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宋 Song · 诗 Poem

次韵酬潭州周沆学士见寄

Matching the Rhymes of the Reply to the Scholar Zhou Hang of Tanzhou

张方平

Zhang Fangping

唱和Theme 迁谪Theme

鳌背三山压海涛，云台高议接时髦。
一麾忽到江湖外，回首方惊日月高。
不善取容同曼倩，且歌乐职学王襃。
贾生自是长沙远，更吊湘累赋广骚。

The back of the ao, the three mountains, pressing, the waves of the sea,
The terrace of the clouds, the high, the discussions, joining, the fashion of the time.
One, banner, suddenly, arriving, to, the outside, of the rivers and the lakes,
Turning, the head, then, startled, the sun and the moon, high.
Not, good, at, the taking, the countenance, same, as, the Manqian,
Moreover, singing, the joy of the office, learning, the Wang Bao.
Jia Sheng, of, the self, being, the Changsha, far,
Moreover, mourning, the Hun of the Xiang, composing, the broad, the Sao.

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Meaning

A poem of the reply and the consolation, written by Zhang Fangping. The back of the ao with the three mountains pressing the waves of the sea, the terrace of the clouds with the high discussions joining the fashion of the time — the praise of the opening. One banner suddenly arriving to the outside of the rivers and the lakes, turning the head then startled the sun and the moon high — the office of the middle. Not good at the taking the countenance same as the Manqian, moreover singing the joy of the office learning the Wang Bao — the consolation of the middle. And the close's Jia Sheng of the self being the Changsha far, moreover mourning the Hun of the Xiang composing the broad the Sao — the close's consolation. The poem is the reply and the consolation: the praise, the office, and the close's Jia Sheng.

鳌背驮着三山镇压海涛，云台上的高论接续时贤。一麾出守忽至江湖之外，回首方惊觉日月之高远。不善于取媚容悦如同曼倩，且歌诵乐职之诗学那王襃。贾谊自是贬向长沙辽远，更去凭吊湘水之累而赋广骚。

Appreciation

[Plain Paraphrase] The back of the ao, the three mountains, pressing, the waves of the sea, the terrace of the clouds, the high, the discussions, joining, the fashion of the time. One, banner, suddenly, arriving, to, the outside, of the rivers and the lakes, turning, the head, then, startled, the sun and the moon, high. Not, good, at, the taking, the countenance, same, as, the Manqian, moreover, singing, the joy of the office, learning, the Wang Bao. Jia Sheng, of, the self, being, the Changsha, far, moreover, mourning, the Hun of the Xiang, composing, the broad, the Sao. [Structure and Thought] The poem moves from the praise of the high discussions and the terrace of the clouds, through the office of the banner and the turning head, to the close's the consolation of the Manqian and the Jia Sheng. [Key Technique] The poem's art is the close of the consolation: the joy of the office learning the Wang Bao, and the close's Jia Sheng mourning the Hun of the Xiang — the reply gathered in the praise and the close's consolation. [Emotional Tone] Praising, consoling, and philosophic: the poem is the praise, the office and the close's Jia Sheng.

【白话串讲】张方平酬答周沆学士：“鳌背三山压海涛，云台高议接时髦”。“一麾忽到江湖外，回首方惊日月高”——“贾生自是长沙远，更吊湘累赋广骚”——他写贬谪的感慨。【意象与手法】七律以「忆朝—叙贬—自况—结吊」四层，由昔之庙堂写到今之江湖。首联以鳌背三山、云台高议写曾预大政；颔联以「一麾」「忽到」「方惊」写外任之猝与回望之慨；颈联以曼倩、王襃二古人自况取容与自遣；尾联以贾生、湘累接入千古忠冤谱系。对仗用典织成沉郁顿挫之调。【情感与主旨】主旨是借唱和抒怀：忆昔居朝、叹今外放，以不善取容的刚直自况，终以贾谊、屈原自伤迁谪，于酬答之表寄述怀之里，折射北宋党争中善士多外任、进既不遇退亦不安的时代面影。【名句点睛】「一麾忽到江湖外，回首方惊日月高」最见迁谪落差，「忽」「方」二字写出由朝入野的猝然与回望之惊。

Background

Zhang Fangping (1007-1091), the statesman and poet of the Northern Song, wrote this 'Matching the Rhymes of the Reply to the Scholar Zhou Hang of Tanzhou' of the reply and the consolation — the consolation of the office. The praise of the high discussions with the terrace of the clouds, the office of the banner with the turning head, and the close's the consolation of the Jia Sheng with the mourning of the Hun of the Xiang — the poem gathers the consolation of the poet, the philosophy of the office. The poem is one of the works of the poet's poems of the reply.

此诗题《次韵酬潭州周沆学士见寄》，是张方平与友朋周沆的唱和之作。周沆为潭州（今长沙）学士，寄诗方平，方平依原韵酬答。「次韵」即步韵，须依来诗韵字与次序作答，最见二人交契之深与诗艺之切磋。诗中写方平自身仕履：曾居朝堂「云台高议」参与大政，后「一麾忽到江湖外」出守外郡、远隔中枢；更有「贾生自是长沙远」「更吊湘累」之语，暗以贾谊贬长沙、屈原沉湘自况，透露出外放远地、忠不见用的幽忧。张方平（1007—1091）历仕仁宗、英宗、神宗三朝，官至参知政事，亦数度出守，其进退正与北宋中期党争起伏相缠——新法议起，善士多外任，方平亦在其中。北宋士大夫唱和，常于酬答中自道出处，方平此诗即是以诗代柬、借答友而抒己怀。读懂「云台」「一麾」「贾生」「湘累」所勾连的「朝—野」「用—弃」对照，方能体会此诗非泛泛应酬，而是一篇以唱和为表、以自伤为里的述怀之作，亦折射北宋善士多外任、进既不遇退亦不安的时代面影。周沆其人虽史传不彰，然既以学士出守潭州，当亦清流之俦，方平以心腹语相答，足见相知之深。此诗的独特处，更在于把一封普通的友朋答书，凝成一篇迁谪心史——朝堂之巨丽、外任之猝然、立身之倔强、忠冤之悲慨，皆在八句之中次第展开，而「次韵」的束缚反倒成就了「以他人之韵写一己之怀」的宋调妙境，读之如与方平对坐话旧。

Art

The poem's art is the art of the consolation. The praise opens: the back of the ao, the three mountains, pressing, the waves of the sea — the waves of the sea of the three mountains; the terrace of the clouds, the high, the discussions, joining, the fashion of the time — the fashion of the time of the discussions. The office follows: one, banner, suddenly, arriving, to, the outside, of the rivers and the lakes — the outside of the rivers and the lakes; turning, the head, then, startled, the sun and the moon, high — the sun and the moon of the turning. The consolation: not, good, at, the taking, the countenance, same, as, the Manqian — the Manqian of the not good; moreover, singing, the joy of the office, learning, the Wang Bao — the Wang Bao of the joy. And the close gathers the Jia Sheng: Jia Sheng, of, the self, being, the Changsha, far — the Changsha of the Jia Sheng; moreover, mourning, the Hun of the Xiang, composing, the broad, the Sao — the broad Sao of the mourning — the praise, the office and the close's consolation, gathered in the poem.

此诗七律以「忆朝—叙贬—自况—结吊」四层，由昔之庙堂写到今之江湖，以对仗与用典织成沉郁顿挫之调。首联「鳌背三山压海涛，云台高议接时髦」忆昔：以「鳌背三山」的巨丽喻朝堂气象之雄，「云台高议」写曾预国家大计、与一时贤俊相接。颔联「一麾忽到江湖外，回首方惊日月高」转今：以「一麾」点出守郡外任，「忽到」「方惊」写出贬逐之猝与回首之慨，日月之高反衬自身之远。颈联「不善取容同曼倩，且歌乐职学王襃」自况：以东方朔（曼倩）之不肯取容、王襃之职乐颂德自解，于不遇中强作达观。尾联「贾生自是长沙远，更吊湘累赋广骚」结以贾谊、屈原，把个人迁谪接入千古忠冤的谱系。八句由高入低、由朝入野、由己及古，章法跌宕，是方平七律中情辞相称之作。值得留意的是，这首诗虽是「次韵」酬答，受原唱韵脚与次序束缚，却仍能于格律中见跌宕——首联以「鳌背三山」「云台高议」撑起庙堂的巨丽，颔联「忽到」「方惊」急转直下，颈联以二古人对写性策、于倔强中见委曲，尾联再以贾屈把格局推向千古，四层之间由高入低、由朝入野、由己及古，宛如一阕袖珍的迁谪小史。对仗上，颔联以「一麾」对「回首」、行止对时空，颈联以「曼倩」对「王襃」、二古人分写性策，皆密而能转，使沉郁之情不致平板。尤可称者，全篇以「忆—叙—况—吊」的脉络，把一次寻常的唱和应答，织成有起结、有对照、有升华的完篇，足见方平七律「以意运法」的功力：韵脚是周沆的，而身世之悲是自己的，借他人之韵写一己之怀，正是宋人和诗「戴着镣铐起舞」的妙处。读此诗，当于唱和之表，见述怀之里。

Allusions

'The back of the ao' (ao bei) is the back of the ao — the back of the turtle, the carrying of the three mountains; 'the terrace of the clouds' (yun tai) is the terrace of the clouds — the terrace of the high, the discussions of the time; 'the Manqian' (Man qian) is the Manqian — the Dongfang Shuo, the wit of the countenance; 'the Wang Bao' (Wang Bao) is the Wang Bao — the poet of the Han, the joy of the office; 'the Jia Sheng' (Jia Sheng) is the Jia Sheng — the Jia Yi of the Han, the Changsha of the exile; 'the Hun of the Xiang' (Xiang lei) is the Hun of the Xiang — the spirit of the Qu Yuan, the mourning of the close.

诗中用典皆关仕隐与贬谪。其一，「鳌背三山」用巨鳌戴山的神话（《列子·汤问》龙伯国巨人钓鳌、岱舆员峤之山），方平以之喻朝堂柱石之重、气象之宏。其二，「云台」本汉南宫云台，图功臣像，后世借指朝堂议政之所；「时髦」即时贤，谓与当代俊彦论列国事。其三，「一麾」用颜延年「一麾乃出守」及「扬州刺史典」之意，指出任州郡长官；方平以「一麾忽到江湖外」写外放。其四，「曼倩」即东方朔字，以诙谐滑稽、不肯曲意取容著称，方平以「不善取容同曼倩」自况其刚直不阿。其五，「王襃」西汉辞赋家，曾作《中和》《乐职》《宣布》等诗颂汉德，方平「且歌乐职学王襃」言且学王襃以职颂自遣。其六，「贾生」贾谊贬长沙，「湘累」指屈原（扬雄《反离骚》「湘累」谓累于湘者），方平以二人自况迁谪与忠冤。诸典由朝堂、外任到取容、职颂，终归贾屈，把一己迁谪写成千古逐臣的尾声。值得补充的是，这些典故并非随意堆垛，而是沿「朝堂—外任—取容—职颂—贬死」的仕途曲线次第展开，与全诗「忆朝—叙贬—自况—结吊」的章法一一对应，故密而不乱。其中「鳌背三山」以大观小，写尽庙堂之重；「云台」以汉喻宋，暗点自己曾预枢机；「一麾」则一笔勾转，由近及远；至「曼倩」「王襃」，已落到个人在党争中的立身与自遣；终以「贾生」「湘累」收束于忠冤，把一生的出处行藏压缩进两组对仗之中。方平用典之妙，正在于使每个故实都同时承担「叙事」与「抒情」双重功能——既交代仕履，又泄露心曲，密而皆切己，足见宋人「以才学为诗」而能「以学助情」的本领，亦使此诗的沉郁有了坚实的历史厚度。

Commentary

This poem is one of the works of Zhang Fangping's poems of the reply, quoted for the praise of its opening and the consolation of its close. The terrace of the clouds with the high discussions, and the Jia Sheng mourning the Hun of the Xiang, are among the admired passages of the poet's poems. Critics praise the poem's consolation: the praise gathered in the office, to the close's Jia Sheng.

方平此诗在唱和诗中属「借答抒怀」一体，与白居易、元稹「次韵相酬」的戏笔不同，方平次韵而自道沉郁，是宋人唱和不废情志的例证。前人论宋诗唱和，或讥其「同题意、争奇巧」流于文字游戏，然方平此篇以「云台高议」起、以「湘累广骚」结，起结之间自有身世之悲，绝非酬应空文。诗中「不善取容同曼倩，且歌乐职学王襃」一联尤可玩：东方朔以滑稽免祸、王襃以颂德见容，方平并取二者，既承认自己「不善取容」的刚直，又退而「学王襃」以职颂自解，于倔强中见委曲，恰是北宋士大夫在党争挤压下「进既不遇、退亦不安」的典型心态。至「贾生自是长沙远，更吊湘累赋广骚」，更把个人迁谪接入贾谊、屈原的忠冤谱系，使一己之愁获得历史的重量。读此诗，当于唱和之表，见述怀之里。放到北宋唱和诗的脉络里看，此诗更具标本意义：庆历以降，朋党之论渐炽，士大夫多以诗柬相慰，方平此作即把「友朋问讯」转化为「自我陈辨」——答周沆而实答世人，说自己「不善取容」故致外任、又不肯改节故学王襃自遣，字里行间是对党争逻辑的间接抗辩。与苏轼「人生到处知何似，应似飞鸿踏雪泥」式的旷达唱和相较，方平此诗少旷达而多沉郁，正见二人性格与处境之异：苏能超解，张偏执着，然其「以唱和抒怀」则一。要之，此诗之佳，在以次韵之体写述怀之实，起结之间自有身世之悲，绝非酬应空文；它既延续了贾谊、屈原「忠而见放」的贬谪书写传统，又为宋调唱和添了一种「借答自伤」的沉郁范式，宜与方平外任诸作合观，方尽其「进既不遇、退亦不安」的时代心声。

Prosody

Form A regulated poem of the reply (qi yan lü shi)七言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the philosophic consolation.首句入韵，通押平声豪韵，韵脚为「涛」「髦」「高」「襃」「骚」，一韵到底。

Tone pattern The cadence is that of the reply: the level opening with the praise, the turning with the office, and the close's fall with the Jia Sheng.七言律诗仄起首句入韵体，首句「鳌背三山压海涛」仄起平收；中间两联（颔联、颈联）对仗精严，平仄相谐，合七律格律。

Reading note The poem's sound matches its consolation: the cadences of the regulated poem, and the close — 'geng diao xiang lei fu guang sao' — falls with the Sao, the sound of the mourning of the replying poet.此诗七言律诗之仄起首句入韵体，八句五韵（涛、髦、高、襃、骚），通押平声豪韵。豪韵属效摄开口一等，元音洪亮、音色开阔，最宜写「鳌背三山」「云台高议」的宏伟气象与「赋广骚」的慷慨；方平以之笼全篇，读来声宏势壮，正与由朝堂巨丽到江湖慷慨的情绪起伏相称。中二联对仗精严：「一麾忽到江湖外」对「回首方惊日月高」，以行止对时空；「不善取容同曼倩」对「且歌乐职学王襃」，以二古人对写性策。律诗最忌中幅平板，此诗以颔联写贬逐之猝、颈联写自况之曲，由雄入沉、由实入典，赖豪韵的洪亮之气贯串，故虽多感慨而不衰飒。宋律以意行气，此诗音韵与章法相表里，豪韵之宏正与其「起宏阔、结慷慨」的体格相得益彰，欲体会宋调七律以唱和抒怀者，此篇可参。

Line by line

一麾忽到江湖外，回首方惊日月高。

One, banner, suddenly, arriving, to, the outside, of the rivers and the lakes, turning, the head, then, startled, the sun and the moon, high.

一麾出守忽至江湖之外，回首方惊觉日月之高远。

A pennon, and suddenly I am beyond the rivers and lakes; turning my head, I start - how high the sun and moon.

颔联「一麾忽到江湖外，回首方惊日月高」由忆朝转入叙贬，是全诗情绪陡落的转关。上句「一麾忽到江湖外」化用「一麾出守」故实，点明自己由朝官出守远郡，落到「江湖外」的渺远之地；「忽到」二字极有张力——外任之命来得猝然，如被抛掷，毫无转圜，写出贬逐的被动与惊愕。下句「回首方惊日月高」以「回首」遥望汴京，「方惊」二字妙：当初身在其中不觉得，一旦远隔江湖、再望朝阙，才惊觉那「日月」（君与庙堂）之高、之不可及。一「忽」一「方」，写出时间与心理上的落差：去时浑然，回望乃惊。这一联把方平由中枢到外郡的落差凝为十四字，既是个人的迁谪之慨，也暗含北宋士大夫「一麾便隔云泥」的政治现实。前有「云台高议」之近，此有「江湖外」「日月高」之远，远近对照，沉郁自见。

The jaw couplet moves from recalling the court to narrating the demotion, the hinge where the poem's feeling suddenly falls. The first, a pennon, and suddenly I am beyond the rivers and lakes, transforms the allusion of taking a pennon to command a distant prefecture, pointing out one's being sent from a court official to guard a far prefecture, landing in the far-off beyond the rivers and lakes; the two words suddenly arrive carry great tension - the outer commission came abruptly, as if flung, with no room to turn, writing the passivity and shock of exile. The second, turning my head, I start - how high the sun and moon, uses turning my head to gaze afar at Bianjing, and the words start are fine: at the time, being within, one did not feel it; once far across the rivers and lakes and gazing back at the court gate, one starts to realize how high and unreachable the sun and moon (the ruler and the court) are. One suddenly, one just, writes the gap in time and psychology: when leaving, one was oblivious; gazing back, one is shocked. This couplet condenses Fangping's drop from the central court to the outer prefecture into fourteen characters, at once the personal grief of exile and secretly the Northern Song scholar-official's political reality of a pennon making the difference between cloud and mud. Before, the near high debate of the Cloud Terrace; here, the far beyond the rivers and lakes and high sun and moon, the near and far set against, the melancholy of itself appears.

不善取容同曼倩，且歌乐职学王襃。

Ill at currying favor, I am like Manqian; for now, singing of joyful office, I learn from Wang Bao.

不善于取媚容悦如同曼倩，且歌诵乐职之诗学那王襃。

Ill at currying favor, I am like Manqian; for now, singing of joyful office, I learn from Wang Bao.

颈联「不善取容同曼倩，且歌乐职学王襃」是方平的自况与自解，于不遇中强作达观，最见其处境与心态。上句「不善取容同曼倩」，曼倩即东方朔，以诙谐滑稽、不肯曲意媚上著称；方平以「同曼倩」自比，坦然承认自己禀性刚直、不擅阿附取容——这「不善」二字，既是自嘲，亦是以拙为荣的倔强。下句「且歌乐职学王襃」忽作转语，王襃是西汉辞赋家，曾作《乐职》诸诗颂汉德，方平说且学王襃，以歌诵职分之乐来自我宽慰。一「同」一「学」，前写本性之不可改（曼倩之不肯取容），后写处境之须自遣（王襃之职颂自解），于倔强中见委曲。这联恰是北宋士大夫在党争挤压下的典型心态：进既不遇（不善取容），退亦不安（学王襃以自遣）。对仗以二古人分写「性」与「策」，使自伤不致直露，是宋律以典自况的含蓄处。

The neck couplet is Fangping's self-comparison and self-consolation, forcing composure in unmet fortune, most showing his lot and frame of mind. The first, ill at currying favor, I am like Manqian: Manqian is Dongfang Shuo, known for his wit and banter and his refusal to bend and flatter; Fangping compares himself to Manqian, openly owning that his nature is upright and he is unskilled at fawning on the powerful - the two words ill at are at once self-mockery and the stubbornness of taking clumsiness for honor. The second turns abruptly, singing of joyful office, I learn from Wang Bao: Wang Bao was a Western Han writer who composed the Joyful Office poems praising Han virtue; Fangping says for now he will learn from Wang Bao, consoling himself by singing the joy of his office. One like, one learn, the first writing the unchangeability of one's nature (Manqian's refusal to curry favor), the second writing the need to send off one's lot (Wang Bao's office-praise consoling himself), showing compromise within stubbornness. This couplet is exactly the typical frame of the Northern Song scholar-official under party strife: in advance, unmet (ill at currying favor); in retreat, not at peace (learning Wang Bao to console oneself). The parallel uses two ancients to write nature and strategy, so that self-grief does not show too plainly, the implicit place of Song regulated verse using allusions for self-comparison.

贾生自是长沙远，更吊湘累赋广骚。

Jia Sheng, of, the self, being, the Changsha, far, moreover, mourning, the Hun of the Xiang, composing, the broad, the Sao.

贾谊自是贬向长沙辽远，更去凭吊湘水之累而赋广骚。

Master Jia, of course, was far at Changsha; and further, I mourn the Xiang exile and extend the Li Sao.

尾联「贾生自是长沙远，更吊湘累赋广骚」由己及古，把个人迁谪接入千古忠冤的谱系，是全诗情感落点亦境界升华。上句「贾生自是长沙远」，贾谊贬为长沙王太傅，方平以之自况远谪——「自是」二字有无奈中的认命，亦有「才高见忌」的暗讽。下句「更吊湘累赋广骚」更进一层：湘累指屈原（累于湘水者），方平说自己不惟如贾谊之迁，更要去凭吊湘水之屈原、续赋离骚（「广骚」即广续骚体）；这意味着他的贬地更近湘楚，愁绪直承屈子。一「贾」一「屈」，由汉及楚，把方平个人的「一麾外放」写到与贾谊、屈原同列的逐臣谱系中，使一己之愁获得历史的重量与文学的尊严。结以「赋广骚」，不惟伤己，更要以诗续骚，于沉郁中见风骨。短短十四字，收束全篇的朝野对照，把酬答友人之作升华为一篇逐臣心史。

The closing moves from oneself to the ancients, joining personal exile to the lineage of loyal wrongs through the ages, the landing of the poem's feeling and the sublimation of its realm. The first, Master Jia, of course, was far at Changsha: Jia Yi was demoted to be tutor to the King of Changsha, and Fangping takes him as self-comparison for the far exile; the two words of course carry resignation within helplessness, and the secret satire that high talent is envied. The second, and further, I mourn the Xiang exile and extend the Li Sao, steps further: the Xiang exile means Qu Yuan (the one who sank in the Xiang); Fangping says he is not only like Jia Yi's banishment, but will further go to mourn Qu Yuan in the Xiang and continue the Sao (extending the Sao means broadening and continuing the Sao style); this means his place of exile is nearer to Xiang and Chu, and his grief directly inherits Qu Zi. One Jia, one Qu, from Han to Chu, writing Fangping's personal outer commission to the lineage of banished officials ranked with Jia Yi and Qu Yuan, giving one's own grief the weight of history and the dignity of literature. Closing on extending the Li Sao, not only grieving oneself but continuing the Sao through poetry, showing integrity within melancholy. In short fourteen characters, gathering the whole court-and-country contrast, raising a poem answering a friend into a heart-history of a banished official.

Study

Word focus

一麾 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「一麾」是颔联上句的核心词，亦全诗由朝入野的转捩点。「麾」本指旌旗、麾节，魏晋以降，「一麾」成为出守州郡的代称（谢朓「一麾乃出守」、颜延年「一麾出守」），后世诗文每以「一麾」写外任。方平以「一麾忽到江湖外」用之，妙在「忽」字与「外」字的配合：一则写出外任之命来得猝然、如被抛掷，二则写出去地之远、隔在江湖之外。这一个「麾」字，承载着北宋士大夫最典型的命运转折——从「云台高议」的庙堂近臣，到「江湖外」的远郡守臣，中间只隔「一麾」之遥。方平以极轻的「一」字写极重的落差，举重若轻，正是宋诗以简驭繁的本领。且「一麾」与首联「云台」遥对：前有议政之近，此有出守之远，远近之距全系于「一麾」，足见其位置之关键，是全篇章法的枢纽词。

湘累 'The Hun of the Xiang' — the spirit of the Qu Yuan, the mourning of the close. 「湘累」是尾联下句的核心词，凝结着屈原沉湘的忠冤符号。累，谓拘系、无罪而遭累；「湘累」特指屈原——贾谊《吊屈原赋》伤其「逢时不祥」，扬雄《反离骚》云「因江潭而往记兮，钦吊楚之湘累」，后因以「湘累」专指屈原。方平以「更吊湘累赋广骚」，把自己置于屈原的直系谱系中：不惟如贾谊远谪，更要去凭吊湘水之屈原、续写离骚。这二字之重，在把一己迁谪「历史化」——个人的「一麾外放」不再只是官职升降，而是接入了自屈原以来「忠而见放」的永恒悲剧。与「贾生」对举，由汉（贾）及楚（屈），由迁谪及忠冤，层层加重。更可味者，「湘累」之于方平，既是自伤的镜像，也是精神的高标：以屈原自况，等于宣告自己同属「信而见疑、忠而被谤」的逐臣之列，于沉郁中自有风骨。二字收束，使酬答小诗获得《离骚》的悲壮底色。