔，以想象之景写超脱之志，千百年来传诵不衰。小舟从此逝，写乘舟远去的决绝；江海寄馀生，写把余生托付江海的归宿。逝与寄两个动词，一写离去，一写安放，把对自由的向往写得既决绝又从容。这两句并非真的乘舟而去，而是精神上的超脱：在夜阑风静、江波不兴的时刻，苏轼仿佛看见了自己的归宿——不在庙堂，不在尘网，而在辽阔的江海之间。据叶梦得记载，此词传出后人们以为苏轼真的走了，可见其艺术感染力之强。这两句与开篇的夜饮醉归遥相呼应，从醉中的苦闷到江海的澄明，完成了全词从困顿到解脱的升华，是苏轼旷达精神的最高体现，也让黄州成为后世文人精神家园的象征。

The last two lines are the ci's peak and telling stroke, writing the detached will in the imagined scene, recited unbroken through the ages. Let a small boat slip away from here writes the resolve of the boat's departure; I will entrust my remaining years to the rivers and seas writes the haven of entrusting the years to the waters. The two verbs slip and entrust, one the departure, one the settling, writing the longing for freedom at once resolute and unhurried. These two lines are not the real boarding of a boat, but the spiritual detachment: in the hour when the night wanes and the wind stills and the river's waves do not rise, Su Shi seems to see his haven — not in the court, not in the worldly net, but between the vast rivers and seas. According to Ye Mengde's record, after this ci spread, people thought Su Shi had truly left, showing its artistic power. These two lines echo the opening night-drinking drunken return, from the drunken gloom to the rivers' clarity, completing the ci's elevation from hardship to release, the highest showing of Su Shi's detached spirit, and making Huangzhou the symbol of the later scholars' spiritual home.

Study

Word focus

仿佛 Seemed. The word of the opening daze: 'returning, it seemed already the third watch'—the two characters write the drunken, blurred perception, the depth of the wine and the lateness of the hour in one glance. 归来仿佛三更之仿佛二字，写尽醉眼朦胧、时间恍惚的醉态，是全词起笔的传神之笔。仿佛本有好像、似乎之意，此处写苏轼醉归时对时间的模糊感知：三更也罢，四更也罢，他已无法确知，仿佛二字恰到好处地写出醉意之深。其妙有三：一是写醉态，醉者看时间，往往模糊不清，仿佛正是醉者特有的时间感；二是写孤独，深夜独归，无人知晓，时间便失去了参照，仿佛之中自有孤寂；三是为下文铺垫，时间已深至三更，家童自然熟睡，敲门不应便顺理成章，仿佛二字为全词的情节发展埋下伏笔。若直写归来已三更，便索然无味；仿佛二字以虚写实，把一个醉归者的神态写得活灵活现，可见苏轼炼字之精。

听 To listen. The word of the turning point: 'leaning on my staff, I listen to the river's sound'—from the urgency of knocking to the calm of listening, the spirit opening from the human to the natural, the whole ci turning on this one word. 倚杖听江声之听字，是全词由动入静、由外入内的关键。敲门不应，苏轼转而听江，一个听字，写尽心境的大转折。其妙有三：一是听字写出主动的沉静，敲门是向外求应，听江是向内求静，由敲到听，正是由烦躁到安宁的转化；二是听字写尽孤独中的自得，无人应门，却有江声相伴，听江声的人与江水浑然一体，孤独便不再是孤独；三是听字为下片的哲思张本，江声浩荡，引发此身非我有的感慨，听是感，思是悟，由听而思，顺理成章。苏轼善写听，夜阑风静縠纹平的静，正是听的余韵。一个听字，把一场敲门不应的尴尬，转化为一次与天地对话的契机，境界顿开，是炼字传神的典范。

营营 Ceaseless bustle. From the Zhuangzi's 'do not let your thoughts bustle ceaselessly,' meaning to bustle about for fame and profit; Su Shi uses it to write the weariness and self-release of the official road. 何时忘却营营之营营二字，叠用而见意，是全词批判仕途奔竞的关键词。营营语出《庄子·庚桑楚》无使汝思虑营营，本指往来不绝、劳心费神的样子，引申为为名利奔走钻营。其妙有三：一是叠字的音韵效果，营营读来有往复奔忙、不得停歇之感，与词意相合；二是指向明确，营营二字直指官场的钻营奔竞，也暗含苏轼对自己仕途生涯的反思——一生奔波，所为何来？三是与上文此身非我有相呼应：正因为被营营所役，此身才非我所有，忘却营营便是摆脱外物的役使，回归本真的自我。苏轼用此二字，既有对世俗的批判，也有对自我的警醒，语气由恨转问，在追问中透出解脱的契机，是炼意与炼字兼善的典范。