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元 Yuan · 曲 Qu song

金字经·乐闲

Jin Zi Jing: The Joy of Leisure

张可久

Zhang Kejiu

百年浑似醉，满怀都是春，高卧东山一片云。
嗔，是非拂面尘。
消磨尽，古今无限人。
范蠡黄金像，谪仙白玉杯，不若渊明解印归。
谁，似他能见机？
醺醺醉，免人谈是非。
春闺粉淡孤鸾镜，梦回双凤台，满院东风花正开。
猜，玉奴何处来？
阑干外，插花寻玉钗。
梅友元帅席上粉筝才ㄐ罢，锦笺初展开，小小机关走智儿猜。
挨，小桃花下来。
堪人爱，翠云簪玉钗。

A hundred years are no more than a drunken sleep,
And my breast is wholly spring:
I lie high on Dongshan beneath a single cloud.
Anger - right and wrong are but the dust that beats my face.
All wasted, and wasted away:
Countless people, ancient and modern.
Fan Li's golden image, the Hermit's jade cup -
Not a one of them compares with Yuanming laying down his seal and going home.
Who is like him, who reads the turn of affairs in time?
Drunken, drunken:
So that men may not speak of right and wrong.
Listen

Meaning

The song measures a whole life as a single drunken sleep and declares the heart full of spring while lying in serene retirement. What it cannot escape is the world of blame: right and wrong fall on the face like dust, and history wastes its people. Comparing the glory of Fan Li with the cup of the poet Li Bai, the speaker decides that the only real wisdom is Yuanming's resignation, and that settling for drunkenness is what frees him from other people's talk.

百年浑似醉，满怀都是春，高卧东山一片云。嗔，是非拂面尘。消磨尽，古今无限人。范蠡黄金像，谪仙白玉杯，不若渊明解印归。谁，似他能见机？醺醺醉，免人谈是非。春闺粉淡孤鸾镜，梦回双凤台，满院东风花正开。猜，玉奴何处来？阑干外，插花寻玉钗。

Appreciation

[Plain Paraphrase] The speaker begins with a maxim about human life and his own ease, then names the annoyance that ruins it - other people's judgement - and answers it with three historical figures. He ends on a plan: get drunk and be above discussion. [Structure] The argument is a compressed syllogism - life is short, the world is quarrelsome, therefore withdraw - and three couplets of illustration stand between the premise and the conclusion. [Imagery] The images are two geological ages of feeling: the private comfort of cloud and spring, and the public dust of blame. 'Dust that beats my face' is the poem's one vivid figurative line, and it does the work of turning an abstraction into weather. [Art] The two decisions it reports are placed asyndetically: 'A hundred years are no more than a drunken sleep' and 'All wasted, and wasted away'. The poem's real beauty, though, is in the brackets - the short non-clauses 'Anger -' and 'Drunken, drunken' - which arrive like aside remarks in conversation and give the piece the look of talk rather than composition.

【白话串讲】 张可久写《金字经·乐闲》：“百年浑似醉，满怀都是春，高卧东山一片云”——“嗔，是非拂面尘”——“消磨尽，古今无限人”——“范蠡黄金像，谪仙白玉杯，不若渊明解印归”——他写乐闲——高卧东山一片云。 【意象与手法】 “百年浑似醉、满怀都是春”写百年浑似醉；“高卧东山一片云、嗔，是非拂面尘”写高卧东山；“范蠡黄金像、谪仙白玉杯、不若渊明解印归”写范蠡黄金像；结以“谁，似他能见机？醺醺醉，免人谈是非”写免人谈是非。闲适隐逸。 【情感与主旨】 张可久写乐闲之作，写百年浑似醉、高卧东山与不若渊明解印归的隐逸，是张可久曲中的名篇。 【名句点睛】 常考“百年浑似醉，满怀都是春”写醉里春；“高卧东山一片云”写隐逸之乐。

Background

Zhang Kejiu (c. 1270-c. 1348), courtesy name Xiao Shan, was from Qingyuan, present-day Ningbo in Zhejiang, and held a long series of minor Yuan offices before ending his career as a Taoist recluse in the Wu mountains. He is the most prolific of the Yuan sanqu writers, credited with more than eight hundred song-verse pieces, and is ranked with Guan Yunshi and Qiao Ji as one of the three greats. His style is described as qingli - clear and lovely - and this piece in the Nanlv mode, with its light allusive texture, shows why; the anthology 'Yang Chun Xiu' preserved it early.

《金字经·乐闲》为元代散曲家张可久所作曲。张可久（约1270—约1348），字小山，庆元（今浙江宁波）人，元代散曲家，以清丽见长。此曲写景隐逸，为咏乐闲之作。曲中「百年浑似醉，满怀都是春，高卧东山一片云」写百年浑似醉，满怀都是春，高卧东山一片云；「嗔，是非拂面尘」写嗔，是非拂面尘；「消磨尽，古今无限人」写消磨尽，古今无限人；「范蠡黄金像，谪仙白玉杯，不若渊明解印归」写范蠡黄金像，谪仙白玉杯，不若渊明解印归；「谁，似他能见机？醺醺醉，免人谈是非」写谁，似他能见机？醺醺醉，免人谈是非。张可久此曲以写景隐逸、免人谈是非写其隐逸之情，闲适隐逸，是张可久曲中的名篇。此篇《金字经·乐闲》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《金字经·乐闲》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The song is built on contrast pairs that are very short: sleep against spring, cloud against dust, the golden image and the jade cup against a hand that returns a seal, drinkers against slanderers. Each pair is delivered as a parallel clause of four or five characters, so the whole piece has the brisk, balanced tempo of a maxim collection. Zhang Kejiu's skill is in the placement of the loose particles - 'Anger -' and 'Who is like him' - which break the parallelism at exactly the two points where the argument changes register, from description to feeling. The closing couplet abandons parallel construction altogether for plain statement, so the song ends on its own voice rather than on its own pattern.

此曲艺术上以「闲适隐逸、以醉写情」见长。全曲由百年浑似醉而高卧东山一片云而范蠡黄金像。起「百年浑似醉，满怀都是春，高卧东山一片云」写百年浑似醉：百年浑似醉，满怀都是春，高卧东山一片云；「嗔，是非拂面尘」写嗔，是非拂面尘；「消磨尽，古今无限人」写消磨尽：消磨尽，古今无限人；「范蠡黄金像，谪仙白玉杯，不若渊明解印归」写范蠡黄金像：范蠡黄金像，谪仙白玉杯，不若渊明解印归；结「谁，似他能见机？醺醺醉，免人谈是非」写免人谈是非：谁，似他能见机？醺醺醉，免人谈是非。全曲以醉写情，由百年浑似醉而免人谈是非，闲适隐逸，是张可久曲中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

Four classical figures pass through eleven lines. Dongshan is the Eastern Jin statesman Xie An, who 'lay high' in retirement on Dawn Mountain before being called out to save the state, so that idle reclusion is here asserted as a complete life rather than a prelude. Fan Li, the strategist who helped found the Han and then withdrew with a famously large fortune, stands for success withdrawn from. The 'Hermit' (the Daoist Li Bai of the Tang, so titled by Emperor Xuanzong) supplies the image of genius enjoying a jade cup. Yuanming, Tao Qian, is the final judge: he resigned his seal and walked home, and the speaker prefers that to both. The sequence is a ranked list of escapes, and the ranking is the poem.

曲中「百年浑似醉满怀都是春高卧东山一片云」「嗔是非拂面尘」「消磨尽古今无限人」「范蠡黄金像谪仙白玉杯不若渊明解印归」「谁似他能见机醺醺醉免人谈是非」等语，皆含典故故实。「百年浑似醉满怀都是春高卧东山一片云」用东山之典（东山写谢安高卧），写百年浑似醉满怀都是春高卧东山一片云；「嗔是非拂面尘」写嗔是非拂面尘；「消磨尽古今无限人」写消磨尽古今无限人；「范蠡黄金像谪仙白玉杯不若渊明解印归」用范蠡、谪仙、渊明之典（范蠡写功成身退，谪仙写李白，渊明写陶潜归隐），写范蠡黄金像谪仙白玉杯不若渊明解印归；「谁似他能见机醺醺醉免人谈是非」写谁似他能见机醺醺醉免人谈是非。曲人用东山、范蠡、谪仙、渊明之典入曲，不着痕迹，而把写景隐逸之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

This Nanlv piece is one of the most frequently quoted of Zhang Kejiu's songs, and anthologies usually place it beside the Guan Yunshi retirement lyrics as a type example of the 'leisure' theme. Its quiet fame rests on the honesty of its inconsistency: the poet has decided to withdraw, yet needs to tell the reader that the world is still hitting him in the face. Later readers of the interior-Ming and Qing periods found in such poems a code of behaviour for men who had left office and did not want to be pressed back into it, and this is why the image of the drifter who is 'below discussion' recurs in their writing. What keeps it readable today is the refusal to moralise: there is no praise of poverty here, only the observation that a drunken man escapes other people's tongues.

这首《金字经·乐闲》，是张可久写写景隐逸之作，写百年浑似醉、高卧东山一片云、消磨尽、免人谈是非之情，闲适隐逸。起「百年浑似醉，满怀都是春，高卧东山一片云」——百年浑似醉，满怀都是春，高卧东山一片云。写百年浑似醉：百年浑似醉、满怀都是春、高卧东山一片云——浑似醉、都是春、一片云；「嗔，是非拂面尘」——嗔，是非拂面尘。写嗔，是非拂面尘：嗔、是非拂面尘——拂面尘；「消磨尽，古今无限人」——消磨尽，古今无限人。写消磨尽：消磨尽、古今无限人——消磨尽、无限人；「范蠡黄金像，谪仙白玉杯，不若渊明解印归」——范蠡黄金像，谪仙白玉杯，不若渊明解印归。写范蠡黄金像：范蠡黄金像、谪仙白玉杯、不若渊明解印归——黄金像、解印归；结「谁，似他能见机？醺醺醉，免人谈是非」——谁，似他能见机？醺醺醉，免人谈是非。写免人谈是非：谁、似他能见机、醺醺醉、免人谈是非——能见机、谈是非。这「谁，似他能见机？醺醺醉，免人谈是非」，是全曲之结：以免人谈是非写其隐逸。全曲闲适隐逸，以醉写情，正是张可久曲中的名篇。

Prosody

Form Yuan sanqu song-verse, melody 'Jin Zi Jing', Nanlv mode曲（散曲·南吕·金字经）
Rhyme The song rhymes throughout on the 'zhen, wen' group: chun, yun, chen, ren, gui, fei - close enough for a single continuous rhyme chain, which holds the whole short piece together. Compared with Guan Yunshi's single open -ai rhyme, Zhang Kejiu's chosen vowel is darker and more closed, giving the verses a drier, more reflective sound.此曲为散曲，属南吕宫【金字经】曲牌。押韵：「春」「云」「尘」「人」「归」「非」等部。句式长短错落，衬字自然，正与写写景隐逸的闲适隐逸相称，也见其以散曲写隐逸的灵动。
Tone pattern The lines are short and heavily parallel, mostly of the type four plus seven, so the recitative has a brisk marching step. The two one-word exclamations 'Anger -' and 'Drunken, drunken' break that step and are the only irregularity, which is why they read as speech. The last couplet relaxes into longer, slower clauses.句式上，「百年浑似醉，满怀都是春，高卧东山一片云」写百年浑似醉，音节闲适；「嗔，是非拂面尘」写嗔，是非拂面尘，音节短促；「范蠡黄金像，谪仙白玉杯，不若渊明解印归」写范蠡黄金像，音节流转；结「谁，似他能见机？醺醺醉，免人谈是非」写免人谈是非，音节疏放。全曲音节随情起伏，由闲适而短促、由流转而疏放，正合散曲「灵动」之妙，读来如写景隐逸、免人谈是非之音，闲适而动人。
Reading note This Nanlv melody belongs formally to the songs of leisure, which permitted great freedom of sentence. Zhang Kejiu's reputation for 'clear and lovely' style rests on exactly this: the melodies are held to a rhyme and a general cadence, and everything else - filler words, reversals, one-word asides - is left to the poet. Reading aloud, the piece should be delivered quickly and levelly, with the pauses falling after the exclamations; the charm is in the plainness of the clauses between them.此曲为散曲，是张可久写写景隐逸之作，也是其曲中的名篇。全曲的艺术特色在于「闲适隐逸、以醉写情」：「百年浑似醉，满怀都是春，高卧东山一片云」写百年浑似醉、「嗔，是非拂面尘」写嗔，是非拂面尘、「范蠡黄金像，谪仙白玉杯，不若渊明解印归」写范蠡黄金像、「谁，似他能见机？醺醺醉，免人谈是非」写免人谈是非。全曲闲适隐逸，以醉写情。尤为精妙者，是「高卧东山一片云」用东山之典；而「不若渊明解印归」用渊明之典，正是张可久曲「闲适隐逸」的典范，为历代选本所常收。《金字经·乐闲》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

百年浑似醉，满怀都是春，高卧东山一片云。

A hundred years are no more than a drunken sleep, / and my breast is wholly spring: / I lie high on Dongshan beneath a single cloud.

百年浑似醉，满怀都是春，高卧东山一片云。

A hundred years as if all drunk; the breast full of spring; lying high on the Eastern Hill, a single cloud.

起句写百年浑似醉，起笔即见其百年。「百年浑似醉」写百年浑似醉，「百年浑似」写百年浑似、「醉」写醉；「满怀都是春」写满怀都是春，「满怀都是」写满怀都是、「春」写春；「高卧东山一片云」用东山之典写高卧东山一片云，「高卧东山」写高卧东山、「一片云」写一片云。一句写百年浑似醉满怀都是春高卧东山一片云，以百年浑似醉写浑似醉、以高卧东山一片云写一片云，写尽百年浑似醉、满怀都是春、高卧东山一片云之情。以醉起兴，闲适而隐逸，是「以醉起兴」的妙笔。

The opening begins: 'a hundred years as if all drunk' — the whole of life like drunkenness; 'the breast full of spring'; 'lying high on the Eastern Hill, a single cloud' uses the allusion to the Eastern Hill where Xie An, the recluse-statesman, dwelt. Drunkenness as the springboard, leisure and recluse life — a fine stroke.

嗔，是非拂面尘。

Anger - right and wrong are but the dust that beats my face.

嗔，是非拂面尘。

I fret: right and wrong are but dust brushing the face.

此句写嗔是非拂面尘，是全曲写是非之态的关键。「嗔」写嗔，「嗔」写嗔；「是非拂面尘」写是非拂面尘，「是非」写是非、「拂面尘」写拂面尘。一句写嗔是非拂面尘，以嗔写嗔、以是非拂面尘写拂面尘，写尽嗔、是非拂面尘之情。以尘写情，闲适而隐逸，是「以尘写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

This line writes the fret at right and wrong as dust on the face: the 'fret,' then the world's disputes as dust brushing the brow. Writing feeling through dust, leisure and recluse life — the telling stroke. A few words hold deep meaning, feeling and cadence together; beneath the plainness lie undercurrents, and only slow, fond savoring brings out the inner meaning.

范蠡黄金像，谪仙白玉杯，不若渊明解印归。

Fan Li's golden image, the Hermit's jade cup - / not a one of them compares with Yuanming laying down his seal and going home.

范蠡黄金像，谪仙白玉杯，不若渊明解印归。

Fan Li's golden statue, the Banished Immortal's white jade cup — neither equals Tao Yuanming's laying down the seal and going home.

此句写范蠡黄金像，是全曲写范蠡之态的关键。「范蠡黄金像」用范蠡之典写范蠡黄金像，「范蠡」写范蠡、「黄金像」写黄金像；「谪仙白玉杯」用谪仙之典写谪仙白玉杯，「谪仙」写谪仙、「白玉杯」写白玉杯；「不若渊明解印归」用渊明之典写不若渊明解印归，「不若渊明」写不若渊明、「解印归」写解印归。一句写范蠡黄金像谪仙白玉杯不若渊明解印归，以范蠡黄金像写黄金像、以不若渊明解印归写解印归，写尽范蠡黄金像、谪仙白玉杯、不若渊明解印归之情。以隐写情，闲适而隐逸，是「以隐写情」的点睛之笔。

This line sets Fan Li, the Banished Immortal (Li Bai), and Tao Yuanming against one another: Fan Li, honored with a golden statue; Li Bai, with his white jade cup; neither the equal of Tao Yuanming, who resigned his seal and returned. Writing feeling through reclusion, leisure and recluse life — the telling stroke.

谁，似他能见机？醺醺醉，免人谈是非。

Who is like him, who reads the turn of affairs in time? / Drunken, drunken: / so that men may not speak of right and wrong.

谁，似他能见机？醺醺醉，免人谈是非。

Who else could read the signs as he did? Drunk and tipsy, beyond the reach of men's talk of right and wrong.

结句写免人谈是非，是全曲立意的落点。「谁，似他能见机」写谁似他能见机，「谁」写谁、「似他能见机」写似他能见机；「醺醺醉」写醺醺醉，「醺醺」写醺醺、「醉」写醉；「免人谈是非」写免人谈是非，「免人」写免人、「谈是非」写谈是非。一句写谁似他能见机醺醺醉免人谈是非，以醺醺醉写醉、以免人谈是非写谈是非，写尽谁似他能见机、醺醺醉、免人谈是非之情。以醉写情，闲适而隐逸，是全曲最动人处，也是「以醉写情」的点睛之笔。

The closing lands the song's meaning: 'who else could read the signs as he did?' — who else so knew the times; 'drunk and tipsy, beyond the reach of men's talk of right and wrong.' Writing feeling through drunkenness, leisure and recluse life — the most moving point of the song, its finishing stroke.

Study

Word focus

百年 'Bai nian', a hundred years - the conventional round number for a human life, used here with the plain effect of a maxim. 'A hundred years are no more than a drunken sleep' compresses the whole traditional anxiety about human life into a five-character line, which is why it can open a poem of leisure rather than a poem of complaint. 「百年」写百年浑似醉，是写百年之态的关键。「百年浑似醉」着一「百年」，写百年——着一「百年」，写百年浑似醉，见其年之百。两字写尽百年之态，是「以词写年」的妙笔。「百年」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
东山 'Dongshan', Dawn Mountain, the place of retirement of the Jin statesman Xie An. Because Xie was later called out to govern, the name carries an ambiguity the poet is happy to leave open: the retreat he praises is self-sufficient, not a waiting room for office. 「东山」写高卧东山一片云，是写东山之态的关键。「高卧东山一片云」着一「东山」，写东山——着一「东山」，写高卧东山一片云，见其山之东。两字写尽东山之态，是「以词写山」的点睛之词。「东山」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
渊明 Yuanming, the courtesy name of Tao Qian (365-427), who resigned his county post and went home. 'Laying down his seal' is the literal act of resignation, and it is the standard figure in later poetry for the choice between career and nature; here it is the verdict the poet puts on the two earlier figures. 「渊明」写不若渊明解印归，是写渊明之态的关键。「不若渊明解印归」着一「渊明」，写渊明——着一「渊明」，写不若渊明解印归，见其明之渊。两字写尽渊明之态，是「以词写陶」的点睛之词。「渊明」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
是非 'Shi fei', right and wrong - and, as so often in Chinese, the quarrelling about them rather than the truth itself. 'The dust that beats my face' turns public judgement into a physical weather, and 'that men may not speak of right and wrong' shows what the poet actually wants from wine: not truth but immunity. 「是非」写免人谈是非，是写是非之态的关键。「免人谈是非」着一「是非」，写是非——着一「是非」，写免人谈是非，见其非之是。两字写尽是非之态，是「以词写非」的点睛之词。「是非」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

水调歌头·明月几时有 Shui Diao Ge Tou: How Long, Fair Moon 苏轼 · 同写隐逸感怀、闲适旷达，一写我欲乘风归去、一写百年浑似醉满怀都是春高卧东山一片云，皆于隐逸之中见闲适 Both open by measuring a whole life against water and time - 'a hundred years are no more than a drunken sleep' against 'the moon, when was it first lit?' - and both move toward a released self

Su Shi's lyric asks when the moon was first lit and travels it through the sky, arguing with himself about fame ('I should swell my statutes and carve my name') before deciding on a warm humanism. Zhang Kejiu's opening couplet makes the same huge comparison of life and time in five characters and answers it by getting drunk. The Song work is the ancestor of the Yuan attitude: the crisis of a public career, dissolved not by argument but by a change of scale. This is why the Yuan song can afford to be so short.

苏轼《水调歌头·明月几时有》「我欲乘风归去，又恐琼楼玉宇，高处不胜寒」，写隐逸感怀、闲适旷达，是宋词长调的名篇；张可久《金字经·乐闲》则以「百年浑似醉，满怀都是春，高卧东山一片云」「不若渊明解印归」写东山一片云、解印归。两曲同写隐逸感怀、闲适旷达：一写我欲乘风归去、以乘风写超然，一写百年浑似醉满怀都是春高卧东山一片云、以醉写隐逸；一为苏轼之旷达、一为张可久之闲适，并读正可见诗曲写「隐逸感怀」的两种笔法，皆于隐逸之中见闲适。

 八声甘州·对潇潇暮雨洒江天 Ba Sheng Gan Zhou: Against the Drizzling Rain 柳永 · 同写醉中凝望、闲适清丽，一写对潇潇暮雨洒江天、一写百年浑似醉满怀都是春，皆于醉中之中见凝望 Both put a high place and a wide view at the centre - the river bank, the mountain cloud - and use it to reduce the pressures of public life

Liu Yong's tower after the rain is the ancestor of the position Zhang Kejiu occupies when he 'lies high on Dongshan beneath a single cloud'. But where Liu Yong's view produces a long melancholy catalogue of exiles and his own wandering, the Yuan song produces a decision, delivered in the plainest possible words. The comparison is instructive for the learner: the same setting, the same theme of retirement, gives a Song ci its weight and a sanqu its speed.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写醉中凝望、闲适清丽，是宋词写羁旅的名篇；张可久《金字经·乐闲》则以「百年浑似醉，满怀都是春，高卧东山一片云」「嗔，是非拂面尘」写浑似醉、拂面尘。两曲同写醉中凝望、闲适清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写百年浑似醉满怀都是春、以醉写隐逸；一为柳永之清丽、一为张可久之闲适，并读正可见诗曲写「醉中凝望」的两种笔法，皆于醉中之中见凝望。