魏晋 Wei-Jin · 诗 Poem
游仙诗·其四
Poems on Roaming with Immortals, No. 4
六龙安可顿，运流有代谢。
时变感人思，已秋复愿夏。
淮海变微禽，吾生独不化。
虽欲腾丹溪，云螭非我驾。
愧无鲁阳德，回日向三舍。
临川哀年迈，抚心独悲吒。
The change of season stirs a man's thought: autumn already, and still I wish for summer.
Between the Huai and the sea small creatures are transformed; my life alone cannot be changed.
Though I would soar to the Cinnabar Stream, the cloud-dragon is no mount of mine.
To my shame I lack the power of the Lord of Luyang, who turned the sun back three stages.
Facing the stream I grieve at my advancing years; pressing my breast, alone I cry out in sorrow.
Meaning
How could the six dragons that draw the chariot of the sun ever be brought to a halt? The turning of the world has its own succession of rise and decline. The changing seasons stir a man's feelings, so that autumn has come and still he wishes for summer again. Between the Huai and the sea small creatures can be transformed into other kinds, but my life alone cannot be changed. Though I would fly up to the Cinnabar Stream of the immortals, the dragon that rides the clouds is not a mount for me to drive. To my shame I have nothing of the power of the Lord of Luyang, who could draw the daylight back three stages. Standing by the flowing water I grieve that my years are advancing, and pressing my hand to my breast I cry out alone in sorrow.
驾日的六龙怎能让它停驻？运数流转自有其代谢更替。时序变迁触动人的情思，已是秋天却又盼着回到夏天。淮水大海之间尚且能变化出微小的禽鸟，唯独我的生命却不能化形飞升。虽然想要飞腾到丹溪仙水之中，驾云的螭龙却不是我能驾驭的坐骑。惭愧我没有鲁阳公挥戈回日之德，不能把西沉的太阳拉回三舍之远。临着川流哀叹年岁已经老迈，抚着胸口独自悲叹不已。
Appreciation
Guo Pu called these poems roaming with immortals, but their real subject is the frustration of a man who cannot save his age. The poem gathers force from its opening, setting the fixed rhythm of nature beside the brevity of a human life: the six dragons of the sun cannot be halted, and the turning course has its rise and fall. Then the wish for summer in autumn writes the urgency of a man who begrudges time. The transformation of small creatures between the Huai and the sea only throws into relief the desolation of a life that alone cannot change; the wish to soar to the Cinnabar Stream is checked because the cloud-dragon is no mount of his; and the shame at lacking the Lord of Luyang's power confesses that he cannot turn back the day. The close, grieving by the stream at advancing years, transforms the Analects on the passing of things and leaves the page full of outcry.
【白话串讲】 郭璞想成仙：“六龙安可顿，运流有代谢”——太阳的车停不下来，四季轮回。“临川哀年迈，抚心独悲吒”——看着流水，哀叹自己老了。游仙诗的背面，是时光的恐惧。 【意象与手法】 全诗以仙家意象写人间悲慨：六龙、丹溪、云螭皆仙家物象，而篇末临川之叹分明是人间情怀。起以『六龙安可顿』的反问立骨，中经『已秋复愿夏』的痴愿、『吾生独不化』的物我对照，终以『抚心独悲吒』的椎心之叹收束，理、情、仙、凡层层递进，用典密集而一线贯之。 【情感与主旨】 郭璞（276—324），字景纯，东晋初著名学者与诗人，好阴阳卜筮、擅游仙诗。《游仙诗》十四首借游仙以抒怀，此其四，约作于西晋末乱离、永嘉南渡之际。时局板荡而济世无门，诗人借六龙难顿、云螭非驾自况，写时光飞逝、壮志难酬之悲，其游仙非真求仙，实以仙凡对照写人生短促与才志不展。 【名句点睛】 常考：①『六龙安可顿』的反问起笔与惜时主题；②『淮海变微禽，吾生独不化』的物我对照；③『临川哀年迈』化用《论语》逝者如斯的用典之妙；④全诗游仙其表、咏怀其里的结构特征。
Background
Guo Pu (276-324) was a noted scholar and poet of the early Eastern Jin, fond of the arts of yin and yang and divination and celebrated for his poems on roaming with immortals. His fourteen Poems on Roaming with Immortals use the immortals as a means of voicing feeling, and this fourth piece was written about the time of the disorders at the end of Western Jin, when his own career was going badly. The Rebellion of the Eight Princes and the flight south of the Yongjia years had come upon the empire, and Guo Pu, learned in the numerical arts, could do nothing to save the situation; 'Between the Huai and the sea small creatures are transformed' and 'To my shame I lack the power of the Lord of Luyang' write both the pressure of time and the frustration of a man who would rescue his age but lacks the strength. His roaming with immortals is not a genuine search for immortality but a setting of the immortal against the mortal in order to write the shortness of life and the impossibility of realising a great ambition.
郭璞（276—324），字景纯，河东闻喜（今山西闻喜）人，东晋初著名学者、术士与诗人，博洽多闻，好经术、擅卜筮，兼通文字训诂之学，曾注《尔雅》《山海经》《楚辞》《穆天子传》。《游仙诗》十四首为其代表之作，实为借游仙之题而抒怀抱的咏怀组诗，此其四。诗当作于西晋末年至东晋初年间，时八王之乱、永嘉之乱相继，中原板荡，衣冠南渡；郭璞亦于此时过江，依王导、庾亮，虽以术数见信，而位不过著作佐郎、尚书郎之类，其经世之志无所施展。诗人目睹山河破碎、岁月空逝，遂借仙人之游写世路之艰、生命之促：诗中的六龙、丹溪、云螭皆是仙家物象，而篇末临川哀年迈则分明是人间之叹。就作意而言，此诗虽题名游仙，却通篇不见飞升的欣悦，只见光阴的压迫：六龙难顿是写时不我待，鲁阳回日是写回天无力，求仙不过是借以反照现实困局的镜面，其真正的主题是乱世中才士的惜时与不遇。钟嵘《诗品》评其游仙之作『辞多慷慨，乖远玄宗』，并拈出其乃坎壈咏怀、非列仙之趣，正指其游仙非为慕道，实乃以仙写凡，此诗正是理解郭璞游仙诗本质的一把钥匙。
Art
The poem gathers force from the succession of the turning course, setting the rhythm of nature against the brevity of human life. 'Autumn already, and still I wish for summer' writes the urgency of one who begrudges time through a wish that runs against the season. 'Between the Huai and the sea small creatures are transformed' uses the transformation lore of the Discourses of the States to state the strangeness of change and so throw into relief the desolation of 'my life alone cannot be changed'. 'Though I would soar to the Cinnabar Stream, the cloud-dragon is no mount of mine' wants immortality and cannot have it, and the movement checks and turns. 'To my shame I lack the power of the Lord of Luyang' borrows the story of the halberd waved at the sun to sigh that he cannot turn the day back. The close, grieving by the stream at advancing years, transforms the saying in the Analects that what passes is like this river, and fills the page with outcry. Reasoned thought and lyric feeling merge, making it a model of the poem that roams with immortals in order to sing of frustration.
此诗十二句，五言六联，章法严整而气脉跌宕，可作三段看。首四句为第一层，以『六龙安可顿』发端，用反问把时光不可挽留的真理一下子推到读者面前，『运流有代谢』顺势坐实其理；『时变感人思，已秋复愿夏』由理入情，写时序迁移中人的逆向愿望——秋已至而愿夏返，明知徒劳而心不能已，惜时之情遂由理性感叹转为痴绝的执念。中四句为第二层，转入物我对照：『淮海变微禽』言物类尚能变化（雀入海为蛤、雉入淮为蜃），『吾生独不化』则叹己身独不能脱形骸之限；『虽欲腾丹溪，云螭非我驾』承不化而写求仙无路，欲腾而不得驾，笔势一顿再顿，仙凡之隔愈显。末四句为第三层，由仙转人：『愧无鲁阳德，回日向三舍』自愧无回天之力，『临川哀年迈，抚心独悲吒』终以临川之叹、抚心之悲收束全篇，由高蹈之想落回切肤之痛。全诗以理起、以情结，仙语与人间语交织，用典虽密而一线贯之，最见郭璞以学问为诗而又能运化无迹的功夫。
Allusions
The six dragons are the six dragons of the sun's chariot, from the Huainanzi, and to halt them means to stop the sun in its course. 'Between the Huai and the sea small creatures are transformed' uses the doctrine of transformation in the Discourses of the States, Discourses of Jin, where the sparrow entering the sea becomes a clam and the pheasant entering the Huai becomes a mussel. 'The power of the Lord of Luyang' comes from the Huainanzi, Peering into the Obscure, where the Lord of Luyang waved his halberd and made the sun turn back three stages, a figure for the power to hold time. The Cinnabar Stream is a legendary water of the immortals, and the cloud-dragon is the dragon that rides the clouds. The closing image by the stream transforms the saying in the Analects that what passes is like this river. The allusions are dense yet apt, all gathered on the single thread of time that flows away and cannot be recalled by human strength, showing Guo Pu's characteristic habit of making learning into poetry.
此诗用典密集，几乎句句有出处，而皆围绕时光流逝、人力难回一线铺展。『六龙』典出《淮南子·天文训》，谓日乘车驾以六龙，羲和御之，日行于天；『安可顿』以反问言日车不可停驻，犹言光阴不可挽留。『淮海变微禽』用《国语·晋语》所载古语『雀入于海为蛤，雉入于淮为蜃』，谓物类随水土而化，以此反衬己身之不能变化飞升。『丹溪』指传说中神仙所居的丹水之溪，郭璞《游仙诗》其一亦有临源挹清波、陵冈掇丹荑之语，丹溪为求仙者向往之所；『云螭』指驾云而行的无角之龙，螭为龙属，《楚辞》屡言乘龙驾螭，如《九歌》驾飞龙兮北征，此云螭非我驾，言仙缘未具、仙驾难乘。『鲁阳德』用《淮南子·览冥训》鲁阳公与韩构难、战酣日暮、援戈而撝之、日为之反三舍之典，郭璞自愧无鲁阳挥戈回日之德，不能挽留西坠之日，实喻无力挽回倾颓之世局。『临川』则化用《论语·子罕》子在川上曰逝者如斯夫之语，以川流喻光阴，哀年迈而悲壮志之难酬。全诗八典，密而不滞，皆以仙家语写人间情，可见郭璞博学之才与坎壈之怀。
Commentary
Gradations of Poets places Guo Pu's poems on roaming with immortals in the middle rank, saying that they 'take Pan Yue as model, so that their literary bodies shine together, brilliant and worth enjoying', and also that 'these pieces on roaming with immortals are largely ardent in diction and depart from the abstruse school'. Li Shan's commentary on the Selections of Refined Literature cites their allusions in full. Zhong Xing, in Return to Ancient Poetry, admired them as 'words of feeling within words of reason'. Modern discussion generally approves the way they use roaming with immortals to write frustration, opening the Tang line of borrowing the immortals to voice indignation. Liu Xie, in The Literary Mind and the Carving of Dragons, called Jingchun 'gorgeous and untrammelled, fit to crown the restoration', which fairly makes him the first poet of Eastern Jin.
郭璞《游仙诗》在六朝即获重评。钟嵘《诗品》列郭璞于中品，谓其『宪章潘岳，文体相辉，彪炳可玩。始变永嘉平淡之体，故称中兴第一』，又特指游仙之作『辞多慷慨，乖远玄宗』，并拈出其乃『坎壈咏怀，非列仙之趣』——正点出此诗表面游仙、实则慷慨咏怀的特质，与当时玄言诗理过其辞、淡乎寡味者判然有别。刘勰《文心雕龙·才略》称『景纯艳逸，足冠中兴』，许其为东晋诗坛之冠。李善注《文选》，于《游仙诗》句句征典，可见其学养之富。明代钟惺《古诗归》赏其理语中之情语，谓其于玄理中见深情。清代沈德潜《古诗源》选录郭璞游仙诗，谓其本屈子《远游》之旨，上溯其渊源至屈原一脉。近人论郭璞，多许其以游仙写坎壈，开唐人借仙抒愤一路，李白《古风》、李贺游仙之作皆遥承其绪；此诗之悲，正在求仙不得其径、回天惜无其力，把乱世文人的两难处境写得入骨，是六朝游仙诗由幻想回归现实的关键转折。
Prosody
Line by line
六龙安可顿，运流有代谢
How can the six dragons of the sun be halted? The turning course has its rise and its fall.
驾日的六龙怎能让它停驻？运数流转自有其代谢更替。
How can the six dragons be stopped? The revolving ages have their ebb and renewal.
开篇即以反问振起全篇，气势夺人。『六龙』指驾日车的六条龙，本属仙家传说，诗人却借以发问：日车之驰骋，安可使之顿止？这一问把时光流逝的不可抗性推到极致——不是感伤地陈述岁月如梭，而是以神话的恢弘意象，正面叩问人力对时间的无力。次句『运流有代谢』给出答案：运数流转、万物代谢，本是宇宙的铁律，『有』字下得斩截，不容置疑。两句一问一答，一纵一收，理路谨严而语气峭拔。更妙的是，诗人由神话起笔，却不落仙家窠臼，随即转入时变感人思的人间情怀，可见此诗游仙其表、咏怀其里，开篇的六龙正是为全篇的悲慨立起一个高远的参照系。
The opening rises on a rhetorical question, sweeping the poem forward. The 'six dragons' draw the sun chariot, originally immortal lore, yet the poet asks through it: can the coursing sun chariot ever be halted? The question pushes to the extreme the irresistibility of time—not a sentimental sigh that years fly like a shuttle but a mythic image of grand scale confronting human powerlessness over time. The next line, 'the revolving ages have their ebb and renewal,' gives the answer: the turning of fortune and the passing of all things is the iron law of the cosmos, the word 'have' decisive and beyond dispute. Question and answer, thrust and closure, the logic tight and the tone sharp. Better still, the poet begins in myth yet does not fall into immortal cliché, moving at once to the human feeling of seasons stirring thought; the poem's surface is immortal wandering but its heart is lament, and the opening six dragons set a lofty reference point for all the grief to follow.
时变感人思，已秋复愿夏
The change of season stirs a man's thought: autumn already, and still I wish for summer.
时序变迁触动人的情思，已是秋天却又盼着回到夏天。
The changing seasons stir human thought; it is already autumn, yet I wish for summer again.
此二句由理入情，是全诗情感的第一重波澜。『时变感人思』点明时序迁流触动人心，一个『感』字写出物候与情思的感应关系；『已秋复愿夏』则把这种感应写得痴绝——秋已降临，却偏偏祈愿夏天重来，明知时序不可逆，而心愿不肯罢休。『复愿』二字，写出愿望的执拗与徒劳，与首句安可顿的理性判断形成尖锐对照：理性知道时光难留，情感却偏要逆流而上。这种知其不可而愿之的痴情，正是惜时主题最动人的形态，也为下文吾生独不化的悲叹预埋伏笔。若说首二句是思理之峭，此二句则是情思之痴，一峭一痴，全诗的张力就此展开，读来令人低回不已。
These lines move from principle to feeling, the first swell of the poem's emotion. 'The changing seasons stir human thought' names how the turning of the year moves the heart, the word 'stirring' giving the resonance between season and feeling. 'It is already autumn, yet I wish for summer again' renders that resonance to the point of foolishness: autumn has come, yet one prays summer will return, knowing the seasons cannot reverse, yet refusing to give up the wish. The words 'wish again' write the stubbornness and futility of desire, in sharp contrast with the rational judgment of 'how can they be stopped' in the first line: reason knows time cannot be kept, yet feeling insists on swimming upstream. This foolishness of willing the impossible is the most moving form of the theme of treasuring time, and it plants the seed of the later lament that 'my life alone cannot transform.' If the first two lines are the sharpness of thought, these are the obsession of feeling; sharpness and obsession set the poem's tension in motion, and leave the reader lingering.
淮海变微禽，吾生独不化
Between the Huai and the sea small creatures are transformed; my life alone cannot be changed.
淮水大海之间尚且能变化出微小的禽鸟，唯独我的生命却不能化形飞升。
The Huai and the seas transform tiny birds, yet my life alone cannot be transformed.
此二句以物我对照写生命的困局，是全诗转折的关键。『淮海变微禽』用《国语·晋语》雀入于海为蛤、雉入于淮为蜃之物化说：飞鸟入海入淮，尚能化为蛤蜊、大蚌，随水土而改变形态；而『吾生独不化』——唯独我的生命不能如此变化。这里的『化』一语双关：既指形体之物化，如雀之化蛤，更指道家所谓超脱形骸、变化飞升的仙化。诗人羡慕微禽尚能化形，而自己困于肉身，既不能如仙家腾举，又不能如物类蜕变，进退失据，落寞自见。一个『独』字，把万物与己身的隔阂一笔写出，仿佛天地间只剩自己困于时间的牢笼。以微小禽鸟之化反衬人生之不化，以小衬大、以物衬人，悲慨深沉而不失思理的光彩。
The lines contrast thing and self to write the predicament of life, the poem's turning point. 'The Huai and the seas transform tiny birds' uses the Discourses of the States' theory of transformation—sparrows entering the sea become clams, pheasants entering the Huai become great mollusks, birds able to change their form with the waters and soil. Yet 'my life alone cannot be transformed.' The word 'transform' cuts two ways: both physical metamorphosis, like the sparrow becoming a clam, and the Daoist ideal of shedding the body and rising as an immortal. The poet envies even the small bird its transformation, while he is trapped in flesh—unable to rise as an immortal, unable even to change as a creature, with nowhere to turn, his loneliness plain. The single word 'alone' writes at a stroke the gulf between all things and himself, as though in all heaven and earth only he were caged in time. Setting the transformation of tiny birds against the non-transformation of human life—the small setting off the great, the thing setting off the person—gives a grief that is deep yet still shines with thought.
虽欲腾丹溪，云螭非我驾
Though I long to soar to the Spring of Cinnabar, the cloud-dragon is not my mount.
虽然想要飞腾到丹溪仙水之中，驾云的螭龙却不是我能驾驭的坐骑。
Though I wish to rise to the immortal waters of Danxi, the cloud-dragon is not the mount I may drive.
此二句写求仙之愿与仙缘之阻，笔势一顿再顿。『虽欲腾丹溪』，丹溪为神仙所居之水，一个『腾』字写出凌云之想；然而转折紧接而至：『云螭非我驾』——驾云而行的螭龙不是我能驾驭的。诗人不是不想飞升，而是根本没有仙人的坐骑与凭依；愿望愈高，现实愈坠，一扬一抑之间，仙凡之隔被写得具体可感。『非我驾』三字尤其沉痛：并非云螭不存在，而是它不属于我，仿佛仙路明明在前，而自己永远被拒之门外。这与前句吾生独不化相承，一写不能化形，一写无驾可乘，双重阻隔把求仙之路堵得严严实实，诗人对游仙的绝望与对现实的执念，遂在此处彻底显影。游仙之题写到这般地步，已完全是人间失意的投影。
The lines write the wish for immortality and the obstruction of its grace, the brush pausing again and again. 'Though I long to soar to the Spring of Cinnabar'—Danxi is the waters where immortals dwell, and the word 'soar' gives the thought of mounting the clouds. Yet the turning comes at once: 'the cloud-dragon is not my mount.' The poet does not fail to wish for ascent; he simply lacks the immortal's steed and support. The higher the wish, the lower the reality, and in each rise and fall the gulf between mortal and immortal is made tangible. The words 'not my mount' are especially bitter: it is not that the cloud-dragon does not exist, but that it is not his—as though the immortal road lay clearly ahead, yet he were forever barred. Following the earlier 'my life alone cannot be transformed,' one line writes inability to change form, the next the absence of a mount, and the double blockade seals the road to immortality; the poet's despair of the immortal and his clinging to the real are fully revealed. At this point the theme of immortal wandering has become entirely the projection of human disappointment.
临川哀年迈，抚心独悲吒
Facing the stream I grieve at my advancing years; pressing my breast, alone I cry out in sorrow.
临着川流哀叹年岁已经老迈，抚着胸口独自悲叹不已。
By the river I grieve that my years are old; I press my breast and sigh alone in sorrow.
末二句是全诗的收束，由仙家之想彻底落回人间之叹，悲情达于顶点。『临川』化用《论语》子在川上曰：逝者如斯夫，不舍昼夜——孔子临川叹时光，诗人临川则哀年迈：年华老去而壮志未酬，比单纯的惜时更深一层。『抚心独悲吒』以动作收束：抚着胸口独自悲叹，『独』字与前文吾生独不化遥相呼应，孤独感贯穿始终；『悲吒』二字，悲是悲情，吒是叹息，连用则悲叹之声如在耳畔。全诗由六龙安可顿的理性发问，经已秋复愿夏的情感执念、吾生独不化的物我对照、云螭非我驾的仙路阻隔，终至抚心独悲吒的椎心之叹，理、情、事、仙层层推进，收得既沉痛又干净，余韵绵长，正是游仙诗坎壈咏怀的绝佳收束。
The closing two lines gather the poem, falling wholly from immortal fancies back to human lament, grief at its peak. 'By the river I grieve that my years are old' adapts the Analects' image of Confucius by the stream, 'passing like this, day and night'—the sage sighed at time, and the poet sighs at aging: years grow old while ambition is unfulfilled, deeper than mere treasuring of time. 'I press my breast and sigh alone in sorrow' closes in action: pressing the heart, sighing alone, the word 'alone' answering the earlier 'my life alone,' loneliness threading the whole. 'Sorrow and sigh' are joined—grief and lament—so that the sound seems to ring in the ear. The poem moves from the rational question 'how can the six dragons be stopped,' through the obsession 'already autumn, yet I wish for summer,' the contrast 'my life alone cannot be transformed,' the blockade 'the cloud-dragon is not my mount,' to the final heart-pressing sigh, reason, feeling, event, and immortality each advancing in turn, closing with a grief both piercing and clean, the perfect ending of the frustrated immortal-wandering verse.
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Both belong to Guo Pu's Poems on Roaming with Immortals, and may be read together for their constant use of immortals as surface and self-expression as substance.
《游仙诗》其一以『京华游侠窟，山林隐遁栖』开篇，写仕隐之辨与山林之慕，末以『高蹈风尘外，长揖谢夷齐』收束，尚存超然之气；其四则通篇笼罩在时光飞逝、求仙无路的悲慨中，终以抚心独悲吒的椎心之叹作结，可见同一位诗人、同一组诗内部的情感落差。其一偏于隐逸的向往，其四偏于岁月的哀挽；其一的神仙意象如灵溪、丹荑是理想之境，其四的仙家物象如六龙、云螭则是阻隔之障——同是游仙之题，一则见其高蹈之思，一则见其坎壈之怀。合观二首，可知郭璞游仙诗绝非单一的慕道之作，而是以仙写凡、以幻写真的多面咏怀，其间的矛盾与张力正是乱世才士心灵的真实投影。
咏荆轲 In Praise of Jing Ke 陶渊明 · 同属魏晋咏怀寄托之作，一游仙一咏史，皆借题抒愤 Different (same period, different subject: one roams with immortals, one sings of history, both lodging indignation in a subject)Both are Wei-Jin works of indirect statement; compare their allusions and the direction of their feeling.
陶渊明《咏荆轲》借咏史写慷慨赴义之志，其人虽已没、千载有余情，以荆轲的悲壮反照自己归隐后的不平之气；郭璞《游仙诗·其四》借游仙写时光飞逝、济世无门之痛，二者皆非就题论题，而是托古托仙以寄怀抱，手法相通而方向各异。陶诗借历史英雄的壮烈抒胸中块垒，气盛而悲壮；郭诗借仙家物象的阻隔写岁月蹉跎，情深而幽怨。一咏史一游仙，一外向一内省，正见魏晋文人在出处两难中寄托怀抱的两种典型途径。合观二诗，可见陶、郭同处晋宋之际而各以不同题材完成自我表达，其间的题材选择与情感质地之别，恰是理解魏晋文学多元面向的绝佳样本。
咏史 On History 左思 · 同属西晋咏怀诗，一咏史一游仙，皆借题抒怀、以典写愤 Different (same period, different subject: one roams with immortals in abstruse thought, one sings of history to voice the heart)Both come from the Wei-Jin age and both borrow a subject to lodge a personal fate; compare their choice of imagery.
左思《咏史》八首借古人古事写寒门士子之不平，『世胄蹑高位，英俊沉下僚』，直陈门阀制度下的压抑；郭璞《游仙诗·其四》借仙家意象写时光难留、济世无门，愧无鲁阳德、回日向三舍，自愧无力回天。二人同处西晋，同怀经世之志而皆不得骋，左思选择以历史为镜，直抒胸臆、酣畅淋漓；郭璞选择以神仙为障，含蓄幽怨、一波三折。左诗之典多取史实，气盛言宜；郭诗之典多取仙话，意隐情深。同是借题抒愤，一显一隐、一放一收，可见西晋咏怀诗在题材与风格上的分流；郭璞游仙诗之辞多慷慨、乖远玄宗，正可与左思咏史之名为咏史、实为咏怀对观，二者共同开创了六朝以他题写己怀的抒情范式。