唐 Tang · 诗 Poem
侠客行
Song of the Swordsman
赵客缦胡缨，吴钩霜雪明。
银鞍照白马，飒沓如流星。
十步杀一人，千里不留行。
事了拂衣去，深藏身与名。
闲过信陵饮，脱剑膝前横。
将炙啖朱亥，持觞劝侯嬴。
三杯吐然诺，五岳倒为轻。
眼花耳热后，意气素霓生。
救赵挥金槌，邯郸先震惊。
千秋二壮士，烜赫大梁城。
纵死侠骨香，不惭世上英。
谁能书阁下，白首太玄经。
Silver saddle gleams upon the white horse, galloping swift as a shooting star.
In ten paces he slays a man, rides a thousand li unhindered;
When the deed is done he brushes his robe and leaves, hiding deep his name and fame.
At leisure he goes to Lord Xinling's to drink, sword laid crosswise at his knees;
He shares roast meat with Zhu Hai, raises the cup to urge Hou Ying.
Three cups and he breathes his solemn pledge — the Five Peaks toppled would be light;
Eyes dazzled and ears hot, his spirit springs a white rainbow to the sun.
To save Zhao he swings the golden hammer, Handan first shakes with awe;
Through a thousand years these two brave men blaze in Daliang's great city.
Though he die, the swordsman's bones are fragrant, shaming not the world's heroes;
Who would sit at the book-desk, white-haired over the Taixuan Canon?
Meaning
The swordsman of Yan and Zhao wears a coarse tasseled cap, his Wu-hook blade bright as frost and snow. The silver saddle gleams on the white horse as he gallops like a shooting star. Within ten paces he can cut down a man, and ride a thousand li unhindered. When the deed is done he brushes his robe and leaves, hiding his person and his name. At leisure he drinks at Lord Xinling's, laying aside his sword; he shares roast meat with Zhu Hai and toasts Hou Ying. After three cups he speaks his pledge, lighter than the Five Peaks. When wine has dazzled his eyes and warmed his ears, his spirit rises like a white rainbow piercing the sun. With a golden hammer he saved Zhao, and Handan trembled first. For a thousand years these two brave men have blazed in Daliang. Though he die, the swordsman's bones stay fragrant, shaming not the heroes of the world. Who would sit in the book-cabinet, white-haired over the Taixuan Canon?
燕赵的侠客帽上缀着粗犷的胡缨，吴钩宝剑寒光如霜雪般明亮。银鞍映照白马，驰骋如流星飞逝。十步之内可斩一人，千里纵横而无人能挡。事成之后拂衣而去，将身名深自隐藏。闲时到信陵君处饮酒，解下宝剑横放膝前。与朱亥分肉而食，举杯劝饮侯嬴。三杯酒下便吐露然诺，五岳之重也轻如鸿毛。酒酣耳热之际，胸中意气如白虹贯日。挥金槌救赵，邯郸为之震惊。千秋二壮士，名震大梁城。纵然身死，侠骨犹香，不愧世上豪英。谁愿在书阁下，白头枯守那《太玄经》呢？
Appreciation
This yuefu song opens with a blazon of the swordsman's gear — coarse tassel, bright blade, silver saddle, white horse — and from the first line his heroic figure leaps from the page. Its heart is the couplet 'In ten paces he slays a man, rides a thousand li unhindered', which borrows the Zhuangzi's tone yet strikes sharper and faster; 'When the deed is done he brushes his robe and leaves' is the spine of the whole, writing the knight who boasts no merit. The later stanzas turn from invention to fact, invoking Lord Xinling, Hou Ying and Zhu Hai, then close on 'Though he die, the swordsman's bones are fragrant', lifting the whole; the breath runs like a river loosed, showing Li Bai's bold, dashing manner in his early chivalric songs.
【白话串讲】 “十步杀一人，千里不留行。事了拂衣去，深藏身与名”——李白写侠客：十步杀一人，千里不留行；办完事拍拍衣服走人，深藏功名。这是中国男人最向往的江湖。 【意象与手法】 全诗以赋笔铺陈起势，「缦胡缨」「吴钩」「银鞍」「白马」层层设色，侠客英姿跃然纸上；「十步杀一人，千里不留行」化用《庄子》而语更峻快；「事了拂衣去，深藏身与名」为全诗精神脊梁，写尽侠者不矜其功之格。中后段引入信陵君、侯嬴、朱亥史事，由虚写转实叙，结以「纵死侠骨香」振起全篇，气势如江河奔泻。 【情感与主旨】 《侠客行》为乐府旧题，属《杂曲歌辞》。李白此作约在出蜀后壮游时期（开元中后期），时方少年，任侠使气、渴望立功。诗中借信陵君窃符救赵故事颂侠义，亦暗寓自己欲报国效功、功成不居之志，是时代尚侠风气与个人怀抱的结晶。 【名句点睛】 常考「十步杀一人，千里不留行」的夸张手法与侠气，及「事了拂衣去」所寄的功成身退之志；结句以「太玄经」反衬，可见李白弃文就武、立功边野的胸襟。
Background
Song of the Swordsman is an old yuefu title under Miscellaneous Songs. Li Bai wrote it around his wandering years after leaving Shu (mid Kaiyuan), when still young, proud of the knight's way and eager to win merit. From 'At leisure he goes to Lord Xinling's' on, the poem sings the tale of Lord Xinling stealing the seal to save Zhao, drawn from the Records of the Grand Historian: Hou Ying's plan, Zhu Hai with a forty-catty iron hammer killing Jin Bi to seize the army and rescue Zhao. With history as his vent, Li Bai both praises knightly honour and hints at his own wish to serve the state and retire after success. Tang men prized the knightly spirit, and this poem is the crystal of that age's temper and his own breast.
《侠客行》为乐府旧题，属《杂曲歌辞》，梁代以来即有此题，多咏侠士行径。李白此作约写于开元中后期出蜀壮游之时，时年二十余岁，正当少年，任侠使气、纵横酒肆，又怀抱济世之志，此诗正是其少年豪情与功名理想的集中喷发。唐代尚侠成风，游侠、豪侠是当时社会的普遍崇拜对象，从初唐四杰到盛唐诸家，笔下皆多侠客形象；李白本人更自谓「十五好剑术，遍干诸侯」，史载其「喜纵横术，击剑为任侠，轻财重施」，侠客精神实为其人格底色。诗中「闲过信陵饮」以下专咏信陵君窃符救赵事，本《史记·魏公子列传》：秦围邯郸，魏王按兵不动，信陵君用侯嬴之谋，使朱亥袖四十斤铁椎击杀晋鄙，夺魏军符节，解邯郸之围。李白借这段家喻户晓的史事，把侠客的武勇、然诺、功成不居与君臣际会熔铸一炉，既颂古代侠义，更抒写自己「愿为辅弼、功成身退」的人生理想，是盛唐气象在侠义题材上的最高表现。
Art
The whole poem blazons its start with plain description — 'coarse tassel', 'Wu-hook', 'silver saddle', 'white horse' layer the colours and a heroic figure leaps forth. 'In ten paces he slays a man, rides a thousand li unhindered' takes the Zhuangzi's sense but reads sharper and quicker; 'When the deed is done he brushes his robe and leaves, hiding deep his name and fame' is the spirit's backbone, writing the knight who boasts no merit. The middle and later stanzas bring in Lord Xinling, Hou Ying and Zhu Hai, turning from the imagined to the narrated, and close with 'Though he die, the swordsman's bones are fragrant' to lift the whole; the breath rushes like a river, all Li Bai's song-like dash.
全诗以赋笔铺陈、以气驭势，是李白歌行「气盛言宜」的典型。开篇四句写侠客出场：「赵客缦胡缨，吴钩霜雪明」以服饰兵刃点出侠客身份，粗犷的胡缨与霜雪般明亮的吴钩相映，英气逼人；「银鞍照白马，飒沓如流星」以银白二色铺陈骏马华鞍，「飒沓」二字写其奔驰之态，「流星」喻其迅疾，声色并茂，侠客之英姿跃然纸上。继而「十步杀一人，千里不留行」化用《庄子·说剑》「臣之剑十步一人，千里不留行」而语更峻快，极写武艺高强；「事了拂衣去，深藏身与名」笔锋一转，由武勇转入品格，成为全诗的精神脊梁——侠者不为名、不居功，事了身退，飘然远引，此正是李白「功成身退」理想的诗化表达。中后段由虚写转实叙，专咏信陵君门客故事：「将炙啖朱亥，持觞劝侯嬴」写侠客与贤士相得，「三杯吐然诺，五岳倒为轻」以夸张写重诺轻死，「眼花耳热后，意气素霓生」化用聂政刺韩相之典（《史记》载聂政「白虹贯日」），豪情如虹；「救赵挥金槌，邯郸先震惊」以行动写大义，至「纵死侠骨香」一句，把侠义精神推向生死之上的不朽之境，全诗气势如江河奔泻，一往无前。
Allusions
The allusions are dense yet apt: 'Wu-hook' was a curved blade cast in Wu, later a general word for a fine sword; 'Xinling' is Lord Xinling, Wei Wuji; 'Zhu Hai' and 'Hou Ying' were both his retainers, and 'swings the golden hammer to save Zhao' is exactly Zhu Hai's killing Jin Bi to seize the army (in the Records); 'Taixuan Canon' is the Taixuan by Yang Xiong, standing for a white-haired scholar's life over books. With 'Who would sit at the book-desk, white-haired over the Taixuan Canon' Li Bai counters, stating his will to lay down letters for arms and win merit at the frontier; every allusion serves the feeling.
此诗用典密集而妥帖，几乎句句有来历而浑然不觉。首句「赵客」暗用《庄子·说剑》「赵太子」好剑之说，亦因燕赵自古多慷慨悲歌之士；「缦胡缨」出《庄子·说剑》「垂曼胡之缨」，为武士之服；「吴钩」本吴地所铸弯刀，《吴越春秋》载吴王阖闾命铸钩者造金钩，后泛指利剑，李贺「男儿何不带吴钩」即其流裔。中段「信陵」指魏公子无忌，礼贤下士、窃符救赵，为战国四公子之首；「朱亥」「侯嬴」皆其门客，朱亥屠者、侯嬴监门，皆市井奇士，信陵君折节下交，遂成千古君臣相得的佳话；「三杯吐然诺」暗用《史记·游侠列传》季布「一诺千金」之典；「素霓」用聂政刺侠累、白虹贯日之说；「金槌」即朱亥所携四十斤铁椎。「太玄经」指扬雄所著《太玄》，扬雄皓首穷经而位不过郎，李白以「谁能书阁下，白首太玄经」反衬，表明弃文就武、立功边野之志。全诗典故皆服务于「侠」的精神与「士」的怀抱，古事今情，水乳交融。此外，此诗用典还暗藏一层深意：侯嬴、朱亥皆市井之人，信陵君以国士待之，遂得生死相报，李白借这段「士为知己者死」的佳话，含蓄表达自己渴望遇明主、展抱负的心情——他笔下的侠客，正是他理想中的自己：既有十步杀人的武勇，又有五岳倒为轻的然诺，更有事了拂衣去的淡泊。典故的选用与其人生理想严丝合缝，足见其用典非炫学，而是借古人之酒杯浇自家之块垒，古事与今情浑然一体，这正是李白乐府用典「以我为主、驱使古人」的高明处。
Commentary
Ming critic Hu Zhenheng, in Tang Yin Gui Qian, says Li Bai's yuefu 'come from old yuefu yet add new tunes' — this poem is one. Qing Wang Qi's annotation of the Complete Works of Li Bai cites the Records at 'swings the golden hammer', proving the allusion's accuracy. Modern readers call it 'youthful knightly air bursting from the page', enough to show its dash. Shen Deqian's Tang Shi Bie Cai, though it does not print the whole, praises Li's songs as 'coming lightly, leaving suddenly', which may well be said of this piece.
此诗历来被视为李白少年任侠之作的代表，明人胡震亨《唐音癸签》谓太白乐府「出自古乐府，而多新声」，此诗正以古题写新意：乐府旧题多写侠客恩怨情仇，李白却注入了功成身退的士人理想，使侠客形象第一次具有了哲人的高度。清人王琦注《李太白全集》，于「救赵挥金槌」下详引《史记》本事，证其用典之确，叹其「以史入诗，毫无痕迹」。近人论李白，多拈「事了拂衣去，深藏身与名」为全诗诗眼，以为此二句不惟写侠，更是李白一生的人生纲领——他毕生追求的「功成身退」，正是侠客「事了拂衣」的士大夫版。萧士赟评太白乐府「豪放飘逸」，此诗堪称典型。又，此诗「十步杀一人」等句曾被后世武侠文化反复化用，金庸更取其意创作同名小说《侠客行》，可见其精神感染力跨越千年，早已超出诗歌本身，成为中华侠义文化的重要源头。从接受史看，此诗的影响远超文学：其「十步杀一人」「事了拂衣去」等句，成为后世武侠文化的精神原型，唐代裴铏《聂隐娘》、清代《三侠五义》乃至近现代武侠小说中的侠客形象，无不带有此诗所立的「武勇、然诺、淡泊」三重品格；李白本人也因这类诗作被后人尊为「诗仙」之外的「剑仙」。《侠客行》一题，自李白之后遂成专咏豪侠的乐府名题。更值得注意的是，此诗所表现的「功成不必在我、功成必定有我」的旷达，与「事了拂衣去」的淡泊名利，已成为中国知识分子理想人格的一部分，其价值早已超越侠义题材本身，成为盛唐昂扬精神与道家超逸品格结合的完美标本。
Prosody
Line by line
十步杀一人，千里不留行
In ten paces he slays a man, rides a thousand li unhindered.
十步之内可斩一人，千里纵横而无人能挡
Within ten paces he slays a man; across a thousand li no trace of him remains.
此二句化用《庄子·说剑》「臣之剑十步一人，千里不留行」，是写侠客武艺最著名的一联。「十步」极言距离之短，短到不容喘息；「一人」极言杀伐之果决，十步之内必有所斩；「千里」极言范围之广，纵横千里如入无人之境；「不留行」写来去自如、无人能阻。两句以数量词的层层递进，把侠客的武勇写到极致，气势峻拔，音节斩截，读来如闻剑鸣。需要说明的是，李白此句并非鼓吹滥杀，而是以夸张之笔写侠客身怀绝技、无所畏惧的气概，是乐府诗「夸诞不经」的浪漫主义笔法，正如其「白发三千丈」一样，以极度夸张写极度豪情。此联一出，遂成侠客形象的千古定式，后世武侠文学无不祖述。
These two lines adapt Zhuangzi's Sword of Ten Paces, One Man, A Thousand Li Without Leaving a Trace, the most famous couplet on the knight-errant's prowess. Ten paces writes the distance's shortness, short enough not to allow breath; one man the decisiveness of the stroke - within ten paces a man must fall; a thousand li the range's breadth, ranging a thousand li as through a land of no men; no trace writes coming and going at will, none able to stop. The two lines use quantity words layering progression to push the knight's martial courage to the extreme, momentum lofty, syllables cutting, reading as if hearing sword-song. Note: Li Bai is not praising slaughter, but using hyperbole to write the knight's peerless skill and fearlessness - the yuefu's romantic mode of extravagant invention, like his white hair three thousand fathoms, writing extreme heroism through extreme exaggeration. This couplet once uttered became the eternal template of the knight-errant image, which later wuxia literature all descends from.
事了拂衣去，深藏身与名
When the deed is done he brushes his robe and leaves, hiding deep his person and his name.
事成之后拂衣而去，将身名深自隐藏
The deed done, he brushes his robes and departs, hiding deep his person and his name.
此二句是全诗的精神脊梁，也是李白人生理想的诗化表达，历来被推为全诗诗眼。「事了」写功业已成，「拂衣」写挥手而去，「拂」字轻盈洒脱，仿佛挥去衣袖上的尘土，毫无恋栈之态；「深藏身与名」更进一层，不但离去，而且连身与名都深自隐藏，不求闻达、不居功名。两句写侠客品格之高，正在于「功成不居」四字：仗剑救人于危难，事了飘然远引，如神龙见首不见尾。这既是侠客的品格，更是李白的抱负——他一生渴望「奋其智能，愿为辅弼」，而终极理想却是「功成身退，归隐江湖」（见其《代寿山答孟少府移文书》），此二句正是这一理想的浓缩。从章法看，此联在极写武勇之后陡然转入品格，使侠客形象由「力」上升到「德」，境界为之升华，是盛唐诗歌中「侠」与「士」融合的典范。
These two lines are the poem's spiritual spine, the poetic expression of Li Bai's life ideal, long judged the poem's eye. The deed done writes the achievement completed; brushes his robes writes waving away; brush is light and free, as if brushing dust from the sleeve, not a trace of clinging. Hiding deep his person and his name goes a step further - not only leaving, but even person and name deeply hidden, not seeking fame, not dwelling on merit. The two lines write the knight's high character precisely in the four characters achievement done, merit not dwelled upon: taking his sword to save men in peril, the deed done drifting away, like a dragon of which the head is seen but not the tail. This is the knight's character and even more Li Bai's ambition - his whole life he longed to exert his wisdom, to be a chief counselor, yet the ultimate ideal was achievement accomplished, body withdrawn, retired to the rivers and lakes; these two lines are that ideal's concentration. Structurally, after writing martial prowess to the extreme, the couplet abruptly turns to character, raising the knight image from force to virtue, the realm sublimated - the model of the High-Tang fusion of knight and scholar.
三杯吐然诺，五岳倒为轻
Three cups and he breathes his solemn pledge — the Five Peaks toppled would be light.
三杯酒下便吐露诺言，五岳之重也轻如鸿毛
After three cups he breathes out a promise; the Five Sacred Mountains weigh lighter in the balance.
此联以极度的夸张写侠客重然诺、轻生死的品格，是全诗气势最豪宕处。「三杯」写诺言之快，酒未三巡而然诺已出，见其爽直；「吐」字写然诺之自然，如胸中本有，脱口而出；「五岳倒为轻」更以泰山、华山等五岳之重与然诺相比，五岳倾倒，然诺犹重于山，一诺既许，纵有万钧阻力也轻如鸿毛。这种以物之极重反衬诺之更重的写法，是李白惯用的浪漫主义夸张，与「燕山雪花大如席」同一机杼。此联写的是侠客的信用观：千金一诺、死生以之，正是《史记·游侠列传》所标举的「其言必信，其行必果，已诺必诚」的侠者风范。两句音节铿锵，「三杯」对「五岳」，小大悬殊、奇正相生，读之但觉豪气扑面，是全诗由写武勇转入写品格的枢纽，亦为下文写朱亥、侯嬴的然诺赴义预作铺垫。
This couplet uses extreme hyperbole to write the knight's weighing promises above life, the poem's most grandly unrestrained moment. Three cups writes the swiftness of the promise - before three rounds the word is given, showing forthrightness; breathes out writes the promise's naturalness, as if it dwelt in the breast and issued at the lips. The Five Sacred Mountains weigh lighter in the balance uses the weight of Mount Tai, Hua, and the other three peaks against the promise: the five mountains overturned, the promise still heavier than mountains; once a word is given, ten thousand catties of resistance weigh light as a feather. This method of setting the promise's greater weight against the extreme heaviness of things is Li Bai's customary romantic hyperbole, of the same weave as Yan Mountain snowflakes big as mats. The couplet writes the knight's ethics of credit: a thousand gold for one word, life and death pledged - precisely the knightly bearing the Records of the Grand Historian's Biographies of Wandering Knights exalts: his words are trustworthy, his deeds fulfilled, his pledges sincere. The two lines' syllables ring; three cups paired with five mountains, small against vast, the strange and proper growing from each other; reading it, heroism presses the face - the poem's pivot from writing prowess to writing character, and preparation for Zhuhai and Hou Ying's pledge of death below.
谁能书阁下，白首太玄经
Who would sit at the book-desk, white-haired over the Taixuan Canon?
谁愿在书阁下，白头枯守那《太玄经》呢
Who would stay under the library eaves, growing white-haired over the Classic of the Great Mystery?
结句以反诘收束，是全诗立意所在，李白弃文就武、立功边野的胸襟于此毕现。「书阁下」指汉代石渠阁、天禄阁等藏书的处所，扬雄曾校书其中；「太玄经」为扬雄模仿《周易》所著之书，扬雄于此皓首穷经，博学而位不过郎。「谁能」二字以问句出之，表面是发问，实则是自明心志：谁愿意像扬雄那样，枯守书阁、白了头发去钻研玄理？言外之意是——我李白不屑于此，我愿仗剑行侠、立功疆场，轰轰烈烈地过一生。这一反诘与全诗的侠义主题相呼应：侠客的价值在行动、在济世，而非在故纸堆中消磨生命。结句以儒生之枯守反衬侠客之壮烈，理想与现实的对照戛然而止，余味无穷，把少年李白「宁为百夫长，胜作一书生」式的豪情推向顶点，遂为全诗画上最有力的一笔。
The closing line ends in a rhetorical question, the poem's thesis; Li Bai's casting aside of letters for arms, his ambition for frontier merit, fully revealed here. Under the library eaves names the Han stone-quote and tianlu pavilions where books were kept; Yang Xiong once collated books there; the Classic of the Great Mystery is the book Yang Xiong wrote imitating the Book of Changes, over which he whitened his head in scholarship, learned yet never rising above a gentleman-attendant. Who can uses a question: on the surface asking, in truth declaring his heart - who would be like Yang Xiong, withered away under the library eaves, whitening his hair over dark principles? The implication: I, Li Bai, disdain this; I would take my sword as a wandering knight, win merit on the battlefield, and live a blazing life. This rhetorical question echoes the whole poem's knightly theme: the knight's value lies in action and in saving the age, not in wearing away life among old paper. The close sets the scholar's withered vigil against the knight's splendor; ideal and reality's contrast stops short, savor endless - pushing young Li Bai's rather be a corporal than a scholar to its peak, drawing the most forceful stroke of the poem.
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Both are Li Bai's songs voicing heroic passion — one of the swordsman, one of wine — showing his romantic, bold nature.
《将进酒》「君不见黄河之水天上来，奔流到海不复回」与此诗同出太白之手，同为其乐府歌行中豪放一路的代表，而题材迥异：一咏侠客，写武勇、然诺、功成身退；一咏饮酒，写「人生得意须尽欢，莫使金樽空对月」的及时行乐与「天生我材必有用」的自信。《将进酒》以「黄河之水天上来」的比喻开篇，气势更为磅礴；《侠客行》以密集的短句写侠客行径，节奏更为急促。二诗并读，可见李白豪放风格的两副面孔——酒的豪放是宣泄与超越，侠的豪放是行动与担当；又同归于「功成身退」的人生理想（《将进酒》「与尔同销万古愁」即其悲音）。同调异响，皆成千古绝唱。
观沧海 View of the Blue Sea 曹操 · 题材不同而气魄相通，可比较建安与盛唐的刚健 Different (different subject / both with a strong, vigorous spirit)Cao writes the grandeur of the sea, Li the boldness of the swordsman; both are forceful of breath — compare Jian'an and High Tang vigour.
曹操《观沧海》「东临碣石，以观沧海。水何澹澹，山岛竦峙」写大海的吞吐日月，李白《侠客行》写侠客的纵横千里，一写自然之壮，一写人事之豪，而气魄的雄健如出一辙——曹操以政治家的胸襟纳沧海于笔底，李白以侠士的豪情驱剑马于纸上，皆具「气吞万里」之势。比较而言，建安之刚健多沉郁苍凉，曹诗「日月之行，若出其中」有君临天下的气度，而带着乱世的悲慨；盛唐之刚健多昂扬明朗，李诗「纵死侠骨香」有少年任侠的意气，而满怀建功的豪情。二诗并读，正可见中国诗歌「风骨」传统由建安到盛唐的传承与演变，同是刚健，而一沉一昂、一老一少，时代精神昭然可见。
咏荆轲 On Jing Ke 陶渊明 · 同咏刺客侠士，可比较陶之沉郁与李之豪宕 Same (praise of the chivalrous / loyalty theme)Both praise assassin-knights (Jing Ke and Zhu Hai were men of pledged word); compare Tao's somber depth with Li's bold dash.
陶渊明《咏荆轲》「君子死知己，提剑出燕京」咏荆轲刺秦，李白《侠客行》咏朱亥、侯嬴救赵，同属咏侠士、尚义轻生的主题，而风格迥异：陶诗「其人虽已没，千载有馀情」，于豪壮中带沉郁，结语「千载有余情」的低回，是隐士对侠义的追慕与叹息，笔调悲凉含蓄；李诗「纵死侠骨香，不惭世上英」，于豪壮中见昂扬，是少年对侠义的投身与向往，笔调明快奔放。同一题材，一为遗民之咏、一为盛世之歌，陶渊明以「千载余情」写侠义的永恒余响，李白以「侠骨香」写侠义的当下壮烈。二诗并读，可见侠义主题在中国诗歌中由悲到壮、由古拙到豪放的演变，亦可比较隐士与侠士两种人格的差异。