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宋 Song · 诗 Poem

升祔庆成

Celebration on the Completion of the Ancestral Temple Enshrinement

张方平

Zhang Fangping

山水Landscape 送别Parting 咏史Historical Reflection 愁思Melancholy

明诏初发中，奉慈讲升祔。
考典下容台，集议付近署。
双礼稽国章，大义推经据。
参覆经宰司，裁定皆宸虑。
献后正壶仪，仍几被遗顾。
拥佑隆帝室，清夷赞王路。
懿主钟景命，禖宫开庆祚。
灵长繄发祥，熙洽本垂裕。
蓬阙邈仙𫐌，柏城拱寒树。
别飨隔昭穆，时思憷霜露。
阳月日上辛，斋居待清曙。
当衙荐宝册，夹道陈卤簿。
玉色俨庄栗，渊衷缅驰慕。
端闱出翟车，黄道回天步。
千官陪祠庭，秘祐宁神御。
盛德配不祧，至孝始如素。
穹厚昭精纯，蕃夷入仪注。
涣汗肆庆宥，需云均膏饫。
广爱形海区，教忠宪侯度。
下臣叨载笔，书法资典故。

The bright edict first issued from the palace,
In reverence for the gracious will we discuss the enshrinement.
Ritual codes were examined at the Rongtai,
Assembled discussions were entrusted to the close offices.
The twin ceremonies followed the state statutes,
The great principles derived from canonical texts.
Reviewed repeatedly by the chief ministers,
All decisions were formed by the imperial mind.
The late empress set right the inner palace rites,
Her resting couch received the final bequest.
Her protection exalted the imperial house,
Her calm assistance aided the sovereign's path.
The virtuous ruler received the splendid mandate,
The temple of blessing opened auspicious fortune.
The sacred lineage thus granted good omens,
The harmonious prosperity stems from inherited bounty.
The immortal carriage departs far beyond the Peng towers,
Cold trees ring the cypress-walled cemetery.
Separate offerings are set by the ancestral order,
Seasonal thoughts tremble before frost and dew.
In the tenth month on the first Xin day,
In fasting lodgings we await the clear dawn.
At the court they present the precious records,
Along the road the imperial procession is arrayed.
His jade countenance is solemn and grave,
His deep heart yearns in distant reverence.
From the inner gate emerges the pheasant-plumed carriage,
On the imperial way returns the Son of Heaven's step.
A thousand officials attend the shrine court,
Secret blessings calm the spirit's chariot.
His great virtue matches the ever-honored ancestors,
His filial piety remains simple as white silk.
Heaven and earth attest his pure sincerity,
Barbarian states enter into the ceremonial record.
The sweeping amnesty is proclaimed,
The clouds bring equal rain and nourishment.
Broad love reaches to the sea's borders,
Teaching loyalty is modeled on the feudal lords' duty.
Your humble servant is privileged to hold the writing brush,
The chronicle relies on ancient precedents.

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Meaning

This poem recounts the entire sequence of the ancestral enshrinement ceremony: from the initial imperial edict, through ritual study and court deliberation, to the fasting vigil, the grand procession, and the peaceful repose of the spirit. It culminates in the poet's self-effacing statement as a court historian. The work weaves meticulous ceremonial detail with praise for the emperor and expresses the reverent, duty-conscious mindset of a court official.

宋某朝升祔礼成，明诏初下，奉慈训讲定升祔之仪。礼官考据典章，下容台议定，付近署集议；双礼稽合国章，大义推本经据，经宰执参覆，皆出宸衷裁定。献后正壶仪，遗顾犹在；拥佑帝室，清夷王路。祥瑞既启，庆祚大开，灵长发祥，熙洽垂裕。蓬阙仙𫐌邈远，柏城寒树拱立；别飨隔昭穆之序，时思履霜露之戚。阳月择上辛斋居待曙，当衙荐宝册、夹道陈卤簿，玉色庄栗，渊衷驰慕。端闱出翟车，黄道回天步，千官陪祠，秘祐宁神。盛德不祧，至孝如素，天地昭精纯，蕃夷入仪注。涣汗庆宥，需云均膏，广爱海区，教忠侯度。下臣叨预载笔，书法一依典故。

Appreciation

The poem employs the expository style of the fu (rhapsody) to narrate the ceremony in strict chronological order. Its diction is weighty and dignified, with neatly balanced couplets. Lines such as 'The immortal carriage departs far beyond the Peng towers, / Cold trees ring the cypress-walled cemetery' and 'Separate offerings are set by the ancestral order, / Seasonal thoughts tremble before frost and dew' introduce a serene, distant landscape within the solemn grandeur. The concluding couplet, 'Your humble servant is privileged to hold the writing brush, / The chronicle relies on ancient precedents,' self-consciously marks the poet's role as recorder. This blend of imperial praise and personal duty gives the poem its distinctive texture, at once magnificent and soberly practical.

【白话串讲】张方平写“升祔”大礼：“明诏初发中，奉慈讲升祔”。“双礼稽国章，大义推经据”——“拥佑隆帝室，清夷赞王路”——他写皇家追尊先祖的典礼。【意象与手法】以赋体直叙铺陈典礼，多用典重字面与工稳对仗；「蓬阙邈仙𫐌，柏城拱寒树」「别飨隔昭穆，时思憷霜露」于庄穆中见清远之境，炼字凝练。【情感与主旨】既颂扬盛德至孝、海宇清夷，又自陈近臣载笔之职，表达恭谨颂圣与职事自述相交的臣工情怀。【名句点睛】「下臣叨载笔，书法资典故」二句，以谦辞自道史臣本分，点出全诗纪事依典之旨，于宏丽颂声中别具清醒实务之笔。

Background

Zhang Fangping (1007–1091), courtesy name Andao, styled Lequan Jushi, was a Northern Song statesman from Songcheng, Yingtian (present-day Shangqiu, Henan). He served under Emperors Renzong, Yingzong, and Shenzong, rising to the post of Assistant Councillor and Grand Academician of the Guanwen Hall. Known for his direct remonstrance, he submitted a ten-thousand-word memorial on state affairs early in his career and later opposed the disruptive reforms of Wang Anshi. He was also an accomplished writer; his prose is praised as 'elegant and fluent,' while his poems, mostly occasional, show a similar solidity. The 'shengfu' (enshrinement) ceremony was a major rite in the Song dynasty, whereby the spirit tablet of a deceased emperor or empress was elevated into the ancestral temple to be honored alongside preceding rulers. This poem, titled 'Celebration on the Completion of the Ancestral Temple Enshrinement,' records such a ceremony. The poem meticulously follows the ritual order, echoing the formal procedures described in the Song History's Treatise on Rites, and thus serves both as panegyric and as historical documentation.

张方平（1007—1091），字安道，号乐全居士，北宋应天宋城（今河南商丘）人，历仕仁宗、英宗、神宗三朝，官至参知政事、观文殿大学士。他以直言敢谏著称，早年上万言书论天下事，后于熙宁间反对王安石新法之扰民，退居亦未尝忘忧国。其人文名甚盛，奏议古文典雅条畅，而诗多为余事，应制、送别、咏怀之作居多。升祔为宋代重要祭礼，指将新崩皇后或皇帝神主升入祖庙、与先帝合祭配享之仪，礼极隆重，须礼官考据典故、集议定制。此诗题「升祔庆成」，当作于某次升祔礼成之后，张方平以近臣预修仪注、载笔纪事。诗中「奉慈讲升祔」写奉太后之命议定典礼，「考典下容台，集议付近署」写礼官考据与集议，「下臣叨载笔，书法资典故」则自陈史臣依典故书法纪事之意。全诗铺叙典礼全程，自明诏下颁、容台考典、宰司裁定，至斋居待曙、卤簿陈道、神御安宁，兼具庙堂颂美与职事自述，是典型的北宋郊庙应制排律。升祔之制在北宋尤为隆重，凡新主升祔，须礼官先考据典章、下容台集议，再由宰执参覆、宸衷裁定，方得举行。此诗题曰「庆成」，即礼成而庆之意，通篇依典礼时序层层铺展，可与《宋史·礼志》所载升祔仪注互为表里，故兼具颂美与存史的双重价值。

Art

This is a five-character extended regulated verse (pailü) of twenty rhymes, using a single rhyme throughout. Its structure follows the ceremonial timetable, moving from the edict, ritual research, and imperial decision, through the sacrificial setting, fasting vigil, procession, and accompanying rites, to the final record by the poet. The style is deliberately dignified and restrained, embodying the 'display and elaboration' of the fu tradition. The poet uses weighty diction and balanced couplets to convey solemnity. Notable refined words include 'miao' (far away), which suggests the remoteness of the celestial carriage; 'gong' (ring), which personifies the cypress trees as respectfully encircling the tomb; and 'chu' (fear), which captures the trembling reverence before frost and dew. These choices are vivid yet precise. The parallel couplets are often in the 'when-phrase' and 'neighboring-phrase' patterns, making the rhythm stately and even. Unlike the flamboyant Tang ceremonial hymns, Zhang's poem is collected and substantial, reflecting the Northern Song aesthetic of 'canonical and not shallow.'

此诗为五言排律，二十韵一韵到底，结构以典礼时间序列为纲，自诏下、考典、裁定、祭境、斋居、陈仪、陪祠以至载笔，次第铺陈，极具赋体「铺采摛文、体物写志」之特征。其艺术重心不在抒情，而在以繁密典重的字面与工稳对仗还原礼之庄严：如「双礼稽国章，大义推经据」以经据立骨，「参覆经宰司，裁定皆宸虑」以朝堂决策收束，「蓬阙邈仙𫐌，柏城拱寒树」以仙𫐌、寒树造清远之境，「别飨隔昭穆，时思憷霜露」以昭穆、霜露点宗庙之思。炼字尤见功力，「邈」写仙𫐌之远，「拱」拟人写柏树环拱，「憷」状履霜露之惕惧，皆凝而不浮。对仗多用当句对与邻句对，气脉端重，与其余应制诗一脉相承，唯此篇以纪事贯穿，叙事性更强。其铺陈之法尤为可述：自明诏下颁、容台考典、宰司裁定，至斋居待曙、卤簿陈道、神御安宁，次第井然，宛如一篇礼典注疏。字法上，「邈」「拱」「憷」诸字以动写静、以情入景；句法上，当句对与邻句对交错，如「考典」对「集议」、「双礼」对「大义」，音节整饬而气脉端重。较之韩愈《元和圣德诗》之奇峭铺张，张方平此篇敛而不肆，以质实胜，正见北宋台阁应制诗「典而不浮」的美学旨趣。

Allusions

The poem is dense with allusions to classical rites and texts. 'Twin ceremonies' refers to the dual rites prescribed by state statutes; 'great principles' are drawn from the canonical classics. 'Zhaomu' denotes the ancestral temple order in which generations alternate left and right, ensuring proper sequence. 'Yellow way' (huangdao) is the path of the Son of Heaven. 'Buhui' (not to be removed from the shrine) indicates an ancestor whose virtue is so great that his tablet is never moved. The phrase 'sweeping amnesty' (huanhan) comes from the Book of Changes, comparing the imperial decree to sweat that cannot be taken back; 'needy clouds' (xuyun) likewise from the Changes, represents the emperor's grace falling like rain. These classical borrowings ground the panegyric in authoritative precedent, making the praise substantive rather than hollow.

诗中用典密集且皆关礼制。一、尧躬：典出《书·尧典》，以尧喻当朝皇帝，颂其治法自然天成，「福嘏萃尧躬」即福庆聚于圣躬。二、鲁观：春秋鲁国观礼之书祥，《春秋》有鲁观衅之文，此处借指祥瑞之记载，与「气祥书鲁观」相应。三、昭穆：宗庙始祖居中，父子递为昭穆、左右相序之制，「别飨隔昭穆」正写升祔合食而序不乱。四、黄道：天体黄道，亦指天子所行之道，「黄道回天步」状帝王步履。五、重瞳：古谓帝王异相，舜目重瞳，「独得近重瞳」喻近侍圣颜，此虽出他篇，同属颂圣套语。六、柴：燔柴祭天之礼，「壝际柴烟白」写祭时柴烟。七、卤簿：天子仪仗，「夹道陈卤簿」直写其盛。八、不祧：宗庙中功大不迁之主，「盛德配不祧」颂其德可长配祖庙。诸典逐层托出郊庙之礼的渊源与神圣。诸典之外，尚有可补者：「斋居待曙」化用古礼斋戒以迎神之仪，「端闱」「黄道」皆为天子仪制之词，「涣汗」用《易·涣》「涣汗其大号」以喻天子号令如汗出不可反，「需云」用《易·需》「云上于天」以喻君恩如雨露普施。凡此皆以经义入诗，层层托出郊庙之礼的神圣渊源，使颂美之辞有典据而不流于空泛。

Commentary

Zhang Fangping's poetry is not widely discussed; critics have traditionally praised his memorial prose for its elegance and clarity, while his verse is considered a minor pursuit. Yet poems like this one are valuable for understanding the Northern Song court style. In contrast to Tang ceremonial hymns such as Zhang Yue's 'Seal of the Feng and Shan', which are expansive and ornate, Zhang Fangping's poem is restrained and factual. His identity as a court official who participated in ritual planning is evident in the precise enumeration of procedures. The final couplet, 'The chronicle relies on ancient precedents,' encapsulates the Northern Song reverence for precedent and the official's conscientious self-awareness. This poem may not be a masterpiece, but it is a significant document for the study of Song ritual poetry and the mentality of scholar-officials.

张方平诗名不显，历来批评多就其奏议古文而论，《四库》称其文「典雅条畅」，于诗则少专论，盖宋人重其政事文章，诗为余事。以此诗与集中同类应制之作并观，可知其郊庙题材一脉相承：如《大祀礼成》写祭天「皇心奉先孝，盛德事天明」，《九日侍宴太清楼》写侍宴「清时人共乐，白日坐间长」，与此篇同用典重平实、以臣工口吻自谦之笔。三者相较，本篇叙事最繁、礼序最密，尤见其预修仪注之实务身份。与唐人郊庙歌辞（如张说《封禅颂》、郊庙歌辞之铺张扬厉）相较，张方平此诗收敛而质实，少浪漫夸饰，多职守自陈，折射北宋台阁应制「重典故、尚端雅」之风。其接受史虽短，却是研究宋代礼制诗与大臣「载笔」意识的真切材料。后人论张方平，多许其奏议「典雅条畅」，而其诗实为余事中之余事，故选家著录甚稀。然以文学史观之，此类升祔、大祀之什，恰是北宋礼制诗由唐之铺张扬厉转向宋之质实收敛的关键标本。张方平以近臣预修仪注的身份入诗，其「载笔纪事」的自觉，与司马光、宋祁诸臣的郊庙之作同调，可证宋型应制诗「重典故、尚端雅、以礼为体」的整体取向。故本篇虽非名篇，于研究宋代庙堂诗风与礼官心态，却有不可替代的史料意义。

Prosody

Form Five-character extended regulated verse (twenty rhyme-units)五言排律（二十韵）

Rhyme Single rhyme throughout, level-tone yang category (平声阳韵), creating a stable and dignified tone appropriate for court ceremonial.全诗一韵到底，押平声阳韵（中、祔、署、据、虑、顾、路、祚、裕、树、露、曙、簿、慕、步、御、素、注、饫、度、故等，依宋韵通押），韵脚绵密，端重和雅，契合郊庙颂声之体。

Tone pattern The poem follows the standard tonal pattern of five-character regulated verse, with most couplets in the pattern 'deflected-deflected-level-level-deflected, level-level-deflected-deflected-level'. Occasional variations prevent monotony while maintaining an overall solemnity.五言排律须中两联对仗、平仄相俪。本篇自第三联起多为工对，如「双礼稽国章，大义推经据」「蓬阙邈仙𫐌，柏城拱寒树」，句式以「仄仄平平仄，平平仄仄平」为正格，偶以「仄平平仄仄」变调，整体平仄协调，读来端雅不迫。

Reading note The prosodic strategy serves the poem's ceremonial content: the even pacing and consistent rhyme convey a sense of unhurried grandeur. The deliberate avoidance of tonal variety and rhyme changes mirrors the strict formal order of the ritual itself. This measured cadence stands in contrast to the more flamboyant, irregular meters of Tang hymns, reflecting the Song preference for understated dignity.此诗音韵之要，在以一种徐缓端重的中和之声承载大典之庄。五言句式本较七言为敛，用于排律则更显质实，恰合「载笔纪事」而非「歌功蹈厉」的定位。押韵取平声阳部，开口度适中、收音绵长，与郊庙「和乐且湛」的音响理想相合；二十韵一韵不换，避免转韵带来的情绪波澜，使全诗如一气贯注的礼乐章。对仗上除首尾数联外几乎联联成对，且多用当句对（如「考典」对「集议」、「双礼」对「大义」），音节因而整饬对称。值得注意的是「邈」「拱」「憷」等炼字皆兼顾平仄与意象，使律度之中仍有细微的声情起伏。整体而言，其音韵策略服务于「典重而不浮」的台阁美学，与唐人郊庙歌辞的铺张扬厉、转韵恣肆形成对照，体现了北宋应制诗「尚雅、尚稳、尚典故」的声律追求。

Line by line

明诏初发中，奉慈讲升祔。

The bright edict first came from the palace, and in reverent obedience to the late empress's will, the ritual of enshrinement was discussed.

明诏初下，奉慈训讲定升祔之仪。

The edict has just gone forth from the palace; in obedience to the mother-dowager's charge we have fixed the rite of joint enshrinement.

二句为全篇之纲，点明典礼缘起与性质。「明诏初发中」写诏书自宫中初颁，一「初」字见礼典方启、气象一新；「奉慈讲升祔」则揭出奉太后（或奉先帝遗训）之命讲定升祔，礼之重在不忘亲、合食于庙。此句看似平叙，实含北宋郊庙「以孝治天下」的政治伦理——升祔非徒仪式，乃昭示嗣君继志、母后垂范之大事。张方平以近臣预其议，下笔故用「奉」「讲」二字，谦谨而庄重，既交代背景，又定下全诗「纪事而颂」的基调，与后文「下臣叨载笔」遥相呼应，结构极为绵密。

These two lines are the outline of the whole piece, naming the rite's occasion and nature. The edict has just gone forth from the palace writes the command first issued from within the palace; the word just shows the rite newly opening and the air renewed. In obedience to the mother-dowager's charge we have fixed the joint enshrinement reveals that, following the empress dowager's charge (or the late ruler's behest), the rite was settled - ritual whose weight lies in not forgetting the parent and sharing the meal in the temple. The line seems plain narrative, really holding the Northern Song political ethic of ruling the world through filial piety: joint enshrinement is no mere ceremony but a great matter showing the heir's continuance of the will and the dowager's example. Fangping took part in the debate as a near minister, and his brush uses the words obey and fix, reverent and grave, at once setting the background and fixing the poem's key of recording while praising, echoing the later your servant unworthily holds the brush - a most close-woven structure.

蓬阙邈仙𫐌，柏城拱寒树。

The immortal carriage departs far away beyond the Peng towers, while cold trees ring the cypress-walled tomb.

蓬阙仙车邈远，柏城寒树环拱。

The fairy towers are far; the immortal chariot is distant; the cypress cemetery rings with its cold trees.

此联于庄穆铺叙中忽作清远之笔，是全诗难得的景语。「蓬阙」指仙宫，「仙𫐌」即仙人所乘之车，以蓬莱仙阙喻皇室之居，暗写礼成后升遐之意；「邈」字极写其远，与下句「拱」之近形成空间张力。「柏城」用汉唐陵寝植柏之制，指陵域，「寒树」点秋气清寂，烘托宗庙之肃穆。二句以「邈」对「拱」、以仙𫐌对寒树，于缛丽仪仗之外别开一境，使读者于钟鼓既息后想见陵柏萧森、神驭邈然，情致顿深。此联之妙，正在以景结礼、以静驭动，避免了通篇板滞，足见作者虽为台阁之制亦知经营意境。

This couplet, amid the solemn description, suddenly turns to a clear, far note, a rare piece of scenery in the poem. Fairy towers means the immortal palace; immortal chariot is the carriage of the immortals; comparing the royal house to the Penglai fairy towers, it secretly writes the ascension after the rite's completion. The word far writes the distance to the utmost, set against the near of ring in the next line, a spatial tension. The cypress cemetery borrows the Han-Tang custom of planting cypress about the tombs, meaning the burial ground; cold trees points to the clear, still autumn air, setting off the temple's solemnity. The two lines set far against ring, immortal chariot against cold trees, opening a realm beyond the rich retinue, so that the reader, after the bells have ceased, can imagine the somber cemetery cypress and the distant divine retinue, and the feeling deepens at once. The beauty lies in ending the rite in scenery and governing motion with stillness, avoiding the flatness of the whole, showing that even an office-style composition knows how to shape a mood.

下臣叨载笔，书法资典故。

Your humble servant is honored to hold the writing brush, and the record follows the ancient precedents and canons.

下臣忝预载笔，书法一依典故。

Your servant unworthily holds the writing brush; the record is shaped on the old precedents.

尾联收束全篇，由颂美转回职事自陈，是张方平应制诗常见的「臣工收笔」法。「叨」者，忝也、谦辞也，言己不材而忝预史臣载笔之任；「书法资典故」谓纪事之书法一依前代典制，不敢私意损益。二句价值在于揭示此诗性质：非徒歌功，乃实录礼成之「史笔」。北宋大臣预修礼典者多有此类纪事诗，张方平以「资典故」三字郑重点出，既见其职守之重，亦见其文章「典雅」之自评。置于排律之末，如赋之「乱」辞，使宏丽颂声归于典则，读之令人想见朝堂载笔、肃然纪事之态，是为全诗清醒务实的一笔。

The final couplet closes the piece, turning from praise to the statement of duty, the common minister's close of Fangping's official verse. Unworthily means unworthy, a self-deprecation, saying he holds the historiographer's brush though unfit; the record is shaped on the old precedents means the written account follows the former institutions, daring not to add or cut by private will. The value of the two lines lies in revealing the poem's nature: not mere song of merit but a record-brush of the rite's completion. Northern Song grandees who took part in revising the rites often left such record poems; Fangping, with the three words on the old precedents, solemnly points out both the weight of his charge and his own praise of the writing as classic and refined. Placed at the end of the regulated verse, like the luan refrain of a rhapsody, it brings the rich praise back to the measured, and the reader can imagine the court brush, solemnly recording - a clear, practical stroke of the whole poem.

Study

Word focus

邈 Far, remote; expresses the distant, almost unreachable nature of the immortal carriage, evoking a sense of separation and solemnity. The word adds an archaic, lofty quality and is positioned to create tonal contrast with the following word. 「邈」字用在「蓬阙邈仙𫐌」中，形容词作谓语，写仙车之远逝不可追。升祔礼毕，神主既升，诗人以「邈」状仙𫐌远离，既合礼成送神之意，又于空间上拉开与人间仪仗的距离，使前文繁密铺陈得以收束于苍茫。相较「远」「遥」等常字，「邈」更具古雅辽远之致，与「蓬阙」仙语相称；且其仄声（入声药韵）置于句腰，读来顿挫，与下句「拱」之平声形成声调对比。一字而兼叙事、造境、调声三用，是排律炼字之范例，亦见作者于台阁文字中仍存经营字法之心。

拱 To surround, to ring; used as a verb, it personifies the cypress trees as respectfully encircling the tomb, suggesting reverent guardianship and the ordered ranks of descendants. 「拱」在「柏城拱寒树」中作动词，拟人写陵域柏树如拱卫之状。本义两手合抱为拱，此处转写树木环抱、环卫陵寝，赋予寒树以臣子拱辰之象，暗合宗庙「子孙拱卫」的伦理意象。炼字之妙在将静物写活：柏树本无知，着一「拱」字便有肃然整列、向中心朝谒之态，与「寒」字组合更添清寂庄严。对句「邈」写远去、「拱」写环侍，一弛一张，空间章法井然。此字亦承唐人「山河拱戴」之笔意而化用于陵寝，足证张方平虽以文名、其诗炼字亦有可寻之迹。

憷 To be fearful, to be on guard; this rare word conveys the trembling reverence felt during the seasonal sacrificial grief, especially the sensitive awareness of frost and dew. It deliberately echoes the ritual classic on filial sorrow and demonstrates the poet's preference for exact, canonical diction. 「憷」见于「时思憷霜露」，意为畏惧、戒惧。宗庙祭礼中「霜露既降，君子履之，必有凄怆之心」（《礼记·祭义》），张方平以「憷」字写嗣君与臣下履霜露而惕然戒惧的孝思，正切祭义本旨。此字生僻而精确，不用「惧」「畏」等常语，正显其「资典故」的用字取向——从礼经中取精神。置于「别飨隔昭穆」之下，写虽别飨而昭穆有序、虽时移而霜露动心，于典重中透出人情温度。一字之择，可见作者不欲以浮丽掩礼意，反以古字存敬慎，是应制诗中难得的敦厚之笔。