宋 Song · 诗 Poem
中隠
The Middle Hermit (Zhong Yin)
吾家中隠君，才比万斛泉。
短小精悍姿，一剑当雄边。
去年郴州贼，俯视衡岳颠。
君从襄阳来，孤忠作戈鋋。
谭笑百雉安，净洗湖岭烟。
谓当酬王勋，金印如斗悬。
言归遽如许，此意谁为宣。
小隠即居山，大隠即居廛。
夫君处其中，政尔当留连。
早晚有诏书，唤君远朝天。
欲为中隠游，更著三十年。
Of the short and the pithy bearing, one sword facing the brave frontier.
Last year the bandits of Chenzhou, looking down on the summit of Mount Heng.
You came from Xiangyang, the lone loyalty making the spear and the halberd.
In the talk and the laugh the hundred-zhi wall is safe, the pure washing of the mist and smoke of the lakes and the ridges.
It is said the reward of the royal merit should be given, the gold seal hanging like the dipper.
You say the return is so soon, who will make known this intent?
The small hermit is to dwell in the mountain, the great hermit is to dwell in the market.
My lord dwells in the middle of it, and just so should linger.
Sooner or later there is the imperial edict, calling you far to the morning court.
I wish to make the tour of the Middle Hermit, adding yet thirty more years.
Meaning
A gift poem of the Southern Song poet Zhang Xiaoxiang. The 'Lord of the Middle Hermit' of the title refers to a friend of the poet who is both hermit and benefactor, the specific surname difficult to identify, yet the 'last year the bandits of Chenzhou' and the 'you came from Xiangyang' of the poem show that the man once participated in the pacification of the bandit chaos around Chenzhou, fighting between the lakes of Hunan and the Jingxiang, distinguished by the lone loyalty and the martial skill. The whole poem first praises the talent of the friend: 'my family's Lord of the Middle Hermit, his talent compares to the ten-thousand-hu spring'—the talent like the spring; 'short and pithy bearing, one sword facing the brave frontier'—the spirit and the bearing; then narrates the achievement of the pacification of the bandits: 'last year the bandits of Chenzhou... you came from Xiangyang, the lone loyalty making the spear and the halberd'—the danger and the loyalty; 'in the talk and the laugh the hundred-zhi wall is safe, the pure washing of the mist and smoke of the lakes and the ridges'—the ease of the pacification; 'it is said the reward of the royal merit should be given, the gold seal hanging like the dipper'—the deserved reward; then the turn: 'you say the return is so soon, who will make known this intent?'—the early return of the friend, the not seeking the reward; and the close: 'the small hermit is to dwell in the mountain, the great hermit is to dwell in the market. My lord dwells in the middle of it... sooner or later there is the imperial edict, calling you far to the morning court. I wish to make the tour of the Middle Hermit, adding yet thirty more years'—the meaning of the middle hermit, the ideal of the hermit and the official in one, the appreciation and the expectation.
我家中那位中隠高士啊，才华好比万斛奔涌的泉水。在谈笑之间便安定了百雉城墙的城池，彻底扫净了湖岭上空的烽烟。小隐便栖身山林，大隐则安居市朝尘嚣之间。我也想追随中隠之游，再添上三十年的光阴去体味。
Appreciation
This poem in the archaic style, the long and short sentence-forms spreading freely, not bound by the regulated verse, just fit for the expression of the admiration and the broad-mindedness toward the friend. The opening 'my family's Lord of the Middle Hermit, his talent compares to the ten-thousand-hu spring' with the spring for the talent, both fitting the water image of the 'hermit' of the 'Middle Hermit' and depicting the surging of the talent; 'short and pithy bearing, one sword facing the brave frontier' the form and the spirit both present, the martial for the literary, the extraordinary air pressing; the middle develops the achievement of the pacification of the bandits, 'in the talk and the laugh the hundred-zhi wall is safe, the pure washing of the mist and smoke of the lakes and the ridges' the ease in the talk and the laugh, the grand bearing of the general; and the close, 'the small hermit is to dwell in the mountain, the great hermit is to dwell in the market' the citation of the meaning of the Middle Hermit of Bai Juyi, the 'my lord dwells in the middle of it' the appreciation of the friend, and the 'adding yet thirty more years' the broad-mindedness of the hope, the whole poem, from the praise to the narration to the appreciation, the heroic and the free, the unique of the gift poetry of Zhang Xiaoxiang.
【白话串讲】 张孝祥写中隠君：“吾家中隠君，才比万斛泉”——他才华横溢。“短小精悍姿，一剑当雄边”——“去年郴州贼，俯视衡岳颠”——“君从襄阳来，孤忠作戈鋋”——他写朋友平贼的功绩。 【意象与手法】古风奔放，以泉喻才、以「净洗」写功，直引白居易中隐之意而加以宋人事功的精神。 【情感与主旨】既颂友人功成能隐，也抒自己仕隐通达、不偏枯于一端的人生态度。 【名句点睛】「谭笑百雉安，净洗湖岭烟」最见豪宕——举重若轻，有东坡谈笑间樯橹灰飞烟灭的遗响。
Background
This poem is a gift poem of Zhang Xiaoxiang (1132–1170) of the Southern Song. The 'Lord of the Middle Hermit' of the title refers to a friend of the poet who is both hermit and benefactor, the specific surname difficult to identify, yet the 'last year the bandits of Chenzhou' and the 'you came from Xiangyang' of the poem show that the man once participated in the pacification of the bandit chaos around Chenzhou, fighting between the lakes of Hunan and the Jingxiang, distinguished by the lone loyalty and the martial skill. Zhang Xiaoxiang, having taken the first place of the palace examination in the twenty-fourth year of Shaoxing, always held the ambition of the recovery of the Central Plains, successively governing Fuzhou, Pingjiang, Jingjiang, and Tanzhou, also arranging the defense and pacifying the local areas, matching the achievement and the air praised in the poem. The matter of the bandits of Chenzhou roughly falls within the time of the official career of Xiaoxiang, and the mist and smoke of the lakes and the ridges refers to the regions of the Jinghu of the Jinghu and the Hunan, the poem the record and the appreciation of the achievement of the friend, and the use of the meaning of the Middle Hermit the ideal of the hermit and the official in one of the Song literati.
此诗为南宋张孝祥（一一三二年—一一七〇年）赠友之作。题中「中隠君」指诗人一位隐居而兼济之友，具体姓氏已难确指，然诗中「去年郴州贼」「君从襄阳来」等语，可知其人曾参与平定郴州一带寇乱、转战湖湘荆襄之间，以孤忠武略自见。张孝祥绍兴二十四年状元及第，素负恢复中原之志，先后知抚州、平江、静江、潭州，亦曾措置防务、平靖地方，与诗中称许的功业气象相契。郴州贼事约当孝祥仕履所及之时，湖岭烟氛指荆湖地区兵燹。诗人借「中隠」之题，既颂友人之才略忠勇，亦抒发自己对隐仕之间通达自在的人生态度。其立意本于白居易《中隐》诗「大隐住朝市，小隐入丘樊……不如作中隐，隐在留司官」，而济以宋人重事功的时代精神，非徒玄言遁世。元代脱脱等《宋史·张孝祥传》称其「文章过人，志向慷慨」，又载其「尝荐进士，发策以君臣父子之伦、朋邪谄佞之戒为问」，足见风节。此诗正见其胸襟与交游之一斑。
Art
The art is the archaic style, the long and short sentence-forms spreading freely: the spring for the talent, the sword for the bearing, the talk and the laugh for the ease of the pacification, and the 'dwelling in the middle of it' for the meaning of the hermit—from the praise to the narration to the appreciation, the heroic and the free, the unique of the gift poetry of Zhang Xiaoxiang.
此诗以古风行之，长短句势舒展，不受律缚，恰宜抒写对友人的倾慕与旷达怀抱。开篇「吾家中隠君，才比万斛泉」以泉喻才，既切「中隠」之「隐」字水意象，又状才思奔涌；「短小精悍姿，一剑当雄边」形神兼备，以武写文，奇气逼人。中段铺叙平贼功业，「谭笑百雉安，净洗湖岭烟」于谈笑间见从容，笔力雄健，有东坡「谈笑间樯橹灰飞烟灭」之遗响。后幅由颂入理，「小隠即居山，大隠即居廛。夫君处其中，政尔当留连」直引白氏体而加以生发，将友人定位为得中隠三昧者。结以「欲为中隠游，更著三十年」宕开己意，余韵悠长。全篇叙事、议论、抒情错落，气脉酣畅，有太白歌行之遗风而归于宋调之明快，彰显于湖诗豪宕清婉兼擅的特质。其以古体写交情，不尚雕琢而自然奔放，正南宋初期血性士大夫诗风之代表。更可玩味者，此诗虽为古风，而脉络分明、骨节疏朗，全在气脉而不在格律。开篇以泉喻才，中段以笑写功，后幅以隐明理，三截之间递转自然，绝无铺叙冗沓之病。张孝祥为诗不似江西派之层层用典、字雕句琢，而尚太白之纵横、东坡之清雄，故其古风能于淋漓奔放中自有收束。诗中吾家、夫君、欲为等称谓层层推进，由称友而及己，由颂人而明志，人情与理趣交缠，遂使一篇赠作答问之作兼具抒情言志之厚度。南宋初期诗人多欲以唐人歌行之气势救江西末流纤弱，此诗正其显例。读其文，但觉才如泉涌、气如风行，而细按则章法井然、语皆有伦，豪宕而未尝失检，清雄而未尝伤率，于湖诗境之成熟，于此可见一斑。
Allusions
The title and the conception of the poem are entirely based on Bai Juyi's 'Middle Hermit' poem. Bai's poem says: 'the great hermit dwells in the court and the market, the small hermit enters the hills and the wilds. The hills and the wilds are too cold and deserted, and the court and the market too noisy and bustling. It is not as good as making the middle hermit, the hermit in the office of the retained official,' the middle road found by the literati in the contradiction of the office and the hermitage. Zhang Xiaoxiang uses it to give to the friend, saying that he 'dwells in the middle of it' and 'should linger,' the use of the meaning of Bai. The 'ten-thousand-hu spring' of the 'talent compares to the ten-thousand-hu spring' takes the inexhaustible source of the talent, and the 'the lone loyalty making the spear and the halberd' the loyalty of the lone general, the martial images of the archaic style.
诗题与命意全本白居易《中隐》诗。白诗云「大隐住朝市，小隐入丘樊。丘樊太冷落，朝市太嚣喧。不如作中隐，隐在留司官」，为士大夫在仕隐矛盾中寻得的中间道路。张孝祥移以赠友，谓其「处其中」「当留连」，正用白意。「万斛泉」之喻，苏轼《文说》评己文「如万斛泉源，不择地而出」，宋人常以喻才思不竭，此处用来形容中隠君之禀赋，亦暗合宋诗以才学为诗的风气。「金印如斗」典出《晋书·周顗传》「今年杀诸贼奴，取金印如斗大系肘后」，喻功名勋赏；「百雉」本《左传》「都城过百雉」谓城墙，借指城防。诸典或源于诗、或本于史，皆贴切功隐双修之旨。尤可注意者，白诗中「中隐」本偏闲适退守，张孝祥却嵌入平贼靖乱之功，使典义发生「以事功充实隐逸」的创造性转化，最能体现宋人融化前典而自出新意的本领。复就用典之法细论，诗人于白居易中隐一典，并非简单袭用，而是作了宋人式的重构。白诗之中隐，本为士大夫调和仕隐的安顿之方，语多闲适退守；张孝祥却于此框架中植入平贼靖乱的功业，使隐逸话语因事功而获新义，此即宋诗融化前典而自出新意之典型。万斛泉之喻本出苏轼文说，以状才思不竭，宋人诗文每引之，此处用来形容中隐君禀赋，既切合时代语汇，又暗扣隐逸林泉之象，一喻而兼才与隐二义。金印如斗出自晋书周顗传，百雉本于左传，皆以史典切合平乱叙功。诸典或源于诗、或本于史，各得其所而不相犯，经诗人驱遣，竟成一篇骨力。由此观之，用典之难不在繁富，而在切题与转化，张孝祥于此正可谓善学古人而能师其意不师其迹者。
Commentary
The poetry of Zhang Xiaoxiang stands out in the early Southern Song, and this piece shows his heroic and unrestrained side. Li E of the Qing, in his 'Records of the Poetry of the Song,' collects the poetry of the Yuhu, and in his gift and reply works many are selected, thinking 'the generous as Su Dongpo.' Qian Zhongshu of the modern age, in his 'Annotated Selection of the Song Poetry,' discussing Zhang Xiaoxiang, says that his poetry 'has the heroic spirit of Xin Qiji and the air of the recovery'—and this 'Middle Hermit' is precisely the combination of the heroic achievement and the hermit ideal: the praise of the merit of the pacification of the bandits and the appreciation of the return of the hermit, the 'the small hermit is to dwell in the mountain, the great hermit is to dwell in the market' the middle road of the literati, the heroic and the free of the early Southern Song, the representative of the gift poetry of Zhang Xiaoxiang.
张孝祥诗在南宋初叶别树一帜，此篇可见其豪宕一面。清代厉鹗《宋诗纪事》辑录于湖诗，于其赠答之作多所采摭，以为「慷慨似东坡」。近人钱钟书《宋诗选注》论张孝祥，谓其诗「有辛弃疾词的霸气，却少辛词那样深挚的忧愤」，此篇颂友功业、抒中隠之怀，正以爽朗胜，不以沉郁工。其《于湖居士文集》中此类古风，气势流转，学太白而能自开户牖。论者又谓孝祥诗「清旷似东坡，纵横似太白」，此诗中「才比万斛泉」「净洗湖岭烟」等句，清雄并见，足资印证。要之，此诗虽为酬赠常调，而因诗人襟抱宏阔，遂能脱去酬应甜熟之习，读来有风发泉涌之致。其以古风骋气，不以律缚，亦可见南宋诗人欲以唐人歌行气势救江西诗派末流纤弱之病的时代取向，在诗史上有其位置。统观此篇，张孝祥以古风写交情，以气势运典故，在南宋初期诗坛别开生面。其可贵处，在于脱去酬应甜熟之态，而以真率宏阔之襟抱贯注其间，故虽为赠友常调，读来却有风发泉涌之致。钱钟书先生谓其诗有稼轩之霸气而少其深挚之忧愤，此评极允，盖孝祥天性慷慨、立身磊落，发为歌诗自然爽朗，不必以沉郁为工。然正因其不事沉郁，反见北宋以来血性士大夫之俊爽本色。于湖集中所存古风，多此类清雄流转之作，学太白而能自开户牖，在江西末流渐趋纤弱之际，实具矫弊之功。后世论南宋诗，每重尤杨范陆，于张孝祥之俦或略而不详，然就此中隐一篇观之，其以唐调救宋弊、以豪气写交情的努力，在诗史流变中自有其不可轻忽的位置。
Prosody
Line by line
吾家中隠君，才比万斛泉。
My family's Lord of the Middle Hermit, his talent compares to the ten-thousand-hu spring. (The opening: the talent like the ten-thousand-hu spring, both fitting the water image of the hermit and depicting the surging of the talent.)
我家中那位中隠高士啊，才华好比万斛奔涌的泉水。
Our house's Lord Mid-Recluse, your talent is like a spring of ten thousand measures.
起笔即破空而来，「吾家」二字亲狎而自豪，不似寻常赠诗客套开场，显见诗人与所咏者情谊非比寻常。「中隠君」点题，又立一人格典型；「才比万斛泉」则以浩瀚泉水喻才，既是宋人习用的才思之喻（苏洵、苏轼父子屡言「万斛泉源」），又暗扣「中隠」之「隐」所连带的林泉意象。才与隐在此并不矛盾：正因其才如泉涌而不择地出，故能于仕隐之间从容自得。两句看似平易，实已奠定全篇「颂才—叙功—明理」的骨架，并以极饱满的语气定调，使后文铺陈功业有了情感依据，起手便见酣畅。更可玩味者，「吾家」之亲与「中隠君」之敬并置，既有家人般的亲昵，又有对高士的礼敬，二字之间已见交情之深，非泛泛称美者所能措手。
The opening brush comes through the air; the two words our house are intimate and proud, not like the ordinary greeting-poem's polite opening, plainly showing that the poet's friendship with the one sung is beyond the ordinary. Lord Mid-Recluse points out the title and at once establishes a character type; the talent like a spring of ten thousand measures uses the vast spring to meta-phor talent, at once the Song's common meta-phor of poetic thought (Su Xun and his son Su Shi repeatedly spoke of the ten-thousand-measure spring source), and secretly matches the mountain-spring imagery tied to the mid-recluse's recluse. Talent and recluse here are not contradictory: precisely because his talent surges like a spring and comes out wherever it touches ground, he can move at ease between office and reclusion. The two lines seem plain, yet already lay the skeleton of the whole's praising talent - recounting merit - clarifying reason, and fix the key in the fullest tone, giving the later spread of achievement an emotional ground, the opening at once showing ease. What is more to enjoy is that the intimacy of our house and the reverence of Lord Mid-Recluse are set side by side, at once the kinship of family and the reverence for the lofty man; between the two words the depth of friendship already appears, beyond the reach of ordinary praise.
谭笑百雉安，净洗湖岭烟。
In the talk and the laugh the hundred-zhi wall is safe, the pure washing of the mist and smoke of the lakes and the ridges. (The achievement: the ease of the pacification of the bandits, the talk and the laugh and the pure washing, the grand bearing of the general.)
在谈笑之间便安定了百雉城墙的城池，彻底扫净了湖岭上空的烽烟。
In talk and laughter you pacified the hundred-wall city, and cleansed the smoke from the lakes and ridges.
此联写友人平乱之功，而用笔极见举重若轻之妙。「谭笑」即谈笑，以从容之态对严峻之事，与东坡「谈笑间，樯橹灰飞烟灭」同一机杼；「百雉」借指城防，「安」字见其举措裕如。「净洗湖岭烟」以「洗」字写扫荡兵氛，意象清峻，将残酷战事化为如拭尘埃的爽利画面，既颂功又不落血腥语。两句一静一动、一安一洗，把一场靖乱写得如风行水上，凸现中隠君「儒将」般的从容气度。于湖诗之豪宕清雄，于此联最显；而其以「净洗」收束，亦暗扣首句「万斛泉」之水象，前后映带，章法细密。一个「净」字尤见胸襟，不写斩获之惨而写廓清之快，既合颂人体例，又显乱后太平之可贵，是小中见大、以雅驭俗的佳例。
This couplet writes the friend's merit in quelling the disorder, and the brush most shows the craft of bearing the heavy as light. The words talk and laughter mean chatting and laughing, facing a stern matter with an easy posture, the same hand as Dongpo's in talk and laughter, the masts and oars turning to smoke and ash. The hundred-wall uses the city defense by metonymy, and the word pacified shows the ease of his measure. The cleansed the smoke from the lakes and ridges uses the word cleanse to write the sweeping away of the war air, the imagery clear and stern, turning the cruel war into a brisk picture like wiping off dust, at once praising merit yet not falling into bloody words. The two lines, one still one moving, one pacified one cleansed, write a pacification like wind moving on water, bringing out to the full the Lord Mid-Recluse's easy bearing as a scholarly general. The Yu Lake poem's boldness and clear strength most appear in this couplet; and its closing in cleansed also secretly matches the opening's water image of the ten-thousand-measure spring, the front and back echoing, the structure close. The single word clean most shows the breast, not writing the horror of beheading but the joy of clearing, at once fitting the eulogy genre and showing the worth of peace after disorder, the fine example of seeing the great in the small and controlling the vulgar through elegance.
小隠即居山，大隠即居廛。
The small hermit is to dwell in the mountain, the great hermit is to dwell in the market. (The meaning of the hermit: the citation of the Middle Hermit of Bai Juyi, the two extremes of the hermitage, the middle road.)
小隐便栖身山林，大隐则安居市朝尘嚣之间。
The small recluse dwells in the hills; the great recluse dwells in the market.
此联直揭白居易《中隐》诗的经典二分，是全篇立意的根柢。白诗原以「小隐入丘樊」「大隐住朝市」对举，而于二者各有不满，故别立「中隐」一途。张孝祥于此仅述小大之隐，未遑评判，正是为下句「夫君处其中」蓄势——友人既非枯寂之小隐，亦非嚣喧之大隐，而居中得宜。两句如引经据典，却不着痕迹，将赠友之作提升至人生哲学的讨论层面。宋人好以理入诗，此联即其显例：它使一首颂功诗免于浅薄，获得思想纵深，亦透露诗人自身对出处进退的通达态度，非徒谀墓捧场之语。更妙在「即」字，有「便是」「本在」之意，将两种隐逸形态平直拈出，语气肯定而从容，为后文「处其中」的转折留出最稳的落脚，章法之密于此可见。
This couplet directly reveals the classic dichotomy of Bai Juyi's poem Mid-Recluse, the root of the whole's bent. Bai's poem originally paired the small recluse enters the hills and the great recluse dwells in court and market, and was dissatisfied with each, hence establishing the separate path of the mid-recluse. Zhang Xiaoxiang here only recounts the small and great reclusion, not yet judging, exactly gathering force for the lower line's you, sir, dwell in the midst - the friend is neither the withered still small recluse, nor the noisy great recluse, but dwelling in the middle with due measure. The two lines like citing the classics, yet without a trace, raising a friend-giving poem to the level of the discussion of life philosophy. The Song loved to enter poetry with reason; this couplet is its clear example: it saves a merit-praising poem from shallowness, gains the thought's depth, and also reveals the poet's own open attitude to going out and staying, advancing and retreating, not merely flattery. What is more fine is the word exactly, meaning is precisely and is originally in, bringing out the two forms of reclusion plainly, the tone affirmative and composed, leaving the steadiest foothold for the later turn of dwell in the midst; the structure's closeness is seen here.
欲为中隠游，更著三十年。
I wish to make the tour of the Middle Hermit, adding yet thirty more years. (The close: the wish of the middle hermit, the 'adding yet thirty more years' the broad-mindedness of the hope, the ideal of the hermit and the official in one.)
我也想追随中隠之游，再添上三十年的光阴去体味。
I too would wander as a mid-recluse, and add thirty more years to it.
结句由颂友转为自道，将诗意推开一层。前文明友人之「中隠」，至此诗人自言亦欲投身此境，「更著三十年」以具体年光写悠长愿力，语带豪爽亦含旷达。它既是对友人的呼应——你既得中隠之趣，我亦愿为同调；又是对自身的期许——于风波宦海中心慕此境而欲实践之。以虚拟之愿收束全篇，余味不尽，且「三十年」的数字入诗，平添一份磊落真切，不似空泛慨叹。于湖此结，举重若轻，使前面所有颂功明理都落回诗人真率的生命愿望，通篇气脉至此圆满回旋。这一个「更」字尤有意味，暗示中隠之游非一时兴到，而须以三十年之久长践履，出语旷达而内蕴执着，是豪宕中见深情的诗人本色，亦为此诗留下悠长的余韵。
The closing line turns from praising the friend to self-speaking, pushing the poetic meaning out one layer. The earlier part makes clear the friend's mid-reclusion; here the poet of himself says he also wishes to enter this realm, and add thirty more years writes the long vow in concrete years, the tone carrying boldness and also openness. It is at once an echo to the friend - since you have won the mid-recluse's delight, I too would be of the same tune; and an expectation for oneself - in the stormy sea of office, the heart admires this realm and wishes to practice it. Closing the whole in a virtual wish, the aftertone unending; and the number thirty years entering poetry adds an open and true quality, not like the vague sigh. Yu Lake's close here bears the heavy as light, making all the earlier praise of merit and clarification of reason fall back into the poet's true life wish, the whole's breath at last completing its circle. The single word add is especially meaningful, hinting that the mid-recluse's wandering is not a moment's whim, but must be practiced through the length of thirty years; the words open yet the inner holding is persistence, the poet's own nature of deep feeling within boldness, and leaving the poem a long afterecho.
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白居易《中隐》诗系统提出「小隐隐丘樊，大隐隐朝市，不如作中隐，隐在留司官」的处世哲学，为中唐以降士大夫广为接受。张孝祥此诗径以「中隠」命题，并直引「小隠即居山，大隠即居廛」之句，显系白诗嫡传。所不同者，白诗重在解仕隐之缚、求得个人安顿，语气闲适；张诗则于「中隠」框架中嵌入友人平贼靖乱的功业，使「中隠」不止于闲适退守，更兼济之勇。二诗并读，可见同一命题在唐之冲淡与宋之豪宕间的流变，亦见宋人如何以事功精神改造前贤的隐逸话语，化闲适为慷慨，此正时代精神移易于诗之一证。
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陈亮《水调歌头》「尧之都，舜之壤，禹之封。于中应有，一个半个耻臣戎」，以凌厉豪气写恢复之志，与张孝祥此诗颂友人孤忠平贼、气象雄健，同属南宋事功学派（永康、湖湘之学）影响下的诗风呈现。二作皆不尚幽峭苦吟，而好以痛快语写磊落胸襟，充满阳刚之气。差异在于陈词直指恢复、锋芒外现，张诗则于豪中见「中隠」之闲，外王内圣兼具。并读可窥南宋初期士人诗文 converging 于「以气胜」的整体趋向，亦见张孝祥在此潮流中别饶清雄的一面，足为时代诗风之注脚。