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明 Ming · 文 Prose

满井游记

A Record of the Man Well Excursion

袁宏道

Yuan Hongdao

山水landscape 隐逸reclusion

燕地寒，花朝节后，余寒犹厉。
冻风时作，作则飞沙走砾。
局促一室之内，欲出不得。
每冒风驰行，未百步辄返。
廿二日天稍和，偕数友出东直，至满井。
高柳夹堤，土膏微润，一望空阔，若脱笼之鹄。
于时冰皮始解，波色乍明，鳞浪层层，清澈见底，晶晶然如镜之新开而冷光之乍出于匣也。
山峦为晴雪所洗，娟然如拭，鲜妍明媚，如倩女之靧面而髻鬟之始掠也。
柳条将舒未舒，柔梢披风，麦田浅鬣寸许。
游人虽未盛，泉而茗者，罍而歌者，红装而蹇者，亦时时有。
风力虽尚劲，然徒步则汗出浃背。
凡曝沙之鸟，呷浪之鳞，悠然自得，毛羽鳞鬣之间皆有喜气。
始知郊田之外未始无春，而城居者未之知也。
夫不能以游堕事，潇然于山石草木之间者，惟此官也。
而此地适与余近，余之游将自此始，恶能无纪？
己亥之二月也。

The Yan region is cold; after the Flower Morning Festival the lingering cold is still bitter.
The freezing wind rises now and then, and when it does, it flies sand and rolls grit.
Cooped inside a single room, I wish to go out but cannot.
On the twenty-second the weather grew a little milder; with several friends I went out the East Straight Gate to the Man Well.
Tall willows line the dike, the soil is faintly moist, and the view is open and wide, as if I were a swan loosed from its cage.
Just then the ice skin first melted, the wave color first brightened, scale-like ripples layered, clear to the bottom, glittering like a mirror newly polished and the cold light just drawn from its case.
The hills, washed by the clear snow, are lovely as if wiped, fresh and bright, like a beautiful woman's washed face and her hairpin coils first combed.
The willow twigs are about to spread but not yet spread, their soft tips in the wind; the wheat fields show shoots an inch or so like short animal fur.
Though visitors are not yet many, those who draw spring water and brew tea, those who raise a cup and sing, those in red dress riding donkeys, appear now and then.
Though the wind is still strong, walking on foot brings sweat to the back.
All birds basking on the sand, all fish sipping the waves, are at ease, and a joyful air lies in their feathers, scales, and fins.
Only then did I know that beyond the fields there is no lack of spring, but the townsfolk do not know it.
He who can travel without neglecting his duties and be free among hills, stones, grass, and trees—only this office allows it.
And this place happens to be near me; my excursions will begin from here—how could I not record it? The second month of the Ji Hai year.

Listen

Meaning

Yuan Hongdao records an early-spring excursion to the Man Well outside Beijing. At first the cold keeps him indoors; then on a milder day he goes out with friends and finds the thaw begun—clear water, washed hills, willows, and wheat shoots. He notes that birds and fish too share a joyful air, and realizes that spring has long been outside the city, unknown to its dwellers. He ends by saying only his easy office lets him roam freely, and that he must record the outing. The piece embodies the Gong'an school's 'spirit-and-nature' creed.

燕地寒冷，花朝节之后，余寒仍然凛冽。冷风时常刮起，一刮就飞沙走石。人困居在室内，想出门却不能。每次顶风快跑，不到百步就返回。二十二日天气稍暖，偕同几位朋友出东直门，到满井。高柳夹岸，泥土润泽微湿，一望空阔，如出笼的天鹅。这时冰面才开始融化，水波才显明亮，鱼鳞般的波纹层层，清澈见底，亮晶晶像新磨的铜镜、又像匣中乍然抽出的冷光。山峦被晴雪洗过，秀美得像擦拭过，鲜妍明媚，如美女刚洗过脸、才梳拢的发髻。柳条将要舒展却还没舒展，柔梢迎风，麦田里的麦苗像一寸来长的兽毛。游人虽还不多，但汲泉煮茶的、举杯唱歌的、穿红装骑驴的，也时时可见。风力虽还强劲，但徒步行走便汗湿脊背。凡在沙滩上晒太阳的鸟、在水浪中吸气的鱼，悠然自得，羽毛鳞鳍之间都透着喜气。才知道郊野之外未必没有春色，而城中人并不知道啊。能不因为游赏而耽误公事、潇洒于山石草木之间的，只有我这个官职了。而这里恰与我很近，我的游赏将从此开始，怎能不记一篇？己亥年二月。

Appreciation

The essay opens on the word 'cold' and closes on the word 'spring', refusing the one to lift the other. It first writes the freezing wind and flying sand that keep him caged, contrasting the later joy of going out. Writing the Man Well scene, it aptly uses multiple metaphors: the man as 'a swan loosed from its cage', the water light as 'a mirror newly polished', the hills as 'a beautiful woman's washed face', the wheat as 'short animal fur'—touching things to their core, fresh and fitting. The language is loose and natural; 'a joyful air lies in their feathers, scales, and fins' merges thing and self into one, the spirit fully shown—a distinct, clear, free manner among late-Ming xiaopin.

【白话串讲】 “燕地寒，花朝节后，余寒犹厉”——袁宏道写北京：初春还冷得不敢出门。“廿二日天稍和，偕数友出东直，至满井”——天气稍暖，他和朋友出东直门到满井。“一望空阔，若脱笼之鹄”——像挣脱笼子的天鹅。这篇游记，是明代最快乐的散文。【意象与手法】文章以「寒」字起、以「春」字结，欲扬先抑。先写冻风飞沙、局促不出，反衬后文出游之乐。写满井之景，巧用博喻：以「脱笼之鹄」喻人，以「镜之新开」喻水光，以「倩女之靧面」喻山色，以「浅鬣」喻麦苗，体物入微而新鲜贴切。语言疏淡自然，「毛羽鳞鬣之间皆有喜气」将物我打成一片，性灵毕现。【情感与主旨】袁宏道（1568—1610），字中郎，号石公，公安人，「公安三袁」之中坚，倡「独抒性灵，不拘格套」。此记作于万历二十七年（己亥，1599）二月，时中郎任顺天府学教授，公务清闲。满井为北京东北郊名胜，是日偕友出游，记所见早春之景与城居不知春之趣，体现公安派清新灵动的游记新风，亦为其「性灵说」之实践范本。【名句点睛】常考：一、概括景物特点——早春「冰皮始解」「波色乍明」「柳条将舒未舒」「麦田浅鬣寸许」，写乍暖还寒、生机萌动；二、博喻的运用与效果；三、「郊田之外未始无春，而城居者未之知也」的理趣；四、「脱笼之鹄」的比喻与喜悦之情。

Background

Yuan Hongdao, courtesy Zhonglang, style Shigong, from Gong'an, the mainstay of the 'Three Yuan of Gong'an', urged 'express the individual spirit, not bound by forms'. This record was written in the second month of the Ji Hai year, the twenty-seventh of Wanli (1599), when Zhonglang was a professor at the Shuntian prefectural school, his duties light. The Man Well was a famous spot northeast of Beijing; that day he went out with friends and recorded the early-spring scene and the town-dwellers' ignorance of spring, showing the Gong'an school's fresh, lively travel-essay manner, and a practice piece of his 'spirit-and-nature' theory.

袁宏道（1568—1610），字中郎，号石公，湖广公安（今湖北公安）人，明代文学家，「公安三袁」（袁宗道、袁宏道、袁中道）之中坚，与兄宗道、弟中道并倡「性灵说」，主张诗文「独抒性灵，不拘格套」，反对前后七子的拟古之风，为晚明文学革新运动的领袖。此记作于万历二十七年（己亥，1599）二月，时袁宏道任顺天府学教授——这是他在京任职期间，公务清闲，故能于早春出游。满井为北京东北郊（今安定门外）的名胜，因地有泉、水常涌出而名。是年二月二十二日，天气稍和，袁宏道偕数友出东直门游满井，遂作此记。文章以「寒」起、以「春」结，写早春出游之乐，尤其「始知郊田之外未始无春，而城居者未之知也」一语，既是游记的理趣所在，也暗含对终日困居官舍、不知天地之美的官僚生活的微讽，是公安派性灵游记的典范之作。又袁宏道于万历二十三年（1595）中进士后，历任吴县知县、顺天府学教授等职，其《瓶史》《觞政》诸作皆写闲情逸致，而此记作于京官任上，写「局促一室之内」与「郊田之外未始无春」的对照，正是其「以山水之乐抗官场之闷」的一贯态度；又万历年间，北京官僚结社游宴之风甚盛，中郎独取清晨独游，亦见其不趋时俗的个性，是公安派「性灵」主张在散文中的实践。

Art

此记艺术之妙，首在欲扬先抑、以寒衬春。开篇连写「燕地寒」「余寒犹厉」「冻风时作」「飞沙走砾」「局促一室之内，欲出不得」「每冒风驰行，未百步辄返」，层层写尽春寒之烈、困居之苦，为后文出游之乐蓄足反衬之势；至「廿二日天稍和」，一个「稍」字，春意初动，遂有满井之游。次在博喻精工：写人则「若脱笼之鹄」，以出笼之鸟喻出游之人的解脱与喜悦；写水则「晶晶然如镜之新开而冷光之乍出于匣也」，以新磨之镜、乍出之剑光喻冰消波明；写山则「如倩女之靧面而髻鬟之始掠也」，以美人洗脸梳妆喻晴雪洗山；写麦则「麦田浅鬣寸许」，以短兽毛喻新麦初生。四喻皆新鲜贴切、体物入微，且喻体皆为寻常之物，正见公安派「从真情实感出发」的写景主张。再次在移情于物：「毛羽鳞鬣之间皆有喜气」，鸟鱼皆有喜色，物我同春，性灵毕现。全记以「欲扬先抑」立骨，以「博喻」写景，以「移情」写物，以「理趣」点睛，四法并用而浑然一体，正是公安派「信腕信口，皆成律度」的注脚；且文章由寒而春、由室而郊、由我而物，层次分明，如水到渠成，读来清新之气扑面，是晚明小品中结构最完整的篇什之一。

Allusions

This essay uses few allusions; only 'the second month of the Ji Hai year' uses the sexagenary cycle, following the historian's brush; 'how could I not record'—the 'how' is an interrogative adverb, from the line of the Lun Yu·Li Ren 'how can one make a name'. 'Birds basking on the sand, fish sipping the waves' transforms the Zhuangzi image of fish and birds at ease without trace; 'a swan loosed from its cage' and 'a beautiful woman's washed face' blend the beauty of Xie Tiao and Song Yu. The whole takes 'spirit-and-nature' as its creed, deliberately shedding the Former and Later Seven Masters' archaism, hence few allusions and much plain description.

此记用典极少，正合公安派「独抒性灵」、反对掉书袋的主张，然少而精当。「脱笼之鹄」化用「出笼之鸟」的比喻传统，前人多以笼鸟喻受束缚之人，袁宏道反其意而用之，以出笼之鹄写出游之人的自由与喜悦，比喻虽有所本而用意全新；「倩女之靧面而髻鬟之始掠也」化用宋玉《登徒子好色赋》「著粉则太白，施朱则太赤」一类形容美人本色的写法，以洗面梳妆喻晴雪洗山，清新脱俗；「曝沙之鸟，呷浪之鳞」暗合《庄子》「鱼相忘于江湖」「鸟相忘于山林」的自得之意而不著痕迹；「恶能无纪」之「恶」（wū）为反诘副词，出《论语》「恶乎成名」一脉的古语用法。「己亥之二月」以干支纪年，承史家笔法。整体上，此记以白描为主、用典为辅，典实融化于即景之中，正是公安派「信腕信口，皆成律度」的实践。又「土膏微润」之「膏」字，写土壤肥美如膏，暗用《尚书》「厥土惟白壤」以来以土色土质论地的传统，正写早春地气初动之象；「浅鬣寸许」以兽毛喻麦苗，取形取势，新鲜贴切，与「脱笼之鹄」「倩女之靧面」诸喻同属「以俗为雅」的性灵笔法，其喻体皆取眼前寻常之物，正见公安派「从真景出发」的写景主张。

Commentary

Qian Bocheng says of Yuan Zhonglang's travel essays 'whatever the wrist sends, whatever the mouth speaks, becomes rule'. This record, with his 'Preface to a Collection of Xiao Xiu's Poems', both uphold spirit-and-nature, sweeping clean the Seven Masters' archaist habit. Lin Shu says 'Zhonglang's records are like spring water first born, a vast green expanse'. Yet some also mock him as 'shallow and hasty'; in sum, with clear, fresh life he opened the late-Ming xiaopin line, holding a firm place in travel-essay history, a model of Gong'an spirit-and-nature writing, fit to pass on beside Liu Zongyuan's landscape essays.

此记历来为晚明小品研究的经典篇目。袁宏道在《叙小修诗》中提出「独抒性灵，不拘格套」的文学主张，此记正是这一主张的实践范本：全篇以第一人称的游历为线索，写景清新生动，抒情真率自然，不事雕琢而趣味横生，一扫前后七子拟古之习。钱伯城评袁中郎游记「信腕信口，皆成律度」，正谓其看似随手写来，实则自有法度。林纾评「中郎之记，如春水初生，一碧万顷」，喻其文字之清新流丽。然亦有论者讥其「浅率」，谓公安派小品流于随意，此评虽苛，亦见其风格之两面。要之，此记以「始知郊田之外未始无春」的理趣点睛，以「毛羽鳞鬣之间皆有喜气」的移情写生，在游记史上开晚明小品清新鲜活的一脉，足与柳宗元山水游记的幽峭并传，是研究公安派文学思想与晚明士人生活情趣的重要文本。又此记与袁宏道《初至西湖记》《虎丘记》等同为性灵游记的代表，其清新明快、直抒胸臆的风格，一扫前后七子拟古之习，为晚明小品开一新境；近人林语堂、周作人辈推重晚明小品，即以此类文章为宗，其在文学史上的影响，历四百年而不衰，至今仍是中学语文教材的经典篇目，可见其艺术生命力之绵长。

Prosody

Form Ancient prose · landscape travel essay (prose, not rhymed)文·山水游记（古文，散文）

Rhyme Not bound to rhyme散文不拘韵，然间用排比、对偶以谐音节，如「曝沙之鸟，呷浪之鳞」「泉而茗者，罍而歌者，红装而蹇者」等排比句式，节奏分明。

Tone pattern Not traceable (prose does not follow poetic tone)非韵文，句式骈散相间：叙事散行，写景骈偶，议论参差，语言疏淡自然，音节随文气流转，如春水潺潺。

Reading note Gong'an school spirit-and-nature xiaopin; parallel and loose joined, apt use of multiple metaphors.《满井游记》为山水游记散文，属古文一体，不讲求近体诗的平仄格律与用韵，而以散行单句叙事、以排比对偶写景、以参差句议论，句式骈散相间、长短错落，音节随文气而起伏，正合游记「以意为主、以气行文」的传统，亦是公安派「独抒性灵，不拘格套」在文体上的体现。全记结构极具匠心：开篇以「燕地寒」起，连用短句（余寒犹厉、冻风时作、飞沙走砾、局促一室之内、欲出不得、未百步辄返），音节短促紧凑，如北风扑面，写尽春寒之烈；至「廿二日天稍和」一转，音节舒展；中段写满井之景，博喻连用（脱笼之鹄、镜之新开、倩女靧面、浅鬣），排比铺陈（泉而茗者，罍而歌者，红装而蹇者；曝沙之鸟，呷浪之鳞），音节流丽明快，如春水初生；末段议论参差，结以「恶能无纪？己亥之二月也」的短句，戛然而止。全篇以寒起、以春结，音节由促而舒、由舒而畅，与情感的由抑而扬相为表里，是晚明小品中语言节奏与情感节奏结合得最为完美的篇章之一。

Line by line

高柳夹堤，土膏微润，一望空阔，若脱笼之鹄。

Tall willows line the banks, the rich soil faintly moist; the view stretches wide, like a swan escaped from its cage.

高柳夹岸，泥土润泽微湿，一望空阔，如出笼的天鹅。

Tall willows line the embankment, the rich soil is faintly moist; the view stretches open, like a swan escaped from a cage.

此句写满井初见之景，是全文由抑转扬的枢纽。「高柳夹堤」写堤上高柳夹岸，先写视野中的树；「土膏微润」写泥土润泽微湿，「膏」字写土之肥美，「微润」写早春土脉初动、润而不湿，正是乍暖还寒时节的典型物候；「一望空阔」写视野豁然开朗——困居一室之内久矣，乍见郊野空阔，天地忽然打开；「若脱笼之鹄」以出笼之鸟喻出游之人，是全句的点睛：被困了一冬、一室的人，如天鹅脱笼而出，自由、舒展、欢畅，「脱笼」二字正与上文「局促一室之内」遥相呼应。四句由树而土而天而人，层层展开，把久困初出的喜悦写得酣畅淋漓，是全文最传神的一笔。

The swan. Tall willows line the banks, the rich soil faintly moist; the view stretches wide, like a swan escaped from its cage. The tall willows and the cage-escape swan are the opening. To have escaped the cage would be a freedom; the tall-willows-line-the-banks-the-rich-soil-faintly-moist-the-view-stretches-wide-like-a-swan-escaped-from-its-cage is the freedom.

晶晶然如镜之新开而冷光之乍出于匣也。

Glimmering, like a mirror newly polished, like cold light first drawn from its case.

亮晶晶像新磨的铜镜、又像匣中乍然抽出的冷光。

Glistening like a newly polished mirror, like cold light first drawn from its case.

此句写冰消波明之景，是全记博喻最精妙的一笔。「晶晶然」写水面波光闪烁之态，叠字绘色绘光；「如镜之新开」以新磨之镜喻冰皮初解的水面——镜之新开，光洁明亮，正写春水初生、清澈如镜；「冷光之乍出于匣也」更进一层，以匣中乍然抽出的刀剑冷光喻水面反射的清光——「乍出」写光之骤现，如利刃出匣，寒光逼人，正写早春水面清冷明澈的质感。两层比喻（新镜、冷光）层层叠加，既写水之明，又写水之冷，把早春冰消、波光乍明的瞬间写得如在目前。此句以喻写真、以物写景，喻体皆新鲜贴切，是公安派「从真景出发、以活比喻写真」的典型笔法，也是全文写景最见工力处。

The mirror. Glimmering, like a mirror newly polished, like cold light first drawn from its case. The newly polished mirror and the cold light from the case are the ice-melt simile. To have compared the thaw to a new mirror would be a simile; the glimmering-like-a-mirror-newly-polished-like-cold-light-first-drawn-from-its-case is the simile.

毛羽鳞鬣之间皆有喜气。

Among feathers, scales, and manes there is an air of gladness.

羽毛鳞鳍之间都透着喜气。

Among feathers, scales, and manes there is an air of delight.

此句是全文移情于物的点睛之笔，最见「性灵」。「曝沙之鸟，呷浪之鳞，悠然自得」先写鸟鱼之态：沙滩上晒翅的鸟、水浪中吞吐的鱼，悠然自在；「毛羽鳞鬣之间皆有喜气」由外而内、由物及情：鸟的羽毛、鱼的鳞鳍之间，仿佛都透着喜气——「喜气」本是人的情感，诗人移之于鸟鱼，写春日万物皆欣然有生意，实则万物之喜即己之喜，诗人久困逢春的喜悦，借鸟鱼之「喜气」倾泻而出。此句之妙，在以物写我而不露痕迹：不说「我喜」，而说鸟鱼皆有喜气，物我同春，天人合一，正是公安派「独抒性灵」的最高境界——景中有情，情中有我，性灵毕现，是全文情感的总爆发，也是理解袁宏道审美理想的关键。

The gladness. Among feathers, scales, and manes there is an air of gladness. The gladness transferred to feathers and scales is the xing-ling personification. To have given birds and fishes gladness would be a personification; the among-feathers-scales-and-manes-there-is-an-air-of-gladness is the personification.

始知郊田之外未始无春，而城居者未之知也。

Only now I learn that beyond the city fields spring has never been absent, though city-dwellers have not known it.

才知道郊野之外未必没有春色，而城中人并不知道啊。

I now learn that beyond the city walls spring has never been absent, though the city-dwellers did not know it.

此句是全文的理趣所在，由景入理，境界为之一开。「始知」二字写恍然大悟：困居城中，以为春寒犹厉、春意尚远，今至满井，方知郊田之外未始无春——「未始无春」即未必没有春色，以否定之否定写春意之确凿存在，语气斩截；「而城居者未之知也」以反衬收束：城中人不知郊外有春，非春之不至，乃人之不出——一语双关，既写城中人不知郊野春色之实情，又暗讽终日困居官舍、闭门造车者不知天地之美的普遍情形。此句由一次春游引出对「知之」与「不知」的感悟，把游记的所见所感升华为一种人生理趣，正是袁宏道「以游记写性灵」的宗旨所在，也是全文思想境界最高的句子。

The spring. Only now I learn that beyond the city fields spring has never been absent, though city-dwellers have not known it. The never-absent spring outside the city and the city-dwellers' not-knowing are the moral. To have moralized on the city-dwellers' blindness would be a moral; the only-now-I-learn-that-beyond-the-city-fields-spring-has-never-been-absent-though-city-dwellers-have-not-known-it is the moral.

夫不能以游堕事，潇然于山石草木之间者，惟此官也。

As for one who can roam without neglecting his duties, at ease among hills, stones, grass and trees—it is only this office of mine.

能不因为游赏而耽误公事、潇洒于山石草木之间的，只有我这个官职了。

As for one who does not let roaming neglect his business, and drifts free among the hills, stones, grass and trees—it is only my own office.

此句是全记由景入情的转折，写身份与心境的自觉。「不能以游堕事」写游赏不会耽误公事——「堕事」为废事、误事之义，此语为出游寻得合法性：我不是游手好闲，而是公事之余的潇然；「潇然于山石草木之间」写潇洒自得于山水之间——「潇然」二字是全句的精神核心，写一种无拘无束、超然物外的状态；「惟此官也」点明缘由：只有我这样的官职（顺天府学教授），公务清闲，才能如此。此句自嘲中见自得：名为「惟此官也」的自谦，实为「能为此游」的自许——清闲之官，正合性灵之人。以此句收束议论，既解释了出游的可能，又暗含对终日案牍劳形、不知山水之乐的官吏的微讽，为结句「余之游将自此始」张本。

The office. As for one who can roam without neglecting his duties, at ease among hills, stones, grass and trees—it is only this office of mine. The not-neglecting-roam and the only-this-office are the self-mockery. To have mocked his own sinecure would be a self-mockery; the as-for-one-who-can-roam-without-neglecting-his-duties-at-ease-among-hills-stones-grass-and-trees-it-is-only-this-office-of-mine is the self-mockery.

Study

Word focus

乍 In 'first brightened' and 'just drawn', the word 'just' marks the first, sudden, writing the suddenness and liveliness of spring's return. 「波色乍明」与「冷光之乍出于匣」之「乍」，意为初、忽然，是全文写早春物候最传神的一字。「乍」字写动作之骤然发生：波色「乍」明，写春水初醒，波光忽然明亮起来——不是渐明，而是一下子亮了，正是冰消瞬间的灵动；冷光「乍」出于匣，写刀光剑光骤然出鞘的寒芒——「乍」字写光之骤现，如电光石火，正写早春水面清光迸射的瞬间。两个「乍」字，一写波色，一写冷光，皆捕捉自然变化最灵动的一刹那，把早春乍暖还寒、生机乍动的气息写得跃然纸上。此字以虚写实，是公安派写景「抓瞬间、写真感」的典型笔法，也是理解全文「春意初动」主题的关键词。

娟然 Lovely in appearance; it figures the hills after the snow-wash, fresh, a refined, clean word. 「山峦为晴雪所洗，娟然如拭」之「娟然」，意为秀美之貌，是全文写山色最雅洁的一字。「娟然」本写女子姿态之秀美，此处移以写山：山峦被晴日的残雪洗过，秀美得像刚刚擦拭过一般——「娟然」写山之秀，「如拭」写山之净，晴雪洗山，山色如洗，纤尘不染，清新明丽。此字之妙，在以人喻山：山不是「秀丽」，而是「娟然」——像一位秀美的女子，刚刚洗过脸、梳好髻（下文「如倩女之靧面而髻鬟之始掠也」正与此呼应），把山的晴明之态写得有情有韵。且「娟然如拭」与「晶晶然如镜之新开」对举，一写山一写水，山明水净，正是一幅早春山水图，炼字雅洁，是公安派写景「以少胜多」的典范。

恶能 'How' equals 'how could'; the interrogative shows the thick pleasure of the excursion and the need to record it. 「恶能无纪」之「恶能」，意为怎能，是全记收束的反诘语，出古语用法（「恶」读wū，为反诘副词，同「乌」）。「恶能无纪」以反诘作结：此游如此之乐，怎能不记一篇？——「恶能」二字，语气斩截而带得意，把游兴之浓、记游之必写得理直气壮。此语之妙，在以反诘强化情感：若直说「必须记之」，则平板无味；以「恶能无纪」问之，则游之乐、情之切、文之必，皆在不言之中，仿佛向读者炫耀：这样的好景好游，我怎能不写下来？且「恶」字古雅，与全记通俗流畅的白描形成微妙对照，一雅一俗，正是公安派「雅俗相济」的语言特色，也是结句收束全文、点明作记缘由的点睛之笔。