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魏晋 Wei-Jin · 诗 Poem

送应氏二首·其一

Sending off the Ying Brothers, Two Pieces: The First

曹植

Cao Zhi

怀古Nostalgia for the Past 乱离Chaos and Separation

步登北邙阪，遥望洛阳山。
洛阳何寂寞，宫室尽烧焚。
垣墙皆顿擗，荆棘上参天。
不见旧耆老，但睹新少年。
侧足无行径，荒畴不复田。
游子久不归，不识陌与阡。
中野何萧条，千里无人烟。
念我平常居，气结不能言。

I climb the northern slope of Beimang and look far off at Luoyang's hills.
Luoyang, how desolate — every palace hall consumed by fire.
Walls and ramparts lie broken, thistles and briars thrust up to the sky.
No old elders remain; only fresh-faced boys and girls I see.
Side-stepping, there is no path; the fallow fields are tilled no more.
The wanderer long gone home has forgotten the paths and lanes.
How bleak the middle waste — a thousand li without a single trace of smoke.
Think of my former dwelling, and my breath locks, and I cannot speak.

Listen

Meaning

Cao Zhi climbs the northern slope above Luoyang and looks out upon a capital razed by war. Every palace has burned, the walls have collapsed, the fields lie untilled, and not one old inhabitant survives among the children who crowd the streets. The poem mourns both the ruin of the world and the parting from the Ying brothers, closing on a grief too great to be voiced.

步登北芒阪，遥望洛阳山。洛阳何寂寞，宫室尽烧焚。垣墙皆顿擗，荆棘上参天。不见旧耆老，但睹新少年。侧足无行径，荒畴不复田。游子久不归，不识陌与阡。中野何萧条，千里无人烟。念我平常居，气结不能言。

Appreciation

[Plain Paraphrase] Ascending the mound, the poet sees a capital emptied by fire. [Structure] Four lines set the scene of the climb; six describe the desolation of the city; six more turn to the parting itself and the poet's mute grief. [Imagery] 'Palaces all consumed by fire' and 'briars up to the sky' give the ruin its outward, registered shape; 'No old elders remain, only fresh-faced boys' compresses generations into a single stark contrast. The closing couplet moves from scenery to feeling — 'Thinking of my former dwelling, my breath locks and I cannot speak' — and, by refusing to resolve the grief into words, makes it all the heavier. The power of the poem lies in its restraint: it records what the eye takes in and lets the silence carry the pain.

【白话串讲】曹植写《送应氏二首·其一》：“步登北邙阪，遥望洛阳山”——“洛阳何寂寞，宫室尽烧焚”——“垣墙皆顿擗，荆棘上参天”——“中野何萧条，千里无人烟”——他写战乱后的洛阳荒芜。【意象与手法】此诗写乱后洛阳的荒凉与离别的感慨，是曹植的名篇。前四句写登高望洛阳：「步登北芒阪」写步登北芒阪，「遥望洛阳山」写遥望洛阳山，「洛阳何寂寞」写洛阳何寂寞，「宫室尽烧焚」写宫室尽烧焚；中六句写洛阳的荒凉：「垣墙皆顿擗」写垣墙皆顿擗，「荆棘上参天」写荆棘上参天，「不见旧耆老」写不见旧耆老，「但睹新少年」写但睹新少年，「侧足无行径」写侧足无行径，「荒畴不复田」写荒畴不复田；后六句写离别与感慨：「游子久不归」写游子久不归，「不识陌与阡」写不识陌与阡，「中野何萧条」写中野何萧条，「千里无人烟」写千里无人烟，「念我平常居」写念我平常居，「气结不能言」写气结不能言。全诗以乱后洛阳写离别的感慨，写尽乱世之悲与别离之痛，是曹植的代表作。【情感与主旨】此诗写乱后洛阳的荒凉与离别的感慨，是曹植的名篇。此诗是曹植送别应氏（应玚、应璩兄弟，建安七子之一）之作。东汉末年，董卓之乱中洛阳被焚，宫室尽毁。此诗写送别：步登北芒阪（北邙山，在洛阳北），遥望洛阳山；洛阳何寂寞，宫室尽烧焚；垣墙皆顿擗（倒塌），荆棘上参天；不见旧耆老（旧时的老人），但睹新少年；侧足无行径（侧着脚走也无路），荒畴不复田（荒田不再耕种）；游子久不归，不识陌与阡（田间小路）；中野何萧条，千里无人烟；念我平常居（平日所居），气结不能言（悲愤郁结，说不出话）。全诗以乱后洛阳写离别的感慨——那宫室尽烧焚、荆棘上参天写尽乱后的荒凉，那千里无人烟写尽乱世的萧条，而以「气结不能言」收束，写尽乱世之悲与别离之痛，是理解曹植与建安文学的重要篇章。【名句点睛】常考「洛阳何寂寞，宫室尽烧焚」写乱后洛阳的荒凉；「中野何萧条，千里无人烟」写乱世的萧条；「垣墙皆顿擗，荆棘上参天」写荒凉之景；「念我平常居，气结不能言」写悲愤难言；以及全诗以乱后洛阳写离别的感慨、以景写悲的手法。

Background

Cao Zhi (192–232), courtesy name Zijian, was a son of Cao Cao and a leading poet of the Jian'an period. The piece is farewell to Ying Yang and Ying Qu, the Ying brothers, both members of the 'Seven Masters of the Jian'an Court.' In the first year of the Chu'ping era (190) Luoyang was burned during the chaos of Dong Zhuo's campaigns; the palaces were destroyed and the people scattered. Presumably composed either on that journey or on a later return, the poem records what Cao Zhi saw from Beimang, the mound north of Luoyang where the capital's tombs lay.

此诗写乱后洛阳的荒凉与离别的感慨，是曹植的名篇。曹植（192—232），字子建，沛国谯（今安徽亳州）人，三国魏著名诗人，曹操之子，建安文学的代表。此诗是曹植送别应氏（应玚、应璩兄弟，应玚为建安七子之一）之作。东汉初平元年（190），董卓之乱中，洛阳被焚烧，宫室尽毁，百姓流离。此诗写送别应氏时登北邙山遥望洛阳的所见所感：「步登北芒阪，遥望洛阳山」写步登北芒阪（北邙山，在洛阳城北），遥望洛阳的山峦；「洛阳何寂寞，宫室尽烧焚」写洛阳何其寂寞，宫室尽被烧焚；「垣墙皆顿擗，荆棘上参天」写垣墙皆倒塌（顿擗即倒塌），荆棘丛生、直上参天；「不见旧耆老，但睹新少年」写不见旧时的老人，只见新生的少年；「侧足无行径，荒畴不复田」写侧着脚走也无路可走，荒芜的田畴不再耕种；「游子久不归，不识陌与阡」写游子久不归，已不识田间的小路（陌、阡）；「中野何萧条，千里无人烟」写原野何其萧条，千里不见人烟；「念我平常居，气结不能言」写念及我平日所居之处，悲愤郁结、说不出话。全诗以乱后洛阳写离别的感慨，写尽乱世之悲与别离之痛，是理解曹植与建安文学的重要篇章。

Art

Four techniques stand out. First, the poem opens by ascending and gazing: 'I climb... and look far off' — the act of looking sets the whole poem in motion. Second, desolation is rendered through ruined things — burnt palaces, broken walls, thistles reaching the sky, untilled fields — so the world's ruin is shown rather than asserted. Third, the wasteland is summarised in broad strokes: 'has forgotten the paths and lanes' gives the loner's alienation, 'a thousand li without a trace of smoke' fixes the emptiness in space. Fourth, the poem closes on feeling: the recollection of the former dwelling and the locked breath. The movement outward from sight to inward silence is what gives the poem its weight and makes it a representative Cao Zhi.

此诗的艺术特色可从四个方面解析。其一，以登望开篇。起二句「步登北芒阪，遥望洛阳山」以登高遥望开篇——那「步登」「遥望」写登高遥望的动作，以登望领起全诗，写尽送别时的远望。其二，以荒景写乱世。中六句「洛阳何寂寞，宫室尽烧焚。垣墙皆顿擗，荆棘上参天。不见旧耆老，但睹新少年。侧足无行径，荒畴不复田」以荒景写乱世——那「宫室尽烧焚」「荆棘上参天」写尽荒凉，「不见旧耆老，但睹新少年」写尽人事的变迁，「侧足无行径，荒畴不复田」写尽田畴的荒废，以荒景写尽乱后的疮痍。其三，以概括写萧条。「游子久不归，不识陌与阡。中野何萧条，千里无人烟」以概括写萧条——那「不识陌与阡」写尽游子久别的陌生，「千里无人烟」写尽千里无人的萧条，以概括写尽乱世的凄凉。其四，以情语收束。「念我平常居，气结不能言」以情语收束——那「念我平常居」写念及平日所居，「气结不能言」写悲愤郁结难言，以情语收束，写尽乱世之悲与别离之痛。四重手法，使此诗以乱后洛阳写离别的感慨，写尽乱世之悲与别离之痛，是曹植的代表作。

Allusions

The language is steeped in the tradition of climbing a height and mourning the times. 'Beimang' recalls the northern mound of Luoyang, the city's cemetery, so the ascent is also a visit to the dead. 'Luoyang, how desolate' echoes the old lament over the grain growing in a ruined capital — 'That millet, growth of the lord's field.' 'Palaces all consumed by fire' points to the historical fact of Dong Zhuo burning Luoyang, and to the wider imagery of war's flames. 'Briars up to the sky' answers to the 'thistles and bronze camels' of fallen capitals. 'The wanderer long gone home' invokes the age-old figure of thefar-off man who cannot return, and 'has forgotten the paths and lanes' the idealised 'paths and lanes intercrossing' of the Peach Blossom Spring. 'A thousand li without a trace of smoke' recalls Cao Cao's 'Song of Haoli' — 'Bones exposed in the fields.' The closing 'my breath locks' resonates with 'My heart is full of sorrow; who knows of it?' thus the poem draws on the whole apparatus of climbing a high place and mourning the past to turn one man's farewell into the grief of an age.

此诗的用语深植于登临怀古与乱世感慨的传统。「北芒阪」令人想到「北芒」写北邙山的意象——北邙山在洛阳城北，是古代墓地所在，也令人想到「邙山」写陵墓的意象；「遥望洛阳山」令人想到「洛阳」写京都洛阳的意象——「洛阳亲友如相问」，也令人想到「望山」写眺望的意象；「洛阳何寂寞」令人想到「寂寞」写冷清的意象——「寂寞身后事」，也令人想到「黍离」写故宫禾黍的意象——「彼黍离离」；「宫室尽烧焚」令人想到「宫室尽烧焚」写董卓焚洛阳的史实——「卓遂焚洛阳宫室」，也令人想到「咸阳一炬」的兵燹；「垣墙皆顿擗」令人想到「垣墙」写围墙的意象，也令人想到「顿擗」写倒塌的意象；「荆棘上参天」令人想到「荆棘」写荒芜的意象——「荆棘铜驼」的兴亡，也令人想到「参天」写高耸的意象；「不见旧耆老，但睹新少年」令人想到「耆老」写老人的意象，也令人想到「新少年」写新人的意象——「沉舟侧畔千帆过」的新旧；「侧足无行径」令人想到「侧足」写侧身行走的意象，也令人想到「无行径」写无路可走的意象；「荒畴不复田」令人想到「荒畴」写荒芜田畴的意象，也令人想到「不复田」写不再耕种的意象——「白骨露于野，千里无鸡鸣」（曹操《蒿里行》）；「游子久不归」令人想到「游子」写远游之人的意象——「慈母手中线，游子身上衣」，也令人想到「久不归」写久别的意象；「不识陌与阡」令人想到「陌阡」写田间小路的意象——「阡陌交通，鸡犬相闻」（陶渊明《桃花源记》），也令人想到「不识」写陌生的意象；「中野何萧条」令人想到「中野」写原野的意象，也令人想到「萧条」写冷落的意象；「千里无人烟」令人想到「无人烟」写无人居住的意象——「白骨露于野，千里无鸡鸣」，也令人想到「人烟」写人家炊烟的意象；「念我平常居」令人想到「平常居」写平日居处的意象，也令人想到「故居」的意象；「气结不能言」令人想到「气结」写郁结的意象，也令人想到「不能言」写悲愤难言的意象——「心之忧矣，其谁知之」。全诗化用北芒、宫室、荆棘、耆老、荒畴、陌阡、无人烟、气结的传统意象与典故，以乱后洛阳写离别的感慨，正是曹植「骨气奇高」而善用史实意象、承乱世感慨传统写悲慨的本领。

Commentary

This has long been numbered among Cao Zhi's major works and among the representative poems of Jian'an literature. Zhong Hong's 'Poetry Criticism' praises Cao Zhi's verse for 'a lofty spirit and richly ornate language.' Later readers single out 'a thousand li without a trace of smoke' as a timeless line on the desolation of war. Its special place in literary history is that with one long poem of sixteen lines it gathers up the ruin of Luoyang — the mound, the desolate capital, the burnt halls, the broken walls, the briars, the new generation of boys, the pathless fields, the forgotten lanes, the empty plain — and closes with a grief too deep for speech. Set beside Cao Cao's 'Song of Haoli' — bones in the fields, no cockerel crowing for a thousand li — the two pooms show the same age from different sides; with Wang Can's 'Seven Lamentations' it forms the main current of Jian'an mourning.

此诗历来被推为曹植的名篇，也是建安文学的代表作。历代论者对此诗评价极高：钟嵘《诗品》评曹植诗「骨气奇高，词采华茂」；清人更指出「中野何萧条，千里无人烟」写乱世萧条，是千古名句。在诗歌史上，此诗的特殊价值在于：它以十六句的长歌写尽乱后洛阳的荒凉与离别的感慨——那北芒阪上的登望，那寂寞的洛阳，那尽烧焚的宫室，那顿擗的垣墙，那参天的荆棘，那新生的少年，那无行径的侧足，那不复田的荒畴，那久不归的游子，那不识的陌阡，那萧条的千里，那无人烟的旷野，那平常居的怀念，那气结的难言，都写尽了乱世的疮痍与别离的沉痛；那「中野何萧条，千里无人烟」更写尽乱世的萧条。此诗与曹操《蒿里行》（「白骨露于野，千里无鸡鸣」）同为写乱世的名篇，一写尸横遍野，一写宫室荒芜；又与王粲《七哀诗》的乱世感慨一脉相承，可见建安文学写乱世悲慨的传统。对于今日读者，此诗是理解曹植与建安文学的窗口，也是中国诗写乱世与离别的经典——那北芒阪上的遥望，穿越千年，仍在诉说着乱世的萧条与离别的沉痛。

Prosody

Form Poetry — Five-Syllable Ancient Verse诗·五言古诗

Rhyme Five-syllable ancient style, rhyming on even lines (hill/fire; sky/year/field/lane/smoke/speech), one single rhyme throughout五言古体，偶句押韵（山/焚、天/年/田/阡/烟/言），一韵到底

Tone pattern A five-syllable ancient poem of sixteen lines, rhyming on the even lines and held to one rhyme throughout; the cadence is heavy and slow, fitting the mournful weight of a ruined age.此诗为五言古诗，十六句，偶句押韵，一韵到底，音节沉郁，正合乱世之悲的沉郁。

Reading note Five-syllable ancient verse, sixteen lines, rhymes falling on the even lines throughout one single rhyme (hill, fire, sky, year, field, lane, smoke, speech). The monotone of the prolonged vowel is deliberate: it slows the verse and gives it the heft of grief. The poem divides in threes — the ascent (lines 1–4), the desolation (5–10), the parting and the grief (11–16). Read 'Luoyang, how desolate' coldly and levelly; read 'a thousand li without a trace of smoke' with the long line breaking at the end; and on 'my breath locks and I cannot speak' let the voice falter. Cao Zhi's five-syllable verses are famous for 'a lofty spirit'; here, in the verse of a ruined age, the loftiness takes the form of restraint.此诗为五言古诗，十六句，偶句押韵——「洛阳山」的「山」与「尽烧焚」的「焚」，「上参天」的「天」与「新少年」的「年」、「不复田」的「田」、「陌与阡」的「阡」、「无人烟」的「烟」、「不能言」的「言」，皆押「先」部韵（山、焚、天、年、田、阡、烟、言），一韵到底，音节沉郁低回。全诗以乱后洛阳写离别：前四句写登望（步登北芒阪，遥望洛阳山；洛阳何寂寞，宫室尽烧焚），中六句写荒凉（垣墙皆顿擗，荆棘上参天；不见旧耆老，但睹新少年；侧足无行径，荒畴不复田），后六句写离别与感慨（游子久不归，不识陌与阡；中野何萧条，千里无人烟；念我平常居，气结不能言）。诵读此诗，宜以沉郁的语调读「洛阳何寂寞」的荒凉，以凄凉的语调读「中野何萧条」的萧条，结句「气结不能言」要读得哽咽而有余韵，方能传达出曹植的乱世之悲。曹植五言以「骨气奇高」著称，此诗正是其乱世感慨五言的典范。

Line by line

洛阳何寂寞，宫室尽烧焚

Luoyang, how desolate — every palace hall consumed by fire.

洛阳何其寂寞，宫室尽被烧焚。

How desolate is Luoyang; the palaces and halls are all burned to ashes.

此联是全诗写荒凉的核心，以寂寞与烧焚写乱后的洛阳，是千古名句。「洛阳何寂寞」写洛阳何其寂寞——那「洛阳」写京都洛阳，「何寂寞」以反问写何其寂寞，写尽洛阳的冷落；「宫室尽烧焚」写宫室尽被烧焚——那「宫室」写皇宫殿堂，「尽烧焚」写尽被烧焚，写尽乱后宫室的毁坏。这句的深意在于：它以「洛阳何寂寞」的反问与「宫室尽烧焚」的直陈，写尽乱后洛阳的荒凉——洛阳何其寂寞，那「何寂寞」以反问写尽洛阳的冷落——昔日繁华的帝都，如今何等的寂寞；宫室尽被烧焚，那「尽烧焚」写尽宫室的毁坏——董卓之乱，焚烧洛阳，宫室尽毁，那「宫室尽烧焚」写尽乱后的疮痍；那「何寂寞」写尽洛阳的冷落，那「尽烧焚」写尽宫室的毁坏，一写冷落，一写毁坏，写尽乱后洛阳的荒凉——昔日帝都，今成焦土，正是乱世的写照；此联开篇即写尽洛阳的荒凉，为全诗写乱世之悲定下基调，也是曹植送别应氏时所见乱后景象的沉痛记录。若换作直说「洛阳很荒凉」，则失其沉痛；唯以「洛阳何寂寞」的反问写冷落、「宫室尽烧焚」的直陈写毁坏，写尽乱后洛阳的荒凉，也让此联成为全诗写荒凉的核心与千古名句。

This couplet is the core of the whole's writing desolation, using desolate and burned to write Luoyang after the upheaval, the famous line of a thousand ages. How desolate is Luoyang writes the capital's loneliness in a question. The palaces and halls are all burned to ashes writes the imperial halls destroyed by fire. The deep meaning lies in that it uses the question of how desolate is Luoyang and the plain statement of the palaces and halls are all burned to ashes to write to the full the desolation of Luoyang after the upheaval - once the splendid capital, now how lonely; Dong Zhuo's chaos, the burning of Luoyang, the palaces destroyed, writing to the full the scars after the upheaval. One writing loneliness, one writing destruction, writing to the full the desolation of Luoyang after the upheaval - once the imperial capital, now scorched earth, exactly the picture of the age of disorder. This couplet opens by writing to the full the desolation of Luoyang, fixing the key of the whole's grief for the disordered age, and is Cao Zhi's painful record of the post-chaos scene he saw when seeing off the Ying brothers. If one instead directly said Luoyang is very desolate, one would lose the pain; only writing loneliness through the question of how desolate is Luoyang and destruction through the plain statement of the palaces and halls are all burned to ashes, writing to the full the desolation of Luoyang after the upheaval, makes this couplet the core of the whole's desolation and a famous line of a thousand ages.

念我平常居，气结不能言

Think of my former dwelling, and my breath locks and I cannot speak.

念及我平日所居之处，悲愤郁结、说不出话。

I think of the home I knew; my breath knots in my throat, and I cannot speak.

此联是全诗的收束，以气结难言写尽乱世之悲，是千古名句。「念我平常居」写念及我平日所居之处——那「念我」写想到我，「平常居」写平日所居之处，写尽对故居的怀念；「气结不能言」写悲愤郁结、说不出话——那「气结」写悲愤郁结，「不能言」写说不出话，写尽悲愤难言。这句的深意在于：它以「念我平常居」的怀念与「气结不能言」的难言，写尽乱世之悲与别离之痛——念及我平日所居之处，那「平常居」写尽对故居的怀念——洛阳本有曹植平日所居，如今宫室尽毁、千里萧条，念及故居，怎不悲从中来；悲愤郁结、说不出话，那「气结不能言」写尽悲愤难言的沉痛——面对乱后的疮痍、送别的离愁，千言万语，郁结于心，说不出话来，那「气结不能言」写尽悲愤郁结、欲言难言的沉痛；那「念我平常居」写尽怀念，那「气结不能言」写尽难言，一怀一结，写尽乱世之悲与别离之痛的深沉——前文写尽洛阳的荒凉，此联以情语收束，写尽睹景生悲、悲愤难言，也让此联成为全诗收束的千古名句。若换作直说「我非常难过」，则失其深婉；唯以「念我平常居」写怀念、「气结不能言」写难言，写尽乱世之悲的沉痛，也让此联成为全诗的收束。

This couplet closes the whole, writing to the full the grief of the disordered age through the knotting of breath, the famous line of a thousand ages. I think of the home I knew writes the remembrance of the old dwelling. My breath knots in my throat, and I cannot speak writes the grief and indignation that will not speak. The deep meaning lies in that it uses the remembrance of I think of the home I knew and the silence of my breath knots in my throat, and I cannot speak to write to the full the grief of the disordered age and the pain of parting - Luoyang once held Cao Zhi's own dwelling, now the palaces destroyed and a thousand li of desolation; thinking of the old home, how could grief not rise from the breast? Facing the post-chaos scars and the parting grief, ten thousand words knot in the heart and will not come. The I think of writes remembrance, and the breath knots writes the silence, one remembrance one knot, writing to the full the depth of the grief of the age and the pain of parting. The earlier part wrote to the full the desolation of Luoyang, and this couplet closes in feeling, writing to the full the grief at the sight and the silence of indignation, making this couplet the famous closing line of a thousand ages. If one instead directly said I am very sad, one would lose the deep tenderness; only writing remembrance through I think of the home I knew and silence through my breath knots in my throat, and I cannot speak, writing to the full the pain of the grief of the disordered age, makes this couplet the close of the whole.

Study

Word focus

尽 In 'every palace hall consumed by fire' the character 尽 (all, entirely) is the pivot of the ruin. It registers the completeness of the destruction — not some halls but every one of them — and so turns a single disaster into the total ruin of a capital. Read with 'how desolate,' it fixes both the vacancy and the waste in one word. 「宫室尽烧焚」之「尽」字是写毁坏的关键字，一个「尽」字写尽宫室全毁的荒凉。尽者，全部、全尽也。曹植以「尽烧焚」写宫室，这个「尽」字至少有双重意味：其一，写毁坏之全——那「宫室尽烧焚」写宫室尽被烧焚，那「尽」字写尽宫室全部被毁——无一幸免，正见焚毁之烈；其二，写乱世之烈——那「尽」字更是写乱世——宫室尽焚，正见乱世兵燹之烈，那「尽」字写尽乱世的疮痍。以「尽」字写毁坏，正是曹植写荒凉的枢纽——若换作「皆」「俱」等字，则或失其写毁坏之全的力度，或失其与「洛阳何寂寞」的配合；唯「尽」字，以一字写尽宫室全部烧焚、无一幸免的荒凉，与「洛阳何寂寞」的冷落相合，写尽乱后洛阳的荒凉，也让「宫室尽烧焚」成为全诗写荒凉的名句。

结 In 'my breath locks and I cannot speak' the character 结 (to bind, to knot) is the pivot of the grief. It gives grief a physical place in the body — breath knotted in the chest — and so the sorrow is shown as an obstruction rather than an emotion. It is the whole poem's complaint, compressed into one gesture that cannot finish. 「气结不能言」之「结」字是写悲愤的关键字，一个「结」字写尽悲愤郁结的沉痛。结者，郁结、凝聚也。曹植以「气结」写不能言，这个「结」字至少有双重意味：其一，写郁结之态——那「气结不能言」写悲愤郁结、说不出话，那「结」字写尽悲愤之气郁结于心的状态——郁结难解，正见悲愤之深；其二，写难言之痛——那「结」字更是写沉痛——气结于胸，欲言难言，那「结」字写尽乱世之悲与别离之痛的沉痛。以「结」字写悲愤，正是曹植收束全诗的枢纽——若换作「郁」「塞」等字，则或失其与「不能言」的配合，或失其写郁结的凝练；唯「结」字，以一字写尽悲愤郁结于心、欲言难言的沉痛，与「念我平常居」的怀念相合，写尽乱世之悲，也让「气结不能言」成为全诗收束的名句。