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宋 Song · 诗 Poem

被命中山以亲老不赴书怀寄集贤曾公参政赵公

Appointed to Zhongshan, I Do Not Go Because My Parents Are Old; I Write of My Feelings and Send to Academician Zeng and Vice Director Zhao

张方平

Zhang Fangping

山水Landscape 田园Pastoral 咏史On History 哲理Philosophy

野怀常逐白云飞，疏拙那能合世机。
偶似曹溪一宿觉，已多蘧瑗九年非。
畧呈幻事何须了，惟愿朝恩早放归。
它日莲华峰下去，犹期话道过黄扉。

My wild heart always follows the white clouds flying;
How could my plain clumsiness fit the schemes of the world?
By chance, like the one-night awakening of Caoxi,
Already many are the nine years of wrong of Qu Yuan... of Qu Boyu.
What need to finish the illusory things of the world?
I only wish the favor of the court to release me early.
One day, going down from the Lotus Flower Peak,
I still hope to talk of the Way before the yellow gate.

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Meaning

A poem written when Zhang Fangping, appointed prefect of Zhongshan (present-day Dingzhou, Hebei) on the Song-Liao border, declined the post because his parents were old, and sent to his friends Academician Zeng and Vice Director Zhao in the court. The poem is in four layers: the statement of the feeling—'my wild heart always follows the white clouds flying; how could my plain clumsiness fit the schemes of the world?'—the white clouds for the wild nature, the plain clumsiness for the self, his unfitness for the times; the self-examination—'by chance, like the one-night awakening of Caoxi, already many are the nine years of wrong of Qu Boyu'—the two allusions to his awakening and his amendment; the request to return—'what need to finish the illusory things of the world? I only wish the favor of the court to release me early'; and the hope—'one day, going down from the Lotus Flower Peak, I still hope to talk of the Way before the yellow gate.' Throughout, the poem is not resentful nor excited, writing the refusal of the appointment in a warm and gentle language, the model of the Song poem of the letter on the character and the friendship.

山野之怀常随白云飞去，疏拙之性哪能迎合世间的机巧。偶似曹溪那一宿之悟，已多过蘧瑗九年的改过。略呈些幻事何须了结，只愿朝廷恩典早放我归去。他日去莲华峰下，仍期待与你们话道、走过那黄扉。

Appreciation

The art of the poem is the four-layer structure of 'the statement, the self-examination, the request, and the hope.' The first couplet, 'my wild heart always follows the white clouds flying; how could my plain clumsiness fit the schemes of the world?' writes his unfitness for the times, the white clouds for the wild nature and the plain clumsiness for the self—the statement of the feeling. The second couplet, 'by chance, like the one-night awakening of Caoxi, already many are the nine years of wrong of Qu Boyu,' writes the gain of the self-cultivation (the awakening and the amendment) with the two allusions—the self-examination. The third couplet, 'what need to finish the illusory things of the world? I only wish the favor of the court to release me early,' writes the illusory things set aside and the request for the release urgent—the request to return. The last couplet, 'one day, going down from the Lotus Flower Peak, I still hope to talk of the Way before the yellow gate,' writes the hope of the future visit to the Way and the hope placed in the two friends—the hope. The whole poem is not resentful nor excited, writing the refusal of the appointment in a warm and gentle language, the parallelism apt (Caoxi against Qu Boyu, the Lotus Flower against the yellow gate), the allusions exact—the fitting poem of the Song 'letter form writing the friendship and the integrity.'

【白话串讲】张方平被任命去中山，因父母年老不去，写信给曾公、赵公：“野怀常逐白云飞，疏拙那能合世机”。“偶似曹溪一宿觉”——“惟愿朝恩早放归”——他请求放归。【意象与手法】诗以白云、曹溪、莲峰、黄扉为象，融禅理、自省、乞归、交情于一炉。用曹溪、蘧瑗二典写「悟」与「改」，对仗工而意深。【情感与主旨】因亲老辞命不赴，书中自陈疏拙与向道之志，兼向曾赵二公表达乞归之愿与日后话道之期，情真而不怨。【名句点睛】偶似曹溪一宿觉，已多蘧瑗九年非以两典写修省，旷达中见自省；惟愿朝恩早放归于不赴之中直陈乞归，温厚得体。

Background

The poem was written when Zhang Fangping, appointed prefect of Zhongshan (the Zhongshan prefecture, present-day Dingzhou, Hebei), declined the post because his parents were old, and wrote of his feelings to Academician Zeng and Vice Director Zhao. Zhongshan, on the Song-Liao border, was an important prefecture of Hebei, the prefect's responsibility heavy; Zhang Fangping's declining for the age of his parents shows his putting filial piety first. Zeng may be Zeng Gongliang (a Northern Song grand councillor, once Academician of the Jixian Hall) and Zhao may be Zhao Bian (posthumously Qingxian, once a vice director), both old friends of Zhang Fangping in the court and both famed for their integrity; the sending of the poem to the two is at once the statement of the feeling and the confession of the heart to the understanding. Zhang Fangping (1007–1091) was famed for his filial piety, the history saying that 'he served his parents with filial devotion,' repeatedly requesting a prefecture for the age of his parents or declining office; this is one such case. The Northern Song was generous to the filial care of the ministers: officials with aged parents were permitted to request a nearby prefecture or to resign to care for them, filial feeling and official duty both valued; Zhang Fangping's refusal here is at once according to the rites and revealing the character.

此诗为张方平被任命为中山（中山府，今河北定州）知府，因父母年老辞不赴任，作书抒怀寄赠集贤曾公、参政赵公二人之作。中山地处宋辽边境，为河北重镇，知府责任非轻，张方平却以亲老辞免，足见其以孝为先的取向。曾公或指曾公亮（北宋宰辅，尝领集贤殿大学士），赵公或指赵抃（谥清献，尝参知政事），皆张方平同朝挚友、且同有清直之名；此寄二公，既是陈情，也是向相知者一剖心曲。张方平（1007—1091）以孝著称，史称其「事亲孝」，屡以亲老乞郡或辞官，此即一例。北宋优待臣僚孝养：官员父母年老，许乞便郡就近侍养，或陈乞解官归养，孝感与官常并重，张方平此辞，既合礼法亦见性情。诗中「曹溪一宿觉」用禅宗六祖慧能弟子玄觉「一宿觉」事，「蘧瑗九年非」用春秋蘧伯玉「年五十而知四十九年非」的改过之典，可见其虽辞官而向道自省不辍。此诗以「书怀」为题，实是一封寄友陈情书，语温而礼尽——不赴之由在亲老，不赴之态在恭顺，不赴之望在早归，三层皆备。了解宋代「乞养」制度与张方平孝亲辞命的生平，方能读懂此诗「不赴」背后的礼与情，也方能体会结尾「犹期话道过黄扉」中那一份「身退而交不疏」的笃厚。

Art

The art is the four-layer structure of 'the statement, the self-examination, the request, and the hope.' The first couplet writes the unfitness for the times with the white clouds and the plain clumsiness; the second writes the gain of the self-cultivation with the two allusions; the third writes the illusory things set aside and the request urgent; the last writes the hope of the future visit to the Way and the hope placed in the friends. The whole poem is not resentful nor excited, the refusal of the appointment written in a warm and gentle language; the parallelism apt (Caoxi against Qu Boyu, the Lotus Flower against the yellow gate), the allusions exact—the fitting poem of the Song letter form.

此诗艺术上以「陈情—自省—乞归—寄望」四层结构写书怀。首联野怀常逐白云飞，疏拙那能合世机，以白云喻野性、以疏拙自处，写己不合时宜，是陈情；颔联偶似曹溪一宿觉，已多蘧瑗九年非，以两典写修省之得（悟与改），是自省；颈联略呈幻事何须了，惟愿朝恩早放归，写幻事可置、乞归方切，是乞归；尾联它日莲华峰下去，犹期话道过黄扉，写他日访道之期、寄望二公，是寄望。全诗不怨不激，以温厚语写辞命，对仗工（曹溪对蘧瑗、莲华对黄扉），用典恰切，是宋人「以书怀体写交情与志节」的得体之作。值得留意的是，此诗虽为律诗，却带着一封「书」的口吻：首联对二公自陈本色，颔联剖白修省，颈联直说心愿，尾联预约后约，层层如话，读来如与故人促膝——这正是「书怀」体与一般投赠诗的不同：它不以颂美为主，而以自道为主，情真而文不浮。结构上，「陈情—自省—乞归—寄望」四层循着「由己及道、由道及愿、由愿及交」的递进：先立疏拙之本色，再以禅儒二典证其向道不惰，然后落到「早放归」的具体乞请，最后以「话道过黄扉」把去就收束于交情，公私之间转换自然，毫无寒乞之态。对仗上，颔联以佛儒对举（曹溪之悟对蘧瑗之改），颈联以幻事对朝恩、尾联以莲华对黄扉，皆以虚实相生见巧，而「曹溪—蘧瑗」「莲华—黄扉」两组典实对，尤见宋人运典之工。其佳处在把一场辞官写得既有礼、又有道、还有情，温厚恳切而不俚，正是学者书怀诗的得体笔墨。

Allusions

The allusions all concern 'the awakening, the amendment, and the return,' uniting the integrity and the friendship. 'The one-night awakening of Caoxi': Caoxi is the place where the Sixth Patriarch Huineng taught (present-day Qujiang, Guangdong); the Tang Chan master Xuanjue (Master Yongjia), calling on the Sixth Patriarch, was awakened at the exchange of the questions, stayed one night and returned, then called 'the one-night awakening'—later a metaphor for the sudden awakening. The poem's 'by chance, like the one-night awakening of Caoxi' writes his chance sudden awakening like Xuanjue's, modestly the gain of his Buddhist self-examination, and shows the Northern Song scholar-official's cultivation with the joy of Chan. 'The nine years of wrong of Qu Boyu': Qu Boyu (Qu Boyu of Wei) was a worthy minister of the Spring and Autumn, said to know at fifty the wrong of his forty-nine years—the poem's 'already many are the nine years of wrong' writes his amendment of the past, the gain of the years. 'The illusory things' (huan shi) is the Buddhist term for the illusory affairs of the world; 'the yellow gate' (Huangfei) is the yellow gate of the palace, the office of the great ministers, here the court and the two friends.

诗中用典皆关「悟」与「改」「归」之旨，而绾合志节与交情。曹溪一宿觉：曹溪为六祖慧能弘法之地（今广东曲江）；唐玄觉禅师（永嘉大师）谒六祖，问答之下言下大悟，留宿一夕而返，时号「一宿觉」，后世以喻顿悟。诗中「偶似曹溪一宿觉」写己偶有如玄觉之顿悟，谦称向佛自省之得，亦见北宋士大夫以禅悦助修养之风。蘧瑗九年非：蘧瑗（蘧伯玉）春秋卫之贤大夫，相传年五十而知四十九年之非，又有「行年六十而六十化」之说，诗中「已多蘧瑗九年非」谓己之改过已多过蘧瑗九年之数，谦中含实，写进德之勤。莲华峰：庐山或终南之莲华峰，泛指修道隐居之地，「它日莲华峰下去」写他日访道之约，与首联「野怀白云」呼应，见其本心在野。黄扉：汉代丞相听事阁门涂黄，后因称中书省（宰相理政之处）之门，代指二公执政之位，「犹期话道过黄扉」写虽乞归而仍望与执政二公论道，去就之间礼数宛然。诸典由禅及儒、由己及友、由悟及归，一佛一儒而同归于「自省—归养」，绾合志节与交情，密而皆切己，足见宋人「以才学为诗」而能「以学助情」的本领。

Commentary

This poem of Zhang Fangping should be read with his many memorials in the Complete Collection of the Joy of Music requesting a prefecture to care for his parents: he stood on filial piety, and the refusal of the appointment written warm and gentle in the poem is his consistent manner. Fang Hui's Ying Kui Lv Sui, in the category of the presented poems, valued 'written for a purpose, the feeling and the writing giving birth to each other'; this poem, sent to the two grand ministers with the statement of the feeling and the request to return, fits its selection. Compared with the Tang poems of retirement (Bai Juyi's frank 'the return from office,' Li Bai's proud 'the request granted, return'), the Song poets preferred to write the going and the staying with the allusions and the philosophical interest; this poem's two allusions of Caoxi and Qu Boyu are an example, the Song style of the letter poem on the going and the staying.

张方平此书怀诗，宜与其文集《乐全集》中屡乞郡养亲之奏合观——他以孝立身，辞官不赴而书中温厚，正是一贯。方回《瀛奎律髓》投赠类重「有为而作、情文相生」，此诗寄二执政而陈情乞归，合其选。较之唐人乞退诗（如白居易「辞官归去」之坦、李白「乞归优诏许」之傲），宋人更喜以典故与理趣写去就，此诗曹溪蘧瑗二典即其例——不直说「我要归」，而借古人之境写己之志，含蓄而有骨。又，北宋大臣以亲老辞命为常，然措辞须得体，张方平于此不怨不矫，「惟愿朝恩早放归」既陈私情亦尊朝廷，分寸极好。近人论宋诗「以才学为诗」，此诗用典密而皆切己，足证其说；而它的温厚又使其免于宋诗常见的寒俭，在学者气与士大夫风度之间取得平衡。要之，此诗之佳在以辞官之书写出志节、交情与向道之趣，温厚而不俚，是学者陈情诗的范本；若与张氏乞养诸奏合观，更可见其「以礼驭情」的一贯面目——私愿再切，亦必纳于君臣之谊，此即宋调陈情得体之要义。

Prosody

Form Seven-character regulated verse七言律诗

Rhyme Rhymes on the wei rhyme of the level tone: ji, fei, gui, fei, one rhyme to the end, the wei rhyme open and long, fitting the letter form of the statement of the feeling押上平五微韵：机、非、归、扉。一韵到底，微韵开口呼舒长，宜于书怀陈情之体。

Tone pattern The poem begins on a level tone with the first line in rhyme; the first couplet is even and free, the second couplet's allusions are apt, the third couplet's 'I only wish' turns gently, and the last couplet's 'I still hope' closes warm—the whole from the statement to the hope, the gentle refusal carried by the even rhyme七言律诗平起首句入韵体。首联野怀常逐白云飞（仄平平仄仄平平）对疏拙那能合世机（平仄平平仄仄平），颔联偶似曹溪一宿觉（仄仄平平仄仄仄）对已多蘧瑗九年非（仄平平仄仄平平），颈联略呈幻事何须了（仄平仄仄平平仄）对惟愿朝恩早放归（平仄平平仄仄平），中二联粘对合律，偶有拗处而以意驭之。

Reading note The wei rhyme, open and long, and the even, gentle tone carry the letter form of the statement of the feeling, the warm and gentle refusal of the appointment.此诗为七言律诗，八句四联，章法以「陈情—自省—乞归—寄望」为序：首联写野怀疏拙不合世机，颔联以曹溪蘧瑗二典写修省，颈联写幻事可置、惟愿早归，尾联写他日莲峰话道、过黄扉之期。用韵独取微部，声气舒长温厚，与书怀陈情相称；四韵相贯，读来如与故人话旧。平仄中二联粘对精严（曹溪对蘧瑗、莲华对黄扉），具七律典型工稳，偶以拗救（如一宿觉之仄仄）而不害意。整体声情温雅恳切，是宋人书怀诗「情文相生、典重而不俚」的得体之作——把一场辞官不赴，写得既有礼、有道、又有情，宜与张氏乞养之奏合观。值得补充的是，微韵属开口呼、收音舒缓，本宜写幽远或温厚之情，张方平取以陈情，使「机、非、归、扉」四韵流转之间自带一种恳挚而不迫促的声腔，恰与「不怨不激」的诗意相表里；颔联「一宿觉」三字连用入声（一、宿、觉皆入声），与前后平声韵形成疾徐对比，读来于温雅中略见顿挫，声音层面亦见匠心。整体声情与辞意浑成，无唐人陈情诗的直泻，而有宋调书启的蕴藉。

Line by line

野怀常逐白云飞，疏拙那能合世机。

My wild heart always follows the white clouds flying; how could my plain clumsiness fit the schemes of the world? (The first couplet, the statement of the feeling: the white clouds for the wild nature, the plain clumsiness for the self, his unfitness for the times.)

山野之怀常随白云飞去，疏拙之性哪能迎合世间的机巧。

My wild heart often flies off with the white clouds; how could my rough and awkward nature fit the world's shifts?

首联陈情，写己之本色与不合时宜。野怀常逐白云飞以白云喻山野之怀，说自己的心性常随白云高飞远引，是隐逸之志的具象；疏拙那能合世机紧接，以疏拙（疏放笨拙）自处，说这样的性情哪能迎合世间机巧（世机指官场权变机心）。两句一正一反、一志一性，把一位不媚俗、恋山林的士大夫形象勾出。张方平落笔极坦诚，不饰「能吏」之貌，径以「疏拙」自认，正见其真率。更妙在「常逐」「那能」的语气：野怀是主动的飞，世机是被动的不合，写出一种虽在朝而心在野的张力。此联为全诗定调——后文乞归、话道皆从此「野怀」流出，是书怀诗开门见山的本色写法。

The opening pleads the case, writing one's own native cast and unfitness for the age. My wild heart often flies off with the white clouds uses the white cloud to meta-phor the wild heart of the hills, saying one's mind often flies far away with the white clouds, the concrete shape of the reclusive will. How could my rough and awkward nature fit the world's shifts? follows at once, taking one's stand on rough and awkward, saying how could such a nature cater to the world's clever shifts (the world's shifts meaning the bureaucratic mind of expediency). The two lines, one positive one reverse, one will one nature, sketch a scholar-official who does not flatter the age and loves the hills. Fangping lays down his brush most openly, not adorning the air of the able official, but directly owning to rough and awkward, exactly showing his truth. What is more beautiful is the tone of often flies and how could: the wild heart is an active flying, the world's shifts a passive unfitness, writing a tension of being in court yet the heart in the wild. This couplet fixes the poem's key - the later begging to return and speaking of the Way all flow from this wild heart, the native-way opening of a poem that pours out one's heart.

偶似曹溪一宿觉，已多蘧瑗九年非。

By chance, like the one-night awakening of Caoxi, already many are the nine years of wrong of Qu Boyu. (The second couplet, the self-examination: the one-night awakening of the Chan master Xuanjue for his sudden awakening, the nine years of wrong of Qu Boyu for his amendment of the past, the gain of the cultivation in the two allusions.)

偶似曹溪那一宿之悟，已多过蘧瑗九年的改过。

By chance, I am like the one-night enlightenment of Caoxi; already I have outdone Qu Yuan's nine years of knowing his faults.

颔联自省，是全诗最具理趣之处。偶似曹溪一宿觉用禅宗玄觉谒六祖、一宿而悟事，写己偶有如玄觉之顿悟，暗指向佛修省；已多蘧瑗九年非用蘧伯玉「年五十而知四十九年非」的改过典，说己之悔过进德已多过蘧瑗九年之数。两典一佛一儒、一悟一改，对仗工而义相成：悟是 instantaneous 的觉醒，改是accumulated 的功夫，合起来正是士大夫「知行并进」的修养。张方平于此以谦语写自得——「偶似」是谦，「已多」是实，谦实之间见其进德之勤。宋人作诗好以对仗运典故明理，此联正是一例：不须直说「我在修身」，只把两个古人的修境拈来比况，境界自出。读此联，可想见诗人虽辞官而问学不辍的气象。

The jaw couplet is self-examination, the poem's most rational-delighting place. By chance, I am like the one-night enlightenment of Caoxi uses the Zen allusion to Xuanjue visiting the Sixth Patriarch and awakening in one night, writing that one has by chance, like Xuanjue, a sudden enlightenment, secretly pointing to Buddhist cultivation and self-reflection. Already I have outdone Qu Yuan's nine years of knowing his faults uses the allusion to Qu Boyu's at fifty knowing the faults of the forty-nine years, saying one's repentance and moral progress have already outdone Qu Yuan's nine years. The two allusions, one Buddhist one Confucian, one awakening one reform, the parallel wrought and the meaning completing each other: awakening is the instant's awakening, reform is the accumulated work, and together they are the scholar-official's cultivation of knowing and acting advancing together. Fangping here writes self-content in modest words: by chance is modesty, already outdone is fact, and between modesty and fact one sees the diligence of his moral progress. Song poets loved to use parallel to move allusions and make reason clear; this couplet is one example - no need to say directly I am cultivating myself, only bringing in the two ancients' realms of cultivation to compare, and the realm of itself appears. Reading this couplet, one can imagine the poet, though resigning office, never resting from learning.

惟愿朝恩早放归。

I only wish the favor of the court to release me early. (The third couplet, the request to return: the illusory things of the world set aside, the request for the release urgent, the refusal of the appointment for the age of the parents.)

只愿朝廷恩典早放我归去。

I only pray the court's grace will soon let me return home.

此句为颈联之核，亦全诗乞归之旨所聚。惟愿朝恩早放归直陈心愿：只盼朝廷开恩，早放我归养。张方平措辞极有分寸——不言「乞」而言「愿」，不言「弃官」而言「放归」，既陈私情亦尊朝廷，是宋大臣辞命的得体语。更可玩者，它与首联「疏拙那能合世机」呼应：正因为不合世机、野怀在野，故愿早归；而「朝恩」二字又把私愿纳回君臣之礼，不使乞归流于傲遁。宋人陈情诗最忌怨怼与矫激，此句温厚而不俚、切直而不亢，恰得其体。一句之中，把「不赴」的理由（亲老）、态度（恭顺）、愿望（早归）悉数收拢，是全诗筋节所在。

This line is the core of the neck couplet, and the gathering place of the whole poem's bent of begging to return. I only pray the court's grace will soon let me return home states the wish directly: only hoping the court will show grace and soon send me back to care for my elders. Fangping's phrasing is most measured - he does not say beg but pray, does not say abandon office but let me return, stating the private wish while honoring the court, the proper words of a Song minister declining a commission. What is more to enjoy is its echo with the opening's how could my rough and awkward nature fit the world's shifts: precisely because he does not fit the world's shifts and his wild heart is in the wild, he wishes to return early; and the words the court's grace gather the private wish back into the rite of lord and minister, so that begging to return does not fall into proud withdrawal. Song poems pleading a case most hated grievance and excess; this line is warm and thick yet not vulgar, direct yet not arrogant, exactly suiting the measure. Within one line, the reason for not going (old parents), the attitude (deference), and the wish (early return) are all gathered, the knot of the whole poem.

Study

Word focus

疏 Plain, clumsy (rough). The word of the self: 'how could my plain clumsiness fit the schemes of the world?'—the plain, clumsy nature of the poet against the schemes of the world, his unfitness for the times, the modesty and the pride in one word. 疏字（疏）在「疏拙那能合世机」中为自处之眼。疏本义稀、远、不密，引申为疏放、不屑周旋；拙为本领钝拙。张方平以「疏拙」并列自认，写自己既不擅逢迎、又拙于机变，正面承认不合时宜。此字与首句「野怀」相佐：野怀是志之向，疏拙是性之实，一虚一实写出完整的「在野之人」面目。若作「迂拙」「愚拙」，则偏于憨而无「不屑周旋」之味；「疏」字自带一种主动的疏离感，最宜称士大夫的不媚俗。更妙在它与「世机」对照：以己之疏对世之机，张力顿生。一字之选，使首联的陈情有了风骨——不是不能，而是不屑，是炼字见身份处。

偶 By chance. The word of the awakening: 'by chance, like the one-night awakening of Caoxi'—the chance of the sudden awakening, the modest self-examination of the poet, the gain of the years of cultivation. 偶字在「偶似曹溪一宿觉」中为写悟境之谦眼。偶本义偶然、间或，此处写自己「偶似」玄觉之一宿悟，谦称并非常有此境，只是偶尔仿佛。张方平以「偶」字收摄禅悟，既不妄称证道，亦点出向佛自省之实，分寸极精。若作「每」「常」，则近夸；若作「未」，则失其进境；「偶」字恰在有无之间，最见宋人论学之诚实。更妙在它与下句「已多」对照：悟只是「偶」，改却已「多」，一谦一实，写出修境的真实层次——顿悟难得，而改过功夫则可日积。一字之选，使颔联不流于空谈禅悦，而落脚于踏实的进德，是炼字见学养处。

放 Release (let go, return). The word of the request: 'I only wish the favor of the court to release me early'—the request for the release from the office, the return to care for the aged parents, the refusal of the appointment written in the gentle word. 放字在「惟愿朝恩早放归」中为乞归之眼。放本义释放、放还，此处用于朝廷对臣子，谓「放归」田里，是宋人乞养辞命的得体语（如「放还」「放归」）。张方平以「放」字代「许」「准」，暗含「臣本野性，蒙恩暂出，今愿复归」的谦退——仿佛归养是朝廷的恩释而非自己的强求。若作「许归」「准归」，则偏于对等请求而失其恭；「放归」自带君臣上下之礼，最宜大臣陈情。一字之选，使乞归之愿既切直又温厚，不怨不亢，是炼字见体统处。它与尾联「犹期话道过黄扉」亦相映：今日放归，他日犹望过黄扉论道，去就之间，礼数宛然。