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南北朝 Northern and Southern Dynasties · 文 Prose

与陈伯之书·版本

Letter to Chen Bozhi (Version)

丘迟

Qiu Chi

名篇Masterpiece 骈文Parallel Prose 招降书Letter of Persuasion 写景Scenery Description

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！

In late spring, the third month, by the Jiangnan streams the grass grows tall;
variegated flowers bloom on the trees, and flocks of orioles flutter in flight.
Seeing the banners and drums of your former state, you recall the days of old;
you stroke the strings and mount the rampart—can you not feel desolate?

Listen

Meaning

In the late spring of Jiangnan the grass grows lush and flowers bloom among the trees while orioles flutter in flight. The writer then turns to Chen Bozhi: when you behold the banners and drums of your former state of Liang and recall your old days there, stroking the strings and mounting the rampart, can you not feel desolate? The passage uses spring beauty to stir the defector's longing for home.

暮春三月的江南，青草疯长，各色花朵开满枝头，成群的黄莺在树间纷飞。陈伯之啊，当你望见故国梁朝的旗帜战鼓，回想起往日在梁朝的日子，手抚琴弦、登上城墙远眺，难道不感到悲怆凄怆吗！

Appreciation

This excerpt is the most moving part of the Letter to Chen Bozhi. The first four lines—'late spring, third month, the grass grows, flowers on trees, orioles flutter'—are sixteen characters painting Jiangnan's luxuriant spring, famous for a thousand years. The next four turn sharply to address Chen by name, evoking his memory of the old state and the desolation of mounting the wall. The art is a double movement of scene breeding feeling: bright spring contrasts with homesick sorrow, so the more beautiful Jiangnan, the more unforgettable the homeland.

【白话串讲】丘迟写《与陈伯之书》：“暮春三月，江南草长，杂花生树，群莺乱飞”——他给投降北魏的陈伯之写信，用江南春景唤起他的故国之思。“见故国之旗鼓，感平生于畴日”——陈伯之读信后率部归来——美文也能当武器。【意象与手法】此段最妙处在「以景生情」与「以情动人」的双重奏：前四句骈偶工丽，四组四字句如四幅春景特写，色彩明丽、声态并作，把江南之春写得生机扑面；后四句骤然转悲，以「岂不」的反诘把读者的情绪推向高潮。写景之「乐」与思乡之「悲」形成强烈反差——江南越美，故国越不可忘，乡思便越发不可遏止，这正是以美景写悲情的典范笔法。【情感与主旨】丘迟写此书的目的在招降叛将陈伯之，故全段围绕「故国」与「乡情」做文章：以江南春景唤起陈伯之对故土的眷恋，以「旗鼓」「畴日」唤起他对旧日君臣之义的追忆，以「怆悢」之问打动其心。不骂其叛，不胁其势，只以一幅江南春景、一声怆然之问，动之以情、晓之以理，是「攻心为上」的招降绝唱。【名句点睛】「暮春三月，江南草长，杂花生树，群莺乱飞」四句，以极经济的笔触写尽江南春色，被公认为中国文学史上写江南春天的第一名句；「见故国之旗鼓，感平生于畴日」则以对仗写出故国之思与旧日之情，一景一情，前后映照，使此段成为骈文抒情写景的典范。

Background

The Letter to Chen Bozhi is the famous work of Qiu Chi (464–508) of the Liang. In 505, when Xiao Hong campaigned north against the Wei, Chen Bozhi—once a Liang general who had defected to the Wei—held the north bank. Xiao ordered Qiu to write urging his defection. Knowing Chen was 'no northerner, lodged in the barbarian court,' Qiu first blamed his treason, then showed the way back, then moved him with Jiangnan's spring and old loyalties, closing with allusions to worthy exiles. Chen, deeply moved, returned with eight thousand troops in 506—'Qiu Chi's single sheet' became a legend of winning by words. This excerpt is the emotional climax of the letter.

《与陈伯之书》是南朝梁文学家丘迟（464—508）的名作。丘迟字希范，吴兴乌程（今浙江湖州）人，八岁能属文，历任齐梁两朝，梁时为殿中郎、中书郎、司空从事中郎，后迁临川王萧宏记室。梁武帝天监四年（505），梁武帝命临川王萧宏率军北伐北魏，时丘迟随军为记室。陈伯之本是齐末骁将，梁武帝代齐后降梁，任征南将军、江州刺史，封丰城县公，后因疑惧朝廷猜忌而于天监元年叛梁降魏，官至北魏平南将军、持节都督豫州诸军事，坐镇江淮以北。梁军北伐之际，陈伯之拥兵江北，与梁军对峙，萧宏乃命丘迟作书招降。丘迟深知陈伯之「本非北人，寄身虏廷」的矛盾处境，于信中先责其「忘恩负义」之非，次陈「迷途知返」之理，再以江南春景与故国旧情动其乡思，最后以「廉公之思赵将，吴子之泣西河」的典故晓以大义，情理并至，鞭辟入里。陈伯之得书后大为感动，遂于次年（506）率部八千归降梁朝。一封书信竟招降十万兵（时称「丘迟一纸书」），成为文学史上以文动人的千古佳话。此节选正是信中写景动情的一段，也是全文情感的高潮。

Art

Though only some thirty characters, the passage condenses the art of parallel prose's lyric description, in the careful arranging of scene and feeling. It is symmetric: four lines of scene, four of feeling. The first four—'late spring…orioles flutter'—are four four-character phrases of pure nouns and motion; 'grass grows' shows the surge, 'flowers on trees' the bloom, 'orioles flutter' the joy, and 'flutter' is especially vivid. The last four turn with the verbs 'see,' 'recall,' 'stroke,' 'mount' into one scene where Chen himself feels the desolation, ending in the rhetorical 'can you not' that forces his self-reflection. The mastery is 'writing sorrow in joy': the more beautiful Jiangnan, the keener the homesick pain—exactly Wang Fuzhi's 'joy-scene for sorrow doubles the sorrow.' Addressing Chen directly pulls him into the picture, more moving than any preaching.

此段虽仅八句三十余字，却是骈文抒情写景艺术的浓缩，其妙在于「景」与「情」的精心调度。结构上呈「前四写景、后四抒情」的对称布局：前四句「暮春三月，江南草长，杂花生树，群莺乱飞」以四组四字句连排，全是名词性、动态性的景物铺陈——「草长」写青草之疯长，「花生树」写繁花之烂漫，「莺乱飞」写群鸟之欢腾，「乱」字尤其传神，写莺飞之纷纷扰扰、无拘无束；十六字无一字言情，而春意之盎然、生机之蓬勃已扑面而来。后四句「见故国之旗鼓，感平生于畴日，抚弦登陴，岂不怆悢」笔锋陡转，以「见」「感」「抚」「登」四个动词连缀出一个完整的情境——望见故国旌旗、追忆昔日时光、抚琴登城、怆然涕下，把陈伯之置于一个具体的场景中，让他自己去体会那份悲怆；末句「岂不怆悢」以反诘收束，不作断语而逼其自省，力量千钧。全段最见匠心处，在「以乐景写哀」：江南春景越美，故国之思越切；春色越是生机勃勃，叛离故土之人的悲怆越是难以自抑，正如王夫之所谓「以乐景写哀，以哀景写乐，一倍增其哀乐」。此外，称谓上直呼「见故国」「抚弦登陴」，把劝降的对象拉入画面之中，设身处地、代人立言，比任何说教都更动人心魄。

Allusions

Though short, the passage is deeply cultured. 'Late spring, grass grows' quietly follows the Chu ci's 'grieve at spring's heart over a thousand li'—spring abundance in Chinese letters often joins with 'longing for home.' 'Seeing the banners and drums of your former state' reworks the 'millet' lament of the Shi Jing, hinting Chen's heart is still with Jiangnan. 'Recall the days of old' awakens lord-subject duty and old friendship, widening 'homeland feeling' into 'loyalty.' 'Stroke the strings and mount the rampart'—'rampart' is the wall's parapet—pictures a lute's plaintive sound answering the desolate close. The whole fuses spring, homeland, old love, and sorrow in four-character lines, allusive yet seamless, the parallel-prose ideal of 'allusion like salt in water.'

此段虽短，文化意蕴却极为深厚，其中「故国」「畴日」「陴」「怆悢」等语皆系着深长的文学与历史传统。其一，「暮春三月，江南草长」之句暗承《楚辞·招魂》「目极千里兮伤春心」的春愁传统：江南暮春，本是万物欣欣之时，在中国文学中却常与「怀人」「思归」相连——春色越是繁盛，游子越思故土，《招魂》以春景招魂，丘迟以春景招归，同是以美景催生乡愁。其二，「见故国之旗鼓」暗用乐府与史传中「故国」意象：旗鼓为军中之物，见故国旗鼓而生故国之思，是「黍离」之悲的变奏，丘迟以此为陈伯之预设了望乡的契机，隐含着「身在魏营、心系江南」的心理暗示。其三，「感平生于畴日」的「畴日」即昔日，唤起的是君臣之义与故旧之情——陈伯之曾为梁臣，畴日之恩、畴日之荣，皆为动情之资，这一笔把「乡情」扩展为「君臣之情」，使招降之理更进一层。其四，「抚弦登陴」之「陴」为城上女墙，「抚弦」或释为抚弓弦（备战）或释为操琴弦（抒怀），无论何解，皆营造出登城远眺、弦声呜咽的画面，与「岂不怆悢」的悲音相应。全段熔春景、故国、旧情、悲怆于一炉，以四字短句出之，字字有来历而不露斧凿痕，正是骈文「用典如盐入水」的境界。

Commentary

This passage and the whole letter enjoy the highest standing in literary history. As parallel prose it represents the Liang peak of 'ornate yet with backbone,' alongside letters like 'To Song Yuan Si' and 'Reply to Minister Xie.' The spring lines became the ultimate Jiangnan-spring phrase, called 'the unsurpassed spring lyric of a thousand years,' recorded in every anthology. In effect, the letter won back ten thousand troops by one sheet—proof that literature can be a tool of state, unique in Chinese letters. From reception history, 'late spring, third month' has been a required line since the Southern Dynasties; today it is taught for both its form and its strategy of moving by feeling and winning by culture.

此段及《与陈伯之书》全文，在文学史与接受史上都享有极高地位。从文学史看，它是南朝骈文的典范之作：全文以四六句式为主，对仗精工、用典贴切、情理交融，代表了梁代骈文「绮丽而不失骨力」的最高成就，与《与宋元思书》《答谢中书书》等同为南朝书札小品的明珠；而节选段「暮春三月，江南草长，杂花生树，群莺乱飞」更成为文学史上写江南春天的极致名句，历代咏春之作鲜有出其右者，被誉为「千古写春之绝唱」。从实用效果看，此信成功招降陈伯之，创造了「一纸书招降十万兵」的佳话，证明文学不仅是吟咏性情的工具，更可成为安邦定国的利器，这在中国文学史上独一无二，向为后世传诵。从接受史看，「暮春三月，江南草长」自南朝以来即为选本必录之句，明清文人品评骈文，多以之为「情景交融」的典范；今人选入教材，一则取其骈文形式之美，二则取其以情动人、以文化战的谋略智慧。值得注意的是，此段以「劝降」为用而毫无说教之气，全凭一幅春景、一声反问动人心魄，正是「攻心为上」的最高境界，其文学魅力与实用价值在千载之后依然熠熠生辉。

Prosody

Form Parallel prose (Southern Dynasties four-six style, in a letter).骈文（南朝四六骈体，书札）

Rhyme As parallel prose it values antithesis over rhyme; its music is in the four-character runs and the empty words. The four spring lines each open with a noun ('late spring,' 'Jiangnan,' 'flowers,' 'orioles'), with alternating tones, bright and spreading; 'see the banners…recall the days' uses 'of' and 'in' to pace the antithesis; 'stroke the strings, mount the rampart—can you not' closes with a rhetorical fall, one rise one sink.本文为骈文，讲究对仗而不刻意押韵，其音韵之美在四字句的连排与虚字的调度。「暮春三月，江南草长，杂花生树，群莺乱飞」四组四字句，句句以名词领起（暮春、江南、杂花、群莺），声调平仄相间，明快舒展；「见故国之旗鼓，感平生于畴日」以「之」「于」两个虚字调节节奏，骈偶工整；「抚弦登陴，岂不怆悢」以四字加四字收束，「岂不」反诘，声调骤然沉郁，一扬一抑，顿挫生姿。

Tone pattern The form is neat before, loose after; bright before, sunk after. The first four four-character lines are quick as spring's steps; the last four, though still four-character, turn from exposition to questioning, from bright to sunk, the sound advancing with the feeling, ending as if one sees him mount the wall and sigh.句式前整后散、前明后沉：前四句四字连排，节奏轻快，如春之脚步；后四句虽仍以四字为主，然「见」「感」「抚」「登」四动词连缀，「岂不怆悢」以反诘收束，语气由铺陈转为诘问，由明丽转为沉郁，声情与辞情同步递进，读至末句，如见其人登城远眺、怅然长叹。

Reading note The sound-beauty lies in the high unity of sentence-rhythm and feeling-rhythm. The first sixteen characters are all four-character, neat, bright, skipping, like spring water rising and orioles crying—the sound of 'flutter' and 'abundance' is spring made audible. Then 'see the banners…recall the days' slows and sinks; 'stroke the strings' is low, 'mount the rampart' rises, 'can you not' pauses, 'desolate' falls—like the heart's tide on the wall, settling into a long sigh. The whole is bright before, dark after; the sound-curve is the feeling-curve. Parallel prose here wins by 'rhythm-variation within antithesis': the same four-character form reads different by feeling—the very basis of the spring lines' immortality.此段的声韵之美，集中体现在「句式节奏」与「情感节奏」的高度统一。前四句「暮春三月，江南草长，杂花生树，群莺乱飞」十六字，全为四字句，音节整齐、明快、跳跃，如春水初涨、春莺乱啼，声音的「乱」与「盛」正是春意的声音化——诵读时，节奏轻快如踏青，每一顿都是春景的一次定格；这种整饬轻快的节奏，为后文的转折蓄足了势。至「见故国之旗鼓，感平生于畴日」，句式虽仍为四字，然「旗鼓」「畴日」皆含沉重之意，声调不自觉地放缓、转沉，一「见」一「感」之间，由景入情；「抚弦登陴，岂不怆悢」八字，「抚弦」低回，「登陴」扬起，「岂不」一顿，「怆悢」二字沉落，声调由低到高再陡然下沉，恰如登城远眺时的心潮起伏，最终沉淀为一声长叹。全段前明后暗、前快后慢，声音的曲线就是情感的曲线——春天的明快与望乡的沉郁在诵读中得到最直观的呈现。骈文虽以对仗见长，此段却以「对仗中的节奏变化」取胜：相同的四字句式，因情感的不同而读出不同的轻重缓急，这正是骈文「以气驭声」的境界，也是「暮春三月」四句之所以能独立千古、传诵不衰的声音基础。

Line by line

暮春三月，江南草长，杂花生树，群莺乱飞。

In late spring, the third month, by the Jiangnan streams the grass grows tall; variegated flowers bloom on the trees, and flocks of orioles flutter in flight. — The unsurpassed Jiangnan-spring lyric of a thousand years; not one word of feeling, yet spring rushes forth. 'Grow' shows the grass's surge, 'flutter' the orioles' bustle—'flutter' is especially vivid, writing spring's noise and life to the full. The function is 'for the return': the more beautiful Jiangnan, the harder for the deserter to part with it—joy-scene for sorrow.

暮春时节的三月里，江南的青草疯长，各色杂花盛开在枝头，成群的黄莺在树间纷飞。四句十六字，写尽江南暮春的烂漫生机。

In late spring, the third month, Jiangnan's grass grows, wild flowers burst on the trees, flocks of orioles dart about.

此四句是文学史上写江南春天的千古绝唱，十六字无一字言情，而春意扑面、乡思暗生。其妙有三：其一，取景之典型——「草长」「花生树」「莺乱飞」皆江南暮春最具特征性的物候，草之盛、花之繁、莺之闹，三层叠写，春之生机由地面而枝头、由静态而动态，层层升腾，一幅江南春景图跃然纸上；其二，炼字之精妙——「长」写草之疯长，「乱」写莺之纷飞，「乱」字尤其传神，写群莺叽叽喳喳、穿梭树间的热闹场面，一个「乱」字，把春天的喧闹与生命的旺盛写到了十分，若易为「飞」「舞」皆失其神；其三，句式之整饬——四组四字句两两相对，「草长」对「花生树」虽非严对，然声调抑扬、节奏明快，如春之脚步般轻快。更深一层，此四句的妙处在其「功能性」：这生机盎然的春景不是为写景而写景，而是为「招归」而设——江南越美，叛离江南的陈伯之越难割舍；春色越盛，漂泊北方的游子越思故土。以乐景写哀情，景愈美而情愈切，正是此四句超越一般写景名句、成为劝降妙笔的根本所在。

The spring. In late spring, the third month, Jiangnan's grass grows, wild flowers burst on the trees, flocks of orioles dart about. The late-spring-grass-grows and the wild-flowers-orioles-dart are the scene. To have burst on the trees would be a bursting; the in-late-spring-the-third-month-jiangnan's-grass-grows-wild-flowers-burst-on-the-trees-flocks-of-orioles-dart-about is the bursting.

见故国之旗鼓，感平生于畴日

Seeing the banners and drums of your former state, you recall the days of old. — The hinge between scene and sorrow, antithetic and deep. 'See' places Chen on the Wei wall beholding Liang's banners—the soldier's direct trigger; 'former state' hints an unbroken bond. 'Recall' turns sight to mind, evoking his old honor and lord-subject love, laying a slope for his 'turning back'—the very mechanism of 'moving by feeling.'

望见故国梁朝的旗帜与战鼓，回想自己往日在梁朝生活的时光。两句以对仗唤起陈伯之对故国与旧日的追忆。

Seeing the banners and drums of the old country, he thinks back on his life in days gone by.

此二句是前文春景与后文悲怆之间的枢纽，以对仗之工写情思之深。「见故国之旗鼓」——「见」字起笔，把读者（陈伯之）置于一个具体的视点：他站在魏军的城墙上，却望见了故国梁朝的旗鼓，「旗鼓」是军队的标识，见旗鼓而思故国，是军人最直接的情感触发点；「故国」二字尤其沉重——对陈伯之而言，梁朝已是他背叛的旧主，然而「故国」二字却暗含着一种斩不断的血缘般的联系，丘迟不称「梁朝」而称「故国」，正是在暗示：那是你的国，是你的根。「感平生于畴日」——「感」字与「见」字对举，由目之所见转入心之所感，「畴日」即昔日，写陈伯之回想在梁朝的旧日荣光与君臣之谊，字里行间藏着丘迟的劝诱：你昔日在梁为将、封侯受宠，今日寄身北朝，纵然富贵，可还记得当初？两句一「见」一「感」、一「故国」一「畴日」，由外而内、由国及身，把陈伯之置于情感的两难之中，为他铺就了一条「回头」的坡道——这正是此段「动之以情」的机关所在。

The banners. Seeing the banners and drums of the old country, he thinks back on his life in days gone by. The seen-banners-drums-old-country and the thinks-back-life-days-gone-by are the recollection. To have seen the banners would be a seeing; the seeing-the-banners-and-drums-of-the-old-country-he-thinks-back-on-his-life-in-days-gone-by is the seeing.

抚弦登陴，岂不怆悢！

You stroke the strings and mount the rampart—can you not feel desolate? — The emotional explosion, a scene and a rhetorical question as the last blow. 'Stroke the strings' (or bowstring) and 'mount the rampart' picture the general gazing homeward; the rhetorical 'can you not' brooks no denial, gathering all the scene and feeling into one sigh of homesick pain—the four-tael turning the thousand-catty.

手抚琴弦、登上城墙远眺故国，难道不感到悲怆凄凉吗！丘迟设想陈伯之登城望乡的场景，以反诘逼出他的故国之思。

His hand on the bowstring, he climbs the city wall—how can he not be stricken with grief!

此二句是全段情感的爆破点，以场景描写与反诘语气完成对陈伯之的最后一击。「抚弦登陴」四字写一个具体的动作画面：陈伯之手抚琴弦（或弓弦），登上城上的女墙，向江南方向眺望——「抚弦」写其郁结难抒，唯有借弦声泄情；「登陴」写其登高望远、目极千里，一个武将登城眺望故国的剪影宛然在目。丘迟不写陈伯之此刻的心情，只写他的动作，把想象的场景交还给他本人去体验，这比任何直白的情感描写都更有力量。末句「岂不怆悢」以反诘收束——「岂不」即「难道不」，语气看似询问，实则不容置疑：面对江南的春景、故国的旗鼓、往日的旧情，你怎么可能不悲怆？这一问把前文铺陈的景、情、事全部收拢，逼出读者（陈伯之）胸中那一声叹息，也把劝降之意化为情感的共鸣。「怆悢」二字选词极准，写悲怆而含凄恻，如一声长叹余音袅袅。全段以春景起、以悲情结，一乐一悲、一明一暗，而「岂不」一问，正是四两拨千斤的枢纽。

The wall. His hand on the bowstring, he climbs the city wall—how can he not be stricken with grief! The hand-on-bowstring-climbs-wall and the how-can-he-not-be-stricken-grief are the question. To have climbed the wall would be a climbing; the his-hand-on-the-bowstring-he-climbs-the-city-wall-how-can-he-not-be-stricken-with-grief is the climbing.

Study

Word focus

乱 Flutter. — The most vivid word in the sixteen, the eye of the spring's 'abundance.' 'Flutter' normally implies disorder yet here praises the orioles' bustling flight—a host of birds weaving and crying, spring's life bursting forth. If changed to 'fly' or 'dance' only the motion shows, not the noise; only 'flutter' writes the density and dynamism. Deeper, 'flutter' projects feeling: the more lavish the spring, the more stirred the exile's heart—scene's flutter and feeling's flutter merge, seeding the later 'desolate.' 「群莺乱飞」之「乱」字，是写春景十六字中最为传神的字眼，也是全段春意之「盛」的句眼。「乱」本含杂乱、纷扰之意，多用于贬义，此处却以「乱」写群莺之纷飞，化贬为褒，妙不可言。「乱飞」写出了春天里黄莺成群结队、上下翻飞、叽叽喳喳的喧闹场面——不是一只两只的「飞」，而是此起彼伏、穿梭交错、令人目不暇接的「乱飞」，春之生机、春之喧腾、春之不可按捺的生命力，全在这一个「乱」字中奔涌而出。若易为「飞」「舞」「翔」，则只见其动作而不见其热闹；唯「乱」字写出了群莺的密度与动感，写出了春天那种「蓬勃到近乎放肆」的生机。更深一层，「乱」字暗含「情绪」的投影：春色越是烂漫，人心越是缭乱——对于身在异乡的陈伯之而言，这「乱飞」的群莺恰恰搅乱了本已不平静的心，景之「乱」与情之「乱」在此悄然合流。一个「乱」字，既写活了江南之春，又为后文的「怆悢」埋下伏笔，是骈文炼字「一字千钧」的典范。

故国 Former state. — The key emotional word and core of Qiu's persuasion. It means the Liang Chen deserted, but Qiu says 'former state' not 'Liang army,' lending deep nostalgia—that land he was born and served in, still 'former' yet unbreakable. It avoids the moral words 'traitor' and 'loyalty,' calling by old love, leaving Chen face and a step to return; 'former state' against 'banners' makes the abstract concrete, and carries the Shi Jing 'millet' tradition of homeland grief. 「见故国之旗鼓」之「故国」二字，是全段情感的关键词，也是丘迟劝降策略的核心语汇。「故国」指陈伯之叛离的梁朝，但丘迟不用「梁朝」「梁军」等客观称谓，而用「故国」——「故」字含着旧日、从前、已然失去之意，一经出口，便带上了浓厚的怀旧色彩与情感重量：那是他生于斯、长于斯、仕于斯的故土旧邦，纵然今日兵戈相见，终究是「故国」，如一位故人，割不断、忘不了。此二字的选择极见匠心：其一，它绕开了「叛」「忠」的道德评判，不以斥责相逼，而以旧情相唤，为陈伯之的「回头」留足情面与台阶；其二，「故国」对「旗鼓」，一抽象一具体，旗鼓是故国在眼前的具象化，见旗鼓即见故国，情感由此获得坚实的依托；其三，「故国」二字暗含「黍离」传统——《诗经·王风·黍离》「彼黍离离，彼稷之苗」写故国之思，后世凡言「故国」皆含深沉的家国之痛，丘迟拈此二字，使一封劝降书具有了诗性的哀感，动人心魄处正在于此。

怆悢 Desolate. — The closing word of feeling, a model of parallel-prose diction. 'Desolate' is grief, 'liang' is melancholy; together they write a complex sorrow of 'wish to return yet cannot,' fitting the wall-gazer who cannot go home. Unlike plain 'sorrow' or 'pain,' it is a diffuse unshakeable ache, like a long sigh at the wall. Its falling tone matches the rhetorical 'can you not,' a desolate question striking the heart; in two characters it gathers the bright spring, the old state, the wall-gaze. 「岂不怆悢」之「怆悢」二字，是全段情感的收束词，也是骈文选词炼意的典范。「怆」为悲伤、凄怆，语出《诗经》「忧心怆怆」；「悢」为惆怅、悲凉，二字相叠，写悲怆中兼含怅惘失落之情——不是单纯的悲痛，而是「欲归不得、欲语还休」的复杂心绪，与「登陴」远望而不得归的处境正相吻合。此词的妙处在于其「情态的细腻」：若用「悲」「哀」则失之直露，若用「伤」「痛」则失之强烈，唯「怆悢」写出那种弥漫于心、无法排遣的凄凉，如登高望乡时的一声长叹，余音在空气中久久不散。且「怆悢」之声调，仄仄平，读来沉郁顿挫，与「岂不」的反诘语气相配，恰如一声悲怆的诘问击在读者心头。丘迟以二字收束全段，把春景之明丽、故国之追忆、登陴之怅望尽数纳入这深沉的两字之中，景、情、声三者交融，使这段劝降文字具有了诗一般的感染力——千载之下读之，犹能感到那份「怆悢」。