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宋 Song · 诗 Poem

送沈生昆弟随侍之博白四绝句 其四

Farewell to the Shen Brothers, Who Accompany Their Father to Bobai: Four Quatrains, No. 4

张方平

Zhang Fangping

山水landscape 边塞frontier 愁思melancholy 时序season

夕阳疏苇暮江湄，秋色萧萧动客思。
自侍严君领州去，岂同骚客梦边时。

The setting sun, sparse reeds, the river's dusk shore; autumn's rustling stirs the traveler's thought.
They themselves attend their stern father to govern the prefecture; how could they be like the exiled poet dreaming of the border?
Listen

Meaning

A farewell quatrain to the Shen brothers, who accompany their father to take office at Bobai (in far southern Guangxi). It opens with an autumn riverside scene that stirs parting melancholy, then turns to reassure them: since they go with their father, their journey is an honored attendance, not the bitter exile of banished poets. The poem comforts the young travelers and distinguishes official serving one's kin from banishment.

夕阳斜照稀疏的芦苇，映在暮色中的江边；秋色萧萧，牵动了客居的思绪。你兄弟二人自是随侍父亲赴任领州而去，哪里会同那些逐臣骚客一般，只在梦里回望边地之时。

Appreciation

The quatrain moves through four layers—scene, feeling, event, argument—achieving the small seeing great craft of the form. It uses the turn how could they be like to convert ordinary parting into a distinction of family status and circumstance, an overturning-the-case closing. Though short, it carries both scenic beauty and principled interest, typical of Song quatrains that value meaning over ornament.

【白话串讲】 张方平送沈家兄弟其四：“夕阳疏苇暮江湄，秋色萧萧动客思”——“自侍严君领州去，岂同骚客梦边时”——他写秋色与思念。 【意象与手法】诗以前景（疏苇、暮江、秋色）引出客思，后以议论（自侍、岂同）收束，景虚情实，用「岂同」一转把寻常离别写成对门第与遭际的判别，是绝句「以小见大」的章法。 【情感与主旨】表达对沈氏兄弟随父之任的宽慰与期许，强调此行不同于贬谪流落，含劝勉其安心随侍、勿作穷途之叹的用意。 【名句点睛】「自侍严君领州去，岂同骚客梦边时」以「自侍」对「岂同」，把随亲之荣与逐客之悲划开，是翻案作结的健句。

Background

This poem is titled Farewell to the Shen Brothers Attending Their Father to Bobai: Four Quatrains, the Fourth, the last of a group. Bobai, in present-day Yulin, Guangxi, belonged to Song's Guangnan West Circuit, White Prefecture, ten thousand li from the central plain, seen by contemporaries as a miasmic remote border. The attend of the Shen brothers is their father (the poem's stern father is an honorific for another's father, from the meaning of stern parent), who was likely appointed prefect of White Prefecture, the whole family going south, hence to govern the prefecture and leave. Zhang Fangping's group of quatrains was likely written when seeing off a colleague's or friend's sons departing for office. Northern Song civil officials sent to Lingnan, though holding posts, faced far roads and evil lands, relatives often worried; the poet deliberately raises attending, pointing that this trip is father-son together, family following, wholly different from lone banishment. This distinction is crucial in Song farewell poetry: same going to Lingnan, attending kin brings warmth, left transfer brings bitterness. In Song times Guangnan West was underdeveloped, miasma rampant, central-plain scholars paled at the news, yet court assignment could not be avoided, so father-son traveling together was a consolation—fulfilling filial support and avoiding lone dread. Zhang does not write common willow-breaking words, but first establishes the distinction of how could they be like the exiled poet, exactly a protective comfort to the far-traveling nephews. Though the background is just a southern-border appointment, it draws out the Song division between official roaming and banishment two kinds of far-travel temper, also showing his poetry often embeds teaching within social verse.

此诗题作「送沈生昆弟随侍之博白四绝句 其四」，为组诗之末章。博白在今广西玉林，宋属广南西路白州，去中原万里，时人视之为瘴荒远徼。沈生昆弟所「随侍」者，是其父（诗中「严君」乃对人之父的尊称，本于「严父」之义），其父当是受命知白州或领州事，举家南行，故云「领州去」。张方平（1007—1091）集中此组绝句当是送同僚或友人之子赴任时作。北宋文臣出守岭南，虽有官职，然道远地恶，亲友每以为忧；诗人却特意拈出「随侍」二字，点明此行是父子同往、门庭相随，与孤身贬窜者截然不同。这层意思在宋人送别诗中极要紧：同样去岭南，因「随亲」而带温厚，因「左迁」而带凄苦。宋时广南西路开发未足，瘴疠横行，中原士人闻之色变，然朝廷差注官员不得规避，故父子同行反而是当时的一种慰藉——既全孝养，又免孤身之惧。张方平不作寻常折柳语，而先立「岂同骚客」的判别，正是对远行子侄的一种保护式宽慰。背景虽只是一次南陲赴任，却牵出宋人「宦游」与「迁谪」两种远行体气的分野，亦见其诗每于应酬中寓风教。

Art

Though only four seven-character lines, the structure has four layers—scene, feeling, event, argument—the wonder of small seeing great in quatrains. The opening setting sun sparse reeds dusk river shore is pure scene; the second autumn's rustling stirs the traveler's thought enters feeling from scene, with rustling describing autumn sound's urgency, stirs traveler's thought pointing parting sorrow, yet still within scene-language common form. The turn they themselves attend their stern father to govern and leave suddenly narrates, gathering the opened traveler's thought back to concrete human affair—the Shen brothers attend their father, not drifting helpless; the close how could they be like the exiled poet dreaming of the border with how could they be like overturns, sharply dividing the honor of attending kin from the bitterness of the banished, argument closing with lingering taste. The whole's excellence lies in the third-fourth lines' themselves and how could they be like: one affirm one deny, settling the theme, so the preceding two lines' desolate autumn river does not slide into decline. Fangping writes quatrains with straight brush, not seeking sharp-new, yet this one shows backbone through overturning-the-case closing—exactly the Song quatrain instance of meaning foremost. Especially tasteful: the scene of the first two lines and the argument of the last two are not broken, but hooked by traveler's thought: traveler's thought stirred, thus leads to the attending distinction; cold scene and warm argument form an emotional reversal here, the four lines become an organic whole, not two sections. This first suppress then raise structure makes a small farewell poem possess both scene beauty and principle interest, exactly the proper means of Song quatrains.

此诗虽仅七言四句，而章法具「景—情—事—议」四层，是绝句以小见大之妙。起句「夕阳疏苇暮江湄」纯写景，疏苇、暮江、夕阳三意象叠出，先布一苍茫的江岸送别图；承句「秋色萧萧动客思」由景入情，以「萧萧」状秋声之紧，「动客思」点出离愁，然仍不脱景语常格。转句「自侍严君领州去」陡然叙事，把前面荡开的客思收回到具体的人事——原来沈生是随父赴任，非漂泊无依；结句「岂同骚客梦边时」以「岂同」一翻，把随亲之荣与逐客之悲划然两分，议论作收而余味不尽。全诗妙在三四句的「自」与「岂同」：一肯一否，把立意坐实，使前两句的萧瑟秋江不至于滑入衰飒。张方平以直笔行绝句，不务尖新，而此首以「翻案」结法见筋骨，正是宋调绝句「以意胜」的实例——景为意设，不在辞丽。尤可味者，前两句的景与后两句的议并非断裂，而是以「客思」暗相钩连：客思既动，遂引出「随侍」之辨，冷景与温议在此形成一次情感的反转，四句遂成有机整体，而非两截。这种「先抑后扬」的章法，使一首送别小诗兼具景致之美与理趣之胜，正是宋调绝句的当行手段。

Allusions

The allusions and references are three, all plain yet connected. One, stern father (yanjun) uses Yijing Family the family has a stern ruler; that means parents, later stern father honors another's father. The poem's themselves attend their stern father means the Shen brothers attend their father, one phrase fixing this trip's father-son together nature, different from lone banishment. Two, exiled poet (saoke) uses Lisao's sao, standing for banished ministers, disappointed literati; since Qu Yuan created Lisao, later saoren sAOke refer to those with loyal anger and seen banished, like Liu Zongyuan, Su Shi southward banished all called themselves saoren. The poem's how could they be like the exiled poet dreaming of the border uses the banished's dreaming back to the border's bitterness as contrast, setting off the Shen brothers' attending-kin difference. Three, dreaming of the border time quietly uses Tang banishment poetry's dreaming of home mountains dreaming back to border prefecture imagery; Fangping reverses its meaning: since the Shen attend their father in office, they have no this dream-back-border sorrow. Moreover, Bobai land, anciently Hundred Yue, Tang early set White Prefecture, Song followed; though not directly allusive, its remoteness, historically a place banished officials went (e.g., Qin Guan southward passed Lingnan), so to govern and leave and dreaming of the border regional association both have real basis. The three old references, one positive two negative, all center on the attending kin vs banishment distinction, exactly propping the whole's overturning-case purport at the close; though familiar allusion not excessive, every word fits the concrete situation Lingnan far travel, so not felt stale.

诗中用典与称引凡三处，皆浅切而有关合。一、「严君」用《易·家人》「家人有严君焉，父母之谓也」，后遂以「严君」尊称他人之父。诗中「自侍严君」即谓沈生兄弟随侍其父，一语而定此行「父子同往」的性质，与贬谪孤往者异。二、「骚客」用《离骚》之「骚」，代指逐臣迁客、失意文人。自屈原创《离骚》，后世以「骚人」「骚客」指怀抱忠愤而见放者，如柳宗元、苏轼南贬皆自称骚人。诗中「岂同骚客梦边时」即以迁客梦回边徼的凄苦作反衬，烘托沈生随亲之不同。三、「梦边时」暗用唐人贬谪诗「梦里家山」「梦回边州」一类意象，如白居易「梦里相思」「梦中归」之属，张方平反其意而用之：沈氏既随父在任，便无此梦回边地之悲。此外，「博白」之地，古属百越，唐初置白州，宋因之，虽不直接出典，然其地僻远、历来为谪宦所赴（如秦观南贬曾过岭南），故「领州去」与「梦边时」的地域联想皆有实据。三处故实，一正二反，皆围绕「随亲」与「迁谪」的判别，恰在结句撑起全篇翻案之旨，用典虽熟而不滥，且字字切「岭南远行」这一具体情境，故不觉其陈。

Commentary

Fangping's quatrains, Yuan-Ming anthologists rarely discuss, yet this one can be read with his other farewell pieces. In his collected works, Farewell to Yang Jun to Xi'an cherishes talent with pearl and steed, Farewell to Academician Su Supervising Qiantang comforts the far with perch and Ruan Ji—all speaking from the friend's circumstance; this one speaks from the point of attending overturning into how could they be like the exiled poet, the object being a friend's son, wording more with elder tone. Fang Hui's Yingkui Lüsu values quatrains with lingering beyond, this poem's first two lines set scene and build momentum, last two with themselves attend how could they be like one gather one overturn, exactly leaving room—readers under how could they be like can imagine the poet's charge about Lingnan scenery and the youth's far travel, not needing to say all. Compared with Liu Zongyuan's Farewell to My Brother Zongyi (if you would know my parting dream hence, it ever lingers by Jingmen's misty trees), Liu writes the banishment brothers' sorrow with dream, Zhang writes the comfort to nephews with how could they be like—one sorrow one comfort, both involve Lingnan far travel yet wholly different temper, exactly showing the parting of Tang banishment poetry and Song send-kin poetry. Moreover, this poem is the last of a group; though the first three are lost, from the fourth one sees the group sequentially writes the Shen brothers' road, scenery, and family, the last chapter overarching with the attending not banishment comfort, the group closing at a warm conclusion—its structural craft. In sum, this poem closes by overturning the case, its backbone in how could they be like; reading it, the autumn river feels cold yet human intention warm—an instance of Fangping's social small poetry plain yet able to be gentle.

张方平绝句，宋元选家论之者少，然此首可与其送别诸作合观。集中《送杨君西安》以骊珠、骏马惜才，《送苏学士钱塘监郡》以鲈鱼、阮籍慰远，皆就友人之境遇立言；此首则就「随侍」一点翻出「岂同骚客」之论，对象是友人之子，措语更带师长口吻。方回《瀛奎律髓》论绝句尚「有余不尽」，此诗前两句布景蓄势，后两句以「自侍」「岂同」一收一翻，正留有余地——读者于「岂同」之下自可想见诗人对岭南风物、对少年远行之叮嘱，而不必尽言。与柳宗元《别舍弟宗一》（「欲知此后相思梦，长在荆门郢树烟」）相较，柳以梦写贬兄弟之戚，张以「岂同」写慰子侄之宽，一悲一宽，皆涉岭南远行而体气迥异，恰见唐人迁谪之诗与宋人送亲之诗的分途。又，此诗作组诗之末章，前三章虽佚，然就「其四」观之，当是依次铺写沈生昆弟此行的道路、风物与家世，末章统摄之以「随亲非谪」的宽解，组诗至此收束于一个温厚的结论，是其结构上的匠心。要之，此诗以翻案作结，骨力在「岂同」二字，读去觉秋江虽冷而人意尚温，是张方平应酬小诗「质而能婉」的一例。

Prosody

Form Seven-character quatrain (jueju)七言绝句
Rhyme Rhymes with the level-tone zhi rhyme (Ping-shui rhyme, upper-level four zhi): 湄(méi), 思(sī), 时(shí); first line 湄 enters rhyme, second 思 and last 时 same zhi rhyme, one rhyme throughout (思 here read sī, harmonizing with zhi rhyme).押平声支韵（平水韵上平四支）：湄、思、时；首句「湄」入韵，次句「思」、末句「时」同押支韵，一韵到底（思此处读sī，与支韵相谐）。
Tone pattern Seven-character quatrain, oblique-rising opening with first line entering rhyme. First setting sun sparse reeds dusk river shore oblique level level oblique oblique level, second autumn color rustling stirs traveler's thought level oblique level level oblique oblique level, third themselves attend stern father govern prefecture leave oblique oblique level level oblique level oblique, fourth how could they be like exiled poet dream border time oblique level level oblique oblique level level, largely conforming to seven-quatrain oblique-rising pattern, third-fourth slightly flexible without losing tone.七言绝句仄起首句入韵体。首句「夕阳疏苇暮江湄」仄平平仄仄平平（夕仄阳平疏平苇仄暮仄江平湄平），次句「秋色萧萧动客思」平仄平平仄仄平，三句「自侍严君领州去」仄仄平平仄平仄，四句「岂同骚客梦边时」仄平平仄仄平平，大体合七绝仄起式，三四句略有变通而不失调。
Reading note This poem is a seven-character quatrain, four lines two couplets, rhyming with Ping-shui upper-level four zhi. The zhi rhyme is a fine sound between rounded and spread, distant yet slightly containing regret, suited to writing autumn-river farewell's cold yet not sorrow parting thought, harmonizing with sparse reeds dusk shore rustling traveler's thought sound-emotion. Though the quatrain is short, Fangping's structure is complete: opening sets scene, continuing enters feeling, turn narrates, close argues, four layers clear in one quatrain. In level-oblique, first line enters rhyme and second continues, the seven-quatrain oblique-rising common form; only themselves attend stern father govern prefecture leave line's govern prefecture leave three characters' level-oblique flexible turn breaks stiffness into liveliness, showing Song poets not bound to strict adherence in quatrains. Overall sound-emotion clear-strong warm-thick, without Tang's west out Yangguan style desolate, but with Song's meaning cuts feeling substance—the first two lines freely write autumn river's cold, the last two with themselves attend how could they be like one brush warm return, reading only the elder's charge, not the parting one's tears. Zhe rhyme runs through, making the short piece's breath as one.此诗为七言绝句，四句两联，押平水韵上平四支。支韵为撮口、齐齿之间的细音，声音悠远而微含悠怨，宜写秋江送别那种「冷而不哀」的离思，与「疏苇暮江」「萧萧客思」的声情相协。绝句虽短，张方平此作章法完整：起句布景，承句入情，转句叙事，结句议论，四层在一绝中井然。平仄上首句入韵而次句承之，是七绝仄起常格；惟「自侍严君领州去」句「领州去」三平仄相间的腾挪，破板为活，见宋人作绝不以严守粘对为务的倾向。整体声情清健温厚，无唐人「西出阳关」式的凄婉，而有宋调「以意断情」的质实——前两句纵写秋江之冷，后两句以「自侍」「岂同」一笔温回，读来但觉长者叮咛，而非离人泣别。支韵贯穿，使短章气脉如一。

Line by line

夕阳疏苇暮江湄，秋色萧萧动客思。

The setting sun, sparse reeds, the river's dusk shore; autumn's rustling stirs the traveler's thought.

夕阳斜照稀疏的芦苇，映在暮色中的江边；秋色萧萧，牵动了客居的思绪。

Setting sun on sparse reeds, the river shore at dusk; the autumn air, rustling, stirs the traveler's thoughts.

此联为全诗起手，先布一幅苍茫的江岸送别图。上句「夕阳疏苇暮江湄」以三意象叠出：夕阳点时刻，疏苇点物色，暮江湄点地点，三者合写秋晚水滨的萧散；「疏」字写苇之稀落，亦暗透心境的空落。下句「秋色萧萧动客思」由景入情，以「萧萧」状秋风秋声之紧促，「动客思」则点出离人愁绪被景唤醒。两句一静一动、一画一声，景语中已伏离思，却尚未说破所送何人、所去何地，留待后联发之，是绝句「先宽泛后坐实」的常法。张方平以直笔写景，不堆丽藻，而「疏苇」「暮江」自有宋调的清迥；一个「动」字把无情的秋色写得能撩人愁，便见炼字之眼。读此联当想江湄独立、苇影夕阳之境，方知后文「岂同骚客」之宽慰，正从此冷景中翻出。

The opening couplet first lays out a vast, bleak picture of a farewell on the riverbank. The first line stacks three images: setting sun marks the hour, sparse reeds mark the things of the season, the river shore at dusk marks the place; together they write the desolation of an autumn evening on the water. The word sparse writes the reeds' thinning, and secretly the emptiness of the mood. The second line moves from scene to feeling, using rustling to write the hurry of the autumn wind and sound, and stirs the traveler's thoughts to point out that the mourner's longing is woken by the scene. The two lines, one still one moving, one picture one sound, the parting longing already planted within the scenery, yet not yet saying whom is sent or where is gone, leaving it to the later couplet - the quatrain's common way of first broadening then grounding. Fangping writes scenery with a straight brush, no piled ornament, yet the sparse reeds and evening river have the Song clarity; the word stirs writes the feelingless autumn color as if it can rouse grief, showing the worked eye. Reading this couplet, one should imagine the shore alone, the reed shadows in the setting sun, to know that the later comfort of how can this be grows from this cold scene.

自侍严君领州去，岂同骚客梦边时。

They themselves attend their stern father to govern the prefecture and leave; how could they be like the exiled poet dreaming of the border?

你兄弟二人自是随侍父亲赴任领州而去，哪里会同那些逐臣骚客一般，只在梦里回望边地之时。

You go, attending your father, to take charge of the province; how can this be like the exiled poet dreaming of the frontier?

此联是全诗立意所在，以前联的萧瑟景语陡然翻为温厚议论。上句「自侍严君领州去」叙事定性：沈生昆弟是随父（严君）赴任，父子同往、门庭相随，非孤身远窜；一个「自」字含「本来如此、理固宜然」的肯认。下句「岂同骚客梦边时」以「岂同」一翻，把此行与迁客骚人梦回边徼的凄苦划然两分——同去岭南，而随亲则荣、左迁则悲，体气悬隔。两句一肯一否，把翻案结法用得干净。张方平此处不只是慰子侄，更在辨「宦游」与「迁谪」之异，寓风教于应酬。读此联须知其分量在「自侍」与「岂同」的对照：前联秋江虽冷，到此已被人伦之温化开，故虽写远别而无衰飒，最见宋人送别「慰勉多于凄切」的本领。

This couplet is the poem's meaning, suddenly turning from the bleak scenery of the first into a warm argument. The first line narrates and defines: the Shen brothers go attending their father to take charge of the province, father and son going together, following the household, not a lone distant exile; the word of themselves carries the affirmation that this is as it should be. The second line turns with how can this be, drawing a clear line between this journey and the misery of the exiled poet dreaming of the frontier: going together to Lingnan, yet attending parents is honor, a demotion is grief, the temperaments far apart. The two lines, one affirmation one denial, use the reversal-close cleanly. Fangping here is not only comforting the younger kinsmen but distinguishing office from exile, lodging moral teaching within the social call. The weight lies in the contrast of attending parents and how can this be: though the autumn river of the first couplet is cold, it is now melted by the warmth of human bonds, so that though it writes a distant parting there is no decline, most showing the Song farewell skill of comforting more than grieving.

Study

Word focus

动 In autumn's rustling stirs the traveler's thought, stirs (dong) is used causatively, meaning autumn color stirs the traveler's sojourning thought. Its excellence lies in the whole couplet's virtual-real transition: the upper line setting sun sparse reeds dusk river shore is pure static scene, external object; at this line stirs appears, scene and heart resonate, parting sorrow awakened within scene. If written born rises etc., though also writing feeling's sprouting, not as stirs brings the active sense of external object triggers, heart shaken—autumn color is objective, yet stirs gives it the power to provoke, exactly fitting the classical poetics when object's color moves, heart also sways. Fangping forges this one word, making the former dead scene live, completing the scene—feeling transition in structure. Song values words with bone strength; stirs though common, entering here cannot be moved: change to provokes pulls near delicate, change to born near flat, only stirs both strong and alive. 「秋色萧萧动客思」之「动」，此处为使动用法，谓秋色撩动了客居的思绪。此字之妙在全联的虚实转关：上句「夕阳疏苇暮江湄」纯是静景、外物，到此句「动」字一出，景物遂与人心相感，离愁由景中被唤醒。若作「生」「起」等字，虽亦写情之萌，却不如「动」字带出的「外物触发、心为之摇」的主动感——秋色本是客观，而「动」字赋予它撩拨人的力量，恰合「物色之动，心亦摇焉」的古典诗学。张方平炼此一字，使前句死景成活境，章法上完成「景—情」的过渡。宋人尚「字有骨力」，动字虽常语，入此却不可移易：易以「惹」「牵」则近纤，易以「生」则近平，惟「动」字既健且活。
侍 In themselves attend their stern father to govern and leave, attend (shi) means to serve, accompany. This word is the key of the whole's overturning the case: it points that the Shen brothers' trip is accompanying the father, not lone far travel, thus entirely rewriting the preceding autumn-river traveler's desolate底色. One attend contains the warmth of human relation—father-son together, morning-evening can be served—exactly contrasting the banished's dreaming back border loneliness. Fangping especially leads with themselves attend, precisely to emphasize this trip's legitimacy and warmth, equal to first lifting the youth's psychological presupposition of far banishment. If changed to follow accompany etc., though also meaning going along, loses attend's filial-respect and kinship weight; attend more shows the family's gravity, the son's duty fitness. One word settles the whole's temper, showing Fangping's social farewell also not careless: scene may be cold, intention must be warm, kinship words never lightly neglected. 「自侍严君领州去」之「侍」，侍奉、随侍也。此字是全诗翻案的关键：它点明沈生昆弟此行是「随父」，而非独自远行，从而把前面秋江客思的悲凉底色整个改写。一个「侍」字里有人伦之温——父子同往、晨昏可省，与迁客「梦回边时」的孤苦恰成反照。张方平特以「自侍」领起，正是要强调此行的正当与温厚，等于先替少年解除「远谪」的心理预设。若易以「随」「从」等字，虽亦通随行之意，却少了「侍」字所含的孝谨与亲伦分量；「侍」更见门庭之重、子职之宜。一字而定全诗体气，可见张方平应酬送别亦不苟：景可冷，意必温，人伦之语最不肯轻忽。
岂 In how could they be like the exiled poet dreaming of the border, how (qi) is a rhetorical adverb, like how could how. This word is the closing's overturning force: the former has settled themselves attend govern, this word smoothly overturns, dividing the Shen brothers' trip from the banished poet's, tone斩截 yet with warm comfort. One how contains two layers: one is distinction—this trip differs from the banished; two is comfort—you need not make the dream-back-border sorrow. If written not not yet etc., only flatly narrating difference, lacking the rhetorical strength; how uses question as judgment, reading more the elder's charge earnestness. Fangping writes quatrains with straight brush, closing lines often like to use how rather rhetorical adverbs to close (as in other poems too), exactly his meaning foremost, air cuts means. One word's choice concerns the overturning-case closing's success, not lightly changed. 「岂同骚客梦边时」之「岂」，反诘副词，犹「哪里」「怎」。此字是结句翻案的发力点：前文既已坐实「自侍领州」，此字便顺势一翻，把沈生之行与骚客迁谪划开，语气斩截而带温慰。一个「岂」字含两层：一是判别——此行不同于逐客；二是宽解——你毋须作梦回边地之悲。若作「不」「未」等字，则只是平叙差异，乏反诘的力度；「岂」字以问为断，读来更见长者叮咛的恳切。张方平以直笔行绝句，结句每喜用「岂」「宁」一类反诘收束（如集中他诗亦多见），正其「以意胜、以气断」的手段。一字之选，关乎翻案结法之成否，不可轻改。

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送杨君西安 Seeing Off Gentleman Yang to Xi'an 张方平 · 同出张方平，一慰子侄随亲、一惜友人不遇，皆涉远行 Related reading

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二诗皆张方平送远行之作。送杨诗写友人溯浙水赴西安，以骊珠、骏马惜其才屈，辞气稍郁；此首写沈生昆弟随父之博白，以「自侍严君」「岂同骚客」慰其随亲之荣，辞气尚宽。同是远别，而一惜才、一慰亲，差异在对象与遭际：杨君是成年士人沉于下僚，沈生是少年随父赴任。两诗对照，见张方平送别诗随人而立言——对友则惜其不遇，对子侄则宽其远适，皆不作空泛折柳语。合观二者，其「景为意设、以意胜辞」的宋调面目一致。

 都下别友人 Farewell to a Friend in the Capital 张方平 · 同出张方平，一写南徼远别一写都门短聚，离合体气不同 Related reading

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此首写沈生兄弟随父去博白，「岂同骚客梦边时」是远徼之宽慰；都下别友人写「与君聊一醉，公袂此残春」，是都门短聚即别之真率。二者一远一近、一亲一友，而同出张方平手，皆以淡笔写离情、忌软媚。比较可见：远别则以「随亲」「岂同」翻案见温厚，近别则以「市楼新酒」写实见交契。两诗合观，其送别诗不拘一体，随地、随人、随境而易其声情，而「质而有骨」则一。

 别舍弟宗一 Parting from My Cousin Zongyi 柳宗元 · 同写兄弟远行岭南，比较唐之悲戚与宋之宽慰 Related reading

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柳宗元此诗写自贬所柳州别弟宗一，「欲知此后相思梦，长在荆门郢树烟」，以梦写贬兄弟之戚，是唐人迁谪诗典型的凄苦；张方平此首写沈生昆弟随父之博白，却以「岂同骚客梦边时」翻案，谓随亲之荣不同于逐客梦回。二者皆涉岭南远行、皆涉兄弟，而体气迥异：柳以迁谪之身写别弟，悲从中来；张以送亲之长写慰子，宽而有节。这正见唐人「迁谪之诗」与宋人「送亲之诗」的分途——同去南徼，因身分、因遭际而异其声。读二诗并观，最足见时代与体类之规定。