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唐 Tang · 诗 Poem

与诸子登岘山

Climbing Mount Xian with Friends

孟浩然

Meng Haoran

怀古History 感伤Sadness

人事有代谢，往来成古今。
江山留胜迹，我辈复登临。
水落鱼梁浅，天寒梦泽深。
羊公碑尚在，读罢泪沾襟。

Human affairs have their rise and fall; comings and goings make the ancient and the now.
The rivers and hills keep their famous sites; we of this generation climb again.
The water low, Fishbeam shoal is shallow; the sky cold, the Dream Marsh lies deep.
Duke Yang's stele still stands; having read it, tears wet my lapel.

Listen

Meaning

Climbing Mount Xian in Xiangyang with friends, Meng Haoran reflects on the endless cycle of human change against the permanence of landscape, and weeps before the 'falling-tears stele' of the Jin statesman Yang Hu, mourning both the inevitable obscurity of the worthy and his own unrecognized life.

人世间的事物总在不停地更替变迁，古往今来的人事就在这来来往往中流转成形。江山依然留存着前人的名胜古迹，我们这辈人今日又来登高凭吊。秋深水落，鱼梁洲显得浅露；天气寒冷，云梦泽更显幽深苍茫。羊公的堕泪碑依然矗立在山间，我读罢碑文，不禁泪落沾湿衣襟。

Appreciation

The opening 'human affairs have their rise and fall; comings and goings make the ancient and the now' begins in philosophy, overarching the whole. The second couplet names the theme and shows the continuity of past and present. The third couplet's cold, clear scene counters the grieving breast, antithesis firm. The close 'Duke Yang's stele still stands; tears wet my lapel' ends on the stele and his tears, history and feeling together, calm yet deeply painful.

【白话串讲】 “人事有代谢，往来成古今”——孟浩然和朋友们登岘山，想起晋代的羊祜：当年羊祜在此感叹，如今羊公碑还在，他读罢落泪。“读罢泪沾襟”，是因为人事代谢，古今同悲。【意象与手法】首联以「人事有代谢，往来成古今」的哲理论起，笼盖全篇，将一次寻常的登临提到宇宙人事的高度；颔联「江山留胜迹，我辈复登临」点题，见古今相续之慨；颈联「水落鱼梁浅，天寒梦泽深」以清寒之景衬悲怀，对仗工稳，景为情设；尾联「羊公碑尚在，读罢泪沾襟」用堕泪碑典故收束，即史即情，冲淡中见沉痛。【情感与主旨】岘山在襄阳（今湖北襄阳），西晋羊祜镇守襄阳时常登此山置酒，感叹自古贤达胜士登此远望者多矣，皆湮灭无闻；羊祜死后，百姓于岘山立碑，望者悲泣，名为堕泪碑。孟浩然是襄阳人，一生布衣不遇，登岘山抚碑，由羊公之叹照见自身之境，遂作此诗，抒发贤达易湮、人生须臾、怀才不遇的深沉感慨。【名句点睛】常考：一、首联「人事有代谢，往来成古今」的哲理内涵——以「代谢」「往来」概括历史流转与人生代谢；二、颈联「水落鱼梁浅，天寒梦泽深」景物描写与情感的关系——清寒之景正是悲慨之心的外化。

Background

Mount Xian lies in Xiangyang. The Jin statesman Yang Hu, garrisoning Xiangyang, often climbed it drinking, sighing that 'since the cosmos began this mountain has stood; how many worthy men have looked out as we do, all sunk in oblivion.' After his death the people set a stele there that viewers wept over, the 'falling-tears stele.' Meng Haoran, a Xiangyang man in retirement, climbed with friends, faced the stele, and felt the worthy easily forgotten and himself unrecognized, and wrote this poem.

孟浩然（689—740），字浩然，襄州襄阳（今湖北襄阳）人，盛唐山水田园诗派代表，与王维并称「王孟」。他早年隐居襄阳鹿门山，四十岁西游长安，应进士不第，曾于太学赋诗，名动公卿，然终未入仕；晚年入张九龄荆州幕府，不久归乡，开元二十八年病卒。孟浩然一生以布衣终老，怀才不遇的落寞贯穿其诗，《与诸子登岘山》正是这一心境的结晶。岘山在襄阳城南，汉水之滨，为历代登临胜地；西晋名将羊祜镇襄阳十年，德政爱民，常登岘山置酒言咏，叹「自有宇宙，便有此山，由来贤达胜士登此远望，如我与卿者多矣，皆湮灭无闻，使人悲伤」。羊祜卒后，襄阳百姓于岘山建碑立庙，望其碑者莫不流涕，杜预因名之曰「堕泪碑」。此诗即孟浩然与友人登岘山、抚羊公碑有感而作，据其行迹，约作于开元后期张九龄荆州幕府时期（约733—737）；诗中「鱼梁」「梦泽」皆襄阳一带实有之地，鱼梁洲在襄阳汉水中，梦泽即云梦泽，秋冬水落天寒，景物更见清寥，与诗人沉郁的心境相映。诗人借羊公「湮灭无闻」之叹，写尽自身布衣终老、功名无成之悲，是登临怀古与个人身世之感完美结合的典范。

Art

The opening begins in philosophy, overarching the whole. The second couplet names the theme and shows the continuity of past and present. The third couplet's cold, clear scene counters the grieving breast, antithesis firm. The close ends on the stele and his tears, history and feeling together, calm yet deeply painful.

此诗章法严整而气韵流转，是五律「以议论起、以情收」的典型。首联「人事有代谢，往来成古今」以哲理论起，破空而来，不说登临而先立古今代谢之理，笼盖全篇，为全诗定下苍茫基调——这在以写景抒情为主的五律中极罕见，故刘辰翁评其「起得高古」。颔联「江山留胜迹，我辈复登临」落到本题：江山不改而人事代谢，胜迹长存而登临代代有人，「我辈」二字将今我与前贤羊公并置，暗用王羲之《兰亭集序》「后之视今，亦犹今之视昔」之意，古今相续之慨油然而生。颈联转写眼前实景：「水落鱼梁浅，天寒梦泽深」，秋冬水落，鱼梁洲浅露，天寒霜重，梦泽水色深渺，一「浅」一「深」对举，既是如实的风景写照，又是心境的投射——世路之浅薄、历史之深渺、人生之须臾尽在其中，景语即情语。尾联「羊公碑尚在，读罢泪沾襟」以碑在己泪收束全篇：碑尚在而羊公已不可复见，一「尚」字反衬生命之须臾；「读罢泪沾襟」不言悲而悲自深，将千载之叹与一身之泪合流。全诗由理入景、由景入情，由古及今再及己，虚实相生，古今交织，语淡而味永，正是孟诗「冲淡中有至味」的本色。

Allusions

'Duke Yang's stele' is Yang Hu's falling-tears stele (Jin History, Yang Hu biography). Yang Hu won Xiangyang's hearts by good rule; climbing Xian he sighed that the worthy are forgotten; after his death a stele was set that viewers wept over. Meng uses the stele to voice: though Yang's fame was great, it too sinks to oblivion; how much more a commoner like himself, using the ancient stele to mirror his own unrecognized tears; the allusion is natural, meaning deep.

此诗用典集中于尾联「羊公碑」，典出《晋书·羊祜传》。羊祜都督荆州诸军事，镇守襄阳，务修德政，深得民心；他常登岘山置酒言咏，怆然叹曰：「自有宇宙，便有此山，由来贤达胜士登此远望，如我与卿者多矣，皆湮灭无闻，使人悲伤。」羊祜卒后，襄阳百姓于岘山建碑立庙，岁时飨祭，望其碑者莫不流涕，继任者杜预因名之曰「堕泪碑」。孟浩然不直用「堕泪碑」之名，而称「羊公碑」，取义有二：一则碑由百姓为羊祜而立，是德政的见证，暗含对羊公政绩的追慕；二则「尚在」二字与羊祜之亡对照，碑存人湮，正见「人事有代谢」之至理。诗中「我辈复登临」又暗承《兰亭集序》「后之视今，亦犹今之视昔」的今古相续之思，羊公当年登岘山，正是今之「我辈」；而我辈今日登临，亦将成后世登临者凭吊的对象，此意与首联「往来成古今」互为表里。此外，「鱼梁」为襄阳汉水中的洲名，传说东汉高士庞德公曾隐居于此，孟浩然亦襄阳隐士，写「鱼梁浅」或暗含对隐逸传统的遥接；「梦泽」即云梦泽，《汉书·地理志》载其地，孟浩然《望洞庭湖赠张丞相》有「气蒸云梦泽」句，可见其乡邦地理之熟。全诗用典融化无痕，不事雕琢，典与景、典与情打成一片，是怀古诗用典的典范。

Commentary

Song critic Liu Chenweng praised the opening 'lofty and ancient,' the close 'grieving and stirring.' Ming critic Zhong Xing's Tang Poetry Return called the five characters 'Duke Yang's stele still stands' 'infinite looking-back.' Modern readers take this as Meng's history crown, in one line with Yang Hu's 'sunk in oblivion' sigh.

此诗历代评家推重。宋末刘辰翁评孟浩然诗，谓此诗「起得高古，结得悲慨」，正拈出首联议论之高与尾联抒情之悲两个关目；明钟惺、谭元春《唐诗归》评「羊公碑尚在」五字「无限低回」，以为五字之中含千年人事之叹；清沈德潜《唐诗别裁》论孟浩然「语淡而味终不薄」，此诗正是其注脚——通篇无一字激烈，而悲慨深至，冲淡之表，沉痛之里。近人喻守真《唐诗三百首详析》谓全诗以「代谢」二字立骨，首联明点，中二联以景印证，尾联以泪收束，章法一线贯穿。就文学史而言，此诗的价值有三：其一，它是「登临怀古」诗题的典范之作，将陈子昂《登幽州台歌》式的高亢悲慨化为律诗中的低回冲淡，开盛唐以后登临怀古诗「以议论起、以情收」一路；其二，它与羊祜「湮灭无闻」之叹一脉相承，成为士人「怀才不遇」母题的诗化表达，后世张继、刘禹锡等登临之作多受其沾溉；其三，「人事有代谢，往来成古今」两句以其高度的哲理概括力成为千古名句，被后世无数诗文引用发挥，是中国诗学中「变与不变」主题的经典表达。

Prosody

Form Five-character regulated verse (wulü)五言律诗（仄起首句不入韵式）

Rhyme Pingshui rhyme, lower-level twelfth Qin (今, 临, 深, 襟)押平水韵下平十二侵韵，韵脚为「今、临、深、襟」，一韵到底，无换韵。侵韵属闭口韵（韵尾为m），收音内敛低沉，声情与全诗冲淡悲慨的情调相合。

Tone pattern First line no rhyme; oblique-onset pattern仄起式，首句「人事有代谢」以仄声起，不入韵；「事」字（去声）定仄起之格。全诗平仄大体合律，唯首句「人事有代谢」为「平仄仄仄仄」，四仄相连，以拗句出之，正见孟诗不拘声律、以古入律的本色；中二联对仗工整，「水落鱼梁浅，天寒梦泽深」尤称精工。

Reading note A famous Meng Haoran history poem; the opening has philosophy, the close uses Yang Hu's falling-tears stele, calm yet grieving.此诗为标准的五言律诗，仄起首句不入韵式，符合「仄仄平平仄，平平仄仄平」的基本格律，中二联（颔联、颈联）对仗工稳，是孟浩然律诗中格律与意境兼美之作。值得注意的是其声律的「古淡」特色：首句「人事有代谢」四仄相连，拗而不救，读来拗口而古拙，恰与议论起笔的高古相配——孟诗本以「语淡」著称，其声律亦不尚流丽而贵自然，此句正是「以古拗之声写苍茫之理」的佳例。韵脚的选择也见匠心：下平十二侵韵属闭口韵，收音于唇齿之间，声调低回内敛，与「泪沾襟」的悲慨情调浑然一体；若易为开口响亮的韵部，便失却这种低回欲泣的声情。全诗节奏上，前四句以议论与叙述为主，语势平缓；颈联转入写景，对仗精工，节奏顿挫分明；尾联「羊公碑尚在，读罢泪沾襟」以五字短句连用，一「尚」一「泪」皆重读，声情沉痛，戛然而止。此诗在格律史上代表了一种倾向：盛唐诗人如孟浩然，于律诗格律已能精熟，却有意保留若干拗句与古调，以求得声律与情调的统一，其后杜甫「拗体」之作正是这一倾向的进一步发展。全诗声情相谐，故读来既合律之整饬，又有古之苍茫。

Line by line

人事有代谢，往来成古今。

Human affairs have their rise and fall; comings and goings make the ancient and the now.

世间万物都有生长衰亡的更替变化，人来人往、今古相接，便在这流转中构成了古与今的分别。

Human affairs have their ebb and flow; comings and goings make the ancient and the modern.

此联起笔即以哲理立论，破空而来，不写登临而先立「代谢」二字为全诗之骨，是五律中以议论开篇的极少数成功范例。人世间一切事物都在更替流转：花木有荣枯，人事有兴废，古人往而令人来，今人往而后来者至，「往来」二字正写这无休止的接力，「成古今」三字更点明：所谓古与今，不过是这永续流转中相对的两端。这样的起笔把一次寻常的登山吊古，一下子提到宇宙人事的规律层面，为下文「羊公碑尚在，读罢泪沾襟」预伏理论的依据——既然人事必然代谢，那么羊公之湮灭、我辈之涕泪，都是这一规律之下的必然，悲慨遂由一时之伤感升华为对历史与人生命运的透彻理解。此联以议论为诗而毫不枯涩，正在于「代谢」「往来」二语形象具体、涵盖古今，高古苍茫，故刘辰翁以「起得高古」四字许之。

The opening couplet establishes argument at once, bursting from nowhere; not writing the climb but first establishing ebb and flow as the poem's bone, one of the few successful regulated verses opening with argument. All things in the human world are in alternation and flow: flowers bloom and fade, affairs rise and fall, the ancients depart and the moderns come, the moderns depart and those after arrive; comings and goings write precisely this unceasing relay; make the ancient and the modern further points out: so-called ancient and modern are but the two relative ends of this perpetual flow. Such an opening lifts an ordinary mountain climb and historical musing at once to the level of the law of cosmos and human affairs, planting the theoretical basis for the later Lord Yang's stele still stands, tears wet my lapels - since human affairs must ebb and flow, then Lord Yang's oblivion and our tears are all necessary under this law; the grief rises from momentary sadness to the透彻 understanding of history and life's fate. This couplet uses argument as poetry without dryness, precisely because ebb and flow and comings and goings are concrete in imagery, covering ancient and modern, lofty and vast; hence Liu Chenguong praised the opening as lofty and ancient.

江山留胜迹，我辈复登临。

The rivers and hills keep their famous sites; we of this generation climb again.

江山依然留存着前人留下的名胜古迹，我们这辈人今天又一次登上岘山凭吊。

Rivers and mountains leave famous traces; we of this age climb them once again.

此联由理落到事，点出「登岘山」的本题，是全诗由虚入实的枢纽。「江山」对「人事」：人事代谢无常，江山胜迹长存，一虚一实、一逝一恒，对照之中已含「变与不变」的至理。「留」字写出胜迹的客观长存，「我辈复登临」则写今人的主观重来——「复」字最为吃紧：它既写今日之登临是对羊公当年登临的又一次重复，又暗含登临之事代代相续、后之视今亦犹今之视昔的深意。羊公当年登此山，叹贤达胜士多湮灭无闻；今日我辈复登此山，正复如羊公当年——如此循环往复，「我辈」终将成为后人凭吊的对象，而「往来成古今」的道理也就在这代代登临中不断应验。此联点题而不著力，将历史感与身世感融于十一字中，古今相续之慨，吞吐不尽。

This couplet descends from principle to event, naming the theme of climbing Mount Xian, the poem's pivot from void to solid. Rivers and mountains set against human affairs: human affairs ebb and flow without constancy, yet the rivers and mountains' famous traces abide; one void one solid, one passing one constant - within the contrast already holds the supreme principle of change and the unchanging. Leave writes the famous traces' objective survival; we of this age climb them once again writes the moderns' subjective return. Once again is most vital: it writes today's climb as another repetition of Lord Yang's climb of old, and secretly holds the deep meaning that climbs continue generation after generation, later ages viewing the present as we now view the past. Lord Yang then climbed this mountain, sighing that worthy men mostly vanish unknown; today we climb it again, precisely as Lord Yang did then - thus cycling, we shall at length become the object of later ages' mourning, and the principle of comings and goings make the ancient and the modern is again fulfilled in this generation's climb. This couplet names the theme without effort, fusing historical feeling and life-fate feeling in eleven characters; the古今-continuing sigh is endless.

水落鱼梁浅，天寒梦泽深。

The water low, Fishbeam shoal is shallow; the sky cold, the Dream Marsh lies deep.

秋深水落，鱼梁洲从水中显露出来，显得浅近；天气寒冷，云梦泽烟波浩渺，更见幽深。

Waters fall, and Yuliang shoal shows shallow; the sky is cold, and Dream Lake lies deep.

此联由吊古转入写景，是登岘山所见的眼前实景，也是全诗情感的凝聚点。时当秋冬，汉水水落，鱼梁洲露于江中，故曰「浅」；云梦古泽辽阔，天寒之际水色深沉、烟霭迷茫，故曰「深」。「浅」「深」二字对举，妙处有三：一是体物之真，如实写出秋冬水落天寒的自然景象；二是以景传情，清寒萧条之景正是诗人落寞悲凉心境的外化，浅者或喻世路之浅薄、我辈际遇之浅近，深者或喻历史之深渺、愁思之深长；三是工对之巧，「水落」对「天寒」、「鱼梁」对「梦泽」、「浅」对「深」，字字精工而不见斧凿。此联不著一情语而情自深，正是孟浩然写景诗「以景结情」「景为情设」的典范，与首联之理、尾联之泪互为表里：有代谢之理，有清寒之景，方有堕泪之情。

This couplet turns from historical musing to scenery, the present real scene seen from climbing Xian Mountain, also the poem's emotional condensation point. It is autumn-winter; the Han waters fall, the Yuliang shoal emerges in the river, hence shallow; the ancient Yunmeng marsh is vast, in cold weather the water color deep, the mist dim, hence deep. Shallow and deep set against each other, the subtlety is threefold: first, the truth of rendering things,如实 writing the autumn-winter falling water and cold weather; second, transmitting feeling through scenery - the clear, cold, bleak scene is precisely the externalization of the poet's desolate mood, shallow perhaps metaphorizing the world's shallow ways and our lot's shallow nearness, deep perhaps metaphorizing history's depth and the sorrow's length; third, the refined parallel's skill - water fall against sky cold, Yuliang against Dream Lake, shallow against deep, every character refined yet unhewn. This couplet not one word of feeling, yet feeling self-deep; precisely Meng Haoran's model of closing feeling in scenery, scenery set for feeling. With the first couplet's principle and the last's tears it is outer and inner: with the principle of ebb and flow, with clear cold scenery, only then the weeping-into-grief feeling.

羊公碑尚在，读罢泪沾襟。

Duke Yang's stele still stands; having read it, tears wet my lapel.

羊公的堕泪碑至今依然矗立在岘山上，我读完碑文，不禁泪落沾湿了衣襟。

Lord Yang's stele still stands; when I finish reading it, tears wet my lapels.

此联是全诗的收束，也是情感的引爆点，用典而归于己，即史即情。羊祜已亡一千余年，而「羊公碑尚在」——一「尚」字力重千钧：碑尚在，而人已不可复见；功业如羊祜者尚且湮灭，何况我辈布衣？碑之「在」与人之「亡」、羊公之显与己身之隐，在这五字中形成多重对照，人生须臾、声名难驻的悲慨喷薄而出。「读罢泪沾襟」五字不言「悲」而悲不可抑：泪为羊公而落，更为自身不遇而落，千载贤达与今日布衣在泪水中合而为一。全诗以议论起、以写景承、以抒情结，理、景、情层层递进，至此水到渠成；结句以泪收束，冲淡中见沉痛，正合刘辰翁「结得悲慨」之评，也是怀古诗「有我之境」的极致——古迹无情而我有情，故读碑而泪下。

This couplet is the poem's close, also the emotional detonation point; using the allusion yet returning to self, at once history and feeling. Yang Hu has been dead over a thousand years, yet Lord Yang's stele still stands - one still carries a thousand pounds: the stele still stands, yet the man can no longer be seen; achievement like Yang Hu's still vanishes, how much more we commoners? The stele's standing against the man's death, Lord Yang's eminence against the self's obscurity, in these five characters forms multiple contrasts; life's brevity and fame's hard abiding burst forth. When I finish reading it, tears wet my lapels not writing grief yet grief irrepressible: the tears fall for Lord Yang, yet all the more for self's unrecognized lot; the thousand-year worthy and today's commoner are one in the tears. The whole poem opens with argument, carries through with scenery, closes with lyric; principle, scenery, feeling layer upon layer, here the waters reach their channel; the closing resolves in tears, plainness holding deep grief, precisely fitting Liu Chenweng's close is grievous praise, also the historical-musing poem's extreme of the realm with self - the ancient trace is feelingless, yet I am feelingful; hence reading the stele brings tears.

Study

Word focus

代谢 The 'rise and fall' (代谢) means change and succession, one phrase sums the flow of history, with philosophical height. 「人事有代谢」之「代谢」，更替、兴废之意，是全诗立骨之字。「代」本义为更迭、交替，「谢」本义为辞去、凋落（如花之谢），二字连用，形象地写出事物生长衰亡、此起彼伏的流转过程。《淮南子·兵略训》高诱注：「代谢，犹往来也」，正与下句「往来成古今」互文足意。孟浩然不用「变迁」「兴废」等泛语，而取「代谢」，妙在兼含「代」之相继与「谢」之消亡两层意思：凡物有生必有谢，有谢必有人继之而生，人类与历史便在这「代谢」中生生不息。以此二字开篇，把登临吊古的眼前事一下子提到宇宙人事规律的高度，哲理的高度与情感的深度同时确立，故刘辰翁评此诗「起得高古」，实赖此二字之力。

复 The 'again' (复) in 'we of this generation climb again' quietly links to the former worthy Yang Hu, showing climbing's generation-by-generation continuity. 「我辈复登临」之「复」，又、再之意，一字贯通古今，是全诗章法上的枢纽。单看此句，「复登临」只是说我辈今日又来登山；置于全篇，则「复」字承担了深重的历史意味：羊公当年登岘山，叹贤达湮灭无闻；今日我辈又登此山，正复如羊公当年之登临——登临之事，代代相续，永无穷尽。一个「复」字，既写出今人对前人的接续，又暗含今人终将成古人的预判，与首联「往来成古今」呼应，与「后之视今，亦犹今之视昔」的《兰亭》之思相通。若易为「又」「再」等字，则仅记一时之事，失却古今相续的苍茫之感；唯「复」字兼「重复」与「回复」之意，把一次次相同的登临串成历史的长链，使个人的登临成为人类共同命运的一次重演，炼字之精，正在于此。

浅与深 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「水落鱼梁浅，天寒梦泽深」之「浅」「深」二字，是全诗炼字的精粹，景语而兼情语。「浅」写秋冬水落、鱼梁洲显露于江中的实景，「深」写天寒雾重、云梦泽水色深渺的实景，二字对举，画面分明；但它们的深意远不止于写景。「浅」可喻世路之浅薄、我辈际遇之浅近——孟浩然布衣终老，仕途蹭蹬，正似鱼梁洲之「浅露」无依；「深」可喻历史之深渺、愁思之深长——千载人事沉入岁月的烟波，正如梦泽之「深」不可测。一浅一深，既是空间的对照，又是情感的对照：眼前景之浅近，衬出心中愁之深长。古人论诗谓「景语皆情语」，此联正是明证；而对仗之工（水落对天寒、鱼梁对梦泽、浅对深）、体物之真、寄情之远，三美兼备，故为历代选家所称赏。

尚 The 'still' (尚) in 'Duke Yang's stele still stands' means still, stele stands yet man is gone, countering life's brevity and fame's hard stay. 「羊公碑尚在」之「尚」，依旧、仍然之意，一字千金，是全诗情感的引爆点。碑立岘山，历千余年风雨而依然矗立，故曰「尚在」；然而碑尚在，立碑之人、立碑所纪念之人早已湮灭无闻——「尚」字正是以碑之「常在」反衬人之「必亡」，以物之永恒反衬命之须臾。若去「尚」字而直作「羊公碑在」，则仅是一句陈述；加一「尚」字，便有今昔对照的苍茫：羊祜当日登临置酒之豪、立德遗爱之盛，都已成为「代谢」的历史，唯有这无言的碑石还提醒着后来者曾有一个羊公。更进一层，「尚在」的碑与「泪沾襟」的我对照：碑将长存，而我辈亦终将如羊公般湮灭——读碑而泪下，正是对这无可逃避的宿命的领悟。一字之加，全诗之悲全出，故钟惺、谭元春评此五字「无限低回」。