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宋 Song · 诗 Poem

寄三峰郭诚思

To Guo Chengsi of the Three Peaks

张方平

Zhang Fangping

山水landscape 田园pastoral 咏史historical 哲理philosophy

松桧峰前古柏林，结茅无伴对幽禽。
鄙为浮薄八公事，独入精微九圣心。
春𣃁晴川闲种玉，夜开丹灶试还金。
泠然风驭知何返，三十六关云路深。

Before Pine-and-Cypress Peak stands an ancient cypress grove; he built a thatched hut with no companion but the secluded birds.
He scorns the frivolous affairs of the Eight Gentlemen, and alone enters the subtle heart of the Nine Sages.
In spring he breaks open the clear stream and leisurely plants jade; at night he lights the cinnabar furnace and tries the returning gold.
Cool and clear, he rides the wind—who knows when he will return? The thirty-six passes, the cloud-road runs deep.

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Meaning

A poem sent to Guo Chengsi, a Daoist hermit dwelling at the Three Peaks. It depicts his secluded abode, his rejection of worldly frivolity for the pursuit of the Way, his day-and-night cultivation, and his eventual transcendence. The poet expresses admiration for his friend's withdrawal from the world and a longing for that free, immortal realm.

松桧峰前古柏林，结间茅屋无伴，只对幽禽。我鄙弃那浮薄如八公的俗事，独入精微的九圣之心。春日𣃁开晴川，闲闲种玉；夜来开启丹灶，试炼还金。泠然御风而去，知他何时返还；三十六关，云路深深。

Appreciation

The poem is built in four layers—seclusion, renunciation, cultivation, and transcendence—woven with dense, luminous imagery: ancient cypress, secluded birds, the cinnabar furnace, wind-riding, cloud passes. Its antitheses are exquisite (Pine-Cypress against thatched hut; spring digging against night firing; Eight Gentlemen against Nine Sages), achieving the Song-dynasty manner of writing the secluded through the ornate.

【白话串讲】张方平寄三峰郭诚思：“松桧峰前古柏林，结茅无伴对幽禽”。“鄙为浮薄八公事，独入精微九圣心”——“春𣃁晴川闲种玉，夜开丹灶试还金”——他写郭诚思修道。【意象与手法】诗以古柏、幽禽、种玉、丹灶、风驭、云关为象，融隐逸与道教修仙于一炉。用八公、九圣、种玉、还金诸典，对仗工而境幽。【情感与主旨】表达对郭诚思弃俗入道、幽栖修真的钦敬，及对其逍遥云路的向往，寓寄友共契方外之趣。【名句点睛】鄙为浮薄八公事，独入精微九圣心以「鄙」对「独」写弃俗入道之决；春𣃁晴川闲种玉，夜开丹灶试还金以昼夜对举写修真之勤。

Background

This poem was sent by Zhang Fangping to Guo Chengsi, who lived as a hermit at the Three Peaks. The Three Peaks may refer to a famed mountain's three peaks (such as those of Huashan or Shaoshi), and while Guo's biography is obscure, the poem shows him to be a recluse who abandoned the world to practice the Dao. Zhang Fangping (1007-1091) often associated with men beyond the secular world, and many of his collected works address hermits and cultivators. The affairs of the Eight Gentlemen likely refer to the frivolous pursuits of alchemists like the Eight Gentlemen of Huainan (the eight immortals at Liu An's court), which Guo scorned; the heart of the Nine Sages refers to the subtlety of the Daoist Nine Sages, or the supreme Way in general. In the Northern Song, Daoism flourished and many recluses practiced alchemy; to read the cultivation imagery beneath the poem's strange beauty one must understand that era's Daoist reclusive climate and the arts of planting jade and returning gold. Zhang himself was conversant with Daoist scriptures, and a companion piece, On Reading the Scripture of the Nine Elixirs, shows this is part of his practice of writing the beyond as a Confucian minister.

此诗为张方平寄赠隐居三峰的郭诚思之作。三峰或指某名山三峰（如华山三峰、或少室三峰），郭诚思其人生平难详，然由诗可知是一位弃俗入道、结茅修真的隐者。张方平（1007—1091）与方外之士交游颇多，集中多寄隐修之作，此即其一。诗中八公事或指淮南八公（刘安门下八仙）式的方士浮薄之事，郭氏鄙而弃之；九圣心指道家九圣（或泛指至道）之精微。北宋道教盛行，隐修炼丹者众，士大夫每与往还，以诗文相发明。真宗、徽宗崇道最甚，然仁宗、神宗之世，内丹心性之学亦渐浸士林，隐者如郭诚思辈即其代表，他们不慕荣利、遁迹山林，以丹鼎之术与心性之修自高。张方平此诗写郭氏幽栖与修真，既钦其弃俗之决，亦自见其向道之趣。了解宋之道教隐修风气与「种玉」「还金」（炼丹服食）之术，方能读懂诗中瑰奇意象背后的修习内涵。张方平本人于道书颇有会心，集中另有《览九丹上化经》等作，与此诗同为「以儒臣写方外」之例，可见其交游不止于应酬，而确有向道之诚。

Art

The poem's art proceeds through four layers—seclusion, renunciation, cultivation, and transcendence—to depict Guo Chengsi. The first couplet sets his secluded dwelling and solitary state; the second, with scorns against alone, writes his resolve to leave the world for the Dao; the third, contrasting day and night, writes his diligent cultivation (planting jade figuratively for nurture, returning gold for alchemy); the fourth writes his wind-riding transcendence and the deep cloud-road. The whole is densely imagistic yet threaded by a logic of cultivation, with fine antitheses and a cool, ornate sound and color typical of Song reclusive Daoist verse. In arrangement the four couplets move from stillness to resolve, from resolve to diligence, from diligence to departure, tracing a complete life-trajectory from hut to immortality like a hagiography, progressive yet not stiff; the closing question adds the lingering note of elusive immortal traces, turning the real into the ethereal.

此诗艺术上以「隐栖—弃俗—修真—仙去」四层结构写郭诚思。首联松桧峰前古柏林，结茅无伴对幽禽，写其幽栖之地与独处之境；颔联鄙为浮薄八公事，独入精微九圣心，以鄙对独写其弃俗入道之决；颈联春𣃁晴川闲种玉，夜开丹灶试还金，以昼夜对举写修真之勤（种玉喻经营、还金喻炼丹）；尾联泠然风驭知何返，三十六关云路深，写其御风仙去、云路深渺。全诗意象密集（古柏、幽禽、丹灶、风驭、云关），而以修真逻辑贯串，对仗精工（松桧对结茅、春𣃁对夜开、八公对九圣），声色幽丽，是宋人隐逸道诗「以丽写幽」的典型笔法。就布局言，四联由静而决、由决而勤、由勤而逝，写一位隐者由结茅到仙去的完整生命轨迹，章法如仙传之叙，层层递进而不板滞；尾联以问句收束，更添「仙踪渺茫」之余韵，使全诗由实写转入虚景，收放自如。其对仗亦极见经营：「春𣃁」对「夜开」以时令相偶，「种玉」对「还金」以道术相偶，一昼一夜、一养一炼，写出隐者修真之勤与生活之有序。其佳处在把一位隐者的一生修习写得如仙传般恍惚而可爱。

Allusions

The allusions all concern reclusion and Daoist arts. Affairs of the Eight Gentlemen: King Huainan Liu An had eight gentlemen (Su Fei and others), fond of arts; the frivolous affairs of the Eight Gentlemen here means worldly alchemists' frivolity, which Guo scorned. Heart of the Nine Sages: the Daoists speak of Nine Sages; the subtle heart of the Nine Sages means the subtlety of the supreme Way, which Guo alone entered. Planting jade: from Yang Boyong planting jade at Lantian (sowing stones to get jade and a fair wife); here leisurely planting jade by the clear stream in spring figuratively means the hermit's leisurely nurture of his true essence amid mountains and rivers, also implying the reward of the Way. Returning gold: the Daoist art of returning cinnabar and nine-return golden fluid; tries the returning gold at night writes nocturnal alchemy. Wind-rider: Liezi rode the wind; cool and clear, he rides the wind depicts Guo's light ascent. Thirty-six passes: the Daoist thirty-six heavens or thirty-six grotto-heavens; cloud-road deep says he has stepped deep into the immortal ranks. Moreover, pine-and-cypress since Confucius's saying is the symbol of constancy; secluded birds quietly echoes Lin Bu's plum-wife and crane-son solitary reclusion. These allusions string together a brief history of the hermit: renounce the world, cultivate, become immortal.

诗中用典皆关隐修与道术。八公事：淮南王刘安有八公（苏飞等八仙），好方术，诗中浮薄八公事指世俗方士浮薄之事，郭氏鄙弃之。九圣心：道家称九圣（如九圣之治或九真），诗中精微九圣心谓至道之精微，郭氏独入其室。种玉：用杨伯雍蓝田种玉事（于石间种石得玉，又得美妇），诗中春𣃁晴川闲种玉喻隐者在山川间闲适经营、涵养真元，亦含得道之报。还金：道教「还丹」「九还金液」之术，夜开丹灶试还金写夜间炼丹、一试还丹。风驭：列子御风而行，泠然风驭状郭氏仙去之轻举。三十六关：道教三十六天或三十六洞天之关，云路深言其步入仙阶之深。又「松桧」之松柏，自孔子「岁寒然后知松柏之后凋」以来即为坚贞之象，此以松桧古柏写隐者之志节；「幽禽」则暗用林逋「梅妻鹤子」一类孤山高隐之趣。「还金」之「金」，实指金丹，道教以为九还七返、金液还丹，乃丹成飞升之阶，方平以「试」字著之，写其勤于参验、精进不已，非徒虚张仙语。诸典串起一部弃俗—修真—仙去的隐者简史。

Commentary

Zhang Fangping's poems to recluses and cultivators should be read alongside On Reading the Scripture of the Nine Elixirs and To the Elder Zhixian—one Daoist, one Buddhist, one hermit—all writing the bond beyond the secular. Fang Hui's Yingkui Lüsu in its Daoist-Buddhist category selects many Song works writing seclusion with immortal air but not grotesque; this poem's lines of ancient cypress, secluded birds, cinnabar furnace, and cloud passes fit exactly. Compared with Tang reclusive poetry (e.g., Jia Dao's I ask the boy beneath the pine), Song poets preferred citing Daoist canon and writing the steps of cultivation; this poem is an example—Eight Gentlemen, Nine Sages, planting jade, returning gold all have sources, hence ornate yet not false. Moreover, Northern Song literati's intercourse with recluses often betrayed their own leanings toward the Way; Zhang's praising Guo for alone entering the Nine Sages' heart also hints at his own. Modern scholars say Song poetry is poetry of learning; this poem's dense yet apt allusions prove it. If we compare cool and clear, he rides the wind with Li Bai's robed in rainbows, riding the wind on a horse, Li writes the immortal's grace to express feeling, Zhang writes the immortal's light ascent to depict a person—one a self-ascent fantasy, one a blessing on a friend's attainment; both write immortal wandering yet differ in substance and function, exactly the divide between Tang and Song reclusive-immortal poetry. Though Zhang writes the hermit with dense canon, he uses words like secluded and leisurely to dissolve the alchemical smoke, making the immortal theme read fresh and approachable, clearly distinct from later decadent schools that merely flaunt recipes. In sum, the poem's excellence lies in being secluded-ornate yet not flighty, depicting a person yet with immortal air—a fitting work of the scholar's hermit-poetry.

张方平寄隐修诗，宜与其览九丹上化经、赠智先长老并观——一道一佛一隐，皆写方外之契。方回瀛奎律髓道释类多选宋人「写幽栖有仙气而不怪」之作，此诗古柏幽禽、丹灶云关诸句，正合其选。较之唐人隐逸诗（如贾岛「松下问童子」之清空），宋人更喜征引道典、写修真次第，此诗可为其例——八公九圣、种玉还金皆有所本，故丽而不诬。又，北宋士大夫与隐者往还，每于诗中自托方外之趣，张方平此诗称郭氏「独入九圣心」，亦暗含己之向道。近人论宋诗「以学问为诗」，此诗用典密而皆切隐修，足证其说。若再以「泠然风驭」与李白「霓为衣兮风为马」相较，李写仙之飘逸以抒情，张写仙之轻举以写人，一为自我飞升之想，一为友人道成之祝，同写仙游而体用各异，正是唐宋隐逸仙道诗的分界。方平此诗虽以密典写隐，却能以「幽」「闲」等字化去丹经的烟火气，使仙道题材读来清雅可亲，与后世徒炫丹诀、堆砌名相的末流判然有别。要之，此诗之佳在幽丽而不浮、写人而有仙气，是学者寄隐诗的得体之作。

Prosody

Form Seven-character regulated poem (lüshi, eight lines)七言律诗

Rhyme Rhymes with the -in (侵) tone of the lower level category twelve: 林(lín), 禽(qín), 心(xīn), 金(jīn), 深(shēn). One rhyme throughout; the -in rhyme has an open-mouth, deep sonority suited to writing secluded cultivation.押下平十二侵韵：林、禽、心、金、深。一韵到底，侵韵开口呼幽深，宜于写幽栖修真之体。

Tone pattern Seven-character lüshi, level-rising opening with first line entering the rhyme. The middle two couplets largely follow the tonal rules, with occasional irregularity governed by meaning.七言律诗平起首句入韵体。首联松桧峰前古柏林（平仄平平仄仄平）对结茅无伴对幽禽（仄平平仄仄平平），颔联鄙为浮薄八公事（仄平平仄仄平仄）对独入精微九圣心（仄仄平平仄仄平），颈联春𣃁晴川闲种玉（平仄平平平仄仄）对夜开丹灶试还金（仄平平仄仄平平），中二联粘对大致合律，偶有拗处而以意驭之。

Reading note This poem is a seven-character regulated verse of eight lines and four couplets, arranged in the order seclusion—renunciation—cultivation—transcendence: the first couplet writes the dwelling of ancient cypress and secluded birds; the second writes the resolve of scorning the Eight Gentlemen and alone entering the Nine Sages; the third writes the cultivation of spring planting jade and night returning gold; the fourth writes the departure of wind-riding and cloud passes. The rhyme alone takes the -in group, its air secluded and deep, matching reclusive cultivation; the five rhymes run connected, reading like entering a mountain night. In level-tone, the middle two couplets' adherence is precise (Eight Gentlemen against Nine Sages, planting jade against returning gold), with the typical steady craft of the seven-character lüshi, occasionally saved by irregularity without harming the ornateness. Overall the sound-emotion is secluded-ornate yet returns to pure distance, a fitting Song reclusive Daoist poem of writing the secluded through the ornate, moving the scene through allusion—the ancient cypress and cinnabar furnace are not mere ornament but each has a basis in reclusion, showing the reality of cultivation amid strange imagery, best read together with Zhang's other beyond-the-secular poems.此诗为七言律诗，八句四联，章法以「隐栖—弃俗—修真—仙去」为序：首联写古柏幽禽之栖，颔联写鄙八公、独九圣之决，颈联写春种玉、夜还金之修，尾联写风驭云关之去。用韵独取侵部，声气幽深，与隐逸修真相称；五韵相贯，读来如入山中之夜。平仄中二联粘对精严（八公对九圣、种玉对还金），具七律典型工稳，偶以拗救（如八公事之仄）而不害丽。整体声情幽丽而归于清远，是宋人隐逸道诗「以丽写幽、以典运境」的得体之作——古柏丹灶非徒夸饰而各有隐修之据，于瑰奇意象中见修习之实，宜与张氏其他方外诗合观。

Line by line

松桧峰前古柏林，结茅无伴对幽禽。

Before Pine-and-Cypress Peak stands an ancient cypress grove; he built a thatched hut with no companion but the secluded birds.

松桧峰前古柏林，结间茅屋无伴，只对幽禽。

Before the pine-and-cypress peak, an ancient cypress grove; he has built a thatch hut, no companion, facing the quiet birds.

首联破题，写郭诚思幽栖之地与独处之境。松桧峰前古柏林以松桧古柏点出居所之幽古——松桧皆长青耐寒之木，古柏更见岁久之静，一联便立起隐者所处的清绝世界；结茅无伴对幽禽紧接，写其结茅而居、无人相伴，唯有幽禽相对，无伴二字写出孤寂亦写出脱俗，对幽禽则把孤寂化作一种与自然相亲的静趣。张方平落笔极省，却以「古柏」「幽禽」两个意象把隐逸的「静」与「清」写足。宋人写隐逸好以物象立境，此联正是一例：不须说「我隐」，只写柏与禽，隐者之格已出。更妙在「无伴」与「对」的对照——形虽无伴，神却有对（对幽禽），写出一种不孤的孤，是炼字见隐趣处。

The opening breaks the title, writing Guo Chengshi's quiet dwelling and solitary lot. Before the pine-and-cypress peak, an ancient cypress grove points out the dwelling's quiet antiquity through pines, cypresses and ancient cypresses - all evergreen cold-enduring trees, the ancient cypress showing the stillness of long years; one couplet already establishes the absolutely clear world in which the recluse dwells. He has built a thatch hut, no companion, facing the quiet birds follows, writing his thatch dwelling, no companion, only the quiet birds facing him; the words no companion write solitude and also otherworldliness, and facing the quiet birds turns solitude into a quiet delight of closeness to nature. Fangping lays down his brush most sparely, yet with the two images of the ancient cypress and the quiet bird writes to the full the quiet and clear of reclusion. Song poets writing reclusion loved to establish the realm through things; this couplet is one example - no need to say I am reclusive, only writing the cypress and the bird, and the recluse's character appears. What is more beautiful is the contrast of no companion and facing: the form has no companion, yet the spirit has a facing (the quiet birds), writing a loneliness that is not lonely, the worked diction that shows reclusive delight.

鄙为浮薄八公事，独入精微九圣心。

He scorns the frivolous affairs of the Eight Gentlemen, and alone enters the subtle heart of the Nine Sages.

我鄙弃那浮薄如八公的俗事，独入精微的九圣之心。

He scorns the frivolous ways of the eight lords; alone he enters the subtle heart of the nine sages.

颔联为全诗立骨，写郭氏弃俗入道之决。鄙为浮薄八公事以「鄙」字斩钉截铁地否定世俗方士浮薄之事（八公指淮南八公式方术），独入精微九圣心以「独」字写其孤往之道——一鄙一独，一弃一取，对仗中见抉择。张方平于此把郭诚思的精神肖像勾出：不是无能退避，而是主动鄙弃浮薄、独探至道。鄙字见其峭，独字见其坚，两字撑起全联的风骨。宋人作诗好以虚字（鄙、独）运意，此联正是一例——不堆仙语，只以两个字写出弃取之决，境界自高。更可玩者，八公对九圣，俗对真、数对圣，工对之中暗含价值评判，是炼对见识力的范例。读此联，可想见一位峭洁的隐者形象。

The jaw couplet establishes the poem's bone, writing the Guo family's resolve to abandon the world and enter the Way. He scorns the frivolous ways of the eight lords uses the word scorn to flatly deny the worldly alchemists' frivolous ways (the eight lords meaning the eight Huainan lords' formula of alchemy). Alone he enters the subtle heart of the nine sages uses the word alone to write his solitary pursuit of the Way - one scorn, one alone, one abandonment, one taking, the choice seen in the parallel. Fangping here sketches Guo Chengshi's spiritual portrait: not retreating from inability, but actively scorning the frivolous and alone exploring the ultimate Way. The word scorn shows his sternness, the word alone his firmness; the two words prop up the couplet's bone. Song poets loved to move meaning through function words (scorn, alone); this couplet is one example - no piling of immortal words, only two characters writing the resolve of abandonment and taking, the realm of itself high. What is more to enjoy is the eight lords paired with the nine sages, the vulgar against the true, number against sage, the value judgment hidden within the wrought parallel, the example of seeing discernment in matching. Reading this couplet, one can imagine the image of a stern and pure recluse.

春𣃁晴川闲种玉，夜开丹灶试还金。

In spring he breaks open the clear stream and leisurely plants jade; at night he lights the cinnabar furnace and tries the returning gold.

春日𣃁开晴川，闲闲种玉；夜来开启丹灶，试炼还金。

In spring he digs the bright stream, idly planting jade; at night he opens the elixir furnace, testing the returning gold.

颈联写郭氏修真之勤，以昼夜对举极有章法。春𣃁晴川闲种玉写春日𣃁（斫、掘）开晴川、闲种玉（用杨伯雍蓝田种玉典，喻闲适经营、涵养真元），是昼之功、是「闲」；夜开丹灶试还金写夜间启丹灶、试炼还丹（道教九还金液之术），是夜之课、是「试」。一春一夜、一种一炼、一闲一试，对仗工而意相成：种玉是养其外（形骸山川），还金是炼其内（丹元真炁），内外交修，写出隐者一日之不空。张方平于此把修真写得极具体可感——不是空谈飞升，而是春𣃁夜炼的踏实功夫，正见宋人写道「以实运虚」的趣味。尤其「闲」与「试」二字，一写从容一写精进，把修真者的自在与不苟写得活灵活现，是炼字见修境处。

The neck couplet writes the Guo family's diligence in cultivating truth, the day and night pairing most orderly. In spring he digs the bright stream, idly planting jade writes that in spring he digs (chops, opens) the bright stream and idly plants jade (using the allusion to Yang Boyong planting jade at Lantian, meta-phoring the leisured tending and nurturing of the true origin), the day's work, the idle. At night he opens the elixir furnace, testing the returning gold writes that at night he opens the elixir furnace and tests the returning elixir (the Taoist art of the nine-return gold fluid), the night's lesson, the testing. One spring one night, one planting one refining, one idle one testing, the parallel wrought and the meaning completing: planting jade nurtures the outer (the form and the hills), returning gold refines the inner (the elixir and the true breath), the inner and outer cultivated together, writing the recluse's day not wasted. Fangping here writes the cultivation of truth most concretely and perceptibly - not empty talk of flying upward, but the solid work of spring digging and night refining, exactly showing the Song delight in writing the void through the solid. Especially the two words idle and testing, one writing composure one writing zeal, bringing the cultivator's ease and strictness vividly to life, the worked diction that shows the realm of cultivation.

Study

Word focus

鄙 Here scorns is the eye of renouncing the world: it means to despise; the poet uses it as a verb for Guo Chengsi scorning the frivolous affairs of worldly alchemists, one word fixing his resolve to abandon the secular. 鄙字在「鄙为浮薄八公事」中为弃俗之眼。鄙本义鄙薄、轻视，此处作动词，写郭诚思「鄙弃」世俗方士浮薄之事，一字而定其弃俗之决。张方平以「鄙」而非「弃」「远」，更显主动的轻蔑与清醒——不是无奈疏远，而是从根本上轻视，态度最烈。此字与下句「独」字对照：鄙是破（破俗），独是立（立道），一破一立之间，隐者的人格骨架立起。宋人作诗重虚字运意，此字正见其以一字断制的精神——不须冗论，只一个「鄙」字，郭氏的峭洁已出。若作「厌」「弃」，则或失其峻或失其醒；「鄙」字自带一种士人的傲慢与清醒，最宜称隐者之决，是炼字见风骨处。

独 Here alone is the eye of entering the Way: it means solitary; it writes Guo Chengsi alone entering the subtle realm of the supreme Dao, echoing scorns above—while the world chases the frivolity of the Eight Gentlemen, he alone probes the subtlety of the Nine Sages. 独字在「独入精微九圣心」中为入道之眼。独本义单一、独自，此处写郭诚思「独入」至道精微之境，与「鄙」字呼应：世皆逐八公之浮，而彼独探九圣之微。一字写出孤往之坚——不是随众，而是独行其道。张方平以「独」对上句「鄙」，构成「弃俗—守道」的完整姿态，使颔联不惟叙事，更兼立人格。更妙在「独入」与「精微」的搭配：精微者本难入，故须「独」——唯孤往之人能探其微，暗含对郭氏资质的推许。若作「深」「密」，则偏于境而不及人之决；「独」字写出主体的主动性，最宜称隐者之坚，是炼字见志节处。

闲 Here leisurely is the eye writing the cultivator's ease: it means at leisure, at ease; it writes Guo's spring digging and planting jade as done leisurely and contentedly (planting jade figuratively means the reward of the Way and nurture), showing the cultivator's composed air. 闲字在「春𣃁晴川闲种玉」中为写修真从容之眼。闲本义闲暇、从容，此处写郭氏春日𣃁川种玉之「闲」——不是忙碌耕作，而是闲闲然、自得然地涵养真元（种玉喻得道之报与经营）。张方平以此字写出修真者的从容气象：虽在用工（𣃁、种），却无世俗奔竞之迫，一片闲适。若作「忙」「勤」，则失其仙气；「闲」字使春𣃁之劳化为一种悠然的修习，最宜称隐者之趣。更妙在它与下句「试」字（夜开丹灶试还金）对照：昼则闲种玉，夜则试还金，一闲一试、一张一弛，写出修真生活的节奏与自在。一字之选，使颈联于勤苦中见从容，是炼字见修境处。