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宋 Song · 诗 Poem

读樊川集

Reading the Fanchuan Collection

张方平

Zhang Fangping

山水landscape 田园pastoral 送别farewell 时序passing seasons

不遇元和得献谟，望山东北每长嘘。
独赓唐律雅风后，更注孙篇俎豆余。
霅水胜游成怅望，杜川归事竟踌躇。
中年遽使山根折，尽写雄襟在此书。

Unmet by the Yuanhe reign, he never got to offer his plans of state; gazing northeast toward the lands east of the passes, he heaved long sighs.
Alone he carried on the elegant strain of Tang regulated verse, and further annotated Sunzi's chapters, honoring the art of war as his spare pursuit.
His splendid wanderings by the Zha waters turned to wistful gazing; his design of retiring to Fanchuan ended in hesitating doubt.
In mid-life the mountain-root of his will was suddenly snapped, and all his heroic spirit is written out in this book.

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Meaning

Reading Du Mu's collected works, Zhang Fangping reflects on the poet's frustrated career: endowed with plans for statecraft, Du Mu never met his Yuanhe — the reign of Emperor Xianzong — and so gazed northward at the warlord-ridden heartland with constant sighs. He carried on alone the elegant tradition of Tang verse and annotated Sunzi's Art of War, yet his pleasures ended in wistfulness and his retirement remained an unresolved hesitation. His mid-life ambition snapped like a mountain breaking at its root, and the whole of his heroic spirit found refuge only in his poems. Beneath the tribute lies a fellow-feeling of an old official for a talented minister whom the times failed.

杜牧不遇元和朝，无从献纳经世之谟，北望山东中原每每长叹。他独能续接唐律的风雅正声，更把注解《孙子》当作余事般尊奉。霅水胜游总成怅望，樊川归隐之事竟至踌躇。中年壮志遽然摧折，那一份雄襟尽都写进了这部诗集。

Appreciation

The poem is a seven-character regulated verse ordered as 'the non-meeting — the twin mastery — the wistful hesitation — the final verdict,' running Du Mu's career as its warp and closing upon the single word 'book.' The first couplet strikes the stifled keynote of talents unsolicited; the second couplet, one line for poetry and one for learning, credits Du Mu with uniquely continuing the Tang tradition and annotating Sunzi as a revered side pursuit. The third couplet sets the Zha River wanderings against the Fanchuan retirement to portray a man torn between engagement and withdrawal. The final couplet gathers all into the tragic structure of 'ambition broken, writing achieved' — the snapping mountain-root figuring his shattered will with heavy, forceful imagery. Where Tang critics admired Du Mu's charm, Zhang alone weighs his non-meeting and his heroic bosom, a deeper reading born of 'knowing the man and his world.'

【白话串讲】张方平读杜牧的《樊川集》：“不遇元和得献谟，望山东北每长嘘”。“独赓唐律雅风后，更注孙篇俎豆余”——“中年遽使山根折，尽写雄襟在此书”——他写杜牧的才气。【意象与手法】章法以「不遇—独擅—怅望—总评」为次。首联直点不遇宪宗、无从献谟之恨；颔联一诗一学，写其独赓唐律、更注孙篇；颈联以霅水胜游与樊川归隐对写出处两难；尾联收结于「雄襟在此书」。通篇以生平遭际为经，以「书」为归穴。【情感与主旨】主旨是借读樊川集，抒写对杜牧「有谟不遇、志折文成」的隔代知音之慨。一位老臣对另一位失意才臣的惺惺相惜，亦暗含方平自身退居的身世之感。【名句点睛】「中年遽使山根折，尽写雄襟在此书」一联最见斤两，把杜牧一生收束为志折而文成的悲剧结构，宋人读唐贤能如此概括者不多。

Background

Du Mu (courtesy name Muzhi, studio name Fanchuan Jushi) was a great late-Tang poet, and his collected works are the Fanchuan Collection. Zhang Fangping's poem is a meditation occasioned by reading that collection. Du Mu's life ambition lay in statecraft: he annotated Sunzi, wrote on military affairs, and composed essays like 'A Criminal's Words' and 'On Warfare,' advocating the curbing of the warlords and the revival of the state; yet his career never rose beyond such posts as vice-director of the Bureau of Merit Titles and draftsman of edicts in the Secretariat. He lived through six reigns but longed for the governance of the Yuanhe era of Emperor Xianzong (the 'Yuanhe restoration'), and his verse is filled with the suppressed air of 'ten years of Yangzhou dreams, one waking' and the civic resolve of 'the five-colored thread of my life, to patch Emperor Shun's robe.' Northern Song literati of the mid-period often took Du Mu as a mirror of themselves, talented beyond their rank. Zhang Fangping himself had served three reigns and retired at odds with the New Policies, so the closing couplet — 'in mid-life his mountain-root snapped; all his heroic spirit is written in this book' — is a sympathetic understanding across generations: an old minister recognizing a frustrated talented one, borrowing an ancient's cup to pour away his own pent-up grievances.

杜牧（字牧之，号樊川居士），晚唐杰出诗人，有《樊川文集》。张方平《读樊川集》是读杜牧诗集的咏怀之作。杜牧生平志在经世，注《孙子》，论兵事，而仕途偃蹇，仅至中书舍人，其诗多「十年一觉扬州梦」的抑塞与「平生五色线，愿补舜衣裳」的用世之志。方平此诗紧扣此一矛盾：杜牧有元和（宪宗）朝献谟之才，却不遇其时，遂寄情诗文。北宋中期士大夫多以杜牧自况或相惜，因其才高而位不称。了解方平本人亦历仕三朝、与新法相忤而退的遭际，方能读懂「中年遽使山根折，尽写雄襟在此书」的惺惺相惜——那是一位老臣对另一位失意才臣的隔代知音。杜牧生于唐德宗贞元十九年（803），卒于宣宗大中六年（852），一生历宪、穆、敬、文、武、宣六朝，而志在元和之治，故其诗文多主削藩、理财、用兵之论。他二十四岁作《阿房宫赋》以讽秦，中年撰《罪言》《战论》《原十六卫》等兵论，又注《孙子》十三篇，皆有经世之志。然其仕途不过尚书司勋员外郎、中书舍人等清要散职，终不得大用，遂以诗自遣，成就「小杜」之号。张方平读其集而独拈「不遇」二字，正抓住杜牧一生悲剧的症结所在。

Art

The poem is a seven-character regulated verse whose architecture runs 'non-meeting — unique mastery — wistfulness — general verdict,' ending on the single word 'book.' The first couplet opens by naming Du Mu's fundamental grievance — that he never met his Yuanhe and so could never offer counsel to the throne — fixing the stifled tone at the start. The second couplet, one line for poetry and one for scholarship, shows Du Mu carrying on the elegant tradition of Tang verse and annotating Sunzi, master of two paths. The third couplet, setting the fine outings on the Zha River (in Huzhou, where Du Mu served as governor) against the retirement to Fanchuan (his late residence near Chang'an), writes the dilemma between engagement and withdrawal through the paired words 'wistful gazing' and 'hesitation.' The final couplet declares that his mid-life ambition was abruptly broken and his heroic bosom given wholly to his writings. The layering is tight, like peeling a bamboo shoot to the heart. In the parallelism, 'alone carried on the Tang strain' answers 'further annotated Sunzi's chapters,' and 'Zha River outings' answers 'Fanchuan retirement,' all pairs made of the actual facts of Du Mu's biography, fitting the man and the matter with nothing empty. In diction, the words 'sigh' and 'snapped' carry the deepest pain: the one drawing a long breath, the other a breaking. Where Tang readers of Du Mu mostly admired his stylish dash, Zhang Fangping alone weights his 'non-meeting' and his 'heroic bosom,' a deeper judgment. The final image of the snapped mountain-root — the mountain breaking at its base to figure the shattered will — is heavy and forceful, and the closing line gathers his whole life's frustration and the worth of his writing into one.

此诗七言四联，章法以「不遇—独擅—怅望—总评」为次。首联「不遇元和得献谟，望山东北每长嘘」直点杜牧不遇宪宗、无从献纳庙谋之恨，起手便定抑塞基调。颔联「独赓唐律雅风后，更注孙篇俎豆余」一诗一学，写杜牧于诗承唐律雅风、于学注《孙子》承兵家，独擅两途。颈联「霅水胜游成怅望，杜川归事竟踌躇」以霅水（湖州）胜游与樊川归隐对写，怅望与踌躇皆写其出处两难。尾联「中年遽使山根折，尽写雄襟在此书」收结，言其壮志中折，雄襟尽付诗文。通篇以杜牧生平遭际为经，以「书」为归穴，章法紧练。此诗章法之妙，在以「不遇—独擅—怅望—总评」四层递转，而归结于一个「书」字。首联写其志之不得伸，颔联写其才之有所寄，颈联写其出处之两难，尾联写其雄襟之终归诗卷，层层收束，如剥笋见心。对仗上，颔联「独赓唐律」对「更注孙篇」、颈联「霅水胜游」对「杜川归事」，皆以杜牧平生实迹为对，切人切事而不空。用字上，「嘘」「折」二字最见沉痛：一写长叹，一写摧折，把一位才臣的失意写得力透纸背。较之唐人论杜多赏其风流俊爽，张方平独重其「不遇」与「雄襟」，识见更深一层。尾联「山根折」以山之折喻志之摧，意象沉痛而有力，「尽写雄襟在此书」则一笔收束全篇，把杜牧一生的失意与文章的价值绾合为一，是读集诗沉着的妙结。

Allusions

The allusions must each be identified. First, 'Yuanhe' is the reign period of Emperor Xianzong, remembered as the Yuanhe restoration, when the warlords were somewhat curbed and the dynasty revived; Du Mu was born after it and longed to emulate it, hence 'unmet by Yuanhe, never getting to offer his plans.' Second, 'offering plans' (xianmo) means presenting strategies of governance to the throne, from the 'counsels' of the Book of Documents, expressing Du Mu's ambition of statecraft. Third, 'the elegant strain of Tang regulated verse' refers to the orthodox tradition of Tang verse; Du Mu's quatrains stood alone in the late Tang, and Fangping honors him as its sole continuer. Fourth, 'Sunzi's chapters' is the Art of War, which Du Mu annotated in thirteen chapters; 'spare-pursuit reverence' means he honored the military art as a secondary vocation, matching his profile of 'advancing by Confucian learning yet delighting to speak of war.' Fifth, 'Zha waters' is the Zha Stream of Huzhou, where Du Mu served as governor, and 'Fanchuan' — here inverted as 'Du Stream' — is his late residence, from which came his sobriquet 'Du Fanchuan' and the title of his collection. Sixth, 'snapped mountain-root' borrows the mountain imagery of the Shijing to figure the breaking of mid-life ambition. In addition, 'gazing toward Shandong' uses the old pre-Qin and Han name for the lands east of the Hangu Pass: Du Mu's 'Criminal's Words' addressed the menace of the three Hebei garrisons, and the line writes him gazing north at that heartland and sighing, his resolve for restoration with no outlet — every word fitting his biography, none set down idly.

诗中故实须辨。其一，「元和」指宪宗元和年间，史称元和中兴，杜牧生当其后而志在效之，故云「不遇元和得献谟」。其二，「献谟」即献纳谋略，出《尚书》「尔惟训谟」，方平用以说杜牧经世之志。其三，「唐律雅风」指唐代律诗的风雅传统，杜牧七绝晚唐独步，方平以「独赓」许之。其四，「孙篇」指《孙子兵法》，杜牧有《注孙子》传世，「俎豆余」谓以兵家之事为余事尊奉。其五，「霅水」指湖州霅溪，牧尝为湖州刺史；「杜川」即樊川，其晚年居处。其六，「山根折」用《诗经》「陟彼景山」及折臂之喻，言壮年壮志摧折。诸语皆切杜牧本传。诸典之外，尚需补辨「杜川」之「杜」：杜牧因居长安樊川，世称「杜樊川」，其集亦名《樊川文集》，「杜川」即樊川之倒文，指其晚年卜居之地。「俎豆」本为祭祀礼器，引申为尊奉，「俎豆余」谓以兵家之学为余事而尊奉之，正与杜牧「本以儒术进，而好言兵」的身份相合。「望山东北」之「山东」，用战国秦汉以来函谷关以东中原之地的旧称，杜牧《罪言》论河北三镇之患，即「望山东」而忧藩镇，张方平以「每长嘘」状其恢复之志无由施展的悲愤，皆切其本传，无一字虚设。

Commentary

This poem is an important link in the Song reception of Du Mu. The Tang had its cult of 'Du Ziwei' and the Song its honor of 'the Lesser Du,' but Zhang Fangping's poem stresses two sides of Du Mu — the non-meeting and the heroic bosom — taking a path distinct from Li Qingzhao's blood-and-tears verdict and Wang Anshi's judgment of 'spirit in excess.' The Siku editors called Fangping's prose 'unimpeded and thorough,' and his reading of Du Mu is equally thorough: he does not chide the man's romantic reputation but grieves his unused civic resolve. Read together with his poems on Ju Meng and on Du Fu — all three treat historical figures, prizing boldness in Du Fu, honor in Ju Meng, and the fate of meeting in Fanchuan — his critical eye shifts its focus with each subject. The Song reception of Du Mu moved gradually from the stylish admiration of 'the Lesser Du' toward recognition of his statecraft: Ouyang Xiu admired the strangeness of 'the Bronze Bird pens two Qiaos in spring's deep,' Su Shi cited the 'Criminal's Words' on military matters, and Zhang Fangping, weighting the man's non-meeting, represents the mature Song posture of reading Tang worthies by 'knowing the man and his world.' He reads not the diction but the bosom, and so can pass beyond the cliché of 'the Lesser Du's' charm straight into the depths of his ambition; the sympathy across generations — Du Mu's broken will and Fangping's own retirement answering each other — is the most moving thing in the Song reading of Tang poetry.

此诗是宋人接受杜牧的重要一环。与晚唐自号「杜紫微」的崇拜、及宋代「小杜」之誉相承，方平此诗特重杜牧的「不遇」与「雄襟」两面，与李清照「血泪斑斑」的杜评、及王安石「意气有余」的杜评各有取径。四库馆臣谓方平文「疏畅通达」，其论杜牧亦通达：不苛责其风流，而惜其用世之志。与方平同集《剧孟》《读杜工部诗》并观，三诗皆论人物，而读杜重其豪、咏剧孟重其重、读樊川重其遇，识鉴各有侧重。清人冯集梧注樊川，于杜牧出处考索极详，方平此诗「望山东北每长嘘」一句，已先揭其北望中原、志在恢复的心理底色。读此当知宋人读唐贤，往往借古人酒杯浇自己块垒，方平与杜牧实同病相怜。宋人对杜牧的接受，由「小杜」之风流俊赏，渐转向对其经世之志的体认。欧阳修《六一诗话》赏其「铜雀春深锁二乔」之奇，苏轼则引其《罪言》以论兵，张方平此诗则兼二者而偏重其「不遇」的遭际，代表宋人以「知人论世」读唐贤的一种成熟姿态。方平历仕三朝、与新法相忤，其读樊川，实是「借古人酒杯，浇自己块垒」：杜牧之志折文成，与方平自身退居后的心境暗合，故「尽写雄襟在此书」一句，既是评杜，亦是自道。这种隔代相惜，正是宋人读唐诗最动人的地方。杜牧尝自谓「平生五色线，愿补舜衣裳」，其用世之志与不遇之悲，正与此诗「献谟—长嘘」的结构相表里。张方平以老臣之眼读之，所感不在辞章而在襟抱，故能超越「小杜」风流的成见，直探其志业深处，此乃知人论世之读法。

Prosody

Form Seven-character regulated verse (qiyan lüshi)七言律诗

Rhyme One level-tone rhyme in the yu (fish) group throughout, with rhyme words xu, yu, chu, shu.通押平声鱼韵，入韵字为嘘、余、躇、书，一韵到底。

Tone pattern Standard qiyan lüshi alternation; the middle couplets — 'Alone he carried on the elegant strain of Tang regulated verse, and further annotated Sunzi's chapters' and 'His splendid wanderings by the Zha waters turned to wistful gazing; his design of retiring to Fanchuan ended in hesitating doubt' — observe strict parallelism of word class and tone.七律平仄，中二联「独赓唐律雅风后，更注孙篇俎豆余」「霅水胜游成怅望，杜川归事竟踌躇」讲对仗，词性相侔、平仄相对。

Reading note The poem uses the yu (fish) rhyme, a close-knit, faintly choked sound, best suited to the stifled dejection of 'gazing northeast and ever sighing long.' The first rhyme, 'sigh,' sets the vocal mood of the long breath; the second, 'spare pursuit,' still carries some breadth in describing his honored side-work on Sunzi; the third, 'hesitation,' turns the voice heavy with his wavering over retirement; the fourth, 'book,' closes gathered and quiet as the heroic bosom is committed to the page. The fish rhyme is never suited to sonorous expansion, matching the choked undertone of the theme of non-meeting. In the middle couplets 'carried on alone' pairs with 'further annotated,' 'Zha waters' with 'Fanchuan,' the place-names and verbs all exact, and the gathered fish rhyme holds down the weight, so that the parallelism never grows light. Song poets reading Tang worthies often wrote their sympathy through sound: Fangping, with the choked fish rhyme aiding his feelings of 'long sighs' and 'hesitation,' makes sound and feeling outer and inner of each other — a fitting example of expressive rhyme in the regulated verse.此诗鱼韵，属遇摄合口三等，元音收敛、音色幽咽，最宜写「望山东北每长嘘」的抑塞与怅惘。首联以「嘘」字起，定下长叹的声情；颔联「余」字承，写注孙之学的余事尊奉，声尚宽；颈联「躇」字转，写归隐踌躇，声转郁；尾联「书」字合，写雄襟付书，声归敛。鱼韵本不宜洪放，正合此诗不遇主题的幽咽底色。七律中二联对仗，「独赓」对「更注」、「霅水」对「杜川」，地名对、动词对皆工，赖鱼韵的收敛托住这份沉郁，故虽对仗而不轻飘。宋人读唐贤每借声韵写同情，方平此篇以鱼韵的幽咽助其「长嘘」「踌躇」之情，声与情相表里，是七律抒情用韵的妥帖之例。鱼韵属遇摄合口三等，元音收敛、音色幽咽，恰与「长嘘」「踌躇」的抑塞之情相表里。中二联「独赓」对「更注」、「霅水」对「杜川」，皆以实迹入对，赖鱼韵的收敛托住沉郁，故虽对仗而不轻飘。

Line by line

不遇元和得献谟，望山东北每长嘘。

Unmet by the Yuanhe reign, he never got to offer his plans of state; gazing northeast toward the lands east of the passes, he heaved long sighs.

写杜牧不遇宪宗朝无从献纳谋略，北望中原常长叹

Not meeting the Yuan and era to offer his counsels, he gazed northeast beyond the hills and often sighed long.

此开篇一联是全诗抑塞基调的定音鼓。上句「不遇元和得献谟」，元和乃宪宗年号，史称元和中兴，藩镇稍戢、国势复振，杜牧生当其后而常怀效主之忧，却始终未得如元和朝臣那般献纳庙谟、施展经世之才，一「不遇」二字是全篇眼目。下句「望山东北每长嘘」，山东泛指函谷以东中原故地，东北则指河朔藩镇割据之所，杜牧《罪言》《战论》皆主削藩恢复，此句写他北望而长叹，正揭其恢复之志无由施展的悲愤。一联而包举杜牧一生的志与遇：上有经世之才（献谟），下有无施之地（长嘘）。方平以「每」字写其叹之频，以「东北」写其望之远，地理与心理交织。起手即把一位失意才臣的胸襟写得沉甸甸，后文「雄襟在此书」的收结，正由此「长嘘」反跌而出。

The opening couplet is the drumbeat fixing the poem's stifled key. The first, not meeting the Yuan and era to offer his counsels: Yuanhe is the reign title of Emperor Xianzong, the history calling it the Yuan and Restoration, when the fiefs were somewhat checked and the national cause revived; Du Mu was born after it and always cherished the grief of serving his lord, yet never won the chance to offer temple counsels as the Yuan and courtiers did and put his statecraft into use. The two words not meeting are the eye of the whole poem. The second, he gazed northeast beyond the hills and often sighed long: Shandong means the central plains east of Hangu in general, and the northeast means the region of the Heshuo fiefs; Du Mu's On Guilt and On War both urged cutting down the fiefs and recovery, and this line writes his gazing north and sighing long, revealing the grief of his will to recovery having no way to be put to use. One couplet includes Du Mu's whole life of will and fortune: above the talent to order the age (offer counsels), below the ground where it cannot be used (sigh long). Fangping uses the word often to write the frequency of his sigh, the word northeast to write the distance of his gaze, geography and psychology woven. The opening at once writes the breast of a disappointed gifted minister heavy, and the later close the hero's breast lies in this book really springs back from this long sigh.

独赓唐律雅风后，更注孙篇俎豆余。

Alone he carried on the elegant strain of Tang regulated verse, and further annotated Sunzi's chapters, honoring the art of war as his spare pursuit.

言杜牧独能承唐律风雅，更以注孙子为余事尊奉

Alone he carried on the Tang regulated verse after the elegant strain; and beyond, he annotated Master Sun, in the leisure of his sacrifices.

此联是全诗对杜牧才学的正面评定，一诗一学，分写两途。上句「独赓唐律雅风后」，赓者续也，方平许杜牧为唐代律诗风雅传统在晚唐的孤续者——晚唐律诗多纤巧，惟牧之七绝沉雄跌宕，故云「独赓」，一个「独」字见其卓尔不群。下句「更注孙篇俎豆余」，孙篇即《孙子兵法》，杜牧撰《注孙子》十三篇行世，俎豆本祭祀之器，引申为尊奉，方平说他把兵家之事当作余事般尊奉，见其经世之学不惟诗而已。一「更」字递进一步，由诗及学，写出杜牧作为「学者—诗人」的双重身份。尤为可味者，上句言「后」、下句言「余」，一主一宾，诗为其表、学为其里，恰合杜牧「平生五色线，愿补舜衣裳」的本志——诗是余事，经世才是本怀。此联以简净对句框定杜牧的文化地位，是读集诗的切实之评，非浮誉可比。

This couplet is the poem's positive verdict on Du Mu's learning, one poem one learning, two paths. The first, alone he carried on the Tang regulated verse after the elegant strain: carried on means continued; Fangping grants Du Mu to be the lone continuer of the elegant tradition of Tang regulated verse in the late Tang - the late Tang regulated verse is mostly delicate, only Muzhi's seven-character quatrains are deep and untrammeled, hence alone, the single word alone showing his standing apart. The second, and beyond, he annotated Master Sun, in the leisure of his sacrifices: Master Sun means the Art of War; Du Mu wrote thirteen annotated chapters of Master Sun that circulated; sacrifices originally means the vessels of offering, extended to reverence; Fangping says he treated the military matter as a thing revered in the leisure, showing his learning of the age was not only poetry. The single word beyond steps forward, from poetry to learning, writing Du Mu's double identity as scholar and poet. What is more to taste is that the first line speaks of after, the second of leisure, one main one guest, poetry the outer surface and learning the inner body, exactly suiting Du Mu's own vow of the five-colored thread of my life, I would mend Shun's robe - poetry is the leisure, ordering the age the inner bent. This couplet frames Du Mu's cultural standing in a spare parallel, the solid verdict of a collected-reading poem, not to be matched by empty praise.

Study

Word focus

谟 'Plans' (mo), from the counsels of the Book of Documents, names strategies of governance offered to the throne — the key to Du Mu's true ambition as a statesman rather than a mere stylist. 「不遇元和得献谟」之「谟」字，是理解杜牧一生志业的钥匙，亦全诗精神所聚。谟者，谋也，出《尚书·皋陶谟》《大禹谟》，指治国之宏谋，后世以「献谟」「谋谟」称臣下献纳的经世之策。方平以此字写杜牧，正揭其本志不在诗名而在经邦——杜牧《罪言》《原十六卫》皆兵谋国论，自视「愿补舜衣裳」的谋臣。此字之重，在把一位惯被目为「风流才子」的诗人，还原为有廊庙之志的政治家，纠晚唐以来「小杜」偏于风流的误读。与下句「长嘘」对照，有谟而不得献，故长嘘，谟字遂成全篇抑塞的原点。一字而系杜牧出处大节，比泛用「才」「志」等字精确得多，是读集诗「知人」的炼字范例。

赓 'Carried on' (geng), to continue a strain in mid-break, places Du Mu as the sole continuer of the orthodox line of Tang verse after its late-Tang decay. 「独赓唐律雅风后」之「赓」字，是与「独」配合的诗眼，代表杜牧在诗史上的接续之功。赓者，续也，《尚书》「乃赓载歌」，本为续歌之意；方平用以说杜牧续接唐代律诗的风雅正统。此字之妙，在它不只是「继承」的雅称，更含「在中断处续起」的意味——晚唐律诗渐趋纤靡，方平认为风雅正声至牧之而复续，故特著「独」字以显其孤。一「赓」字，把杜牧放进「风雅—唐律—牧之」的统绪，与《读杜工部诗》「雅音还正始」的论杜逻辑一脉：方平论唐贤，皆重其「续统」之功。较之泛言「善律诗」「工七绝」，赓字更具诗史眼光，是宋人建构唐诗正统谱系时的标准用语，炼字见学养。