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南北朝 Northern and Southern Dynasties · 文 Prose

与陈伯之书

Letter to Chen Bozhi

丘迟

Qiu Chi

离别Parting 抒情Emotion 咏史History 怀才memory

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迟顿首。
陈将军足下：无恙，幸甚，幸甚！
将军勇冠三军，才为世出，弃燕雀之小志，慕鸿鹄以高翔。
昔因机变化，遭遇明主，立功立事，开国称孤，朱轮华毂，拥旄万里，何其壮也！
如何一旦为奔亡之虏，闻鸣镝而股战，对穹庐以屈膝，又何劣邪！
寻君去就之际，非有他故，直以不能内审诸己，外受流言，沈迷猖獗，以至于此。
圣朝赦罪责功，弃瑕录用，推赤心于天下，安反侧于万物。
将军之所知，不假仆一二谈也。
朱鲔涉血于友于，张绣剚刃于爱子，汉主不以为疑，魏君待之若旧。
况将军无昔人之罪，而勋重于当世。
夫迷途知反，往哲是与；
不远而复，先典攸高。
主上屈法申恩，吞舟是漏；
将军松柏不翦，亲戚安居，高台未倾，爱妾尚在。
悠悠尔心，亦何可言！
今功臣名将，雁行有序。
佩紫怀黄，赞帷幄之谋；
乘轺建节，奉疆埸之任。
并刑马作誓，传之子孙。
将军独靦颜借命，驱驰毡裘之长，宁不哀哉！
夫以慕容超之强，身送东市；
姚泓之盛，面缚西都。
故知霜露所均，不育异类；
姬汉旧邦，无取杂种。
北虏僭盗中原，多历年所，恶积祸盈，理至燋烂。
况伪孽昏狡，自相夷戮，部落携离，酋豪猜贰。
方当系颈蛮邸，悬首藁街。
而将军鱼游于沸鼎之中，燕巢于飞幕之上，不亦惑乎！
暮春三月，江南草长，杂花生树，群莺乱飞。
见故国之旗鼓，感平生于畴日，抚弦登陴，岂不怆悢！
所以廉公之思赵将，吴子之泣西河，人之情也，将军独无情哉？
想早励良规，自求多福。
当今皇帝盛明，天下安乐。
白环西献，楛矢东来；
夜郎滇池，解辫请职；
朝鲜昌海，蹶角受化。
唯北狄野心，掘强沙塞之间，欲延岁月之命耳。
中军临川殿下，明德茂亲，总兹戎重。
吊民洛汭，伐罪秦中。
若遂不改，方思仆言。
聊布往怀，君其详之。
丘迟顿首。

Qiu Chi bows his head. General Chen, under your feet: you are well, great fortune, great fortune!
General, your bravery excels the three armies, your talent emerges from the age.
You abandoned the petty ambitions of sparrows and swallows, aspired to soar high like a swan.
In the past, seizing opportunities, you encountered a wise ruler, established merits and deeds, founded a state and called yourself lord.
With vermilion wheels and ornate carriages, holding the standard over ten thousand li—how magnificent!
But how could it be that suddenly you became a fleeing captive, trembling at the sound of arrows, kneeling before the felt tents—how base!
Investigate the time of your departure and stay, there was no other reason:
you simply failed to examine yourself internally, externally received rumors, were lost and reckless, and thus came to this.
The holy court pardons crimes and demands merit, overlooks flaws and employs people,
extends a red heart to all under heaven, pacifies the restless among the myriad things—this you know, general, without my listing one by one.
Zhu Wei once shed blood over a friend, Zhang Xiu once stabbed the beloved son—the Han lord did not suspect them, the Wei ruler treated them as before.
How much less, general, do you have the crimes of those men, while your merit is heavy in the current age.
To lose the way and know to return, past sages approve; not far and then turn back, ancient classics esteem.
The sovereign bends the law and extends grace, so that even a boat-swallowing fish is spared.
Your pines and cypresses are not cut, your relatives live in peace, your high terrace is not toppled, your beloved concubine still exists.
Ponder in your heart, what more can be said!
Now, meritorious ministers and famous generals range in order like wild geese.
They wear purple and embrace yellow, assisting in tent strategies; ride light carriages and bear tallies, undertaking frontier duties.
Together they have sworn on sacrificed horses, transmitting to their sons and grandsons.
You alone, general, shamelessly borrow life, galloping for the lord of felt and fur—is it not sorrowful!
Consider the strength of Murong Chao—he was sent to the Eastern Market; the flourishing of Yao Hong—he was bound and delivered in the Western Capital.
Therefore know that where frost and dew fall alike, they do not nurture foreign breeds; in the ancient domains of Ji and Han, there is no place for mixed races.
The northern barbarians have usurped the Central Plains for many years; their evil accumulates, their calamity overflows, and by reason they should be burnt to collapse.
Moreover, the false pretender is dim and cunning, slaughtering each other; tribes are scattered, chieftains suspicious and divided.
They are about to be tied by the neck in the barbarian lodge, their heads hung on the street of straw.
And you, general, are like a fish swimming in a boiling cauldron, a swallow nesting on a fluttering curtain—is it not bewildering!
In the late spring of the third month, in Jiangnan, the grass grows long, mixed flowers bloom on trees, flocks of orioles fly wildly.
Seeing the flags and drums of your former country, feeling the days of your past life, strumming the bowstring and climbing the battlement, could you not be deeply grieved!
Thus, Lord Lian thought of being a Zhao general, Master Wu wept over the Western River—such is human feeling.
Could you alone, general, be without feeling? I hope you will early plan a good course and seek much good fortune.
Now the Emperor is brilliantly enlightened, all under heaven is peaceful and joyful.
White rings are offered from the west, arrowroot arrows come from the east; Yelang and Dianchi unbind their hair and request posts; Korea and Changhai knock their foreheads and receive transformation.
Only the northern barbarians have wild ambitions, stubbornly competing in the desert borderlands, wanting to prolong their lives for a while.
The Central Army, His Highness the Prince of Linchuan, of bright virtue and close kinship, assumes this military importance.
He comforts the people at Luorui, punishes the guilty in Qinzhong.
If you still do not change, then consider my words.
I have merely set forth my past feelings; may you consider them carefully.
Qiu Chi bows his head.

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Meaning

A letter from Qiu Chi to the rebellious general Chen Bozhi, persuading him to return to Liang. It combines reasoning and emotion, using historical examples and vivid imagery.

丘迟叩首。陈将军足下：别来无恙，幸甚幸甚！将军勇力冠绝三军，才华世所罕见，既有燕雀小志所无、而慕鸿鹄高翔的襟怀。往日因时势变化，得遇明主，立功建业，开国封王，朱轮华车，拥节万里，何等壮伟！奈何一旦沦为奔亡之虏，闻箭响而股战，对穹庐而屈膝，又是何等卑下！推究将军去就之际，并无他故，只因不能内省自身、外受流言，沉迷猖獗以至于此。圣朝赦罪责功，弃瑕录用，推赤心于天下，安反侧于万物——此将军所知，不待我一一道来。朱鲔曾伤友于，张绣曾刃爱子，汉主不以为疑，魏君待之如旧。何况将军并无昔人之罪，而功勋重于当世。迷途知返，先哲所许；不远而复，古典所崇。主上屈法申恩，吞舟是漏；将军祖墓松柏未翦，亲戚安居，高台未倾，爱妾尚在。悠悠此心，又何可言！今功臣名将，班列有序。佩紫怀黄，赞帷幄之谋；乘轺建节，奉疆场之任。并刑马作誓，传之子孙。将军独腆颜借命，驱驰于毡裘之主，宁不哀哉！以慕容超之强，身送东市；姚泓之盛，面缚西都。故知霜露所均，不育异类；姬汉旧邦，不取杂种。北虏僭盗中原，历年已久，恶积祸盈，理当溃烂。何况伪孽昏狡，自相屠戮，部落离散，酋豪猜忌。方当系颈蛮邸，悬首藁街。而将军鱼游沸鼎之中，燕巢飞幕之上，不亦惑乎！暮春三月，江南草长，杂花生树，群莺乱飞。见故国之旗鼓，感平生之畴日，抚弦登陴，岂不怆悢！所以廉公思为赵将、吴子泣于西河，人情如此，将军独无情哉？望早定良规，自求多福。当今皇帝盛明，天下安乐。白环西献，楛矢东来；夜郎滇池，解辫请职；朝鲜昌海，蹶角受化。唯北狄野心，倔强沙塞之间，欲延岁月之命耳。中军临川殿下，明德茂亲，总兹戎重。吊民洛汭，伐罪秦中。若遂不改，方思仆言。聊表往怀，望君细思。丘迟顿首。

Appreciation

This letter is a masterpiece of Southern Dynasties parallel prose. It opens with praise and contrast, then cites historical precedents of rebels welcomed back, and ends with the famous spring scene of Jiangnan to stir nostalgia. The logic is tight, the emotion moving.

【白话串讲】陈伯之叛梁投魏，丘迟写信劝他回来：“暮春三月，江南草长，杂花生树，群莺乱飞”——这十六个字，让陈伯之看完就归降了。一句江南的春景，胜过千军万马。【意象与手法】全文骈散相间，情理兼具。开篇以「勇冠三军」与「奔亡之虏」对比，先扬后抑，振聋发聩；中段引朱鲔、张绣等史典证「迷途知反」之可行，以「松柏不翦」动其乡思；最妙在「暮春三月，江南草长，杂花生树，群莺乱飞」一节，以江南春景唤起故国之思，情景交融，被誉为「生花妙笔」；结尾再陈利害，刚柔相济，逻辑缜密而文采斐然。【情感与主旨】丘迟（464—508），南朝梁文学家。陈伯之原为南齐将领，降梁后任江州刺史，天监元年（502）据州叛降北魏。天监四年，梁武帝命临川王萧宏北伐，丘迟为宏记室，奉命作书与陈伯之，劝其归降。书成，陈伯之读后遂拥众八千归梁。此文为南北朝骈文名篇，以情动人、以理服人，堪称「一文退千军」。【名句点睛】常考「暮春三月，江南草长，杂花生树，群莺乱飞」的情景交融与背诵默写，以及「鱼游于沸鼎之中，燕巢于飞幕之上」比喻的警策作用；「将军勇冠三军，才为世出」的先扬后抑手法也常被考查。

Background

Qiu Chi (464-508), writer of Liang. Chen Bozhi, a former Liang general, defected to Northern Wei. In 505, Prince of Linchuan led a northern expedition, and Qiu Chi wrote this letter. Chen was moved and returned with 8,000 troops.

丘迟（464—508），字希范，吴兴乌程（今浙江湖州）人，南朝梁文学家，与沈约、任昉等并称「竟陵八友」后继人物，官至司徒从事中郎，以文名世。陈伯之原为南齐将领，骁勇善战，齐末归梁，任江州刺史，然天监元年（502）受部下煽动，据州叛降北魏，任平南将军，与梁为敌。天监四年（505），梁武帝命临川王萧宏率大军北伐，丘迟时为萧宏记室参军，奉命作书与陈伯之，劝其归降。此书从陈伯之的切身利害与故国之情入手，晓之以理、动之以情，书成之后，陈伯之读之深受感动，遂于次年拥众八千归梁。此文为南北朝骈文名篇，以情动人、以理服人，一纸书信胜过十万甲兵，堪称「一文退千军」，是骈文「以情辞胜」的典范，也是中国书信文学史上最著名的劝降书。尤可注意者，丘迟作此书时官位不显，而能以外交辞令与文学才情并济，折冲樽俎，足见六朝文士「以文为用」的经世之能，亦见骈文在政治场合的实际效力。

Art

Parallel prose alternating with prose, rich in allusion and contrast. The shift from stern warning to tender longing (spring scene) is masterful.

全文骈散相间，情理兼具，章法极见匠心。开篇以「勇冠三军，才为世出」与「奔亡之虏，闻鸣镝而股战，对穹庐以屈膝」对比，先扬后抑，振聋发聩——先极言其昔日之壮，再痛陈其今日之劣，强烈的反差直刺其心，为全篇立骨。中段以理服人：引朱鲔、张绣等史典证「迷途知反」之可行，陈「松柏不翦，亲戚安居，高台未倾，爱妾尚在」动其乡思，又析北魏「恶积祸盈，理至燋烂」之势，以「鱼游沸鼎、燕巢飞幕」警其危殆，层层递进。最妙在「暮春三月，江南草长，杂花生树，群莺乱飞」一节，以江南春景唤起故国之思，情景交融，被誉为「生花妙笔」；「见故国之旗鼓，感平生于畴日」更直写其情。结尾再陈圣朝之盛与北伐之势，以「若遂不改，方思仆言」冷峻收束，刚柔相济，逻辑缜密而文采斐然。又全文以「情」为经：先扬其壮以全其颜面，再陈其利以动其心，继以春景唤其乡思，终以君恩安其归心，层层递进，步步为营，是「情理兼备」的劝降典范。

Allusions

References to Zhu Wei, Zhang Xiu, Murong Chao, Yao Hong, Lian Po, Wu Qi. The spring scene is a famous lyrical passage.

此文用典富赡而皆切题旨。「鸿鹄高翔」出《史记·陈涉世家》「燕雀安知鸿鹄之志哉」，以燕雀、鸿鹄设喻，既扬其昔日之志，亦讽其今日之卑；「朱鲔」「张绣」皆汉末叛而复归而见容之典——朱鲔曾参与杀害光武帝之兄刘縯，光武不疑而用之；张绣曾刺杀曹操长子曹昂，曹操待之如旧，二典证「迷途知反」必蒙宽宥，切中陈伯之「叛而复归」的心理；「廉公之思赵将」用廉颇晚年思复为赵将事，「吴子之泣西河」用吴起守西河、闻谮而泣别事，皆以名将思归写人之常情；「鱼游沸鼎」「燕巢飞幕」喻危在旦夕，语出《左传》「燕巢于幕」与《汉书》「如鱼游于鼎」；「吞舟是漏」用《史记》「网漏吞舟之鱼」典，喻法网宽大；「白环西献，楛矢东来」用舜时西王母献白环、肃慎氏贡楛矢之典，写四夷宾服。诸典皆关「归」与「危」，切中陈伯之之心，典典有着落。又「松柏不翦」暗用「松楸」指祖茔之树，「高台未倾」本《古诗十九首》「高台多悲风」之语而反用其意，皆以故国旧物动其归心，用典之切，如量身而作。

Commentary

Qing critic Xu Lian praised its tenderness; it is paired with Luo Binwang's denunciation as dual masterpieces of parallel prose.

此文历来评价极高。清人许梿《六朝文絜》评：「情致委曲，笔墨省净……『暮春三月』数语，底色嫣然。」明人张溥称丘迟「一书安反侧，片语定干戈」，指出此文以一书劝降八千众的实际功效。考其地位，此文与骆宾王《讨武曌檄》并称骈文双璧：一劝降、一讨逆，一以情动人、一以气慑人，皆以情辞胜而传诵千古。就文体而言，六朝骈文至梁代臻于成熟，丘迟此文骈散相间、情理兼胜，是骈文「丽而不缛、情文并茂」的代表；就文学史而言，「暮春三月，江南草长，杂花生树，群莺乱飞」十六字写尽江南春色，以景结情，成为中国文学史上以春景写乡愁的典范，后世「以景唤情」的写法多受其启发。一纸劝降书而兼具政论之严、骈文之丽、抒情之深，实为千古至文。要之，此书以骈文写劝降，情理兼胜，文质彬彬，既见六朝骈文之工，亦见丘迟识见之明，是中国书信史与文学史上的双重经典。后世劝降之文，如宋人使金、明人招抚诸书，多从此文取法，然终无出其右者。

Prosody

Form Parallel prose (letter)南北朝骈文（书信体）

Rhyme Occasional rhymes骈四俪六，多用偶句，间用韵语（如「翔、壮、邪」及「序、谋、任、孙」等句段偶用韵脚相协）。

Tone pattern Parallel prose with tonal cadence骈文以对偶为骨、以四六句式为主，平仄谐和、属对工整；行文骈散相间，奇偶互用，声情随情势缓急而变化。

Reading note Masterpiece of Six Dynasties parallel prose; the spring scene is a famous lyrical passage.此文为南北朝骈文书信，是骈文「四六」体式的成熟之作，其格律特征在于以对偶为骨、以声律为饰而能情文并茂。全篇以四字句、六字句为主，两两相对，如「勇冠三军」对「才为世出」，「弃燕雀之小志」对「慕鸿鹄以高翔」，「朱轮华毂」对「拥旄万里」，属对精工而不失自然；又骈散相间，奇句偶句互用，如开篇「迟顿首。陈将军足下」以散句起，中段「将军之所知，不假仆一二谈也」以散句行，避免通篇骈俪的板滞之弊，正合六朝骈文「骈散相济」的成熟写法。声律上，骈文讲究平仄谐和，「暮春三月，江南草长，杂花生树，群莺乱飞」四句皆四字，平仄相间，读之清丽流转，如闻春风；「闻鸣镝而股战，对穹庐以屈膝」则仄声相逼，声情激切。句式上长短错综，说理处多长句，写情处多短句，随情势缓急而变化。就文体而言，此文是六朝骈文由「藻饰」走向「情文并茂」的标志性作品，「暮春三月」一节更成为骈文写景的千古名笔，与《哀江南赋》等并见南北朝骈俪之盛。

Line by line

将军勇冠三军，才为世出，弃燕雀之小志，慕鸿鹄以高翔。

General, your courage crowns the three armies, your talent above your age; you have cast aside the small ambition of the sparrows, admired the swan's high flight.

将军勇力冠绝三军，才华世所罕见，既有燕雀小志所无、而慕鸿鹄高翔的襟怀。

General, your bravery heads the three armies, your talent is above the age; you have left the sparrows' small ambitions, aspired to the swan's high flight.

此句为全篇立骨，先扬后抑之「扬」，以极高之礼推崇陈伯之。「勇冠三军」写其勇力为三军之首，「才为世出」写其才华超出当世，四字一联，骈俪整饬，先把对方推到极高的位置；「弃燕雀之小志，慕鸿鹄以高翔」用《史记·陈涉世家》「燕雀安知鸿鹄之志哉」之典，以燕雀、鸿鹄设喻，写其弃小而慕大、志在远举。此句之妙有三：一是以礼待之，劝降而不失其尊，先扬其昔日之壮，为后文「奔亡之虏」之抑蓄足反差；二是用典切人，「鸿鹄高翔」正合陈伯之当年乘时而起、开国称孤的经历，典与人合；三是骈散相间，四字对偶与散句错综，声情舒缓，从容得体，是全篇「先扬后抑」笔法的起点，开篇即见丘迟劝降的深心与文采。

The swan. General, your courage crowns the three armies, your talent above your age; you have cast aside the small ambition of the sparrows, admired the swan's high flight. The courage-crowns-armies and the cast-aside-sparrows-admired-swan are the praise. To have crowned the armies would be a crowning; the general-your-courage-crowns-the-three-armies-your-talent-above-your-age-you-have-cast-aside-the-small-ambition-of-the-sparrows-admired-the-swan's-high-flight is the crowning.

如何一旦为奔亡之虏，闻鸣镝而股战，对穹庐以屈膝，又何劣邪！

How is it that of a sudden you became a fleeing captive, trembling at the whistling arrow, bending the knee before the yurt—how base!

奈何一朝成逃虏，闻箭响而抖，对胡帐而跪，又是何等卑下！

How did you come in one day to be a fleeing captive, trembling at the whistling arrow, bending the knee before the nomad tent—how low!

此句是「先扬后抑」之「抑」，以强烈的反差直刺其心，是全篇锋芒最锐之处。「如何一旦」四字陡转，写从「开国称孤」的壮盛到「奔亡之虏」的卑下只在「一旦」之间，转折突兀而惊心动魄；「闻鸣镝而股战」写闻箭响而两腿发抖，「对穹庐以屈膝」写面对胡帐屈膝低头，「股战」「屈膝」以两个动作写尽降虏之丑态，与前文「勇冠三军」的威风形成天壤之别；「又何劣邪」以反诘收束，痛斥其卑劣，如当头棒喝。此句之妙在于以对比立骨：昔日之壮与今日之劣两相对照，不用一个「降」字而叛降之耻毕现，先扬后抑，振聋发聩，是全篇劝降之论的第一声惊雷，为下文「迷途知反」的劝导铺足了落差。

The captive. How is it that of a sudden you became a fleeing captive, trembling at the whistling arrow, bending the knee before the yurt—how base! The once-fleeing-captive and the trembling-arrow-bending-knee-yurt are the condemnation. To have become a captive would be a becoming; the how-is-it-that-of-a-sudden-you-became-a-fleeing-captive-trembling-at-the-whistling-arrow-bending-the-knee-before-the-yurt-how-base is the becoming.

暮春三月，江南草长，杂花生树，群莺乱飞。

In late spring, the third month, the grass of Jiangnan grows; scattered flowers on the trees, flocks of orioles darting everywhere.

暮春三月江南，草长花开，群莺乱飞。

In the third month of late spring, Jiangnan's grasses grow, wild flowers dot the trees, flocks of orioles dart about.

此句是全篇最著名的写景名句，被誉为「生花妙笔」，以江南春景唤起故国之思。四句十二字，写尽江南暮春之盛：「暮春三月」点明时令，「江南草长」写春草疯长、生机勃勃，「杂花生树」写繁花缀树、色彩缤纷，「群莺乱飞」写黄莺成群、上下翻飞——草、花、莺三物并写，由静入动，声色俱备，一幅江南春色图如在目前。此句之妙有三：一是以景唤情，陈伯之身在北方苦寒之地，乍闻江南春色，故国之思油然而生，景愈美则情愈切；二是骈散相间，四句皆四字，然句句清丽流转，不板不滞，是骈文中写景的绝调；三是承上启下，上承「鱼游沸鼎」之警，下启「见故国之旗鼓」之情，由理入情，是全篇「以情动人」的高潮，千载之下犹觉春风扑面。

The spring. In late spring, the third month, the grass of Jiangnan grows; scattered flowers on the trees, flocks of orioles darting everywhere. The late-spring-third-month and the grass-grows-flowers-on-trees-orioles-dart are the famous scene. To have grown would be a growing; the in-late-spring-the-third-month-the-grass-of-jiangnan-grows-scattered-flowers-on-the-trees-flocks-of-orioles-darting-everywhere is the growing.

而将军鱼游于沸鼎之中，燕巢于飞幕之上，不亦惑乎！

Yet the General swims like a fish in a boiling cauldron, nests like a swallow on a flying curtain—is this not deluded?

而将军却像鱼游于沸鼎之中、燕巢于飞幕之上，岂不是太糊涂了吗！

Yet the General is a fish swimming in a boiling cauldron, a swallow nesting on a flying curtain—is this not deluded?

此句是全文最警策的比喻，写陈伯之身处险境而不自知，危言耸听，力挽其心。「鱼游于沸鼎之中」写鱼在沸腾的鼎中游动，「燕巢于飞幕之上」写燕子在飘动的帷幕上筑巢——沸鼎将滚、飞幕将倾，皆危在旦夕之境，而鱼、燕懵然不知，比喻陈伯之依附北魏、处境危殆而不自觉，警策有力。此句之妙有三：一是比喻精当，鱼与沸鼎、燕与飞幕，取象贴切而惊心动魄，把抽象的「危」化为可感的画面；二是反诘收束，「不亦惑乎」以问代断，不言其必亡而令其自悟，比直说更有力；三是承上启下，上承「北虏僭盗中原」之势析，下启「暮春三月」之情动，先折以理、后动以情，层层逼进。此喻与「暮春三月」一警一柔，恰成刚柔相济之势，是劝降书中「以危动之」的典范。

The cauldron. Yet the General swims like a fish in a boiling cauldron, nests like a swallow on a flying curtain—is this not deluded? The fish-boiling-cauldron and the swallow-flying-curtain are the warning. To have swum in the cauldron would be a swimming; the yet-the-general-swims-like-a-fish-in-a-boiling-cauldron-nests-like-a-swallow-on-a-flying-curtain-is-this-not-deluded is the swimming.

聊布往怀，君其详之。

I have set forth my old feelings; weigh them well, I beg.

聊表心意，望君细思。

I have thus set out my old regard; consider it carefully, I pray.

此句是全文收束，以谦辞作结，刚柔相济，余韵悠长。「聊布往怀」写姑且陈述往昔之情怀，「聊」字自谦，把千言万语的劝降之意说成「聊表心意」，谦逊得体；「君其详之」以「其」字委婉劝勉，请对方仔细思量，「详之」二字把决定权交还对方，不迫不逼，反而更见力量。此句之妙有三：一是以谦收势，全篇或扬或抑、或折以理、或动以情，至此敛为谦和之辞，刚柔相济，正合书信体「言有尽而意无穷」之致；二是以退为进，越是不迫，越见恳切，把「归梁」的期许化为「详之」的请托，给对方留足余地；三是呼应开篇，篇首「无恙，幸甚，幸甚」以礼起，篇末「君其详之」以礼结，首尾呼应，通篇不失君子之交的分寸，是劝降书「情辞并茂」的收束典范。

The weighing. I have set forth my old feelings; weigh them well, I beg. The set-forth-old-feelings and the weigh-well-i-beg are the close. To have set forth the feelings would be a setting-forth; the i-have-set-forth-my-old-feelings-weigh-them-well-i-beg is the setting-forth.

Study

Word focus

股战 trembling legs (describes fear) 「闻鸣镝而股战」之「股战」，是全篇「抑」笔中最刺目的炼字，写恐惧战栗之态，与前「勇冠三军」形成强烈反差。「股」指大腿，「战」写颤抖，「股战」即两腿发抖，以身体的失控写心理的恐惧，比「恐惧」「惊惧」等抽象之词具体十倍——闻鸣镝而股战，昔日勇冠三军的将军，今日闻箭响便两腿发软，一个「战」字把降虏的丑态写尽。此词之妙有三：一是以形写神，恐惧本无形，以「股战」的体态写之，如在目前；二是与前文对照，「勇冠三军」之「勇」与「股战」之「怯」两相对照，反差刺心，先扬后抑的笔法至此臻于极致；三是与下句「屈膝」连用，股战写其抖、屈膝写其跪，一抖一跪，丑态毕现，虽无一贬词而贬意自明。炼「股战」二字，是全篇锋芒最锐处，劝降之文的「当头棒喝」正在于此。

靦颜 shameless face (to live on borrowed time) 「将军独靦颜借命」之「靦颜」，含讥刺与怜惜，炼字凝重，是全篇写陈伯之处境的关键词。「靦」训惭愧、厚颜，「靦颜」即厚着脸皮、不知羞耻，「借命」写苟且偷生、依人而活——「靦颜借命」四字，写陈伯之厚颜偷生于北魏，既含讥刺，又寓怜惜，讥其不知羞耻，惜其枉为名将。此词之妙有三：一是分量之重，全文对陈伯之或扬或抑，而「靦颜」二字是最重的一击，直指其「驱驰毡裘之长」的屈辱处境；二是讥怜相兼，讥其靦颜、怜其借命，刚柔并济，正合劝降书「折以理而留以情」的分寸；三是与「独」字配合，「功臣名将，雁行有序」而「将军独靦颜借命」，众荣独辱，相形之下愈见其哀。炼「靦颜」二字，把劝降之辞写得既峻切又有人情，是丘迟炼字「凝重而含情」的典型。

怆悢 deeply grieved (emotion of nostalgia) 「岂不怆悢」之「怆悢」，写故国之思的沉痛，是全篇由理入情的关键词。「怆」训悲伤，「悢」训怅惘，「怆悢」叠用，写悲伤而怅惘、欲说还休之态，比单用「悲伤」「悢然」更见沉痛绵长。此词用于「暮春三月」一节之后：「见故国之旗鼓，感平生于畴日，抚弦登陴，岂不怆悢」——见到故国的旗帜战鼓，想起往日的生平，抚着弓弦登上城墙，岂能不悲伤怅惘！「怆悢」二字以设问出之，把江南春景唤起的故国之思推向高潮，情辞俱切。此词之妙有三：一是分量之重，「怆悢」是全文情感最深处，此前或折以理、或警以危，至此动以情，故国之思是全篇劝降的最后也是最有力的一张牌；二是音韵之哀，「怆悢」双声叠韵，读之低回掩抑，声情相合；三是承上启下，上承春景之唤，下启「廉公之思赵将」之典，以情动人，正见丘迟「以情辞胜」的本色。