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七律·和柳亚子先生

Seven-Part Octet: In Reply to Mr. Liu Yazi

毛泽东

Mao Zedong

唱和Poetic Reply 言志Expressing Ambition 名篇Canonical Masterpiece

饮茶粤海未能忘，索句渝州叶正黄。
三十一年还旧国，落花时节读华章。
牢骚太盛防肠断，风物长宜放眼量。
莫道昆明池水浅，观鱼胜过富春江。

The tea at Guangzhou I have not forgotten; in Chongqing you asked for poems while the leaves were turning yellow.
Thirty-one years and I have come back to the old country; in the season of falling flowers I read your fine verses.
Griefs too numerous are dangerous to the heart; it is well to measure things from a wider view.
Do not say the water of Kunming Pool is shallow — to watch the fish there is better than fishing in the Fuchun River.

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Meaning

The poem answers Liu Yazi, a poet and revolutionary of the older generation who had been in the capital for a few months and had written to complain about his position. Mao answers in the course of forty-eight lines and four things: he recalls their shared past, tells him that his grievances are unhealthy, tells him to measure things more widely, and offers him the capital itself as the place to do something rather than to withdraw. The poem is a consolation written in the form of advice, and its voice is that of an older statesman speaking to an old friend.

当年在广州一起饮茶的往事至今未能忘怀，在重庆你向我索要诗篇时正是秋叶枯黄的时节。三十一年后我重回故国，恰在落花时节读到你的华美诗章。牢骚太多要当心伤身断肠，看待事物应该把眼光放得长远。不要说昆明池水太浅，在这里观鱼远胜过在富春江垂钓。

Appreciation

[Plain Paraphrase] The tea drunk at Guangzhou years ago is still remembered, and so is the request for poems made in Chongqing. Thirty-one years later the speaker has returned to the old capital, and in the season when flowers fall he is reading the friend's fine verses. The reply then offers the remedy: too many grievances will hurt you, and a wider view is the proper measure. The poem closes with a courtesy — that the pool of Kunming is not shallow, and that watching the fish there beats fishing on the Fuchun river. [Structure] The octave moves from memory to advice to persuasion. The first couplet gathers two public moments; the second converts them into a single present scene of reading; the third states the argument; the fourth, instead of concluding it, offers an image and leaves the reader to apply it. [Imagery] The images are all light and unforced: tea, a season, falling flowers, a pool, fish, a river. Nothing in the poem is grand, and that is what makes the advice credible — the speaker is not exhorting, he is recalling and suggesting. The two allusions at the end do the work of a whole argument in a few syllables: a pool built by the Han emperor, and a recluse of the Eastern Han who fished rather than serve.

【白话串讲】毛泽东写《七律·和柳亚子先生》：“饮茶粤海未能忘，索句渝州叶正黄”——他回忆与柳亚子交往。“牢骚太盛防肠断，风物长宜放眼量”——劝他别发牢骚，把眼光放长远。“莫道昆明池水浅，观鱼胜过富春江”——他劝柳亚子留在北京。【意象与手法】七律格律严整而笔致从容：以「未能忘」「叶正黄」的纪事起笔，温情脉脉；「牢骚太盛防肠断，风物长宜放眼量」以对仗立警句，哲思隽永；「昆明池水浅」「富春江」用典贴切而不露，将劝留之意写得温婉含蓄，是唱和诗「以诗代柬」的典范。【情感与主旨】全诗主旨在于劝柳亚子：放下个人得失之牢骚，放眼新中国之大局，留京共襄建设。既有旧友的深情（未能忘、读华章），又有革命家的气度（放眼量、观鱼胜），个人情谊与时代襟怀水乳交融。【名句点睛】「牢骚太盛防肠断，风物长宜放眼量」以对仗写哲理，是毛泽东诗中流传最广的劝世名句；「莫道昆明池水浅，观鱼胜过富春江」巧用东汉严子陵垂钓富春江之典，含蓄劝留，双关隽永。

Background

Liu Yazi (1887–1958) was a founder of the Southern Society, a poet of the revolutionary generation who had worked with Sun Yat-sen and had known Mao since 1926, when Mao ran the peasant-movement training institute at Guangzhou and the two shared a table. Liu spent the winter of 1949 in Beiping, preparing the new consultative conference, and in March wrote a poem of complaint about his treatment; the reply followed on 29 April, the day after Liu's birthday. Mao did not rebuke him for it — the poem answers the grievance by widening the frame and by recalling the friendship, and Liu accepted and stayed. The octet is unusual in this collection for being a personal letter in verse, and it is among the most frequently quoted of the poems.

《七律·和柳亚子先生》作于1949年4月29日，是毛泽东和柳亚子《感事呈毛主席》的唱和之作，收入《毛泽东诗词》。柳亚子（1887—1958），江苏吴江人，南社创始人，著名爱国诗人，早年追随孙中山参加革命，与毛泽东有数十年交谊。二人的交谊起于1926年5月：毛泽东在广州主持农民运动讲习所时，与柳亚子同席饮茶，即诗中「饮茶粤海未能忘」；1945年抗战胜利后，毛泽东赴重庆谈判，柳亚子索诗，毛泽东以《沁园春·雪》相赠，即「索句渝州叶正黄」。1949年2月，柳亚子应召抵北平，筹备新政协；因一时对人事安排不满，于3月28日写下《感事呈毛主席》，诗中颇有「无车弹铗怨冯驩」的牢骚。毛泽东不以为忤，于4月29日（柳亚子生日次日）写下此诗相和，以旧谊动之、以新局劝之，恳切而豁达。柳亚子读后深受感动，遂打消离京之念，定居北京。此诗写于新中国成立前夕，是毛泽东诗词中少见的「以诗代柬」之作，见证了中国共产党的统战智慧与毛泽东的诗人情怀，也留下了两位诗人之间一段以诗往还的佳话。

Art

The poem's formal skill is in the third couplet, which is a genuine maxim in parallel construction: “Griefs too numerous are dangerous to the heart;” “it is well to measure things from a wider view.” The two lines are grammatically parallel and morally opposed — one warning, one remedy — and the four characters of each half carry the whole weight, so that the couplet can be quoted on its own, which is exactly what has happened. The last couplet refuses to explain: it sets two places against one another and asks the friend to choose. The restraint of the poem is deliberate; there is no flattery and no reproach, and the rebuke is buried inside a piece of advice about health. In a collection famous for its grandeur this is the most quietly human of the octaves.

此诗为七言律诗，其艺术特色可括为「以情纪事、以理立骨、以典收束」三端。就章法言，八句四联起承转合分明：首联以「饮茶粤海」「索句渝州」的往事纪事起笔，一南一北、一饮一索，铺开二十余年的交谊画卷；颔联以「三十一年」「落花时节」写重逢读诗，时间与季节的对照（三十一年对落花时节）把沧桑之感轻轻托出；颈联「牢骚太盛防肠断，风物长宜放眼量」是全诗的警句与枢纽，由叙旧转入劝勉，由个人转入时代，一「防」一「宜」、一收一放，哲理与关怀并至；尾联「莫道昆明池水浅，观鱼胜过富春江」以设喻收束，把劝留之意化为温婉的比拟。就对仗言，全诗四联皆工：首联「饮茶粤海」对「索句渝州」，「未能忘」对「叶正黄」；颈联「牢骚」对「风物」、「太盛」对「长宜」、「防肠断」对「放眼量」，对仗精严而不见雕琢之痕。就用典言，尾联昆明池（汉武帝凿昆明池以习水战）与富春江（东汉严光隐钓富春山）两典相济，一实一虚、一今一古，含蓄劝留而意蕴层出，是律诗用典的典范。语言上，全诗用词平易亲切（饮茶、牢骚、观鱼），而格律严整、气象雍容，是「旧体诗写新题材」的成功示范。

Allusions

The closing couplet carries two of the poem's borrowed names. Kunming Pool was dug in the Western Han, in the southwest of the capital, for exercises in naval warfare; to say that its water is not shallow is to say that the new capital is deep enough for a man with work to do. The Fuchun River in Zhejiang is where the Eastern Han recluse Yan Guang, an old friend of the emperor Guangwu, fished and refused office; from him comes the image of the retired life, in which a man watches rather than acts. “Watching the fish beats fishing on the Fuchun” therefore holds the retreat up against the city and lets the retreat lose on its own terms, without the speaker ever saying a word of reproach.

此诗的文化意蕴，集中体现于尾联的用典与全诗的唱和传统。其一是「昆明池」之典：昆明池为汉武帝元狩三年（前120）开凿于长安西南的人工湖，初为训练水军、征伐昆明夷之用，《三辅黄图》记其「周回四十里」；后世诗文多以昆明池指代京城池苑。毛泽东以「莫道昆明池水浅」劝柳亚子：莫嫌北平（北京）这个新天地池水太浅，此处自有用武之地——以「池」喻京、以「水浅」暗指柳亚子的不满意，一语双关，举重若轻。其二是「富春江」之典：富春江在浙江，东汉严光（字子陵）与光武帝刘秀为故交，刘秀称帝后严光隐居富春山，垂钓江畔，拒不出仕，「富春垂钓」遂成隐逸的代名词。毛泽东以「观鱼胜过富春江」劝柳亚子：留在京城共襄国是，远胜过效严光归隐垂钓——以隐逸之典写劝留之意，既尊重友人的名士情怀，又委婉指出时代已变、隐逸已非其时，用典之妙，在于恰如其分。其三是「观鱼」的深意：「观鱼」暗用庄子与惠子濠梁观鱼之辩（「鯈鱼出游从容，是鱼之乐也」），亦含「临渊羡鱼」之意——观鱼之乐在得鱼，共事之乐在有为，典故的叠加使两句诗意蕴丰厚。就唱和传统言，中国文人唱和诗源远流长（元白唱和、苏黄唱和），此诗承此传统而注入革命者的襟怀，使「和诗」由文人酬应升华为同志间的推心置腹。

Commentary

This octet is remembered less for its verse than for its language: “Measure things with a wider view” has passed out of the poem and into ordinary speech as advice about perspective, and “griefs too numerous are dangerous to the heart” is quoted as a maxim about holding anger. Its historical interest is larger. The poem is a document of how the future government handled a literary man who complained, and the handling was generous: no public reprimand, no argument about who was right, only a widening of the frame. Liu Yazi read it and stayed in the capital, and the correspondence between the two men has become one of the anecdotes of modern Chinese literary history. As a poem it shows the form at its most unforced — an old friend, a piece of advice, and a courtesy at the end.

《七律·和柳亚子先生》是毛泽东诗词中人情味最浓、传诵面最广的篇目之一。就文学价值言，此诗以严整的七律写现代政治生活，实现了旧形式与新内容的完美结合：叙旧、写景、说理、用典，四者熔于一炉而毫无凑泊之痕，「牢骚太盛防肠断，风物长宜放眼量」一联，更以对仗的形式凝成具有普遍意义的处世格言，其哲理早已超越唱和的语境而进入大众语言——「风物长宜放眼量」至今仍是劝人开阔胸襟的常用语。就史料价值言，此诗完整记录了新中国建立前夕中国共产党与民主人士的交往：柳亚子由牢骚到释怀的转变，正见统战工作的成功；毛泽东以诗作答而非以势压人，正见其人格魅力与政治智慧，此诗是研究新中国史、统战史的珍贵文献。就思想价值言，此诗体现了毛泽东「团结一切可以团结的力量」的博大胸襟：对友人的牢骚不是批评而是疏导，对个人的得失不是计较而是开解，把个人情谊提升到「共襄大业」的高度，与《沁园春·长沙》《七律·长征》等篇共同展现了革命家的人格境界。就影响言，此诗与柳亚子的唱和往来成为中国现代文学史的一段佳话，「饮茶粤海」「索句渝州」等语亦成为记录这段交谊的经典表述，其文化影响历久弥新。

Prosody

Form Seven-part octave (regulated verse, with a rhymed first line)七言律诗（近体诗，仄起首句入韵式）

Rhyme The poem rhymes throughout in the broad “-ang” class: forgotten, yellow, country, verses, view, river. The last two rhymes come at the closing couplet, and the long open vowel gives the whole octave the calm, giving tone of a letter rather than of a manifesto.全诗四联八句，押「忘、黄、章、量、江」五个平声韵（ang韵），一韵到底，音调洪亮开阔；首联「饮茶粤海未能忘，索句渝州叶正黄」与尾联「莫道昆明池水浅，观鱼胜过富春江」皆押韵，中二联（颔联、颈联）对仗工整而平仄相谐，吟诵起来声调铿锵、一唱三叹。

Tone pattern The voice is level and unhurried. The first couplet is plain recollection, slowing down on “forgotten”; the second carries the weight of a number, “ thirty-one years,” and then quickens on “fine verses”; the third couplet is the only one that rises, and it rises into the maxim; the fourth falls to a gentle persuasion and ends on a long, open vowel, as though the sentence were left open on purpose.句式严整，八句皆七言，四联起承转合分明：首联以平叙忆旧的语调起，温情舒缓；颔联以时间对照承，沧桑流转；颈联以对仗警句转，哲理铿锵——「防肠断」三字仄收、「放眼量」三字平收，一抑一扬，如劝勉之声由急而缓；尾联以设喻婉劝合，语调归于温厚从容，如老友促膝而谈。

Reading note The poem is a good example of how a strict form can be used for a private occasion. Every rule is observed — one rhyme, no break, two perfect parallel couplets — and yet nothing in the sound announces the effort; the verse keeps the cadence of conversation, in which the speaker pauses, gives advice, and lets a thought tail off. The couplet of maxims is the only place where the music is built on purpose, and even there the effect is of sheer plainness, because the lines contain no image at all. Read aloud, the poem sounds like a letter that happens to be a poem, which is precisely its tone — and precisely why the closing line can leave its argument unfinished.作为七言律诗，此诗的声情之美在于「格律的严整与情感的从容相得益彰」。首联「饮茶粤海未能忘，索句渝州叶正黄」以平缓的语调起唱：两处地名（粤海、渝州）轻轻带出，如展开两幅旧照片，「未能忘」三字拖长，是追忆的深情，「叶正黄」三字收束，是季节的写实，一扬一抑，声情温厚。颔联「三十一年还旧国，落花时节读华章」转入时间之叹：「三十一年」数字清晰而顿挫分明，「还旧国」三字一「还」字重读，沧桑之感溢于言表；「落花时节」四字平缓，如暮春飞絮，「读华章」三字轻扬，如展卷欣然。颈联是全诗的声情高峰：「牢骚太盛防肠断」七个字，前四字（牢骚太盛）仄声密集、音调沉抑，如牢骚之闷结，后三字（防肠断）顿挫有力，如警钟之骤响；「风物长宜放眼量」七个字，前四字（风物长宜）平声舒展、音调开阔，如清风徐来，后三字（放眼量）平收而拖长，如登高望远、胸次豁然——一联之内，由沉郁到开朗，声情的变化正是「由牢骚到达观」的情绪轨迹。尾联「莫道昆明池水浅，观鱼胜过富春江」以「莫道」轻轻起劝，语调温婉；「昆明池水浅」五个字仄声为主、音调低抑，如友人低语；「观鱼胜过富春江」七个字平仄相间、音调轻扬，如抬头展望、心结顿解，全诗在舒展的余韵中收束。四联之中，首联温、颔联慨、颈联警、尾联劝，声调与情感步步相应，正是「以声传情」的七律典范——这也说明：旧体诗的格律并非束缚，而是毛泽东借以表达深厚情感与开阔胸襟的完美容器。

Line by line

饮茶粤海未能忘，索句渝州叶正黄。

The tea at Guangzhou I have not forgotten; in Chongqing you asked for poems while the leaves were turning yellow.

当年在广州一起饮茶的往事至今未能忘怀，在重庆你向我索要诗篇时正是秋叶枯黄的时节。

Tea at Yuehai I have not forgotten; seeking verses at Yuzhou, the leaves were yellowing.

首联以纪事起笔，两句二十八字，写尽二十余年的交谊，是全诗的抒情基调。「饮茶粤海未能忘」回忆1926年广州之会：时任广州农民运动讲习所所长的毛泽东与柳亚子同席饮茶，谈论国是，自此订交；「未能忘」三字直白而情深，一个「忘」字轻轻否定，二十余年的记忆便如水涌来——不写惊天动地的壮举，只写一盏清茶的寻常，正是至交之间「平淡见真」的笔法。「索句渝州叶正黄」回忆1945年重庆之会：抗战胜利后毛泽东赴渝谈判，柳亚子索诗，毛泽东书《沁园春·雪》相赠，名动山城；「索句」写柳亚子的豪爽，「叶正黄」以秋景点明时节（1945年秋），更以「黄叶」的萧瑟反衬诗坛盛事的慷慨。两句一南一北、一茶一诗、一春一秋，空间与时间交错展开，把两位诗人二十年的神交凝于两幅画面；「未能忘」的深情与「叶正黄」的时节相映，为下文「三十一年还旧国」的重逢埋下伏笔。

The tea. Tea at Yuehai I have not forgotten; seeking verses at Yuzhou, the leaves were yellowing. The tea at Yuehai and the Yuzhou verses in yellow leaves are the friendship. To have drunk tea at Yuehai would be a memory; the tea-at-yuehai-i-have-not-forgotten-seeking-verses-at-yuzhou-the-leaves-were-yellowing is the memory.

三十一年还旧国，落花时节读华章。

Thirty-one years and I have come back to the old country; in the season of falling flowers I read your fine verses.

三十一年后我重回故国，恰在落花时节读到你的华美诗章。

Thirty-one years later I return to the old capital; in the season of falling flowers I read your splendid verse.

颔联承首联而来，由忆旧转入重逢，是全诗的时间枢纽。「三十一年还旧国」写归京之迟与归京之喜：自1918年毛泽东第一次到北京，至1949年重来，恰三十一年，「还旧国」三字写重临旧地，物是人非而地是人非——旧国（北京）还是旧国，而时代已换新天；一个「还」字，包含多少沧桑感慨。「落花时节读华章」写读诗之会：「落花时节」点明时间（1949年4月，柳亚子《感事呈毛主席》作于3月底），更暗用杜甫《江南逢李龟年》「落花时节又逢君」之句——杜诗以落花写乱离重逢之悲，毛诗以落花写新天重逢之喜，同用一词而情怀迥异，正见旧典翻新的功力；「读华章」以「华章」称柳亚子的诗作，既是敬重，又暗含对友人才华的推许。两句一「还」一「读」，把三十一年的时间距离与重逢的欣喜，都收进「落花时节」的画面之中，为颈联的劝勉作了情感的铺垫。

The return. Thirty-one years later I return to the old capital; in the season of falling flowers I read your splendid verse. The thirty-one years return and the falling-flower reading are the turn. To have returned after thirty-one years would be a return; the thirty-one-years-later-i-return-to-the-old-capital-in-the-season-of-falling-flowers-i-read-your-splendid-verse is the return.

牢骚太盛防肠断，风物长宜放眼量。

Griefs too numerous are dangerous to the heart; it is well to measure things from a wider view.

牢骚太多要当心伤身断肠，看待事物应该把眼光放得长远。

Too much grievance may break the heart; one should always measure the landscape with an open eye.

颈联是全诗的警句，也是劝勉的核心，两句以对仗写哲理，字字千钧。「牢骚太盛防肠断」先抑：「牢骚」直指柳亚子诗中「无车弹铗怨冯驩」的怨气，「太盛」二字既如实指出其程度，又含委婉的规劝，「防肠断」更以「伤身」相警——牢骚过多，不仅无益于事，反会损伤身心，一个「防」字，是设身处地的关切，也是推心置腹的忠告，批评而不失温厚。「风物长宜放眼量」后扬：「风物」指自然与社会的种种景象，「长宜」是「永远应当」，「放眼量」即放开眼界去衡量——看待一切事物，都应当站得高、看得远，不为眼前得失所困；一个「放」字，是胸襟的展开，一个「量」字，是智慧的权衡，全句以开阔的理趣化解狭隘的牢骚。两句一收一放、一「防」一「宜」、一批评一开导，对仗精工而气脉贯通；「放眼量」三字更以开阔的胸怀超越了唱和的语境，成为具有普遍意义的处世箴言，这也是此联流传最广的原因。

The open eye. Too much grievance may break the heart; one should always measure the landscape with an open eye. The too-much-grievance and the always-open-eye-measure are the core. To have measured with an open eye would be a measuring; the too-much-grievance-may-break-the-heart-one-should-always-measure-the-landscape-with-an-open-eye is the measuring.

莫道昆明池水浅，观鱼胜过富春江。

Do not say the water of Kunming Pool is shallow — to watch the fish there is better than fishing in the Fuchun River.

不要说昆明池的水太浅，在这里观鱼远胜过在富春江垂钓。

Say not the Kunming Pool is shallow; watching fish here is better than angling on the Fuchun River.

尾联以用典设喻收束，是劝留之意的含蓄表达，也是全诗最见功力的一联。「莫道昆明池水浅」以「昆明池」指代北京——汉武帝凿昆明池于长安，后世遂以池苑代指京畿，此处喻新中国的首都；「莫道」是劝止之辞，仿佛友人正嫌「池水太浅」（暗指条件不足、职位不显），诗人轻轻一拦：不要这样说；「浅」字既写池水，又暗指柳亚子的不满，一语双关。「观鱼胜过富春江」以「富春江」用严光垂钓之典——严子陵拒仕汉光武而隐钓富春，成为千古隐逸的象征；诗人劝柳亚子：留在北京观鱼（共事新局），胜过归隐富春江垂钓。其妙在于：不直说「请你留下」，而以「观鱼胜垂钓」的比拟婉转相劝——既承认友人向往隐逸的名士情怀，又指出时代已变、隐逸已非其时，留下共襄大业才是更有意义的选择；「观鱼」又暗用庄子濠梁「鱼之乐」的典故，劝友人从新中国的事业中找到真正的快乐。两句用典贴切而不着痕迹，劝留之意温婉而坚定，是律诗「以典收束」的典范。

The fish. Say not the Kunming Pool is shallow; watching fish here is better than angling on the Fuchun River. The say-not-shallow Kunming Pool and the watching-fish-better-than-Fuchun angling are the close. To have watched the fish would be a watching; the say-not-the-kunming-pool-is-shallow-watching-fish-here-is-better-than-angling-on-the-fuchun-river is the watching.

Study

Word focus

放眼量 “Measure from a wide view” is the poem's best-known phrase and the heart of its advice. To “measure” is to weigh and decide; to do it “from a wide view” is to judge from a position above the immediate grievance, in time as well as in space. The phrase is unusual in being advice about the mind rather than about conduct, and it has survived in Chinese as the standard way to say that anger needs a larger frame. 「风物长宜放眼量」之「放眼量」，是全诗最富哲思的词组，也是毛泽东处世哲学的语言结晶。「放」训为展开、放开，「眼」即眼界、目光，「量」为衡量、打量，「放眼量」即放开眼界去衡量事物——三个字连用，构成一个完整的认知动作：不近视、不偏视，而是放开目光、综观全局地去判断。其妙有三：其一，与「防肠断」形成绝妙对照——「肠断」是情绪的内卷，「放眼量」是目光的外放，一收一放，正是「牢骚」与「达观」的两种人生姿态；其二，「长宜」二字给「放眼量」以时间维度——不是一时放开眼界，而是永远应当如此，把一时之劝升华为终身之诫，境界顿开；其三，「量」字见智慧——「放眼」若不「量」则流于空疏，「量」字使开阔的胸襟落到实处，是权衡、是判断、是格局。「放眼量」三字音节开阔（放／眼／量，一放一收），读来如登高望远，胸次为之一宽；此词此后脱离原诗而独立流行，成为汉语中「开阔胸襟、着眼长远」的标准表述，足见其生命力。

防肠断 “Take care of your heart breaking” is the poem's warning, and its roughness is what makes it affectionate. “Heart-breaking” is an old figure for extreme grief, and to “prevent” it is to treat an emotion as a matter of health. The half-line is blunt where the next half-line is graceful, and the roughness is deliberate: the speaker is not lecturing, he is concerned. 「牢骚太盛防肠断」之「防肠断」，是全诗最见关怀也最见分寸的词组。「防」训为防备、防止，「肠断」语出《世说新语》「肠断」典（《搜神记》载猿子被捉、母猿哀号而死，破其腹视之，肠皆断裂），后世以「肠断」形容极度悲伤；「防肠断」即防备伤心过度、损害身心。其妙有三：其一，以夸张写关切——「牢骚」本是寻常情绪，诗人以「肠断」危言相警，看似夸张，实是以至情动友人：正因关心至深，才把情绪的后果说得严重；其二，以「防」字立分寸——不是禁绝牢骚（「防」而非「禁」），而是提醒其危害、引导其节制，批评之中满含体谅，正是老友之间的推心置腹；其三，与「放眼量」的对照——「肠断」是向内收缩（情绪自戕），「放眼量」是向外展开（胸襟自广），一「防」一「宜」，把「何以解牢骚」的答案寓于对仗之中。二字写尽劝勉的分寸与温度，是这首诗人情味最浓的一笔。

观鱼胜过富春江 “To watch the fish beats the Fuchun River” holds three old references at once. Watching fish is the pleasure of the “Zhuangzi” debate about the happiness of fish; the Fuchun river is where the recluse Yan Guang fished and refused the throne; and fishing rather than watching is the old figure for “wishing without doing.” The line therefore offers the friend a retreat and quietly puts a better use in its place, without ever naming the argument. 「观鱼胜过富春江」之「观鱼」，是全诗用典最密也最含蓄的词组，一句之中叠含三重典故。「观鱼」本义是观赏游鱼，典出《庄子·秋水》濠梁之辩——庄子与惠子游于濠梁之上，见「鯈鱼出游从容」，庄子曰「是鱼之乐也」，此为「观鱼」之乐的第一重；「富春江」用东汉严光垂钓之典，严子陵隐富春山，耕钓以终，此为隐逸之乐的第二重；而「观鱼」与「垂钓」对举，又暗含《淮南子》「临渊羡鱼，不如退而结网」的劝进之意——观鱼之乐在欣赏，垂钓之乐在得鱼，诗人劝友人：留在京城，不是坐观，而是可以亲身参与建设、真有所「得」——此为劝进的第三重。三重叠用而不露痕迹，既有庄子的逍遥、严光的清高，又有积极用世的新意，一句之中，古典的隐逸情怀与革命者的进取精神完成了奇妙的调和。这种「以典故的叠加写多重意蕴」的笔法，正是毛泽东旧体诗词「旧瓶装新酒」的艺术精髓。