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近现代 近现代 · 诗 Poem

过若松町有感示仲兄

Passing Wakamatsu-chō, With Feelings Shown to My Elder Brother

苏曼殊

Su Manshu

契阔死生君莫问，行云流水一孤僧。
无端狂笑无端哭，纵有欢肠已似冰。

Ask me not of separation in death and life;
I am a lone monk, like drifting cloud and flowing water.
For no reason I laugh madly, for no reason I weep;
though a joyful heart be in me, it is already like ice.
Listen

Meaning

Written in Japan to a close friend ('elder brother'), the poem is Su Manshu's naked self-portrait as a monk who cannot forget the world. He begs his friend not to ask of life-and-death partings, declares himself a drifting lone monk, then confesses fits of causeless laughter and weeping, and ends in frozen despair—his capacity for joy long since turned to ice.

生离死别、生死契阔的旧事，请你莫要再问起。我本是一个行如行云、止如流水、飘零无定的孤僧。无缘无故地狂笑，无缘无故地痛哭，纵然还有一腔欢乐的心肠，也早已冷得像冰一样了。

Appreciation

[Plain Paraphrase] Do not ask me of life-and-death partings; I am a lone monk, drifting like cloud and water. For no reason I laugh wildly, for no reason I weep; even if a joyful heart remains, it is already like ice. [Structure] Four lines descend from refusal, to self-naming, to eruption, to deathly stillness—a complete emotional parabola. [Imagery] 'Drifting cloud and flowing water' figures rootless wandering; 'laugh madly, weep' the uncontainable feeling; 'joyful heart like ice' the frozen terminus. [Tone] Cold on the surface, burning beneath—the typical 'passionate monk' voice.

【白话串讲】 苏曼殊写《过若松町有感示仲兄》：“契阔死生君莫问，行云流水一孤僧”——“无端狂笑无端哭，纵有欢肠已似冰”——他写自己的孤僧生涯——行云流水一孤僧。 【意象与手法】 “契阔死生君莫问，行云流水一孤僧”以“行云流水”写孤僧飘零；“无端狂笑无端哭，纵有欢肠已似冰”以“无端狂笑无端哭”写癫狂、“欢肠似冰”写冷寂。语言简劲，以反语出真情。 【情感与主旨】 苏曼殊客居日本若松町感怀身世、寄示仲兄之作，把一个出家而未能忘情、放浪而实深悲哀的“情僧”形象写得入骨，是苏曼殊诗中自剖最深的一首。 【名句点睛】 常考“契阔死生君莫问，行云流水一孤僧”以行云流水写孤僧飘零；“无端狂笑无端哭，纵有欢肠已似冰”以狂笑痛哭写情僧悲哀。

Background

Su Manshu (1884–1918), from Xiangshan, Guangdong, was the son of a Chinese merchant in Japan and a Japanese mother—a mixed, unsettled heritage. He took monastic vows early (dharma name Manshu) yet wandered all his life between China and Japan, among revolutionaries, singsong houses, and temples, never marrying despite many loves. This quatrain was written around 1907 while he lodged at Wakamatsu-chō in Japan, sent to a intimate friend ('elder brother,' possibly Chen Duxiu or Liu Shipei). It is his most self-revealing poem, fusing the monk's emptiness, the exile's rootlessness, the patriot's grief, and the lover's obsession into one contradictory self.

此诗约作于清光绪三十三年（1907）前后，苏曼殊东渡日本、寓居若松町时。「仲兄」指陈独秀（一说为刘师培），曼殊在日本与诸革命党人过从甚密，此诗即寄赠挚友、自剖衷曲之作。苏曼殊（1884—1918），广东香山人，父为旅日华侨，母为日本女子，身世奇特：早年出家为僧，法号曼殊，却一生颠沛于中日之间，交游革命志士，出入歌楼酒肆，情史缠绵而始终不娶。他既是诗僧，又是情僧，亦僧亦俗、亦侠亦儒，其诗以七绝见长，清艳明丽而情思深挚，时有出人意表的奇语。此诗写于异国客舍，面对山河破碎、身世飘零的乱世，曼殊自道「契阔死生」「行云流水」「狂笑痛哭」「欢肠似冰」，把僧人的空寂、游子的飘零、志士的悲愤与情人的痴绝熔于一炉，正是其矛盾人格最集中的一次袒露。诗中「莫问」「已似冰」等语，貌似决绝，实则深情宛转，哀感顽艳，是清末民初诗坛「情僧」一格的典范作品，此后苏曼殊诗名愈盛，与李叔同等并为近代诗坛独标一格的人物，其「情僧」形象亦因此诗而深入人心。

Art

The art is built on reversal and self-dissection. The opening 'ask me not' refuses the question yet betrays its weight—'death-and-life partings' leaks the very secret it withholds. The second line names him 'a lone monk, like drifting cloud and flowing water,' where 'lone' tips easy detachment into loneliness. The third line erupts: two 'for no reason' (wu duan) show feeling beyond reason's control, laughter and weeping set side by side. The close 'though a joyful heart be in me, it is already like ice' yields even that heat to frost. Emotion falls line by line from refusal to drifting, to madness, to deathly chill—like flame plunging into a cold pool; the colder the language, the deeper the feeling. In twenty-eight characters a full emotional arc completes, akin to Li Shangyin's layered progression, yet in a plainly modern voice.

此诗艺术上以「反语」与「自剖」为骨，四句层层逼进，把一座冰炭交战的内心写得淋漓酣畅。首句「契阔死生君莫问」，以拒答起笔——「君莫问」三字看似推挡，实则欲盖弥彰，把生死契阔的沉重往事半掩半露，愈发引人追想；次句「行云流水一孤僧」自述身份，以「行云流水」状飘零之态，着一「孤」字点出根本处境，语似洒脱而悲已暗涌；三句「无端狂笑无端哭」忽作惊人之笔，连用两个「无端」，写情感的不能自主、倏忽万变，狂笑与痛哭并置，把一个癫狂而真率的形象推到读者面前；结句「纵有欢肠已似冰」再进一层，以「纵有」让步、「已似冰」收束，写连那狂笑痛哭的热情本身也已冷却，剩下的只是一片彻骨的寒凉。全诗由拒说到自道，由飘零到癫狂，由癫狂到死寂，情绪层层跌落，恰如从烈焰跌入寒潭；语言则愈转愈冷，愈冷愈见深情，是苏曼殊以简驭繁、以冷写热的绝笔。四句之中，句句有转折，句句见层次，二十八字内完成一个完整的情感抛物线，其结构与「锦瑟无端五十弦」式的层层递进异曲同工，而笔法之痛快直白，又完全是近代诗人的口吻。

Allusions

Few but resonant allusions: 'separation in death and life' (qi kuo si sheng) comes from the Shi Jing 'death and life, apart or together, our word is pledged'—a lovers' vow Su Manshu turns to his own unkept, unforgettable bonds, all the heavier from a monk's mouth. 'Drifting cloud and flowing water' echoes Su Shi's prose on writing 'flowing where it should, stopping where it must,' and the Buddhist 'cloud-water monk' wandering mendicant, marking his dual identity as monk and wanderer. 'For no reason' (wu duan) inherits Li Shangyin's 'the jewelled zither, for no reason, has fifty strings,' transferring late-Tang melancholy to modern uncontainable feeling. The allusions hide in plain speech, so classical depth and modern wildness clash—and notably pair Buddhist, canonical, and late-Tang love language to mirror the monk-versus-world war within him.

此诗用典不多而皆含深意。「契阔死生」出自《诗经·邶风·击鼓》「死生契阔，与子成说」，本写征夫与妻子的生死之约、相守之誓，苏曼殊用此语，既自况身世之飘零聚散，又暗含与所爱者生死相许而不能相守的隐痛——一个出家人说起「契阔死生」，愈见其心有所系。「行云流水」本为苏轼论文之语（「常行于所当行，常止于不可不止」），又兼佛教「云水僧」之谓，指四处行脚的僧人，曼殊以此自状，正写出其亦僧亦游的双重身份。「无端」一词，出自李商隐《锦瑟》「锦瑟无端五十弦」，「无端」即无缘无故、莫可名状，李商隐以之写人生之怅惘，曼殊以之写情感的不可理喻，承接晚唐婉约一派而来，可见其诗学渊源。全诗用典皆化于口语般的诗句之中，不见堆砌，而古语的深厚意蕴与近世的狂放情思相激相荡，正是苏曼殊融合旧学与新声的独特面目。尤须注意者，其用典之妙不在炫学，而在以佛语（行云流水、孤僧）、经语（契阔死生）、晚唐情语（无端）三者并置，正映照出诗人心底僧与俗、佛与情、古与今的多重交战，可谓句句有来历，而句句都是自己的声音。

Commentary

What stuns is the truth of contradiction pushed to the limit. A monk should be beyond life-and-death, heart like still water—yet he says 'ask me not,' because the matter is too heavy to touch. A cleric should be empty of the four elements, yet he 'laughs madly, weeps for no reason,' overcome. And the coldest line, 'though a joyful heart be in me, it is already like ice,' sentences even that mad warmth to death—not that he lacks a joyful heart, but that it is frozen by the age, his fate, his monk's name. Four lines move from refusal to confession, from wandering to madness, from madness to stillness, enacting the paradox 'much feeling is itself heartlessness': precisely because feeling is too deep, it can only escape as mad laughter and weeping; precisely because the heart is too hot, it turns to ice. Su Manshu, torn between monk and layman, love and duty, found in poetry his only outlet—offering the broken soul whole to the reader. Its frankness and depth are rare in modern verse.

读此诗，最撼人的是那种「矛盾到极致」的真。一个僧人，本应看破生死、心如止水，他却说「契阔死生君莫问」，分明是生死之事太重、太痛，不敢也不愿再提；一个出家人，本应四大皆空，他却「无端狂笑无端哭」，情之所激，不能自已；而最冷的一句「纵有欢肠已似冰」，连那癫狂的热情都被判了死刑——不是没有欢肠，而是欢肠已被这乱世、这身世、这僧名冻成了冰。四句诗，从推拒到自陈，从飘零到癫狂，从癫狂到死寂，写尽了一个「多情乃是无情」的悖论：正因为情太深，才只能以狂笑痛哭出之；正因为心太热，才冷得像冰。苏曼殊一生，僧俗两难、情义两难，终于在诗中找到了唯一的出口——把冰与火、笑与哭、生与死，一并和盘托出。此诗之可贵，在于它不作禅语的超脱，不作名士的洒脱，而是把一个破碎的灵魂完整地交给读者，任人评说，其坦率与深刻，在近代诗中实为罕见，是「情僧」二字最形象的注脚。

Prosody

Form Seven-character quatrain (qijue), with archaic-flavored near-regulated form七言绝句（古体风韵的近体绝句）
Rhyme Level-tone rhyme on 'seng' (僧) and 'bing' (冰), both in the Zheng rhyme class, a clear, cold, sustained rhyme suiting the lone monk and icy close; the opening line ends on the oblique 'wen' (问), giving extra cadential bite.此诗押平声韵，韵脚为「僧」「冰」，属下平十蒸韵部，同韵相叶，声调清越悠长。「僧」字点出身份，落音清冷；「冰」字收束全篇，声如寒泉。十蒸韵本多写清冷幽独之境，恰与全诗「孤僧」「狂笑」「似冰」的冷冽情调相合。绝句通常四句一韵到底，此诗仅两句入韵而首句不押（「问」为去声仄韵），以仄起，声调上更有顿挫之感，正合全诗由推拒而决绝的语气变化。
Tone pattern The first line opens oblique and closed, like a refusal; the second turns level, like a sigh; the third runs in oblique syllables, surging like sudden madness; the close returns to level and low, like a receding cold current. The rise and fall of tone tracks the emotion's arc exactly.句式上，首句「契阔死生君莫问」仄起仄收，声调沉抑，如一口拒绝；次句「行云流水一孤僧」转平收，声调稍扬，如一声自叹；三句「无端狂笑无端哭」连用仄声，声调激越，如狂涛骤起；结句「纵有欢肠已似冰」转平收，声调复归低缓，如潮水退去、寒流暗涌。全诗仄平交替、扬抑相间，声调的起伏与情绪由抑而扬、由扬而抑的轨迹严丝合缝，是苏曼殊以声情助诗情的高妙之处。
Reading note The seven-character quatrain is shortest and must turn rather than state. Here, in twenty-eight characters, the full path from refusal to stillness is walked, via 'ask me not' inviting feeling, 'for no reason' erupting, and 'though' yielding to 'already like ice.' Daring touches—oblique opening, six oblique syllables in the mad-laughter line—match the wild feeling. Su Manshu's strength is the 'cold-brilliant' mode: monk's chill and lover's heat in one short, echoing song.七绝一体，篇幅最短，最忌直说，而贵在含蓄与转折。苏曼殊此诗却在二十八字内，完成了从拒答、自陈、爆发到死寂的完整情感流程，其关键在善于以「反语」与「让步」造势：首句以「莫问」反向邀情，三句以「无端」连写癫狂，结句以「纵有」让步后翻出「已似冰」的冷语，句句转折，步步逼深，把小令般的短章写出了长篇的跌宕。就声律而言，此诗虽用近体绝句的框架，却敢于以仄声收首句、以「无端狂笑无端哭」连用六个仄声字，突破常规的平仄谐畅，正与诗中狂放不羁的情态相应，可谓「以声写狂」。苏曼殊诗以七绝见长，此诗兼有僧人的冷峭与情人的热狂，音节短促而回响深长，是其诗风中「冷艳」一路的代表，也可见清末民初诗人在旧体框架内追求个性表达的努力。

Line by line

契阔死生君莫问，行云流水一孤僧。

Ask me not of separation in death and life; I am a lone monk, like drifting cloud and flowing water.

生离死别、生死契阔的往事，请你不要再来问起；我本是一个像行云流水一样飘零无依的孤僧。

Of life's partings and meeting, ask me no more; I am but a lone monk, drifting like cloud and running water.

起句便以拒答入手，别具张力。「君莫问」是推挡，更是畏惧——不是没有故事，而是故事太重，重到不敢回望、不愿重提；「契阔死生」四字却已泄露了底细，那是《诗经》里生死相许的盟誓之语，用在一个僧人身上，暗藏着多少未了的情缘。次句「行云流水一孤僧」，以行云流水状其飘零，本是佛门常见的自谦自况之语，却着一「孤」字，便从洒脱滑向了悲凉：行云流水，是无所依止的自由，也是无根无系的悲哀。两句一问一答、一推一陈，把一个「身是孤僧而心系死生」的矛盾形象立了起来，为后文狂笑痛哭的爆发积蓄了情绪。

The monk. Of life's partings and meeting, ask me no more; I am but a lone monk, drifting like cloud and running water. The ask-me-no-more against the lone-monk-drifting-like-cloud-and-water is the opening self-portrait. To have asked the friend not to ask about the past would be a refusal; the partings-and-deaths-ask-me-no-more against the lone-monk-like-cloud-and-water is the refusal.

无端狂笑无端哭，纵有欢肠已似冰。

For no reason I laugh madly, for no reason I weep; though a joyful heart be in me, it is already like ice.

无缘无故地狂笑，又无缘无故地痛哭；纵然还有一腔欢乐的心肠，也早已冷得像冰一样了。

For no reason I roar with laughter, for no reason I weep; though I still have a heart for joy, it is already like ice.

这两句是全诗情感的高潮与终点，也是理解苏曼殊人格的钥匙。「无端狂笑无端哭」连用两个「无端」，写情感的爆发全然不由自主，不受理智控制，也不受僧规约束——一个出家人，本应喜怒不形于色，他却在大庭广众之间狂笑、痛哭，仿佛要把一生的压抑都倾泻出来。妙在「狂笑」与「痛哭」并置，不是先笑后哭的转化，而是笑中有哭、哭中有笑，悲喜不分、冰炭同炉，正是情到深处、无处安放时的必然迸发。而「纵有欢肠已似冰」以「纵有」让步、「已似冰」收束，又把狂笑痛哭的热烈尽数推翻：并非没有欢乐的本能，正因「有」，才更见「已似冰」的悲哀——不是没有热度，而是热度早已被冰封、被冻彻。两句一热一冷、一放一收，恰如一场烈火燃到极处忽然熄灭，留下的不是灰烬，而是一整块冰，冷冽入骨，余韵寒凉。

The extremes. For no reason I roar with laughter, for no reason I weep; though I still have a heart for joy, it is already like ice. The two unreasoning extremes (roaring, weeping) and the heart-like-ice are Su Manzhu. To have described his uncontrolled emotions would be a mood; the unreasoning-roar-and-weep against the though-I-still-have-a-joyful-heart-it-is-already-ice is the mood.

纵有欢肠已似冰。

Though a joyful heart be in me, it is already like ice.

纵然还有一腔欢乐的心肠，也早已冷得像冰一样了。

Though I still have a heart for joy, it is already like ice.

结句以「纵有」让步、「已似冰」收束，把前文狂笑痛哭的热烈尽数推翻，是冰与火的最后一次交锋。「纵有欢肠」是退一步说——并非没有欢乐的本能、没有热爱的心肠，正因「有」，才更见「已似冰」的悲哀；「已似冰」则一语判定了这热忱的归宿，不是没有热度，而是热度早已被冰封、被冻彻。全诗的情绪由「君莫问」的推拒，到「孤僧」的自陈，到「狂笑痛哭」的爆发，再到「欢肠似冰」的死寂，恰如一场烈火燃到极处忽然熄灭，留下的不是灰烬，而是一整块冰。这「冰」里，藏着乱世的无望、身世的飘零、僧俗的纠缠，也藏着一个人对自己彻底的心冷。以「冰」字收束全篇，冷冽入骨，余韵寒凉，是苏曼殊诗中最好的结尾之一。

The ice. Though I still have a heart for joy, it is already like ice. The repeated line, the joyful heart that is ice, closes the poem. To have said his heart was frozen would be a verdict; the though-I-still-have-a-joyful-heart against the it-is-already-like-ice is the verdict.

Study

Word focus

孤僧 A lone monk; 'gu seng' is the poem's backbone. 'Lone' adds spiritual solitude to the monastic state—no companion, no resting place—from which the later madness and icy chill both spring. 「孤僧」二字，是此诗立骨的所在，也是苏曼殊自我定位的核心。僧已形单，着一「孤」字，更写尽心灵的孑然——不仅身无伴侣，心亦无归依。行云流水已状其飘零，而飘零之中更无一人可语、一事可依，便是「孤」的分量。此词既点明其出家人的身份，又暗含与「仲兄」等友人的离别之慨：纵有知交，终隔天涯。以「孤僧」自居，既是对现实的承认，也带着几分自我放逐的倔强。此后「无端狂笑无端哭」的癫狂，「欢肠似冰」的冷寂，都由此「孤」字生发而来——正因为孤，才无所顾忌地笑，才无所排解地冷，是理解全诗情绪链条的起点。
无端 For no reason / causeless; repeated twice, 'wu duan' inherits Li Shangyin's melancholy and marks feeling that comes and goes beyond command—laughter and weeping as unbidden storms, proof that emotion has outrun reason. 「无端」一词在全诗中连用两次，是情感爆发处的关键词，也暗承李商隐「锦瑟无端五十弦」的怅惘传统。「无端」者，无缘无故、无由而起，写情感的来不可遏、去不可留——狂笑不是有所为而笑，痛哭也不是有所指而哭，它们像不请自来的风暴，说来就来，说走就走，全不由人作主。这种「无端」，正见情感之深已超出理智的掌控，也见身世之悲已无处安放、只能以非理性的方式宣泄。苏曼殊用此词，既写尽自身的癫狂情态，又为全诗涂上一层莫可名状的惘惘色调，使狂笑与痛哭不流于作态，而成为真情的自然喷涌，是其炼字的精妙处。
欢肠 A joyful heart (lit. 'joyful intestines'); Su Manshu's coined phrase makes joy a tangible, warm organ, then freezes it 'like ice,' colliding heat and cold in one image to show feeling's deep, frozen pain. 「欢肠」是苏曼殊自铸的新词，以「肠」代「心」，把欢乐写成一段有形的肠子，语新而意切。「欢肠」本应温暖、柔软、活跳，苏曼殊却下一「似冰」的断语，让一段本应温热的肠子冻成坚冰，冷与热在同一意象里激烈碰撞，张力十足。「肠」字尤妙——肠是缠绵纠结之物，古人常以「愁肠」「断肠」写忧思之盘曲，「欢肠」则反其道而用之，偏要说欢乐也能结成一团、也能被冻成坚冰，愈见其情之深、之痛。以「欢肠似冰」收束全诗，既回应了「狂笑痛哭」的热烈，又把那份热烈彻底封冻，冷热相激，余味无穷，是近代诗中炼意造语颇为独特的一笔。

Related Reading

本事诗·乌舍凌波肌似雪 Poems of True Events — 'Wu she, wave-like, skin like snow' 苏曼殊 · 同出作者手笔，一写多情一写冷寂，可见情僧之两面 From the same hand—one writes passion, one writes frozen stillness, showing the two faces of the passionate monk.

The 'Poems of True Events' ('Wu she, wave-like, skin like snow… I return to you a bowl of heartless tears; regret we met before my tonsure') writes a lingering love with bright, tender lines—the passionate side. This quatrain ('ask me not of death and life… though a joyful heart be in me, it is already like ice') is cold and resolute—the self-abandoning side. One warm, one cold, they are the poles of Su Manshu's character: he can write worldly love in bright lines and see through the world's emptiness in frozen ones, making the poet-monk fully three-dimensional.

《本事诗·乌舍凌波肌似雪》写「乌舍凌波肌似雪，亲持红叶索题诗」，以清艳之笔写一段缠绵情缘，结尾「还卿一钵无情泪，恨不相逢未剃时」，深情与悔恨交织，是情僧多情的一面；此诗则写「契阔死生君莫问」「纵有欢肠已似冰」，冷冽决绝，是情僧自弃的一面。两诗一热一冷、一艳一寒，恰成苏曼殊人格的两极：他既能以明丽之笔写出尘世之爱，又能以彻骨之冷看破尘世之空。并读之下，一位亦僧亦俗、冰火同炉的诗僧形象便立体地呈现在我们面前，也可见其诗风在清艳与冷峭之间的自由游走。

 无题·相见时难 Untitled — 'It is hard to meet, also hard to part' 李商隐 · 同为情之至者写无奈，一缠绵悱恻一冷冽决绝，可见古今情诗之变 Both write the extremity of feeling as helplessness—one lingering, one frozen—showing how love poetry changed from classical to modern.

Li Shangyin's 'Untitled' ('hard to meet, hard to part; the east wind is weak, a hundred flowers gone') with 'the silkworm's thread ends only at death; the candle's tears dry only when burned to ash' writes love that clings to the end—classical, lingering, refusing to let go. Su Manshu's poem writes feeling that, at its extreme, turns to ice and self-abandonment. One is late-Tang clinging passion, one modern颓唐 release; Li's love is silkworm thread unending, Su's is fierce fire instantly frozen. Together they show the shift from classical restraint to modern wildness in love poetry.

李商隐《无题》「相见时难别亦难，东风无力百花残」，以「春蚕到死丝方尽，蜡炬成灰泪始干」写情之坚执，情到极处仍不肯放手，是缠绵悱恻、至死不悔的情诗；苏曼殊此诗则写「无端狂笑无端哭，纵有欢肠已似冰」，同样是情到极处，却归于心冷如冰、放手自弃。一为晚唐的执着深情，一为近世的颓唐放达；李商隐的情是春蚕吐丝、绵绵不绝，苏曼殊的情是烈火烹油、旋即成冰。两诗并读，可见中国情诗从古典含蓄到近代狂放的嬗变，也可体会「情至深处」在两种时代心境下的不同归宿。

 自嘲 Self-Mockery 鲁迅 · 同为近现代名士之自况，一冷峻峻切一狂放沉痛，时代之声各有其声 Both modern men of letters portray themselves—one cold and incisive, one wild and sorrowful—each a voice of the age.

Lu Xun's 'Self-Mockery' ('my fortune meets the ill star… I frown on a thousand fingers, bow my head to be an ox for the child') reveals his heart with cold firmness, the resolve of a fighter. Su Manshu's poem portrays himself in mad laughter and weeping, wild with a monk's drift and sorrow. Both lived the late-Qing, early-Republic turmoil and wrote 'self' poems; Lu Xun turns to清醒 struggle, Su Manshu to cold exile—one governs feeling by reason, the other extinguishes reason by feeling. Both are the age's imprint on an individual soul.

鲁迅《自嘲》「运交华盖欲何求，未敢翻身已碰头」，以「横眉冷对千夫指，俯首甘为孺子牛」自剖心迹，冷峻之中有战士的坚定与风骨；苏曼殊此诗则以「无端狂笑无端哭」自状，狂放之中有僧人的漂泊与悲凉。两人同处清末民初的乱世，同以「自」诗剖白自我，而鲁迅归于清醒的战斗，苏曼殊归于冷寂的放逐；一以理节情，一以情灭理。并读之下，可见那一个时代知识分子的两种典型姿态——一个以笔为刀、直面黑暗，一个以诗为冢、自葬深情，都是时代在个体心灵上刻下的印记。