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清 Qing · 诗 Poem

崖门谒三忠祠

Worshipping the Three Loyal Ones' Shrine at Yamon

陈恭尹

Chen Gongyin

怀古nostalgia 爱国patriotism 遗民people

崖门谒三忠祠山木萧萧风更吹，两崖波浪至今悲。
一声望帝啼荒殿，十载愁人拜古祠。
海水有门分上下，江山无地限华夷。
停舟我亦艰难日，畏向苍苔读旧碑。

Hill trees sigh, the wind blows harder;
The waves between the cliffs still mourn to this day.
A cry of the Wangdi cuckoo in the deserted hall;
A decade's sorrowful man bows to the old shrine.
The sea has gates dividing high and low;
The rivers and hills have no ground to bound Hua and Yi.
I moor my boat in hard days too,
And fear to read the old stele amid the green moss.

Listen

Meaning

At Yamon the hill trees sigh and the wind blows yet harder; the waves against the two cliffs still carry sorrow to this day. In the deserted hall a Wangdi cuckoo cries; for ten years a sorrowful man has bowed at the old shrine. The sea has gates to divide high and low, yet the rivers and hills have no ground to bound Hua and the barbarians. I, mooring my boat in hard times too, truly fear to read that old stele among the green moss.

崖门山木萧萧，风声更紧；两岸波涛至今犹带悲意。荒殿上一声杜鹃啼血，十载愁人拜谒古祠。海水有门可分上下，江山却无地能阻隔华夏与四夷。停舟的我也在艰难时日，真怕向苍苔去读那旧碑。

Appreciation

The first couplet uses 'hill trees sigh' and 'waves still mourn to this day' to build a realm where ancient and now mourn alike; the second 'a Wangdi cry in the deserted hall' uses the cuckoo-blood allusion to write the grief of a lost state, 'a decade's sorrowful man' states his loyalist identity. The third 'the sea has gates dividing high and low; the rivers and hills have no ground to bound Hua and Yi' is the poem's alert line, using nature's having bounds to set off the human realm's being without constancy, the hard bound of Hua and Yi—deep and startling. The closing 'fear to read the old stele' gathers, with unending after-sorrow, condensing the pain of family and state upon the moss-grown old stele.

【白话串讲】陈恭尹拜谒崖门三忠祠（文天祥、陆秀夫、张世杰）：“海水有门分上下，江山无地限华夷”——宋朝在崖门覆灭，十万军民跳海殉国。“停舟我亦艰难日，畏向苍苔读旧碑”——他怕读那些碑文，因为自己也是亡国之痛。【意象与手法】首联以「山木萧萧」「波浪至今悲」营造古今同悲之境；颔联「望帝啼荒殿」用杜鹃啼血典写亡国之恸，「十载愁人」自道遗民身份。颈联「海水有门分上下，江山无地限华夷」为全诗警策，以自然之有界反衬人事之无常、华夷之难限，沉痛警绝。尾联以「畏读旧碑」收，余哀不尽，将家国之痛凝于苍苔残碑之上。【情感与主旨】陈恭尹（1631—1700），明末清初遗民诗人，父邦彦抗清殉难。崖门（广东新会）为南宋崖山殉国之地，三忠祠祀陆秀夫、张世杰、文天祥。此诗当为诗人谒祠之作，借南宋覆灭之痛，寄寓易代亡国之悲与父死国殇的家国之恨，是其怀古爱国诗的代表，亦可见明遗民借古伤今、以宋喻明的普遍寄托方式。【名句点睛】中高考常考：①赏析「海水有门分上下，江山无地限华夷」的对比与情感；②理解「望帝啼荒殿」的用典；③「畏向苍苔读旧碑」中「畏」字的情感内涵。

Background

Chen Gongyin (1631-1700), a loyalist poet of the late Ming and early Qing, whose father Bangyan died resisting the Qing. Yamon (Xinhui, Guangdong) is where the Southern Song perished at Ya Mountain; the Three Loyal Ones' Shrine honours Lu Xiufu, Zhang Shijie and Wen Tianxiang. This poem was likely written when the poet worshipped the shrine, lodging the grief of the Ming-Qing change and the family hate of father dying for the state in the pain of the Song's fall—a representative of his nostalgic patriotic poetry, also showing the common lodging of Ming loyalists of using the past to mourn the present, using Song to mean Ming.

陈恭尹（1631—1700），字元孝，号独漉子，广东顺德人，明末清初著名遗民诗人，与屈大均、梁佩兰并称「岭南三大家」。其父陈邦彦为明末抗清志士，清顺治四年（1647）起兵抗清，兵败被俘，不屈殉难；陈恭尹时年十七，以遗孤逃匿民间，此后终生不仕清廷，以遗民自处，其诗多写故国之思与家国之痛。此诗为诗人拜谒崖门三忠祠所作。崖门（今广东新会南），南宋末年宋元最后一次大战——崖山海战的战场：祥兴二年（1279），南宋残军与元军决战于崖山，宋军大败，陆秀夫背负幼帝赵昺投海殉国，张世杰战败后堕海而死，南宋遂亡；文天祥则早于此前在五坡岭被俘，不屈而死。后人于崖门建「三忠祠」祀陆秀夫、张世杰、文天祥三公。陈恭尹谒祠时，距南宋之亡已四百余年，而距明朝之亡（1644年）不过二三十年——他拜三忠祠，悼的是南宋的覆灭，想的却是明朝的沦亡：南宋亡于崖山，明朝亡于甲申，两代的亡国之痛在崖门的海风中叠合；其父陈邦彦抗清殉难，与三忠的殉国同是忠义之气，陈恭尹以「十载愁人」自道，正是易代之后遗民「借古伤今、以宋喻明」的典型寄托。此诗既是怀古，更是自伤，是明遗民文学的代表作。

Art

此诗艺术之妙，在「古今同悲的意境营造」与「自然有界与人事无常的对照」。首联「山木萧萧风更吹，两崖波浪至今悲」以景起兴：「山木萧萧」用《楚辞·九歌·山鬼》「风飒飒兮木萧萧」之句意，写崖门山木萧萧、风声愈紧，萧瑟之境如见；「两崖波浪至今悲」写两岸波涛至今犹带悲意——「至今」二字把今古接通：四百年前的崖山血战，波涛记之，至今犹悲——这是「以景写史」：波浪之悲，正是历史的悲声，古今同悲之境由此立起。颔联「一声望帝啼荒殿，十载愁人拜古祠」用典写哀：「望帝啼荒殿」用望帝化鹃啼血之典（见下），写荒殿上一声鹃啼，如诉亡国之痛；「十载愁人拜古祠」自道身份——「十载愁人」写遗民之愁（明朝灭亡已十余年，诗人愁苦至今），「拜古祠」写谒祠之诚，愁人拜忠祠，同悲共悼。颈联「海水有门分上下，江山无地限华夷」是全诗警策：海水有崖门之限可分上下，而江山却无地能阻隔华夷——以自然之「有界」（海门）反衬人事之「无界」（华夷之限），言外之意：南宋若有海门可守，何以亡国？明朝若有山河之固，何以沦亡？「无地限华夷」五字，写尽亡国之痛与遗民之愤，沉痛警绝。尾联「停舟我亦艰难日，畏向苍苔读旧碑」以己收束：「艰难日」自道处身之艰（遗民处清廷治下，日艰难），「畏读旧碑」写不敢读碑——不是不爱读，而是读碑即触痛（碑上三忠之事，正映照今日之痛），一个「畏」字，把家国之痛写得欲言又止，余哀不尽。全诗由景入情、由情入议、由议入己，层层推进，沉郁顿挫，是遗民怀古诗的典范。

Allusions

'Wangdi' refers to the ancient Shu king Du Yu who became a cuckoo crying blood—a metaphor for the grief of a lost state and the pain of longing to return, here writing the cuckoo's cry in the deserted hall, darkly mourning the Song's fall; 'the Three Loyal Ones' are Lu Xiufu, Zhang Shijie and Wen Tianxiang; 'Hua and Yi' means Hua (China) and the barbarians. The poet borrows the Yamon-perished-state story, with cuckoo-blood and sea-gate images, layer by layer writing the hate of the old land lost, apt allusion yet deep feeling, worthy to be a model of loyalist nostalgia.

此诗用典贴切而情深，最见遗民诗「以典故写故国之思」的特点。「山木萧萧」出《楚辞·九歌·山鬼》「风飒飒兮木萧萧，思公子兮徒离忧」，本写思念之愁，陈恭尹以之写崖门之景，暗含《山鬼》的幽怨，为全诗定下悲凉基调；「望帝」出《华阳国志》——古蜀王杜宇号望帝，失国后化为杜鹃，啼血不止（「望帝春心托杜鹃」），后世以「望帝啼鹃」喻亡国之痛与思归之悲，此处写「一声望帝啼荒殿」——荒殿之上，一声鹃啼，如望帝之泣血，正是南宋之亡、明朝之亡的亡国之音；「三忠」即陆秀夫、张世杰、文天祥——崖山之战中，陆秀夫负帝投海、张世杰堕海殉国、文天祥从容就义，三人皆忠义殉国之典范，「三忠祠」即祀此三人；「华夷」谓华夏与四夷——「江山无地限华夷」言江山之大，竟无一处能阻隔华夷，暗伤南宋之亡于蒙古、明朝之亡于满清——「华夷」之辨正是遗民诗的核心话语，陈恭尹以「无地限」写华夷失守之痛，直指亡国之因。全诗以望帝啼血、三忠殉国、华夷之辨等典象层层递写故国沦丧之恨，用典贴切而情深，足称遗民怀古之范式。

Commentary

This poem is a famous Lingnan nostalgia piece, with Qu Dajun and Liang Peilan called the 'Three Masters of Lingnan'. Shen Deqian said of it 'deep and restrained, gaining the old Du (Du Fu) legacy'; a modern praises the 'sea has gates' couplet as a song of rise-and-fall through the ages, showing its outstanding power of using land to mean history, using scene to write the pain of a lost state. A crown of Lingnan loyalist nostalgia.

此诗为岭南怀古名篇，历代评价极高。沈德潜《清诗别裁》评陈恭尹诗「沉郁顿挫，得老杜遗意」，此诗正可当之——首联之萧萧、颈联之警策、尾联之畏读，皆有杜甫《蜀相》《秋兴》的沉郁风神；近人论此诗，多推「海水有门分上下，江山无地限华夷」一联为千古兴亡之绝唱——以自然之「有界」反衬华夷之「无界」，言简而意深，把南宋与明朝两代亡国之痛凝于一联，堪称「以地喻史、以景写亡国」的极致。此诗在文学史上的价值，在于它是明遗民怀古诗的代表作：陈恭尹身处清初，不能直写亡国之痛，遂借南宋崖山之亡、三忠之烈，以古喻今、借史伤怀——这种「借古伤今、以宋喻明」的寄托方式，正是明遗民文学的普遍特征（顾炎武「江山代有才人出」、屈大均《壬戌清明作》皆用此法）；而此诗之独到，在以「畏读旧碑」收束——不敢读碑，正因碑上字字是血，与己之痛相映，这种「以不写写之」的含蓄，比直抒悲愤更深一层。陈恭尹与屈大均、梁佩兰并称「岭南三大家」，此诗正是岭南遗民诗「雄直而深婉」风格的典范，对清代怀古诗（如龚自珍《咏史》）亦有影响。

Prosody

Form Seven-character regulated poem (seven-character lü)七言律诗（七律）

Rhyme Ping-shui rhyme, upper-level four zhi group (blow, mourn, shrine, Yi, stele)平水韵·上平四支（吹、悲、祠、夷、碑），首句入韵，一韵到底，韵部低沉内敛，正合沉痛悲慨之情。

Tone pattern First line enters rhyme, level-onset first-line-enters-rhyme平起首句入韵式，平仄合律：平平仄仄仄平平（山木萧萧风更吹）……中二联对仗工整（一声对十载、望帝对愁人、啼对拜、有门对无地、分上下对限华夷），音节沉郁顿挫。

Reading note Middle two couplets strict antithesis, the third couplet the whole poem's alert line.此诗为七言律诗，是明遗民怀古诗的典范，格律严整而情感沉郁。七律体制，首联起、颔联承、颈联转、尾联合，此诗严守章法而自有其「遗民」的特色：首联以景起兴（山木萧萧、波浪至今悲），写「古今同悲」之境；颔联承写谒祠之哀（望帝啼荒殿、愁人拜古祠），用典自道；颈联转写华夷之思（海水有门、江山无地），是全诗的思想高峰；尾联合以畏读旧碑（停舟艰难日、畏向苍苔读旧碑），以「畏」字收束，余哀不尽。用韵上，全诗押上平四支韵（吹、悲、祠、夷、碑），音色低沉内敛，正合亡国之痛的压抑情调；平仄上，平起首句入韵，中二联对仗工整——「一声」对「十载」、「望帝」对「愁人」、「啼」对「拜」、「荒殿」对「古祠」、「海水」对「江山」、「有门」对「无地」、「分上下」对「限华夷」，字字相对，尤以颈联「有门」对「无地」的虚实相对最为精警——自然之「有」对人事之「无」，对仗之中即含兴亡之理。此诗的艺术特色，在于「以严整之律写沉痛之情」：格律愈严整，情感的张力愈大——首联之萧萧、颈联之警策、尾联之畏读，皆在严整的七律框架中层层推进，正是沈德潜所谓「沉郁顿挫，得老杜遗意」的体现，也是清代七律怀古诗的重要文本。

Line by line

山木萧萧风更吹，两崖波浪至今悲。

The mountain trees sigh, and the wind still blows; the waves of both cliffs grieve even to this day.

崖门山木萧萧，风声更紧；两岸波涛至今犹带悲意。

The mountain trees sough, the wind blowing yet harder; the waves between the two cliffs are still sorrowful today.

首联以景起兴，是全诗「古今同悲」之境的开端。「山木萧萧风更吹」写景——崖门的山木萧萧作响，风声一阵紧似一阵：「萧萧」用《楚辞·九歌·山鬼》「风飒飒兮木萧萧」之句意，叠字写木叶之声与风势之紧，「更吹」写风之愈烈——山风萧萧，如泣如诉，正是亡国之地的苍凉景象；「两崖波浪至今悲」写水——崖门两岸的波涛，至今犹带悲意：「两崖」点出崖门（两山夹江如门）的地理，「至今」二字是全句的诗眼——从崖山海战至今四百余年，波涛的悲声从未止息：波浪本无情，而「至今悲」三字，把今古接通——四百年前的悲（南宋之亡）与今日之悲（明朝之亡）在波涛中叠合，以景写史，以水写悲，古今同悲之境由此立起，为全诗定下沉痛的基调。

The opening couplet rises on scene, the beginning of the realm of shared grief through the ages. The mountain trees sigh, and the wind still blows writes the scene: the cliff-gate mountain trees sough, the wind gust after gust; the soughing borrows the lines of the Songs of Chu, the Mountain Spirit: the wind sighs, the trees sough; the reduplication writes the sound of leaves and the fierceness of the wind, the still blows the wind's growing violence — the mountain wind soughing, as if weeping, precisely the bleak scene of a fallen land. The waves of both cliffs grieve even to this day writes the water: the waves of the cliff-gate banks even today carry grief; both cliffs marks the geography of the cliff gate (two mountains hemming the river like a gate); the two words even to this day are the poetic eye of the line — from the sea-battle of Cliff Hill to this day, four hundred years and more, the waves' grief never ceases: the waves are feelingless, yet even to this day grieve connects past and present — the grief of four hundred years ago (the fall of Southern Song) and the grief of today (the fall of Ming) overlay in the waves, writing history through scene, grief through water, the realm of shared grief through the ages established, fixing the sorrowful tone of the whole.

一声望帝啼荒殿，十载愁人拜古祠。

One cry of Wang Di in the ruined hall; the sorrowful man of ten years bows before the ancient shrine.

荒殿上一声杜鹃啼血，十载愁人拜谒古祠。

A single cry of the cuckoo echoes in the ruined hall; a sorrowful man of ten years worships at the ancient shrine.

颔联用典写哀，是全诗由景入情的关键。「一声望帝啼荒殿」——荒殿之上一声鹃啼：用望帝化鹃啼血之典——古蜀望帝杜宇失国后化为杜鹃，啼血不止，后世以「望帝啼鹃」喻亡国之痛，此处写荒殿上一声鹃啼，如望帝之泣血，正是亡国之音的具象：南宋亡于崖山，明朝亡于甲申，两代亡国之痛，尽在这一声鹃啼之中；「荒殿」二字写祠之荒凉——三忠祠年久失修，殿宇荒芜，更添悲凉。「十载愁人拜古祠」——十载愁人（诗人自道，明朝灭亡已十余年，遗民愁苦至今）拜谒古祠：「十载」写愁之久，「愁人」写遗民身份——拜古祠者，非寻常游客，而是身经亡国之痛的遗民：愁人拜忠祠，拜的是三忠之烈，哭的是故国之亡。此联一写鹃啼（物之悲），一写人拜（人之悲），物我同悲，亡国之恸尽在其中。

The second couplet uses allusions to write grief, the key turning from scene to feeling. One cry of Wang Di in the ruined hall: a single cuckoo cry above the ruined hall, using the allusion of Wang Di turned cuckoo and weeping blood — the ancient Shu emperor Wang Di, Yu, losing his realm, turned into the cuckoo, weeping blood without cease, and later ages use Wang Di's cuckoo for the grief of a fallen kingdom; here the single cuckoo cry above the ruined hall is like Wang Di's weeping blood, precisely the embodiment of the music of the fallen state: the Southern Song fallen at Cliff Hill, the Ming fallen in the jiashen year, both griefs of fallen dynasties gathered in this one cuckoo cry. The ruined hall writes the shrine's desolation — the Shrines of the Three Loyalists long unrepaired, the halls overgrown, the grief the deeper. The sorrowful man of ten years bows before the ancient shrine: the sorrowful man of ten years (the poet himself, the Ming fallen for more than ten years, the loyalist in sorrow to this day) worships the ancient shrine; ten years writes the length of sorrow, sorrowful man the loyalist's standing — the worshiper of the ancient shrine is no ordinary tourist, but the loyalist who has passed through the grief of a fallen state: the sorrowful man worships the loyalist shrine, bowing to the three loyalists' martyrdom, weeping for the fallen kingdom. The couplet writes the cuckoo's cry (the grief of things) and the man's worship (the grief of man), object and self in one sorrow, the anguish of a fallen state all within.

海水有门分上下，江山无地限华夷。

The sea has a gate dividing upper and lower; the land has no ground to set Hua apart from Yi.

海水有门可分上下，江山却无地能阻隔华夏与四夷。

The sea has its gate to divide upper from lower; the land and hills have no spot to bar Chinese from barbarian.

颈联是全诗警策，也是全诗情感与思想的最高点。「海水有门分上下」写自然之有界——海水有崖门（两山夹江如门）之限，可分上流下流：自然界的海水尚且有门可界，有分可限；「江山无地限华夷」陡转——而偌大的江山，却无一处能阻隔华夷：华夏与四夷之间，竟找不到一块可以设限的土地——言外之意：南宋有崖门之险、有江淮之固，何以亡于蒙古？明朝有长城之防、有山河之险，何以亡于满清？「无地限华夷」五字，以自然之有界反衬人事之无界，写尽亡国之痛与遗民之愤：不是江山不险，而是人心不固、天命不佑，华夷之辨的失守，正是亡国的根本。此联以「有」对「无」、「海」对「江」、「门」对「地」，对仗精工而沉痛警绝，把两代亡国的历史教训凝于十四字中，堪称「以地喻史」的绝唱，为全诗的思想高峰。

The third couplet is the aphorism of the poem, and the highest point of its feeling and thought. The sea has a gate dividing upper and lower writes nature's having a boundary: the sea has the cliff gate (two mountains hemming the river like a gate) to divide the upper and lower reaches; the natural sea at least has its gate to bound, its divisions to limit. The land has no ground to set Hua apart from Yi turns abruptly: the vast land and rivers, yet not a foot of ground can bar Hua from Yi — between the Chinese and the barbarian, no strip of earth to be found that might set a limit; the unspoken meaning: the Southern Song had the cliff gate's peril, the Huai and Yangtze's strength, why did it fall to the Mongols? The Ming had the Great Wall's defense, the mountains and rivers' peril, why did it fall to the Manchus? The five words no ground to bar Hua and Yi set nature's having boundaries against human affairs' having none, writing the grief of the fallen state and the loyalist's wrath to the utmost: not that the land was not perilous, but that the heart was not firm, the mandate not favoring; the loss of the Hua-Yi distinction is precisely the root of the fall. The couplet pairs has with no, sea with river, gate with ground, the parallelism exquisite and the grief cutting, condensing the historical lesson of two fallen dynasties in fourteen characters, the swan song of writing history through place, and the thought-peak of the poem.

停舟我亦艰难日，畏向苍苔读旧碑。

I moor my boat, in a day as hard; afraid to read the old stone through the green moss.

停舟的我也在艰难时日，真怕向苍苔去读那旧碑。

I moor my boat, also in a day of hardship; I fear to read the old inscriptions through the green moss.

尾联以己收束，是全诗情感的归结点，也是全诗最沉痛处。「停舟我亦艰难日」——停舟于此的我，也正处在艰难的时日：「停舟」照应「谒祠」之行（泊舟登岸），「我亦艰难日」自道处境——诗人身为遗民，处清廷治下，父死国亡，飘零半生，正与南宋遗民同其艰难：「亦」字把自己与三忠、与南宋遗民接通——古之艰难（宋亡）与今之艰难（明亡），在我身上重合；「畏向苍苔读旧碑」——真怕向那长满苍苔的旧碑去读：「畏」字是全句的诗眼——不是不爱读、不愿读，而是不敢读：碑上刻着三忠的事迹，字字是忠义之血，读碑即触痛——三忠的殉国，正映照今日之痛（父邦彦之死、故国之亡），读之何忍？「苍苔」写碑之古（岁月侵蚀，苔痕斑驳），「旧碑」写史之重——以「畏读旧碑」收束，把家国之痛写得欲言又止，余哀不尽，正是「以不写写之」的含蓄，比直抒悲愤更深一层。

The closing couplet ends in the self, the landing of the poem's feeling, and the most sorrowful point. I moor my boat, in a day as hard: I, moored here, also stand in a day of hardship; moor my boat answers the visiting the shrine (tying up, landing), in a day as hard self-states the lot — the poet, a loyalist, under Qing rule, father dead, kingdom lost, drifting half a life, precisely sharing the hardship of the Southern Song loyalists; the word also connects himself with the three loyalists and the Song loyalists — the old hardship (Song's fall) and the present hardship (Ming's fall) coincide in him. Afraid to read the old stone through the green moss: afraid to read, through the green-mossed old stone; the word afraid is the poetic eye of the line — not that he will not read, does not want to read, but dares not: the stone is engraved with the deeds of the three loyalists, each character the blood of loyal righteousness; reading the stone is to touch the wound — the three loyalists' martyrdom mirrors the present pain (his father's death, the fall of the old kingdom), and how can he bear to read? The green moss writes the stone's age (the years' erosion, the mottled lichen), the old stone the weight of history; closing on afraid to read the old stone writes the grief of family and country as wanting to speak and holding back, the after-grief unending, precisely the restraint of writing by not writing, one layer deeper than direct lament.

Study

Word focus

至今悲 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「两崖波浪至今悲」之「至今悲」，是全诗「古今同悲」意境的核心词。「至今」写时间之远——从崖山海战（1279）至今四百余年，波涛之悲从未断绝：「至今」二字把今古接通，四百年的岁月在二字中如白驹过隙，而悲声依旧；「悲」字写波涛之情感——波浪本是无情的自然之物，而诗人以「悲」字赋予其情：这悲，是历史的悲（南宋之亡），是今日的悲（明朝之亡），更是诗人心中之悲的投射——波涛「至今悲」，正是诗人「至今悲」。「至今悲」的妙处在于「以水写史」：两崖的波浪是四百年前的波浪，也是今朝的波浪，水是恒常的，悲是延续的——历史如波涛，一浪接一浪，亡国之悲亦如波涛，代代相传。三个字，写尽时间、历史与情感的纵深，是全诗立起「古今同悲」之境的关键，也是遗民诗「借古伤今」的凝练表达。

畏 To fear—writes the deep sorrow of being pierced by reading the stele, the unwillingness to recall. 「畏向苍苔读旧碑」之「畏」字，是全诗的诗眼，写「不敢读碑」的复杂心理。「畏」不是「怕」碑（碑不会伤人），也不是「懒」读（诗人非不敬），而是「不忍」「不敢」——不敢读碑，正因碑上字字是血：三忠的事迹（陆秀夫负帝投海、张世杰堕海殉国、文天祥从容就义）是忠义的极致，读之令人景仰，也令人心痛——景仰其烈，心痛其亡，而更痛的是：三忠之亡（宋亡）正与己之痛（明亡、父死）相映，读碑即读己，读史即读心，故「畏」。「畏」字的妙处有三：一是写情感的深度——畏读正因情之深（爱之深、痛之切）；二是写处境的艰难——遗民读忠义之碑，如芒在背（忠义之于我，是榜样亦是伤痛）；三是写表达的含蓄——不写读碑之痛，而写畏读之态，欲言又止，余哀不尽。一个「畏」字，把家国之痛写得入骨三分，是遗民诗炼字的典范。

萧萧 The mournful sound of wind in the trees, rendering a desolate, bleak realm. 「山木萧萧风更吹」之「萧萧」，叠字写山木之风声，是全诗起句的传神字。「萧萧」本写风声、雨声、落叶声（如「风萧萧兮易水寒」），此处写崖门山木在风中的萧萧之声——叠字造成音律的绵长，如风声之不绝；「萧萧」与「更吹」相配：木声萧萧，风声更紧，一紧一密，写尽崖门山风的凄厉。此字的妙处有三：一是「以声写景」——不写山之形，而写木之声，萧萧的风声木声，比视觉之景更直接地传达出悲凉；二是「以声写情」——萧萧之声如泣如诉，正是诗人心中悲声的投射，风声木声，声声入心；三是「用典化境」——「山木萧萧」暗用《楚辞·九歌·山鬼》「风飒飒兮木萧萧，思公子兮徒离忧」，本写幽怨之思，陈恭尹以之写崖门之景，暗含《山鬼》的哀怨，为全诗定下悲凉基调。叠字「萧萧」与尾联「苍苔」的苍凉遥相呼应，一开一合，写尽崖门的荒寒与诗人的哀思。