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宋 Song · 诗 Poem

微子庙

The Temple of Weizi

张方平

Zhang Fangping

山水landscape 边塞frontier 哲理philosophy 时序seasons / time

西伯已招二大老，东邻更弃三仁人。
元龟遂讫商家命，白马永为周室宾。
抱器幸存天凤祀，丧邦都为牝鸡晨。
可怜长发源流远，旧国犹存庙树春。

The Lord of the West had already summoned two great elders; the eastern neighbor cast off three benevolent men.
The great tortoise ended the Shang house's mandate; the white horse made him forever guest of the Zhou.
Clasping the ritual vessels, he saved the phoenix-like sacrifice; the state was lost because a hen crowed at dawn.
Pity that the 'Long Hair' source flows so far; the old realm still keeps its temple trees in spring.

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Meaning

This poem, written at the temple of Weizi, reflects on the fall of Shang and the rise of Zhou through the figure of Weizi, who preserved the Shang sacrifice by submitting to Wu Wang. It contrasts King Wen's gathering of worthies with Zhou Xin's casting off the 'three benevolent' men, and lays the blame for ruin on the 'hen crowing at dawn'—Daji's misrule. The close lingers on the survival of the sacrifice and the spring-green temple trees, turning historical judgment into a quiet sigh.

周文王西伯已招纳了两位大老，纣王这东边的邻国却抛弃了三位仁人。神龟卜算终于终结了商家的天命，白马之盟永使微子成为周室的宾客。怀抱祭器而幸存，得以延续天凤般的商祀；丧其邦国，都因牝鸡晨鸣般的妲己乱政。可怜那长发之诗所咏的源流本极悠远，旧日国都犹存庙前树木逢春。

Appreciation

The art lies in 'contrast revealing meaning': almost every couplet opposes Zhou's virtue to Shang's vice—summoning vs. casting off, ending vs. enfeoffing, preserving vs. losing. Dense allusion and explicit argument mark it as quintessential Song historical verse that 'carries argument through antithesis.' The final turn from hot praise-blame to the cool image of temple trees gives the stern history a melancholy aftertaste.

【白话串讲】张方平过微子庙：“西伯已招二大老，东邻更弃三仁人”。“元龟遂讫商家命，白马永为周室宾”——“丧邦都为牝鸡晨”——他写商朝灭亡。【意象与手法】诗以「兴亡对照」为骨：西伯与东邻、二大老与三仁人、元龟与白马、抱器与丧邦，层层对举，以微子之存反衬纣王之亡，用典密而议理显。【情感与主旨】借微子庙吊古，肯定微子抱器存商祀、全身远害的明智，暗讥纣王弃仁用奸、牝鸡乱政，寓兴亡之鉴。【名句点睛】西伯已招二大老，东邻更弃三仁人以对举写兴亡在用人；抱器幸存天凤祀，丧邦都为牝鸡晨以抱器反衬丧邦，褒贬分明。

Background

This is Zhang Fangping's poem composed at the temple of Weizi. Weizi, named Qi, was the half-brother of the tyrant Zhou Xin; seeing the king's misrule and unheeded remonstrance, he left, and after Wu Wang destroyed Shang he bared his flesh and bound himself, bearing the ritual vessels in submission; Wu Wang enfeoffed him at Song to continue the Shang sacrifice, making him the progenitor of the state of Song. The temple stood in Song territory (around modern Shangqiu, Henan). Zhang Fangping (1007–1091) passed through Song lands repeatedly, and historical lament was a common theme. The poem uses the temple to write history: the Lord of the West (King Wen) summoned two great elders (worthy men who went to Zhou), while Zhou Xin (the 'eastern neighbor,' since Shang lay east of Zhou) cast off the three benevolent men (Confucius named Weizi, Jizi, and Bigan the 'three benevolent' of Yin). Weizi held special honor in the Song dynasty because the dynasty's name derived from the Song he was enfeoffed in; Song people revered him as 'remote ancestor of the imperial clan.' Zhang lived amid the mid-Northern-Song factional strife, when scholars often used the past to讽 the present; his emphasis on 'employ the worthy and flourish, cast them off and perish' may well bear on his time.

此诗为张方平拜谒微子庙之作。微子名启，纣王之庶兄，见纣无道，数谏不听，遂去之；周武王灭商后，微子肉袒面缚、抱祭器归周，武王封之于宋，奉商祀，为宋国始祖。其庙当在宋地（今河南商丘一带）。张方平（1007—1091）生平屡过宋地，吊古抒怀是其诗常见题材。此诗借庙写史：西伯（周文王）招二大老（或指伯夷、太公之类贤士归周），而纣（东邻，周在商西，商为周之东邻）弃三仁人（孔子称微子、箕子、比干为三仁）。微子在宋代地位尤崇：因宋之国号即取自微子所封之宋，宋人以微子为「国姓远祖」，尊崇有加，商丘微子庙历代修葺、岁时致祭，成为赵宋标榜正统与追远报本的精神象征。张方平身处北宋中期，党争渐起，士人每借古讽今，此诗对「用贤则兴、弃贤则亡」的强调，未必无意于时。宋人以「三仁」为忠义之典范，微子、箕子、比干并祀，自真宗以来屡加封赠，微子庙遂不独为一方祠宇，而成为赵宋表彰忠烈、砥砺臣节的精神地标。了解微子本事与宋初尊儒重祀的背景，方能读懂诗中褒微子、贬纣王的价值取向。

Art

The poem's art is built on 'contrast revealing meaning,' with strict, lawful structure. The first couplet—'the Lord of the West had summoned two great elders; the eastern neighbor cast off three benevolent men'—opposes Zhou's gathering of worthies to Shang's casting off benevolence, opening with the cause of rise and fall in employing men. The second couplet—'the great tortoise ended the Shang house's mandate; the white horse made him forever Zhou's guest'—opposes the oracle ending Shang's fate to the covenant enfeoffing Weizi, moving from human affairs to heaven's mandate. The third—'clasping vessels he saved the phoenix sacrifice; the state was lost for a hen crowing at dawn'—opposes Weizi preserving the sacrifice to the king losing the state, clear praise and blame. The last—'pity the Long Hair source flows far; the old realm still keeps temple trees in spring'—closes the lament with the distance of the 'Long Hair' ode and the spring of temple trees. Nearly every couplet contrasts; allusion is dense and argument explicit yet not bare—typical Song 'carrying argument through antithesis.' The antitheses are not flat but progressive and turning; the final shifts from hot blame-praise to the cool 'pity…temple trees in spring,' infusing the stern brush with desolate aftermath.

此诗艺术上以「对举见义」为骨，章法极有法度。首联西伯已招二大老，东邻更弃三仁人，以周之招贤对商之弃仁，开宗明义揭兴亡之由其用人；颔联元龟遂讫商家命，白马永为周室宾，以卜终商命对盟封微子，由人事及天命；颈联抱器幸存天凤祀，丧邦都为牝鸡晨，以微子存祀对纣王丧邦，一正一反，褒贬分明；尾联可怜长发源流远，旧国犹存庙树春，以商颂长发之悠远与庙树之春收束吊古。全诗四联几乎联联对举，用典密丽，议论显豁而不直露，是宋人咏史「以对仗运议论」的典型笔法。其对仗又非平列，而有递进与转折：首联是「招—弃」之反，颔联是「讫—封」之替，颈联是「存—丧」之判，尾联则由史入景、由热转冷，四组对照层层相生，遂使一篇史论读来如剥笋，愈进愈深。尾联忽由热烈的褒贬转入「可怜」「旧国」「庙树春」的沉吟，议论之余注入情感，使刚健的史笔有了苍凉的回味，是全诗以「冷」收「热」的关键一笔。其佳处在褒贬皆藏于对照之中，不须明斥而纣之过自见。

Allusions

The allusions all come from Shang-Zhou history. 'Lord of the West, two great elders': the Lord of the West is King Wen; the two great elders refer to worthies who went to Zhou. 'Three benevolent men': from the Analects—Weizi left, Jizi was enslaved, Bigan died remonstrating; Confucius said Yin had three benevolent men; 'eastern neighbor cast off three benevolent men' means Zhou Xin cast off Weizi, Jizi, Bigan. 'Great tortoise': the oracle turtle; Shang revered divination; 'the great tortoise ended the Shang mandate' says heaven's will ended the dynasty. 'White horse': either Weizi's submission rites or the 'white-horse covenant' making him forever a guest (a state of guests, not subject). 'Clasping vessels': Weizi bore the ritual vessels to Zhou, preserving the sacrifice; 'phoenix sacrifice' means his rite continued like the phoenix's auspice. 'Hen crowing at dawn': from the Documents—'a hen does not crow at dawn; her crowing brings the house to ruin'—referring to Daji's misrule and woman-caused ruin. 'Long Hair': the 'Shang Song' ode celebrating the Yin's distant source. 'Eastern neighbor' also comes from the Yi Jing ('the eastern neighbor kills an ox, not like the western neighbor's modest offering'), here used to contrast Shang and Zhou. The allusions string together a brief history of Weizi's preserving the fallen and continuing the severed.

诗中用典皆出商周之际史事，逐条如次。西伯二大老：西伯即周文王，二大老或指归周之贤（如太公、伯夷之属），言文王能招贤。三仁人：论语「微子去之，箕子为之奴，比干谏而死，孔子曰殷有三仁焉」，东邻更弃三仁人即指纣弃微子、箕子、比干。元龟：占卜之龟，商家尚卜，元龟遂讫商家命谓天意（卜数）终商之祚。白马：或指微子归周时之仪，或周封微子「白马之盟」使其永为宾（宾客之国，不臣之礼），永为周室宾即此。抱器：微子抱祭器归周，存商之祀；天凤祀谓其祀如凤鸟之瑞得续。牝鸡晨：尚书「牝鸡无晨，牝鸡之晨，惟家之索」，指妲己乱政、女祸亡邦。长发：诗经商颂篇名，颂殷先祖源流之远。又「东邻」本出《易·既济》「东邻杀牛，不如西邻之禴祭」，诗中以「西伯」「东邻」对举，暗借易卦之语写商周之邻对，益见剪裁之工。「长发」为《诗·商颂》首篇，本颂契、相土、汤之德，末章言「武王载旆，有虔秉钺」，追美商之先业，方平借「源流远」三字，既叹商祚之悠长，亦反衬其遽亡之可悯，用典而不滞于典。诸典串起一部微子兴灭继绝的简史。

Commentary

Zhang Fangping's historical-lament poems should be read alongside his memorials on history: he always stressed 'employ the worthy, remove the treacherous,' and this poem's contrast of King Wen summoning worthies and Zhou casting off the three benevolent is exactly that political conviction projected onto history. Fang Hui's Yingkui Lüsu selected many Song 'contrast' historical poems; this one fits with its argument through antithesis. Compared with Tang historical verse (e.g., Du Mu's ethereal 'had the east wind not favored Zhou Lang'), Song poets preferred dense allusion and clear judgment—this poem is an example. The Northern Song revered Weizi; Zhenzong's fengshan and sacrifices to the three benevolent show the era's praise of loyalty and sacrifice, and Zhang's 'saved the phoenix sacrifice' matches that. Commentators have mostly praised Weizi's wisdom of 'knowing the moment and preserving himself'; Zhang adds the idea of 'preserving the sacrifice,' raising a personal choice to the height of 'reviving the fallen and continuing the severed'—a Song stress on sacrifice and lineage. Modern scholars say Song poetry 'uses learning as poetry, argument as poetry'; this poem's dense allusion and explicit argument prove it.

张方平咏史吊古诗，宜与其论史奏议合观——他平生论政重「任贤去奸」，此诗西伯招贤、纣弃三仁的对照，正其议政之见投射于史。方回瀛奎律髓咏史类多选宋人「翻案」「对照」之作，此诗以对举运议论，合其选。较之唐人咏史（如杜牧「东风不与周郎便」之空灵），宋人更喜以密典明断，此诗可为其例。又，北宋尊崇微子，真宗封禅、祀商三仁，张方平此诗称其「抱器幸存天凤祀」，正合时代褒忠崇祀之风。历来论微子者，多美其「知几全身」之智，如《论语》以「仁」许之，司马迁亦称其「仁贤」；张方平则于「仁」之外更拈「存祀」一义，谓微子之智在能存一线商祀，把个人去就提升到「兴灭继绝」的高度，是宋人重祀、重统绪的史观。近人论宋诗「以才学为诗、以议论为诗」，此诗用典密、议论显，足证其说。较之欧阳修、王安石诸家咏史，方平此诗不事翻案之奇，而务在对举之严，以整饬的律法承载沉实的史识，别有一种「端重而不花哨」的面目，正合其馆阁老成之身分。要之，此诗非徒吊古，而借微子之存与纣王之亡，立一「用贤则兴」的史鉴，是学者咏史得体之作。

Prosody

Form Seven-character regulated octet (qilü)七言律诗

Rhyme Rhymes with the shangping 'zhen' rhyme (ren, bin, chen, chun), one rhyme throughout; the 'zhen' rhyme's open, bright sound suits historical lament.押上平十一真韵：人、宾、晨、春。一韵到底，真韵开口呼清亮，宜于咏史吊古之体。

Tone pattern Qilü, level-opening, first line entering rhyme. The two middle couplets mostly observe tonal rules with occasional deliberate oscillation typical of Song manner.七言律诗平起首句入韵体。首联西伯已招二大老（平仄仄平仄仄仄）对东邻更弃三仁人（平平仄仄平平平），颔联元龟遂讫商家命（平平仄仄平平仄）对白马永为周室宾（平仄仄平平仄平），中二联粘对大致合律，偶以拗救腾挪，具宋调之态。

Reading note This is a seven-character regulated octet of eight lines and four couplets, structured on the warp of 'rise-and-fall contrast': first couplet summoning-worth vs. casting-off-benevolence, second ending-mandate vs. enfeoffing-guest, third preserving-sacrifice vs. losing-state, last closing with Long Hair and temple trees—couplet after couplet opposed, argument explicit. The rhyme exclusively takes the zhen bureau, clear yet steady in tone, fitting historical lament; the four rhymes read like reading history. The zhen rhyme is open-mouthed, bright in ending, fit for praise-blame and judgment, so 'ren, bin, chen, chun' land like a memorial or court debate, matching the solemn regulated form. Though tones occasionally flex, the great joints keep the law, so the short piece loses no dignity. Overall the sound is grave and vigorous—typical Song historical verse 'carrying argument through antithesis, establishing judgment through allusion': it praises Weizi's preservation and blames Zhou Xin's ruin, all hidden in contrast, meaning clear without explicit censure. In fifty-six characters it strings a brief history of Weizi's preserving the fallen—best read with Zhang's historical essays.此诗为七言律诗，八句四联，章法以「兴亡对照」为经：首联招贤对弃仁，颔联终命对封宾，颈联存祀对丧邦，尾联以长发庙树收束，联联对举，议理显豁。用韵独取真部，声气清亮而沉稳，与咏史吊古相称；四韵相贯，读来如读史论。真韵为开口呼，收音洪亮，宜于发褒贬、下断语，故「人、宾、晨、春」四字一落，如读谏疏、如闻庭议，与七律咏史的庄重体格相得益彰。平仄虽偶变通，然大关节守律，使短章不失庄重。整体声情沉郁刚健，是宋人咏史「以对仗运议论、以用典立断制」的典型——褒微子之存、贬纣王之亡，皆藏于对照之中，不须明斥而义自见。短短五十六字，串起一部微子兴灭继绝的简史，宜与张氏论史之文合观。

Line by line

西伯已招二大老，东邻更弃三仁人。

The Lord of the West had already summoned two great elders; the eastern neighbor cast off three benevolent men.

周文王西伯已招纳了两位大老，纣王这东边的邻国却抛弃了三位仁人。

The Earl of the West has already summoned the two great elders; the eastern neighbor has cast away the three men of virtue.

首联破题，以对举立全篇兴亡之旨。西伯已招二大老写周文王能招纳贤才（二大老指归周之耆旧），东邻更弃三仁人写纣王（周在商西，商为周之东邻，故云东邻）反倒抛弃了微子、箕子、比干这三位孔子所称的仁人。两句话、一对仗，把商亡周兴的根本原因——用人之别——和盘托出。张方平用「已招」对「更弃」，一成一反，语气中褒贬自见：周之兴在其能聚贤，商之亡在其自弃仁。更字尤有力，写出一种对比的刺痛感——不是不能得贤，而是弃之不顾。宋人咏史好以对仗运议论，此联正是一例：不须冗论，只把两件史事并置，兴亡之理已不言自明。

The opening strikes the theme, setting out the whole meaning of rise and fall through parallel. The Earl of the West has already summoned the two great elders writes that King Wen of Zhou could summon worthies (the two great elders meaning the old men who joined Zhou); the eastern neighbor has cast away the three men of virtue writes that King Zhou (Zhou lay west of Shang, so Shang was Zhou's eastern neighbor, hence the eastern neighbor) on the contrary cast away the three men of virtue Confucius praised - Weizi, Jizi and Bigan. Two lines, one parallel, lay bare the root of Shang's fall and Zhou's rise - the difference in employing men. Fangping pairs has already summoned with on the contrary cast away, one success one reversal, and praise and blame show of themselves in the tone: Zhou's rise lay in gathering worthies, Shang's fall in casting away the benevolent. The word on the contrary is most forceful, writing the sting of the contrast - not that he could not gain worthies, but that he cast them aside. Song writers on history loved to move argument through parallel; this couplet is one example: no need for lengthy discussion, only setting two historical events side by side, and the reason of rise and fall shows of itself.

抱器幸存天凤祀，丧邦都为牝鸡晨。

Clasping the ritual vessels, he saved the phoenix-like sacrifice; the state was lost because a hen crowed at dawn.

怀抱祭器而幸存，得以延续天凤般的商祀；丧其邦国，都因牝鸡晨鸣般的妲己乱政。

Bearing the vessels, he alone preserved the Feng-blessed sacrifices; the ruin of the state was all the hen's dawn-crowing.

颈联是全诗褒贬最分明处，亦微子之所以铭庙之由。抱器幸存天凤祀写微子肉袒抱祭器归周，使商之宗祀得以延续（天凤祀喻其祀如凤鸟之瑞不绝），是「存」是「褒」；丧邦都为牝鸡晨写纣王因妲己（牝鸡晨，出尚书「牝鸡之晨，惟家之索」）乱政而亡国，是「亡」是「贬」。一存一亡、一褒一贬，对仗整而义相反，把微子之智与纣王之昏写得判若云泥。张方平于此把微子庙的主题点透：庙之所立，正为纪念那「抱器存祀」的明智，反衬那「牝鸡丧邦」的荒淫。一联之间，用典（抱器、牝鸡）与论断交融，是宋人咏史「据典立断」的典型手法，读来褒贬凛然。

The neck couplet is the place where the poem's praise and blame are clearest, and the reason Weizi is commemorated in the temple. Bearing the vessels, he alone preserved the Feng-blessed sacrifices writes that Weizi, baring his arm and bearing the ritual vessels, returned to Zhou, so that Shang's ancestral sacrifices could continue (the Feng-blessed sacrifices meta-phors his sacrifices unbroken like the auspicious phoenix); this is preserving, this is praise. The ruin of the state was all the hen's dawn-crowing writes that King Zhou, through Daji (the hen's dawn-crowing, from the Documents the hen's dawn-crowing means the ruin of the family), ruined the state; this is fall, this is blame. One preserving one falling, one praise one blame, the parallel regular yet the meaning opposite, writing Weizi's wisdom and King Zhou's folly as far apart as cloud and mud. Fangping here pierces the theme of the Weizi temple: the temple was erected precisely to commemorate the wisdom of bearing the vessels and preserving the sacrifices, setting off the wantonness of the hen's dawn-crowing. Within one couplet, allusion (bearing the vessels, the hen) and judgment blend, the typical Song way of judging on the authority of the classic, reading with praise and blame stern and clear.

可怜长发源流远，旧国犹存庙树春。

Pity that the 'Long Hair' source flows so far; the old realm still keeps its temple trees in spring.

可怜那长发之诗所咏的源流本极悠远，旧日国都犹存庙前树木逢春。

Alas, the long-spring source runs far; the old state still keeps the temple trees in spring.

尾联收束，由史入景，寄吊古之慨。可怜长发源流远用诗经商颂长发（颂殷商源流之远）之典，说商之先德本极悠远；旧国犹存庙树春则写往事已矣，而旧都宋地犹存此庙，庙前树木逢春，生意不减。张方平以此景语收束议论，把方才的褒贬翻作一声轻叹——朝代可亡，而德祀犹存、庙木长青，这才是对微子「存祀」的最高肯定。可怜二字最堪玩味：既怜商之遽亡，亦怜微子之孤存，更怜这源流虽远、终赖一庙一树以记。由热烈的褒贬忽归平静的春色，余韵不尽，是宋人咏史「议论之后归于澄淡」的笔法。

The closing gathers the poem, moving from history to scenery, lodging the lament for the past. Alas, the long-spring source runs far uses the Book of Songs Shang Hymns long-spring (praising the far source of Shang), saying Shang's ancient virtue was originally most far; the old state still keeps the temple trees in spring writes that the past is gone, yet the old capital of Song still keeps this temple, and the trees before the temple meet the spring, their life undiminished. Fangping closes the argument with this scenery, turning the praise and blame just now into a soft sigh - dynasties may fall, yet virtue and sacrifices remain, and the temple trees stay green; this is the highest affirmation of Weizi's preserving the sacrifices. The two words alas are most to taste: at once grieving Shang's sudden fall, grieving Weizi's lonely survival, and grieving that this source, though far, is at last recorded only by a temple and a tree. From the warm praise and blame suddenly returning to the calm spring color, the aftertone without end, the Song way of closing argument in clarity and plainness.

Study

Word focus

弃 'Qi' (cast off) is the poem's word of blame on Zhou. It means to abandon; here it says Zhou Xin abandoned Weizi, Jizi, and Bigan—one character fixes his guilt of ruin. Zhang uses 'cast off' rather than 'lose' or 'neglect'—weighty: 'lose' may be accident, 'cast off' is active betrayal, pointing straight at Zhou's folly. Paired with 'summon' above, one summons worth, one casts off worth; between them Zhou's rise and Shang's fall are caused. A Song historical poem's 'one character judges the case.' 弃字在「东邻更弃三仁人」中为全诗贬纣之眼。弃本义舍去、抛弃，此处写纣王弃微子箕子比干于不顾，一字而定其亡国之罪。张方平用「弃」而非「失」「疏」，分量极重——「失」或出于偶然，「弃」则是主动的背弃，直指纣之昏暴。更妙在它与上句「招」字（西伯已招二大老）相对：招是求贤，弃是绝贤，一招一弃之间，周兴商亡的因果已具。宋人咏史重「一字断案」，此字正是一字见褒贬的史笔，使首联不惟叙事，更兼论断。

存 'Cun' (preserve) is the poem's word of praise for Weizi. It means to keep, continue; here Weizi bore the vessels to Zhou, keeping the Shang sacrifice alive, exactly contrasting Zhou's 'losing the state.' Paired with 'lose' below, one preserves one loses, praise and blame clear. 'Fortunate to preserve' hints rarity and preciousness—amid ended Shang, keeping one thread of sacrifice relied on Weizi's wisdom and loyalty, so 'fortunate' carries regret. The word gives the temple its raison d'être: the temple stands to mark this preserved thread. 存字在「抱器幸存天凤祀」中为全诗褒微子之眼。存本义在、续，此处写微子抱祭器归周，使商之宗祀得以保存延续，与纣王之「丧邦」恰成反照。张方平以「存」对下句之「丧」，一存一丧，褒贬昭然。更可玩者，「幸存」二字暗含侥幸与珍贵——在商祚既讫之际，能存一线之祀，实赖微子之智与忠，故「幸」中见德。若作「留」「续」，则平而无「幸」之叹惋。一字（词）之选，使微子庙的「庙」字有了着落：庙之所以立，正为纪念这「存」的一线商祀，是炼字见题旨处。

更 'Geng' (even more / instead) is the turning virtual word in 'the eastern neighbor cast off three benevolent men,' very forceful. It means again or instead; here after 'already summoned' it reads as 'instead,' voicing the sting of reversal: Zhou having summoned worth before, Shang cast off benevolence after—heaven and human affairs inverted in one word. The 'already…instead…' construction builds contrastive tension, making the couplet not merely parallel facts but a 'they could, we could not' satire. A Song poem's reliance on virtual words to steer structure—a model of refining the function word. 更字在「东邻更弃三仁人」中为转捩之虚字，极有力量。更本义再、又、反倒，此处用在「西伯已招」之后，作「反倒」解，写出一种反差之痛：周既已招贤于前，商却弃仁于后，天道人事之颠倒尽在此一字。张方平以「已……更……」的句式制造对照的张力，使首联不只是并列两件史事，而是构成「彼能而我不能」的讥刺。宋人作诗重虚字斡旋，此字正见其以文法运章法之妙——一个虚字，把叙事转为议论、把并列转为对照，是炼虚字见识力的范例。

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