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魏晋 Wei-Jin · 诗 Poem

游仙诗·其一

Poems on Wandering Immortals, No. 1

郭璞

Guo Pu

游仙/玄思immortal roaming and metaphysical thought 隐逸/田园reclusion and pastoral life

京华游侠窟，山林隐遁栖。
朱门何足荣，未若托蓬莱。
临源挹清波，陵冈掇丹荑。
灵溪可潜盘，安事登云梯。
漆园有傲吏，莱氏有逸妻。
进则保龙见，退则触藩羝。
高蹈风尘外，长揖谢夷齐。

The capital is a den of wandering swordsmen;
the hills and woods a lodging for recluses.
What glory is there in vermilion gates?
Better to entrust oneself to Penglai.
At the spring's head I scoop the clear ripples;
on the ridge I gather crimson sprouts.
By Numinous Creek one may lie hidden and linger;
why toil at climbing a ladder to the clouds?
The Lacquer Garden had its haughty clerk;
the house of Lai had its reclusive wife.
Advance, and you must keep the dragon in the field;
retreat, and you are the ram caught in the hedge.
I stride high beyond the dust of the world,
and with a long bow take leave of Boyi and Shuqi.

Listen

Meaning

The capital is a den where wandering swordsmen gather; the hills and forests are a lodging for those who hide from the world. What glory is there in the vermilion gates of the great? Better to entrust oneself to the isle of Penglai. At the spring's source I scoop up the clear ripples; climbing the ridge I gather crimson sprouts. By Numinous Creek one may lie hidden and linger, so why trouble oneself to climb a ladder to the clouds? The Lacquer Garden had its haughty clerk, and the house of Lai its reclusive wife. To advance is to hope that the dragon shows itself in the field; to retreat is to be the ram whose horns are caught in the hedge. Better to stride high beyond the dust of the world, and with a long bow take leave even of Boyi and Shuqi.

京都是游侠聚集的窟穴，山林才是隐遁栖身之所。朱门大户何足为荣，不如托身于蓬莱仙境。临着水源掬取清波，登上山冈采摘丹荑。灵溪之中可以潜居盘桓，又何必去攀登那登云之梯。漆园有傲视王侯的庄周，老莱子有劝夫隐居的逸妻。进而求仕固然可保见龙在田之利，退而失据则如羝羊触藩、进退两难。不如高蹈于风尘之外，长揖作别那伯夷叔齐。

Appreciation

The poem opens by setting the swordsmen of the capital against the recluses of the hills, and its position is declared at once. 'At the spring's head I scoop the clear ripples; on the ridge I gather crimson sprouts' paints the ease of retirement in clear, bright strokes and vivid colour. Through the middle and later sections allusion follows allusion, the haughty clerk of the Lacquer Garden and the reclusive wife of Master Lai set up as models, the dragon in the field and the ram in the hedge held up as warnings, and the fabric is dense. The last couplet lifts abruptly into something new: to bow long and part even from Boyi and Shuqi is to turn out of the roaming-immortal convention a thought more remote than the old ideal of reclusion itself.

【白话串讲】 “京华游侠窟，山林隐遁栖。朱门何足荣，未若托蓬莱”——郭璞说：京城的繁华算什么，不如去蓬莱。“高蹈风尘外，长揖谢夷齐”——他要远离尘世。魏晋人用游仙诗，安放对现实的失望。【意象与手法】诗以京都游侠与山林隐遁对举开篇，立场斩截；朱门何足荣、未若托蓬莱直破功名之执，点出游仙避世之旨。临源挹清波、陵冈掇丹荑以清丽笔触写隐逸之适，色彩鲜明；灵溪可潜盘、安事登云梯见自足而不慕飞升。中后段连用漆园傲吏、莱氏逸妻、龙见、藩羝诸典，正面立范而反面为戒，章法绵密；末以高蹈风尘外、长揖谢夷齐陡起新意，翻出超越传统隐逸的玄远之思。【情感与主旨】郭璞（二七六至三二四），字景纯，东晋学者、诗人。永嘉之乱后南渡，目睹朝政昏乱、权臣倾轧，忧祸患而思避世全身。《游仙诗》十四首多作于渡江前后，以游仙为表、玄理为里，表面游仙，实写坎壈咏怀——朱门何足荣见其蔑视功名，进则保龙见、退则触藩羝见其洞悉仕途之险，高蹈风尘外见其超然之志，是乱世士人精神出路之写照。【名句点睛】常考全诗主旨，表面游仙、实写避世全身，借仙喻人、用典托意，将《易》理融入游仙；又考临源挹清波、陵冈掇丹荑的清丽画面与挹、掇二字之妙；高蹈风尘外、长揖谢夷齐连传统高隐亦不足法，翻案出新，为全诗立意最高处。此诗辞采葱倩而骨力遒上，挺拔为古诗之一变，是游仙诗由求仙虚辞转向借仙咏怀之关键。

Background

Guo Pu (276-324), styled Jingchun, was a scholar and poet of the early Eastern Jin. After the disorders of the Yongjia era he crossed to the south, saw a court in confusion and ministers destroying one another, and, fearing calamity, used the theme of roaming among immortals to lodge his wish to escape the age and keep himself whole. Most of his fourteen 'Poems on Wandering Immortals' were written around the time of the crossing, with immortals for their surface and metaphysical argument for their substance. Inheriting what the Jian'an poets had begun in the genre and opening the way for the abstract verse that followed, they are an important link in the movement of Jin poetry from lush ornament toward a pure and empty clarity.

郭璞，字景纯，河东闻喜人，东晋著名学者、诗人，博学多闻，好经术，通天文卜筮之学，曾注释《尔雅》《山海经》《楚辞》等书，著述宏富，世称博物君子。其生活年代正当西晋八王之乱与永嘉之乱相继爆发，中原板荡，士人纷纷南渡，郭璞亦于是时避乱过江。东晋初年，朝政昏乱，王敦等权臣专权跋扈、倾轧不休，郭璞身处其间，忧谗畏讥，预感祸机，后终因阻王敦谋反而遇害。《游仙诗》十四首即多作于渡江前后，借游仙之名以寄避世全身之思，实为坎壈咏怀之作。此诗以京华游侠与山林隐遁对举开篇，明言朱门不足荣、未若托蓬莱，历写临源挹波、陵冈掇荑、灵溪潜盘之乐，末以高蹈风尘外、长揖谢夷齐收束，将游仙、隐逸、玄理熔于一炉，是东晋初年士人面对乱世之精神出路的写照，亦晋诗由繁缛转向清虚过程中的重要一环。据《晋书》本传，郭璞好卜筮之学，尝预知王敦将反，其游仙之作，正与这种忧患意识及玄学信仰互为表里。

Art

The poem opens by setting capital swordsmen against mountain recluses, and its stance is decisive. 'At the spring's head I scoop the clear ripples; on the ridge I gather crimson sprouts' writes the comfort of retirement in a clear and lovely brush, bright with colour. The middle and later sections use allusion continuously: the haughty clerk of the Lacquer Garden and the reclusive wife of Master Lai stand as positive models, the dragon appearing in the field and the ram caught in the hedge as warnings, and the fabric of the piece is close-woven. The final couplet rises abruptly into fresh meaning, turning out of the roaming-immortal manner a remoteness that goes beyond the received tradition of reclusion.

此诗章法严整而意脉流转，以抉择为主线。开篇即设京华与山林、游侠与隐遁两两对举，立场斩截；朱门何足荣一句直破功名之执，未若托蓬莱点出游仙避世之旨。以下历写隐逸游仙之乐：临源挹清波、陵冈掇丹荑，写采药服食之清适；灵溪可潜盘、安事登云梯，写潜居自足、不求飞升；漆园傲吏、莱氏逸妻，正面立范；进则保龙见、退则触藩羝，反面为戒，以《易》理说仕隐之利害。末二句高蹈风尘外、长揖谢夷齐陡起新意，于游仙中翻出超越传统隐逸的玄远之思：连伯夷叔齐那般高蹈之士也不足效法，唯高蹈于风尘之外、与道冥合。全诗用典密集而自然，以仙喻人、借典托意，将《易》理、道家、游仙、隐逸融于一体，辞采葱倩而骨力遒上，是郭璞游仙诗以坎壈咏怀、非列仙之趣的典型样本，亦开玄言诗之先声。全诗七句而转折四层，句句相承、步步逼进，议论、写景、用典、翻案各得其位，篇幅虽短而气象完足。

Allusions

Penglai is the immortal mountain in the sea, and the crimson sprout is the scarlet mushroom on which immortals feed. The haughty clerk of the Lacquer Garden refers to Zhuangzi, who held that office and looked down on kings and lords. The reclusive wife of Master Lai refers to the wife of Lao Laizi, who urged her husband into retirement. The dragon in the field comes from the Qian hexagram of the 'Book of Changes', where the dragon appearing in the field figures the taking of office; the ram caught in the hedge comes from the Dazhuang hexagram, where the ram that butts the hedge can neither go forward nor back, figuring a man with no way out. Boyi and Shuqi are the ancient brothers who starved rather than serve. The allusions are thick yet natural, and reveal the poet's metaphysical grounding throughout.

此诗用典之密集，为晋诗之冠，而皆融于议论说理之中，不见堆砌之痕。蓬莱为海上仙山，托蓬莱即托身仙境，点出游仙之旨。丹荑指赤芝，为传说中的仙药，陵冈掇丹荑写登山采芝，暗含服食求仙之意。漆园有傲吏用庄子为漆园吏而傲视王侯之典，莱氏有逸妻用老莱子之妻劝夫隐居、终老山林之典，二典皆正面树立隐逸之范：庄子之傲见其蔑视权贵，莱妻之逸见其超然物外。进则保龙见出《易·乾》见龙在田、利见大人，喻出仕求进；退则触藩羝出《易·大壮》羝羊触藩、羸其角，喻进退维谷，二句以《易》卦爻辞说仕隐利害，精切无伦。末句长揖谢夷齐用伯夷、叔齐不食周粟、采薇首阳之典，却反其意而用，连夷齐那样的高士也不足效法，须更高蹈于风尘之外。以《易》理入诗、以玄学解典，正是郭璞游仙诗游仙为表、玄理为里的特色所在。尤可注意者，诸典皆非炫学，而是各司其职：蓬莱荑芝为仙境，漆园莱氏为高范，龙见藩羝为戒鉴，夷齐为翻案之的，典与意丝丝入扣。

Commentary

Zhong Rong's 'Gradings of Poets' placed Guo Pu in the middle rank, saying that his poems on wandering immortals are full of impassioned words and stray far from the doctrine of the mysterious, and that they are in truth the songs of a thwarted heart rather than the pleasures of the immortal list. Li Shan's commentary on the 'Selections of Refined Literature' praises him warmly. Later ages have generally taken Guo Pu's roaming-immortal verse as the ancestor of using immortals to sing one's own heart, calling it a bold turn in the history of old-style poetry, which is proof of its standing.

郭璞《游仙诗》在文学史上承前启后，地位独特。钟嵘《诗品》列郭璞于中品，评其游仙诗辞多慷慨、乖远玄宗，乃是坎壈咏怀、非列仙之趣，此评道出其借仙咏怀的实质，遂成千年定论。《文选》收录其游仙诗，李善注备加推许，以为辞彩葱蒨。从诗史脉络看，游仙题材源于屈原《远游》、汉乐府游仙诗，曹植《远游篇》踵事增华，至郭璞始以之抒写现实感慨，将游仙与咏怀合而为一，故后世谓其挺拔为古诗之一变，是游仙诗由求仙之虚辞转向借仙抒怀之关键，其影响及于李白《古风》、李贺游仙之作。此诗以京华山林对举开篇、以谢夷齐收束，见识超迈，玄理深湛，兼有建安之风力与正始之玄思，是晋诗由繁缛绮靡转向清虚玄远过程中的重要一环，亦东晋士人乱世心态与玄学精神的绝佳标本。今人选本多并录其游仙诸作，以其兼有仙趣与玄思、风力与辞采，可作东晋初年思想史与诗史互证之样本。

Prosody

Form Five-character old-style poem (roaming-immortal verse)五言古诗（游仙诗体）

Rhyme Old style, broadly in the qi and zhi groups, not bound to strict rhyme全诗七句，隔句押韵，一韵到底，韵脚为栖、莱、荑、梯、妻、羝、夷，属上古脂之支三部合韵，魏晋古体用韵较宽，不拘严韵。

Tone pattern Five-character old style, level and oblique falling naturally五言古体，不究近体平仄，以自然音节为主。句首多用仄声领起，句末平声收束，音节短促而有力，与议论说理的内容相称。

Reading note Guo Pu's roaming-immortal verse, singing his own heart through immortals, its diction lush and green.此诗为五言古诗，属魏晋古体，与唐代定型之近体律绝迥异：不讲究平仄黏对与工稳对仗，唯以隔句押韵为常。全诗七句，韵脚栖、莱、荑、梯、妻、羝、夷皆在偶句与末句，一韵到底，回环往复；从上古音看，栖、荑、梯、妻、羝属支部，莱属之部，夷属脂部，脂、之、支三部合韵，正是魏晋古体用韵较宽的常态，不以严韵自限。声情上，全诗以议论说理为主，故音节短促而清刚：句首仄声领起者多，如京华、朱门、临源、灵溪、漆园、进则、高蹈，读来斩截有力，与游侠窟、触藩羝等意象的凌厉相应；句末平声收束，又于刚健中见从容。章法上七句一气流转：二句立论、二句写景、二句用典说理、一句翻新收束，节奏先平后奇，末句长揖谢夷齐以单句顿结，戛然而止，余韵悠然。这种以古体写玄思、以短章见风骨的形式，上承建安五言，下开玄言诗与游仙诗之体格，是晋诗由繁缛转清虚过程中的关键一环。

Line by line

京华游侠窟，山林隐遁栖。

The capital is a lair of roaming knights; the hills and forests are the recluse's resting place.

京都是游侠聚集的窟穴，山林才是隐遁栖身之所。

The capital is a den where adventurers gather; the mountain woods are the true refuge of the recluse.

起笔对举，斩截立论。京华与山林、游侠与隐遁，两两相对，构成全诗的立场基座。窟字以洞穴形容京都，贬意自见——京华本是繁华之地，诗人却称之为游侠窟，谓其是争名逐利、刀光剑影的渊薮；栖字则写山林为隐者栖息之地，安稳自在。一窟一栖，一贬一褒，将仕与隐的优劣高下判然分出。此联以对偶起笔，言简意赅，不用一情语而爱憎自明，正是郭璞风力所在。且窟、栖皆押韵，音节短促有力，开篇即定下全诗决绝的基调，为下文朱门不足荣、未若托蓬莱张本。

The opening pairs and sets forth the thesis decisively. Capital against forest, roaming knight against recluse, paired and opposing, form the poem's position. The word 'lair' describes the capital as a cave, its derogation plain—the capital, a place of splendor, the poet calls a lair of knights, a haunt of strife and profit. The word 'dwelling' writes the forest as the recluse's resting place, secure and at ease. One lair, one dwelling, one derogated, one praised, the value of office and retirement judged at a glance. The couplet opens in parallel, brief and clear, naming no emotion yet love and hate self-evident, the force of Guo Pu's style. The rhyming of 'lair' and 'dwelling' gives a short, decisive rhythm, setting the poem's resolute keynote and preparing the later lines that the great gate is no glory and Penglai is the better refuge.

临源挹清波，陵冈掇丹荑。

At the springhead I scoop the clear water; on the ridge I pluck the red shoots of the sacred fungus.

临着水源掬取清波，登上山冈采摘丹荑。

By the spring I dip up the clear ripples; climbing the ridge, I gather the red lingzhi shoots.

此联以清丽笔触写隐逸游仙之乐，是全诗色彩最明丽处。挹即舀取，临源挹清波写临流掬水，动作轻灵闲雅，清波二字见水之澄澈；掇即拾取，陵冈掇丹荑写登山采芝，丹荑指赤芝仙药，丹字见芝之红艳。清波与丹荑，一清一丹，一水一药，色彩鲜明而不浓艳，写出隐者与自然相亲、采药服食的仙家意趣。两个动词挹、掇皆轻缓之态，正见隐者从容不迫、悠然自得的心境，与京华游侠的喧嚣激烈恰成对照。此联句法工整，辞采葱倩，是郭璞游仙诗最脍炙人口的写景名句，于游仙之中透出山水之美，已开山水诗之端绪。

The couplet writes the joy of reclusion and immortal wandering in a limpid touch, the most brightly colored passage of the poem. 'Scoop' means to ladle; 'at the springhead I scoop the clear water' writes cupping water at the stream, the action light and elegant, 'clear ripples' showing the water's purity. 'Pluck' means to pick; 'on the ridge I pluck the red shoots' writes gathering the fungus on the heights, the 'red' shoots being the lingzhi elixir, the word 'red' showing its vivid hue. Clear water and red shoots, one clear and one red, one water and one medicine, the colors bright yet not garish, writing the recluse's intimacy with nature and the immortal's joy of gathering herbs to ingest. The two verbs, 'scoop' and 'pluck,' are both gentle, showing the recluse's unhurried ease, a contrast to the clamor of the capital. The couplet's polished phrasing and lush diction make it Guo Pu's most beloved scenic line, and, within immortal wandering, it opens the beauty of landscape poetry.

漆园有傲吏，莱氏有逸妻。

The漆园 had its proud clerk; the Lai house had its free-spirited wife.

漆园有傲视王侯的庄周，老莱子有劝夫隐居的逸妻。

In the Qi Garden there was the proud official Zhuang Zhou; in the Lai household there was the high-minded wife who urged her husband to retire.

此联连用二典，正面树立隐逸之范。漆园傲吏指庄子，庄子曾为漆园吏，却傲视王侯、拒聘不仕；莱氏逸妻指老莱子之妻，老莱子隐居蒙山，楚王聘之，其妻以事君者易诱于利、难保其身相劝，老莱子遂与妻偕隐。傲与逸二字，是此联之眼：傲写庄子蔑视权贵之骨气，逸写莱妻超然物外之闲适。二典皆以典说理，以古人为榜样，证山林隐遁之可乐可久。句法上二句同构，漆园对莱氏、傲吏对逸妻，工整而不板滞。用典之密、切题之准，正是郭璞好玄学、通典籍的学养体现，亦见其以《庄》《列》为归的隐逸立场。

The couplet uses two allusions to set up positive models of reclusion. The 'proud clerk of the Qi Garden' refers to Zhuang Zhou, who served as clerk of the Qi Garden yet scorned kings and lords and refused office. The 'free-spirited wife of the Lai house' refers to the wife of Lao Laizi: when the king of Chu summoned her husband, she urged him that a servant of rulers is easily lured by profit and hard to keep safe, and the pair withdrew together. The words 'proud' and 'free-spirited' are the couplet's eyes: 'proud' writes Zhuang's backbone against the powerful, 'free-spirited' writes the wife's detachment from the world. Both allusions argue through example, using ancients as models to prove that the forest life is delightful and enduring. The parallel structure—Qi Garden against Lai house, proud clerk against free-spirited wife—is polished without stiffness. The density and aptness of the allusions show Guo Pu's learning in metaphysics and classics, and his alignment with Zhuangzi and Liezi.

进则保龙见，退则触藩羝。

To advance may win the sighting dragon's fortune; to withdraw, you are like the ram caught in the hedge.

进而求仕固然可保见龙在田之利，退而失据则如羝羊触藩、进退两难。

Press forward to office, and you may gain the advantage of the seen dragon; draw back and lose your footing, and you are like the butting ram caught in the hedge.

此联以《易》理说仕隐利害，是全诗议论最精深处。龙见出《易·乾》九二见龙在田、利见大人，喻出仕而有所作为；触藩羝出《易·大壮》上六羝羊触藩、不能退、不能遂，喻进退维谷。进则保龙见谓进而求仕固然可得一时之显，退则触藩羝谓稍一失据便陷入羝羊触藩的困境——在郭璞看来，乱世出仕如履薄冰，功成身退者鲜，而进退失据者多。二句以《易》卦爻辞对举，说理精切而无说教之病，将仕途之险恶与隐遁之安稳剖白无遗。这种以经义入诗、以玄理为骨的手法，正是郭璞游仙诗借仙咏怀、非列仙之趣的典型，亦见其易学渊源之深。

The couplet uses the wisdom of the Changes to argue the stakes of office and retirement, the most refined argument of the poem. The 'seen dragon' comes from the Qian hexagram's second line, 'the dragon appearing in the field, favorable to see the great man,' symbolizing taking office and achieving something. The 'ram caught in the hedge' comes from the Da Zhuang hexagram's top line, a butting ram caught in the hedge, unable to withdraw or advance, symbolizing a dilemma. 'To advance may win the sighting dragon's fortune' means taking office may bring a moment's eminence; 'to withdraw, you are like the ram caught in the hedge' means a single misstep and one falls into the ram's predicament. In Guo Pu's view, serving in a chaotic age is treading thin ice; few withdraw when the work is done, and many are trapped. The two lines pair the Changes' line statements, arguing precisely without preaching, laying bare the danger of office and the security of retirement. This method of bringing scripture into verse and metaphysics into bone is typical of Guo Pu's immortal verse that laments through immortality, and shows the depth of his learning in the Changes.

高蹈风尘外，长揖谢夷齐。

He strides high beyond the dusty world, and with a long bow takes leave even of Boyi and Shuaf.

不如高蹈于风尘之外，长揖作别那伯夷叔齐。

Better to stride far beyond the dusty world, and with a long bow bid farewell to Boyi and Shuaf themselves.

末联收束全篇，陡起新意，是理解此诗的关键。高蹈谓远走高蹈，风尘外谓超脱尘世之外；谢即辞别，夷齐指伯夷、叔齐。伯夷叔齐不食周粟、采薇首阳，已是隐逸的极致，诗人却说长揖谢夷齐——揖别夷齐，连这样的高士也不足效法，须更高蹈于风尘之外，与道冥合。这一翻案之笔，将传统隐逸与游仙境界拉开距离：夷齐之隐尚有气节可称，犹落形迹；游仙之高蹈，则彻底超脱尘世、无迹可求。由京华山林对举，经采药潜盘、典说仕隐，至此境界全出，立意高远，玄思渺渺，是郭璞游仙诗超越前人的地方。

The closing gathers the poem and strikes a new idea, the key to understanding it. 'Stride high' means to go far; 'beyond the dusty world' means above the mortal world; 'take leave' means to part from; 'Boyi and Shuaf' are the two brothers. They starved on Mount Shouyang rather than eat Zhou grain, the very height of reclusion, yet the poet says 'with a long bow take leave of Boyi and Shuaf'—parting even from such worthies, for they are not to be emulated, and one must stride higher beyond the dusty world and merge with the Way. This reversal distances traditional reclusion from immortal wandering: the withdrawal of Boyi and Shuaf has its integrity yet still falls into form, while the high stride of the immortal entirely transcends the mortal world, leaving no trace. From the opening pairing of capital and forest, through gathering herbs and the allusive argument on office and retirement, the realm is fully realized, the aim lofty and the thought ethereal—the way Guo Pu's immortal verse surpassed his predecessors.

Study

Word focus

挹 It means to scoop or ladle up; set beside the clear ripples it renders the light, deft act of cupping water at a stream, and shows the recluse wholly at ease. 临源挹清波之挹字，即舀取之意，是全诗写隐逸之乐最见功力的动词。挹字本义为以器舀水，诗人不用掬、取、汲等常见字，而用挹，一则见动作之轻灵从容——挹是轻轻舀取，如挹取清波、挹彼注兹，正合隐者优游闲雅之态；二则挹有汲取谦纳之意，暗写隐者与自然相取相与、不贪不夺的情怀。与清波相配，挹清波三字将临流掬水的画面写得澄澈生光，声色俱佳。此字又见于《诗经》挹彼注兹，有经典渊源，正见郭璞好用经语入诗的特点。若易为取、掬，则失其古雅轻灵之韵，故挹字之妙，在雅、在轻、在闲，一字而见隐者风神。

谢 It means to take leave of; to bow long and part even from Boyi and Shuqi says that the poet's aim lies beyond the received models of reclusion, and the single word carries the whole finality of that choice. 长揖谢夷齐之谢字，是全诗立意翻新的关键字。谢即辞别、告别，用于伯夷叔齐之前，出人意表：伯夷叔齐是千古高隐的典范，诗人却说长揖谢夷齐，要与他们作别，连这样的高士也不足效法。此字有三层妙处：其一，谢见姿态之从容，长揖而谢，是彬彬有礼的告别，而非鄙弃唾弃，正见高蹈者超然物外的风度；其二，谢见境界之超越，揖别夷齐，意味着连气节之隐、采薇之隐都在超越之列，唯高蹈于风尘之外、与道冥合才是归宿，立意之高，为游仙诗所仅见；其三，谢字押韵收束，音节清亮，于篇末一击，全诗精神顿现。若易为别、辞，则失其玄远之思，谢字之妙，在礼、在远、在决。

窟 A key expression in the poem. Read it as an image, mood, or grammar point in context. 京华游侠窟之窟字，是全诗立论的关键字眼。窟本指洞穴、窝巢，多用于贬义，诗人以之形容京华，谓繁华的京都不过是游侠聚居的窟穴——争名逐利、刀光剑影的渊薮，一窟字而繁华之虚妄毕现。此字下得斩截冷峻，毫不留情，与下句山林隐遁栖之栖字形成鲜明对照：窟是窟穴，栖是栖息，一为争夺之地，一为安居之所，贬京华而褒山林，立场于此立判。以窟状京都，亦见汉魏乐府以俗字入诗的传统，语言质朴而风力遒上。后世以尘网、樊笼喻官场，与郭璞之窟字同一机杼，皆以贬词写仕途，而窟字之粗犷凌厉，更见晋人议论之痛快。