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宋 Song · 诗 Poem

长春节

The Festival of the Long Spring

刘兼

Liu Jian

宋初Theme 颂圣诗poetry 应制Theme 七言律诗poetry 开国country

圣朝佳节遇长春，跪捧金炉祝又焚。
宝藏发来天地秀，兵戈销后帝皇尊。
太平基址千年永，混一车书万古存。
更有馨香满芳槛，和风迟日在兰荪。

The sage court, the fine festival, meets, the Long Spring,
Kneeling, holding, the golden censer, the prayers, again, the burning.
The treasures, brought, forth, the beauty of the heaven and the earth,
The weapons, laid, down, after, the dignity of the emperor.
The foundation, of, the peace, a, thousand, years, eternal,
The blending, of, the carts and the books, ten, thousand, ages, preserved.
Moreover, there, is, the fragrance, filling, the fine railings,
The gentle wind, the late sun, on, the orchid and the thoroughwort.

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Meaning

A poem of the celebration and the praise, written by Liu Jian. The sage court with the fine festival meets the Long Spring, kneeling holding the golden censer the prayers again the burning — the celebration of the opening. The treasures brought forth the beauty of the heaven and the earth, the weapons laid down after the dignity of the emperor — the peace of the middle. The foundation of the peace a thousand years eternal, the blending of the carts and the books ten thousand ages preserved — the praise of the middle. And the close's moreover the fragrance filling the fine railings, the gentle wind the late sun on the orchid and the thoroughwort — the close's blessing. The poem is the celebration and the praise: the festival, the peace, and the close's fragrance.

圣明的本朝佳节，正与「长春」的节名相逢。在兵革止息之后，帝王的威尊更显崇高。天下车同轨书同文的大一统，将万古长存。和煦的微风与迟缓的春日，正停留在香草兰荪之上。

Appreciation

[Plain Paraphrase] The sage court, the fine festival, meets, the Long Spring, kneeling, holding, the golden censer, the prayers, again, the burning. The treasures, brought, forth, the beauty of the heaven and the earth, the weapons, laid, down, after, the dignity of the emperor. The foundation, of, the peace, a, thousand, years, eternal, the blending, of, the carts and the books, ten, thousand, ages, preserved. Moreover, there, is, the fragrance, filling, the fine railings, the gentle wind, the late sun, on, the orchid and the thoroughwort. [Structure and Thought] The poem moves from the celebration of the festival and the prayers, through the peace of the treasures and the weapons, to the close's the fragrance of the fine railings. [Key Technique] The poem's art is the close of the blessing: the blending of the carts and the books preserved, and the close's the fragrance filling the railings — the praise gathered in the peace and the close's blessing. [Emotional Tone] Solemn, joyful, and blessing: the poem is the festival, the peace and the close's fragrance.

【白话串讲】刘兼写长春节：“圣朝佳节遇长春，跪捧金炉祝又焚”。“太平基址千年永，混一车书万古存”——他写祝寿的盛典。【意象与手法】铺陈得体，中二联对仗工稳，「宝藏发来」对「兵戈销后」、文治武功并举。【情感与主旨】为宋太祖诞节所作的颂诗，真实记录了开国初「兵戈销后、太平初现」的时代氛围与对一统的歆慕。【名句点睛】「混一车书万古存」分量最重——把秦始皇旧典安放在宋初统一功业之上，既颂功业也是本朝正当性的确认。

Background

Liu Jian (c. 10th century), the poet of the late Tang and the early Song, wrote this 'The Festival of the Long Spring' of the celebration and the praise — the joy of the festival of the court. The sage court with the golden censer, the peace with the treasures and the weapons, and the close's the fragrance with the gentle wind — the poem gathers the joy of the poet, the praise of the peace. The poem is one of the works of the poet's poems of the celebration.

刘兼，五代末宋初人，生卒年不详，初仕后蜀，入宋后官至荣州刺史，有诗集传世，其诗多应制、咏史、纪游之作，风格典丽平正，具五代宋初馆阁诗人 transitions 之风。《长春节》一诗，为宋太祖赵匡胤诞节「长春节」所作的颂圣之作。按宋史，太祖以建隆元年（九六〇）正月乙巳即位，其生日二月十六日，诏定是日为「长春节」，群臣上寿，罢上元张灯为圣节之庆，此制开宋代「圣节」之先河（后真宗天贶、真宗诞节等踵起）。「长春」之名，取「长久之春」「圣寿无疆」之意，既颂人主长生，亦喻国运常新。刘兼此诗当为长春节朝贺或应制所献，其时北宋立国未久，太祖削平诸藩、混一车书，正由武功转向文治，诗中「兵戈销后」「混一车书」正反映这一历史节点。作为颂圣诗，它不可避免带有应制文学的恭维套语，然亦真实记录了宋初「太平初现、万国来同」的时代氛围与士人对统一秩序的歆慕。诗中「跪捧金炉祝又焚」写焚香祝祷的礼仪，「宝藏发来天地秀」或指太祖搜访遗书、开启秘府（如平蜀后收图书），「混一车书」用《史记》「车同轨、书同文」典，颂天下一统。理解此诗，须置于宋初馆阁颂扬文学与开国气象的交汇点上，方能既见其体制之正，亦见其时代之实。

Art

The poem's art is the art of the praise. The celebration opens: the sage court, the fine festival, meets, the Long Spring — the Long Spring of the sage court; kneeling, holding, the golden censer, the prayers, again, the burning — the prayers of the golden censer. The peace follows: the treasures, brought, forth, the beauty of the heaven and the earth — the beauty of the heaven and the earth; the weapons, laid, down, after, the dignity of the emperor — the dignity of the emperor; the foundation, of, the peace, a, thousand, years, eternal — the foundation of the peace; the blending, of, the carts and the books, ten, thousand, ages, preserved — the blending of the carts and the books. And the close gathers the blessing: moreover, there, is, the fragrance, filling, the fine railings — the fragrance of the fine railings; the gentle wind, the late sun, on, the orchid and the thoroughwort — the late sun of the orchid and the thoroughwort — the celebration, the peace and the close's blessing, gathered in the poem.

此诗艺术之妙，首在「以颂圣为体、以铺陈为法」，典型体现了宋初应制律诗的章法范式。全诗八句，四联分明，起承转合井然：首联「圣朝佳节遇长春，跪捧金炉祝又焚」点题并写祝祷之仪，开门见山；颔联「宝藏发来天地秀，兵戈销后帝皇尊」由礼仪转入功业，一写文治（发宝藏）、一写武功（销兵戈），对仗工稳；颈联「太平基址千年永，混一车书万古存」推向颂愿，以「千年永」「万古存」作宏大气脉的收束；尾联「更有馨香满芳槛，和风迟日在兰荪」以景语收，回归祥和氛围，余韵悠然。其结构如建筑之有台基、廊柱、檐顶，层层增高，是馆阁颂诗「正大平稳」美学的具体呈现。对仗上，颔联、颈联皆精切：「宝藏」对「兵戈」（物对物）、「发来」对「销后」（动对动）、「天地秀」对「帝皇尊」（主谓对主谓）；「太平」对「混一」、「基址」对「车书」、「千年永」对「万古存」，词性相称，属对匀整。语言则典丽而不浮靡，多「圣朝」「帝皇」「太平」「混一」等庙堂正大之辞，声气雍容。虽乏个人性情之抒发，而作为记录开国气象的「诗史」式颂章，其铺排有法、气象宏阔，自有其体制价值，亦可见宋初律诗由五代绮弱转向本朝宏正的脉络。

Allusions

'The Long Spring' (chang chun) is the Long Spring — the festival of the spring, the birthday of the court; 'the sage court' (sheng chao) is the sage court — the court of the sage, the praise of the emperor; 'the carts and the books' (che shu) are the carts and the books — the carts of the same wheel and the books of the same script, the unity of the realm; 'the orchid and the thoroughwort' (lan sun) are the orchid and the thoroughwort — the herbs of the fragrance, the blessing of the close.

此诗用典虽多用于颂圣套语，却有数处文化渊源可溯。「长春节」本身即制度性典故：宋太祖定生日为长春节，事见《宋史·礼志》及《事物纪原》，为宋代「圣节」之制肇端，刘兼诗是这一制度的文学见证。「长春」意象，源于「长春」喻长寿、国祚长久（如道家「长春之境」、汉武帝求长生之典），诗中以节名入题，双关「节遇长春」与「圣寿长春」。「跪捧金炉祝又焚」写焚香祝祷，本于汉唐以来宫廷「金炉焚香」「焚香祝天子」的朝仪（如王维「日色才临仙掌动，香烟欲傍衮龙浮」）。「宝藏发来」或暗指太祖平诸国后收其图籍秘府（如平蜀得图书，开献书之路），亦合《周礼》「天府掌祖庙之守藏」之制。「兵戈销后」用「销兵」「偃武」古语（如「销锋镝、铸金人」）。「混一车书」直用《史记·秦始皇本纪》「车同轨，书同文」及《礼记》「书同文，车同轨」，喻天下一统，是颂统最常用的典。「兰荪」出自《楚辞》「荪壁兮紫坛」「兰芷变而不芳」，兰荪皆香草，喻君子、盛世芳洁。综上，此诗以制度典、朝仪典、统一典、楚辞香草典绾合，是应制诗中「典重而不失雅」的范例。

Commentary

This poem is one of the works of Liu Jian's poems of the celebration, quoted for the solemnity of its opening and the blessing of its close. The foundation of the peace a thousand years, and the fragrance filling the fine railings, are among the admired passages of the poet's poems. Critics praise the poem's joy: the peace gathered in the blessing, to the close's fragrance.

刘兼《长春节》作为宋初开国颂圣之作，其文学史价值主要在「制度记录」与「诗风转折」两端，而非艺术独创。宋初诗坛承五代余风，多绮弱浮艳，太祖、太宗朝渐倡「宗经稽古、崇雅黜浮」，刘兼此诗以「圣朝」「太平」「混一」等正大语入律，正可见本朝诗风由五代「衰飒」向宋型「平正宏廓」的过渡。清人所编《宋诗纪事》辑刘兼诗，对此类应制之作虽未特加褒贬，而收录本身表明其作为宋初馆阁诗的代表性。今人论宋初诗，常以太宗朝「白体」「晚唐体」「西昆体」三体并观，刘兼风格近「白体」之平易典正，而又带五代馆阁余习，是理解宋诗自立前夜的过渡人物。又，此诗所涉「长春节」制度，为宋史、礼制研究者所重，诗与史互证，可知宋初「圣节」确立之具体情形。学者如傅璇琮论宋初文学，指出应制诗虽「言之无物」，却是观察时代心理的窗口；刘兼此诗正以其「兵戈销后」「混一车书」之句，折射出宋初士人对统一的由衷歆慕。综上，此诗艺术上虽属恭维套语，于宋初诗史与礼制史却自有其坐标意义。

Prosody

Form A regulated poem of the celebration (qi yan lü shi)七言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the solemn joy.平水韵（春属真、焚属文、尊存荪属魂，宋初真文魂通押），一韵到底

Tone pattern The cadence is that of the praise: the level opening with the festival, the turning with the peace, and the close's fall with the fragrance.平起首句入韵式，中二联对仗，平仄合律

Reading note The poem's sound matches its solemnity: the cadences of the regulated poem, and the close — 'he feng chi ri zai lan sun' — falls with the thoroughwort, the sound of the blessing of the celebrating poet.此诗为七言律诗，八句五十六字，体裁属近体律诗正格，四联分明，中二联（颔联、颈联）对仗精工，符合七律「首联破题、中二联铺排、尾联收束」的范式。用韵上，首句「长春」之「春」（平水韵上平十一真部）、次句「祝又焚」之「焚」（上平十二文部）、颔联下「帝皇尊」之「尊」与颈联下「万古存」之「存」、尾联下「兰荪」之「荪」（皆上平十三魂部），五韵相押。真、文、魂三部在《广韵》中本相邻，宋初诗赋及唐五代以来多有真文魂通押之例（所谓「南方通语」），刘兼此诗即承此通押之习，一韵到底而声情雍容，正合颂圣诗「正大和雅」的听觉期待。平仄上，此诗为「平起首句入韵」体，首联「圣朝佳节遇长春」平仄为「仄平仄仄仄平平」（「圣」仄、「朝」平、「佳」平、「节」仄、「遇」仄、「长」平、「春」平），二四六分明而一三五略宽；中二联「宝藏发来天地秀，兵戈销后帝皇尊」「太平基址千年永，混一车书万古存」对仗工稳，平仄相俪。整体看，此诗声律典重、用韵宽和、对仗匀整，是宋初馆阁颂律「正而不僵」的典型，亦可见本朝律诗由五代绮弱转向平正宏廓的声律轨迹。

Line by line

圣朝佳节遇长春，

In the sage dynasty, the fair festival meets the Long Spring,

圣明的本朝佳节，正与「长春」的节名相逢。

The sage dynasty's fair festival falls on the name of Long Spring.

「圣朝佳节遇长春」为全诗起句，亦点题之笔。「圣朝」是宋初颂圣诗的标准起手（避直称庙号，以「圣朝」代之），既表臣子恭敬，亦立「本朝」本位；「佳节」指长春节本身；「遇长春」三字巧妙——「长春」既是节名，又双关「长久之春」「圣寿无疆」，故「遇」字不只是节期之遇，更是「圣朝」与「长春（国祚长久）」的天作之合。这一起法开门见山，把颂圣、纪节、祝嘏三意绾于一联，是应制律诗「首联点题」的典范。妙在「遇」字的轻巧：它不写「庆」「贺」等费力字，而用「遇」这一近乎天成的字，暗示长春节之设乃天命所归、自然而然，避免了直白吹捧的笨重。此句虽为套语，却套得工稳典重，为后文铺陈功业、祝愿万古预立了雍容的基调，亦可见宋初馆阁诗人于「正大平稳」美学上的自觉。

This is the poem's opening line and the brush that points out the title. The sage dynasty is the standard opening of early-Song praise poetry (avoiding the temple name by substituting sage dynasty), at once showing the minister's reverence and establishing the present-dynasty standpoint. The fair festival means the Long Spring Festival itself. The three words meets the Long Spring are artful: Long Spring is at once the festival name and a double entendre for the long spring and the boundless imperial longevity; hence the word meet is not only the meeting of the festival season, but heaven's marriage of the sage dynasty with the Long Spring (the enduring dynastic fortune). This opening states the thesis openly, gathering praise of the sage, recording the festival, and wishing longevity into one couplet, the model of the regulated commissioned verse's first couplet pointing out the title. The beauty lies in the lightness of the word meet: it does not use the labored words celebrate or congratulate, but the almost natural word meet, hinting that the Long Spring Festival's institution is what the mandate of heaven brought about, avoiding the clumsiness of direct flattery. Though this line is a set phrase, it is wrought steady and grave, laying the graceful key for the later spread of achievement and the wish for eternity, and showing the early-Song academy poet's consciousness of the aesthetics of the upright, great, steady and smooth.

兵戈销后帝皇尊。

When spears have been melted, the emperor's majesty is high.

在兵革止息之后，帝王的威尊更显崇高。

When weapons have been melted away, the emperor's majesty stands the more exalted.

「兵戈销后帝皇尊」为颔联下句，与「宝藏发来天地秀」对仗，一武一文、一功一德，共写太祖立国之绩。「兵戈销后」指宋初削平诸藩、结束五代战乱的统一局面，四个字概括了从「乱」到「治」的历史转折；「帝皇尊」则点出这一太平局面对君主威望的加成——不是靠征伐之威，而是靠止戈之德，使帝皇之「尊」更具正当性。这一句的深意，在于它把「尊」建立在「销兵戈」而非「兴兵戈」之上，暗合老子「兵者不祥之器」与《尚书》「偃武修文」的治国理想，也契合宋太祖「杯酒释兵权」、转向文治的历史选择。从对仗看，它与上句「宝藏发来」形成「武—文」互补：销兵戈是止乱，发宝藏（收图籍）是兴文，文武并济，方见「帝皇尊」之全。作为宋初颂诗，此句虽不脱恭维，却准确抓住了本朝「以文德凝天下」的立国精神，具有一定的「诗史」认识价值。

This is the lower line of the jaw couplet, paired with the hidden treasures send forth the earth's elegance - one military one civil, one achievement one virtue, together writing Taizu's founding achievement. When spears have been melted refers to the early-Song pacification of the fiefs and the ending of the Five Dynasties' wars; four characters sum the historical turn from disorder to order. The emperor's majesty points out the addition of this peaceful age to the ruler's prestige - not by the might of conquest, but by the virtue of laying down arms, giving the emperor's majesty greater legitimacy. The line's deep meaning lies in establishing majesty on melting spears rather than on raising them, secretly matching Laozi's the weapon is an inauspicious vessel and the Book of Documents' lay aside arms and cultivate letters, and suiting Emperor Taizu's historical choice of releasing the generals' cups of wine and turning to civil rule. In parallel, it forms the military-civil complement to the hidden treasures send forth: melting spears ends disorder, sending forth treasures (collecting maps and registers) promotes letters, and military and civil together complete the emperor's majesty. As an early-Song praise poem, though not free of flattery, it accurately grasps the founding spirit of this dynasty of binding the empire with civil virtue, carrying a certain poetic-historical value of insight.

混一车书万古存。

Unified in cart-gauge and script, it shall endure ten thousand ages.

天下车同轨书同文的大一统，将万古长存。

The great unity of cart-gauge and script shall endure ten thousand ages.

「混一车书万古存」为颈联下句，是全诗颂愿的顶点之一。「混一」即统一，「车书」直用《史记·秦始皇本纪》「车同轨，书同文」及《礼记》「书同文，车同轨」之典，原指秦始皇统一文字度量，此处移以颂宋太祖结束割据、重建一统的功业——宋初平荆湖、后蜀、南汉、南唐、吴越，确使「车书」重归混一。「万古存」则以宏大的时间尺度作祝愿，气脉自此联「千年永」延展到「万古存」，形成颂诗中常见的「时间夸张」以显国祚绵长。炼句之妙，在「混一」与「车书」的搭配：「混一」是动作、「车书」是象征，二者结合既具体（车同轨书同文）又抽象（文化政治一统），较之直说「天下统一」更具典重之美。此句置于颈联，承担着由「述功」（前两联）转向「祝永」（愿其长存）的结构功能，是应制律诗「前半实写、后半虚祝」章法的关键一环，亦可见宋初诗人对「统一」这一时代主题的由衷礼赞。

This is the lower line of the neck couplet, one of the peaks of the poem's praise and wish. Unified means bringing together; cart and script directly uses the allusion of the Records of the Grand Historian's Annals of Qin Shi Huang's carts of one gauge, books of one script, and the Book of Rites' books of one script, carts of one gauge, originally referring to Qin Shi Huang's unifying writing and measures, here moved to praise Taizu's ending of the partition and rebuilding of unity - the early Song's pacification of Jinghu, Later Shu, Southern Han, Southern Tang, and Wuyue indeed brought cart and script back to unity. The words endure ten thousand ages make the wish on a vast time scale, the momentum extending from this couplet's a thousand years forever to ten thousand ages, forming the time-exaggeration common in praise poetry to show the enduring dynastic fortune. The worked line's beauty lies in the pairing of unified and cart and script: unified is the action, cart and script the symbol, and the two together are at once concrete (carts of one gauge, books of one script) and abstract (cultural and political unity), more grave and beautiful than directly saying the world is united. Placed in the neck couplet, it carries the structural function of turning from narrating achievement (the first two couplets) to wishing eternity (hoping it endures), the key ring of the commissioned regulated verse's first half solid writing and second half void wishing, and showing the early-Song poet's heartfelt praise of the age's theme of unity.

和风迟日在兰荪。

The gentle breeze and the lingering sun rest on the orchids.

和煦的微风与迟缓的春日，正停留在香草兰荪之上。

The gentle breeze and the slow sun rest upon the fragrant orchids.

「和风迟日在兰荪」为全诗尾联下句，以景语收束，回归祥和氛围，是应制颂诗「以丽景结颂」的常见手法。「和风」写春风之和煦，「迟日」用《诗经·豳风》「春日迟迟」之典，状春日照临之久、天宇之温厚；「兰荪」出自《楚辞》，兰与荪皆香草，历来喻君子、喻盛世芳洁（如「兰芷生兮青青」）。三者组合，勾勒出一幅春风和煦、丽日迟迟、香草敷荣的太平画卷，把前面铺陈的「圣朝」「太平」「混一」等抽象颂词，落实为一派可感的自然祥瑞。以景结情之妙，在于不直说「圣寿无疆」「国祚永存」，而把这些祝愿融化在「和风迟日」的物象之中，使颂诗免于头巾气的枯燥，得几分诗味。尾联上句「更有馨香满芳槛」写宫槛馨香，此句写兰荪沐日，上下呼应，以嗅觉（馨香）与视觉／触觉（和风迟日）的双重敷设收束全篇，雍容而有余韵，是宋初馆阁颂章「正而不僵、丽而不靡」的典型收法。

This is the lower line of the closing couplet, closing in scenery and returning to the auspicious atmosphere, the common method of the commissioned praise poem of closing the praise in fair scenery. The gentle breeze writes the spring wind's warmth; the lingering sun uses the Book of Songs's Bin wind's spring day lingering long, writing the long dwell of the spring light and the warmth of the heavens. The orchids come from the Li Sao; the orchid and the su are both fragrant plants, since antiquity meta-phoring the gentleman and the fragrant purity of a flourishing age (such as the orchids growing green). The three together sketch a peaceful picture of the warm spring breeze, the lingering sun, and the fragrant plants in bloom, landing the abstract praise words spread before - the sage dynasty, the great peace, the unity - on a perceptible natural auspiciousness. The beauty of closing feeling in scenery lies in not directly saying the imperial longevity is boundless or the dynastic fortune endures forever, but melting these wishes into the thing of the gentle breeze and lingering sun, saving the praise poem from the dryness of the pedantic and giving it a touch of poetic flavor. The upper line of the closing, further the fragrant scent fills the fragrant balustrade, writes the palace balustrade's fragrance, and this line writes the orchids bathed in the sun; the upper and lower echo, closing the whole in the double laying of smell (the fragrant scent) and sight/touch (the gentle breeze and lingering sun), graceful with aftertone, the typical early-Song academy closing of the praise ode that is upright yet not stiff, fair yet not loose.

Study

Word focus

混一 'The blending' — the blending of the unity, the carts and the books. 「混一」二字见于颈联「混一车书万古存」，是全诗最具分量、也最见时代意识的词眼。「混一」即「统一、混同为一」，在古典政治语汇中特指天下由分崩归于集中（如《汉书》「混一宇内」、《三国志》「混一四海」）。刘兼以此二字颂宋太祖结束五代十国割据、重建中央一统，可谓一字千钧——它不只是地理上的「合并」，更是文化、制度、法度上的「归一」，与下句「车书」配合，便把秦始皇「车同轨书同文」的古典理想，重新安放在宋初「混一」的现实之上。炼字之妙，在「混」字带有的「涵融无间」之意，较之「统一」的「整齐划一」更显雍容，暗合宋初「以文德服天下」的柔和统一策略（对比太祖之不用武力削藩而用「杯酒释兵权」的怀柔）。作为宋初开国颂诗，「混一」二字既是对功业的实录，也是对「本朝」正当性的最高确认，其政治分量远超一般诗眼，是应制诗中「以词载政」的范例。

长春 'The Long Spring' — the spring of the long, the festival of the court. 「长春」二字为诗题与首句的核心，是全诗祝嘏意旨的凝聚点，亦兼具「节名」与「颂语」双重身份。「长春」本为宋太祖诞节之名（二月十六日定为长春节），取「长久之春」「圣寿如春之常新」之意；刘兼于首句「圣朝佳节遇长春」中，巧妙使其由专有节名化为普泛的颂祷——「长春」既指节，又喻国祚长久、圣寿无疆，一字双关，举重若轻。其文化渊源，可上溯道家「长春之境」、汉武帝求长生的方仙传统，以及六朝以来以「春」喻君主恩泽、以「长春」祝寿的礼俗（如皇室诞节多取「长」「春」「永」字）。炼字之要，在于诗人不直写「圣寿无疆」之类的笨重套语，而借节名「长春」自然带出祝意，使颂诗获得一种「天成」的轻巧。作为宋初「圣节」制度的文学见证，「长春」二字既有诗美价值，也有礼制史价值——它标记了宋代「圣节」文化的一个具体原点，是诗与史交汇的小小枢纽。

尊 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「尊」字见于颔联下句「兵戈销后帝皇尊」，是全诗颂功立意的关键落点，亦最具政治智巧。「尊」本义为尊贵、崇高（与「卑」相对），此处写帝王之威望。炼字之妙，在诗人着一「尊」字于「兵戈销后」之后，把君主权威的合法性来源悄然由「武」转向「文」——不是靠穷兵黩武确立威尊，而是靠止戈偃武、与民休息来贏得尊崇，这正契合宋太祖「重文抑武」「杯酒释兵权」的立国基调。一个「尊」字，既完成了对太祖功业的颂扬，又隐含了宋初政治路线（右文）的价值确认，较之直写「帝皇威」「帝皇强」更见婉而多讽的庙堂分寸。从对仗看，「帝皇尊」与上句「天地秀」主谓相对，一写功业之秀出于天，一写君德之尊立于人，天地人三才俱到。一字之择，把应制诗最易流于空洞的「颂圣」落到了具体的时代精神上，是「以一字关一朝政」的范例。

长春节