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宋 Song · 诗 Poem

题独爱轩

Inscribed on the Pavilion of the Lone Love

张元干

Zhang Yuangan

咏物Poem on Objects 隐逸Reclusion 题赠Inscription and Gift 竹石Bamboo and Rock

此君风味极不浅，户外俗人来未曾。
老石寒藤同一笑，我知公是在家僧。

This gentleman's flavor is by no means shallow;
Have vulgar men ever come outside the door?
The old rock and the cold vine share one smile—
I know that you are a monk at home.

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Meaning

A poem inscribed on the 'Pavilion of the Lone Love' (Du'ai Xuan) of a friend by the Southern Song poet Zhang Yuangan. 'The Pavilion of the Lone Love' is the name of the friend's study; the two words 'the lone love' covertly use Zhou Dunyi's 'I alone love the lotus' from his 'On the Love of the Lotus,' the master naming his study 'the lone love' meaning that what he loves is something apart, not the same as the many. The poem never writes the scene of the pavilion directly, but the spirit of the Pavilion of the Lone Love leaps off the page: the first line, 'this gentleman's flavor is by no means shallow,' with the 'this gentleman' for the bamboo (from Wang Huizhi's 'how can I live a day without this gentleman'), writes the clear charm of the bamboo and the elegant taste of the master in one stroke; 'have vulgar men ever come outside the door?' writes, not the master within, but the vulgar men without, the 'never' inverting the master's loftiness; 'the old rock and the cold vine share one smile' suddenly gives the two insensate things a smile, the joy of the recluse in the scene; and 'I know that you are a monk at home' reveals the theme in the last line—the master, living among men, is beyond the world in heart.

这竹君的风韵情味,极为深远,不同凡俗。门外那些俗人,从来不曾到访过这里。庭中的老石、寒藤,与我相视会心,同作一笑。我明白了,您正是一位身在红尘而心出家门的在家僧人。

Appreciation

The poem, twenty-eight characters, is wonderful in the 'indirect writing' and the 'side writing.' Not a stroke writes the scene of the pavilion directly, yet the spirit of the Pavilion of the Lone Love leaps off the page, all because the poet is good at borrowing the object for the metaphor and writing the pavilion through the man. The first line, 'this gentleman's flavor is by no means shallow,' with the 'this gentleman' for the bamboo, uses Wang Huizhi's 'how can I live a day without this gentleman' of the History of the Jin; the one 'flavor' and the 'by no means shallow' hold the clear charm of the bamboo and the elegant taste of the master in one stroke. The second line, 'have vulgar men ever come outside the door?,' writes, not the master of the pavilion, but the vulgar men outside the door, the 'never' inverting the loftiness of the master—the writing by not writing. The third line, 'the old rock and the cold vine share one smile,' suddenly pushes out the old rock and the cold vine, two insensate things, and says 'share one smile,' the things and the man in sympathy, the joy of the recluse in the scene. And the last line, 'I know that you are a monk at home,' reveals the theme: the master, living among men, is beyond the world in heart, the whole poem's praise gathered in the one judgment.

【白话串讲】张元干写独爱轩：“此君风味极不浅，户外俗人来未曾”——俗人不来。“老石寒藤同一笑，我知公是在家僧”——他写主人的高洁。【意象与手法】二十八字全用「虚写」与「侧写」:以「此君」代竹,借王徽之典写竹之风味即主人风骨;「户外俗人来未曾」不写主人却写门外,以「未曾」反衬其孤高;「老石寒藤同一笑」令无情之物相视会心,物我相忘;末句「我知公是在家僧」以「知」字点睛。四句分写竹、门、石藤、人品,如散钱之贯,全靠「风味」与「知」一线收束。【情感与主旨】此诗题咏友人「独爱轩」,以竹石寒藤写主人自甘清寂、门无俗客的孤高境界。「在家僧」三字,点破其身居人境而心超物外的禀性。张元干曾以词送胡铨而触怒秦桧、遭削籍除名,故此诗实亦自道其怀:身历世变、饱尝炎凉而傲骨不改,以竹石自盟,正是南宋士人在浊世中自存清节的一种精神姿态。【名句点睛】「我知公是在家僧」:一个「知」字,把竹之风味、俗客未至、石藤同笑悉数收拢,一语道破主人身不岀家而心超物外的性情,是知己之言,亦是自况之语,画龙点睛,全篇皆活。

Background

Zhang Yuangan, courtesy name Zhongzong, hao Luchuan Hermit, a native of Yongfu, Fujian, was a famous ci poet and poet of the early Southern Song, with the Collected Works of Luchuan's Return handed down. His nature was firm and upright; he once sent a ci to Hu Quan and angered Qin Gui, for which he was stripped of his name from the register, so that his poems and prose are full of the proud and unbending, lodging the traces in the mountains and forests. This poem inscribes the 'Pavilion of the Lone Love' of a friend. The 'pavilion' is the name of a study; the two words 'the lone love' covertly use Zhou Dunyi's 'I alone love the lotus, which rises unstained from the mud' of his 'On the Love of the Lotus,' the master naming his own study 'the lone love' meaning that what he loves is something apart, not the same as the many. From the bamboo of the 'this gentleman,' the old rock, and the cold vine of the poem, the pavilion must be famed for its bamboo and rocks, the master daily facing the slender bamboo and the strange rocks, content in the purity and the solitude. 'Have vulgar men ever come outside the door?' writes the seclusion of his gate and the simplicity of his company. In the early Southern Song, the land was in turmoil, and the scholar-officials chose between office and reclusion; Zhang Yuangan's gift of this poem to his friend is also his own declaration of the reclusion within the world.

张元干,字仲宗,号芦川居士,福建永福人,南宋初著名词人、诗人,有《芦川归来集》传世。其人性刚气直,曾以词送胡铨而触怒秦桧,遭削籍除名,故其诗文中多有傲岸不屈、托迹山林之致。此诗题咏友人「独爱轩」。「轩」为书斋别室之名,「独爱」二字,暗用周敦颐《爱莲说》「予独爱莲之出淤泥而不染」之意,主人自命「独爱」,盖谓所爱者别有在焉,不与众同。观诗中「此君」之竹、「老石寒藤」之景,知此轩必以竹石为胜,主人日对修竹怪石,自甘清寂。「户外俗人来未曾」,写其门庭之僻、交游之简;「我知公是在家僧」,则一语道破主人身居人境而心超世外的禀性。南宋初年,中原板荡,士大夫或仕或隐,出处之间,多有抉择,张元干此诗赠友人,实亦自道其怀,以竹石自盟、视轩中为主人世界之写照,可见其时士人于浊世中自存清节的一种精神姿态。按张元干晚年隐居吴中,交游多山林逸士,此独爱轩主人,盖亦其道义之交,故诗中知己之言,真切不浮,与寻常应酬题赠之作迥异。

Art

The art is the 'indirect writing' and the 'side writing': not a stroke writes the scene of the pavilion directly, yet the spirit of the Pavilion of the Lone Love leaps off the page. The 'this gentleman' of the first line borrows the bamboo for the man, the charm and the taste in one stroke; the second line writes the vulgar men without, the 'never' inverting the loftiness of the master, the writing by not writing; the third line gives the old rock and the cold vine a smile, the things and the man in sympathy; and the last line reveals the theme in the one judgment, 'a monk at home'—the method of the Song poem, 'the theme revealed in the last line.'

此诗二十八字,妙在「虚写」与「侧写」。通篇不着一笔正面描写轩中之景,而独爱轩之风神,跃然纸上,全赖作者善于借物取喻、以人写轩。首句「此君风味极不浅」,以「此君」代竹,用《晋书》王徽之「何可一日无此君」之典,一「风味」一「极不浅」,便已把竹之清韵、主人之雅趣,一笔兜住。次句「户外俗人来未曾」,不写轩中主人,却写门外俗人,以「未曾」二字,反衬主人之高,是「不写之写」。第三句「老石寒藤同一笑」,忽然推出老石寒藤两个无情的物,而曰「同一笑」,物我相忘、欣然会心之态,尽在七字之中,是全诗最空灵的一笔。结句「我知公是在家僧」,以「知」字点睛,把前面所有形象,归结为对主人为人的一语判断,如画龙点睛,全篇皆活。全诗由物及人,由形及神,层层转进,而以侧写、虚写、拟人、论断诸法交错运用,短章之中,含蕴不尽,是宋人题咏诗中「以少胜多」的典范。尤妙在四句分写四事,竹、门、石藤、人品,各自独立,而气脉一线,如散钱之贯,全赖末句之「知」字与首句之「风味」遥相呼应,收束成章,题咏诗法之精,于此可见。

Allusions

The allusions of the poem, the chief being the 'this gentleman' and the 'monk at home.' The 'this gentleman' is from the History of the Jin, the biography of Wang Huizhi: Huizhi, lodging temporarily in another's empty house, had bamboos planted; asked why, he pointed to the bamboo and said with a whistle and a chant, 'how can I live a day without this gentleman?' Since then 'this gentleman' has been the elegant name of the bamboo, and all the later literati who loved the bamboo followed the phrase. The poet's opening with 'this gentleman' not only points out the bamboo of the Pavilion of the Lone Love but covertly lodges the master's transcendent, unworldly mind like Wang Huizhi's, the allusion doubly referring to the man and the thing. The 'monk at home' fuses the meaning of the Buddhist and the Daoist: the Buddhist 'the lay' and the Chan 'the home,' the heart beyond the world while dwelling among men—the phrase that reveals the theme of the whole poem.

此诗用典,要者为「此君」与「在家僧」两处。「此君」本于《晋书·王徽之传》:徽之暂寄人空宅住,便令种竹,或问其故,徽之啸咏指竹曰:「何可一日无此君也。」自此「此君」遂为竹之雅称,后世文人爱竹者,莫不祖述此言。诗人以「此君」起句,不惟点出独爱轩之竹,更暗寓主人如王徽之般超逸脱俗的襟怀,用典而人物双关。「在家僧」一语,则融会释道二教之义:佛家以出家为僧,居家修行者曰居士,称「在家僧」,言其身在红尘而心契空门;唐宋诗中每以「在家僧」称身居市朝而有出尘之想者,如黄庭坚《题竹石牧牛》题跋中亦有「谢安石素所爱,不肯与俗人言」之语,其意略同。此外,「独爱」之名,暗承周敦颐《爱莲说》「独爱」二字之文脉,「老石寒藤」之景,亦饶山林气味,石之古、藤之寒,正与「在家僧」之冷峻清寂相映成趣。全诗用典皆随手点化,不着痕迹,正见芦川居士于书卷中涵泳之深,而其取材之博,尤见宋人「以学问为诗」的风气,即题咏小诗,亦不轻易放过。

Commentary

Though a small poem of inscription and gift, the connoisseurs have praised its high simplicity and its charm. The whole poem, twenty-eight characters, writes the bamboo, the door, the rock, and the vine, and gathers in the judgment of 'a monk at home,' pressing in layer after layer, the theme revealed only in the last line—the Song method of 'the theme revealed in the last line.' The excellence of the poem is above all in the purity of its spirit: the seven characters 'have vulgar men ever come outside the door?' write a realm of lofty solitude—no miscellaneous guests at the gate, no vulgar thoughts in the heart—compared with the eager runners and bustlers, the difference is as of cloud and mud.

张元干此诗,虽系题赠小诗,而识者多称其高简有致。通篇二十八字,写竹、写门、写石、写藤,而归结于主人「在家僧」之评,层层逼入,最后一句方露题旨,是宋人所谓「卒章显其志」之法。此诗之佳,尤在气象之清:「户外俗人来未曾」七字,写出一种门无杂宾、心无俗念的孤高境界,较之汲汲于干谒奔走者,高下自判。张元干身经靖康之变,亲见朝廷苟安、士风卑靡,故其笔下独标高格,以竹石自励,以「在家僧」自许,实有深意。《四库全书总目》评《芦川归来集》,谓其「清丽丰腴」之外「时露奇气」,移以论此诗之清峻奇逸,亦甚惬当。要之,此诗不事雕琢而风骨自见,正是其人品与诗品的双重写照,置之宋人题咏小品中,堪称隽品。且「户外俗人来未曾」之孤高、「老石寒藤同一笑」之自得,皆非身历世变、饱尝炎凉者不能道,张元干以削籍之身,而傲骨不改,此诗正是其一生人格的缩影,读之令人想见其人。

Prosody

Form Seven-character quatrain七言绝句

Rhyme The first line does not enter the rhyme; the rhyme on the level-tone zheng rhyme (ceng, seng), one rhyme throughout首句不入韵,押平声蒸部韵（曾、僧）,通篇一韵

Tone pattern Beginning on a level tone and closing on an oblique, the four lines all fit the constant form of the seven-character quatrain, the tone clear, cold, and sharp, fitting the aim of the lofty solitude平起仄收式,四句平仄全合七绝常格,音调清冷峭拔,称其孤高之旨

Reading note The clear and cold tone of the seven-character quatrain, rhyming on the zheng rhyme, carries the lofty solitude of the Pavilion of the Lone Love.此诗为七言绝句,首句「此君风味极不浅」仄收不入韵,以下押平声蒸部韵,韵字「曾、僧」,皆清冷孤峭之音,与诗中竹石寒藤的幽寂境界、在家僧的超逸旨趣,正相表里。格律取平起仄收之式,四句平仄皆合常格,无一失律,声调安排极为考究:首句「此君风味极不浅」,仄平仄仄仄仄仄,句中连用仄声,读来凝重,恰与「风味不浅」的郑重论断相配;次句「户外俗人来未曾」,仄仄平平平仄平,于仄中见平,声情稍舒,仿佛推门一望、门外萧然;第三句「老石寒藤同一笑」,仄仄平平平仄仄,仄收而顿,正是「同一笑」的会心处,于音节上作一停驻;结句「我知公是在家僧」,仄平平仄仄平平,复归平顺,以清和之音收束,如余磬袅袅。四句声情,一凝重,一舒展,一顿驻,一悠远,与诗意之层层转进步步扣合,足见作者于声律一道的深湛功夫,是七绝中以声写境、以律传神的佳作。

Line by line

此君风味极不浅

This gentleman's flavor is by no means shallow; (The first line: the 'this gentleman' for the bamboo, from Wang Huizhi's 'how can I live a day without this gentleman,' the clear charm of the bamboo and the elegant taste of the master in one stroke.)

这竹君的风韵情味,极为深远,不同凡俗。

This gentleman's charm is by no means shallow.

起句七字,以「此君」代竹,用王徽之典,而「风味极不浅」五字,是全诗第一处点睛之笔。「风味」本指韵致、情味,以之写竹,则竹不再是寻常的植物,而成为一种人格的象征,疏影清节,自有深趣;「极不浅」三字,以否定式的强调,极言其深,仿佛这竹的风味,越品越见其深,含蓄不尽。此句明写竹,暗写主人:竹之「风味」即轩主之「风味」,竹格即人格,一起手便把独爱轩的精神境界托出。且「此君」之呼,亲切如在对面,物我之间,毫无隔阂,为后文「同一笑」的物我相忘预埋伏笔,是题咏诗中起笔立格的好例。

The opening seven characters use this gentleman for the bamboo, using Wang Huizhi's allusion; and the five words charm by no means shallow are the poem's first eye. Charm originally means grace and affection; using it to write the bamboo, the bamboo is no longer an ordinary plant, but a symbol of character, sparse shadows and clear integrity, of itself a deep delight. The three words by no means shallow, in the emphasis of negation, say to the utmost its depth, as if the bamboo's charm, the more it is tasted, the deeper it appears, reserved and unending. This line writes the bamboo on the surface, and secretly the host: the bamboo's charm is the porch-master's charm, the bamboo's character is the man's character, and the opening at once brings out the spiritual realm of the Solitary Love Porch. Moreover, the address this gentleman is as warm as face to face, no estrangement between object and self, secretly laying a ground for the later forgetting of object and self in one shared smile, the fine example of an inscribed poem's opening establishing the style.

户外俗人来未曾

Have vulgar men ever come outside the door? (The second line: writes, not the master of the pavilion, but the vulgar men outside the door, the 'never' inverting the loftiness of the master—the writing by not writing.)

门外那些俗人,从来不曾到访过这里。

Outside the door, the vulgar have never once come.

此句是全诗最见笔力的一笔,妙在「不写之写」。诗人不写轩中主人如何清高,只写门外俗人「来未曾」:竟从未有一个俗人踏进这道门来。一个否定,便把主人的孤高、交游的简净、门庭的僻静,一齐写出,而毫不费力。古人写隐者,多从「无车马喧」一侧着笔,此句正是同一机杼,却更添一层傲气:「未曾」二字,不是无人愿来,而是俗人不配来、来不得,是一种由内而外的拒斥与自尊。此句承上句竹之「风味」而来:正因为此君风味不浅,才自然隔绝了俗人;又为下句「老石寒藤同一笑」的自得之境,画出了清寂的舞台。二十八字中,此句最冷,也最见风骨。

This line is the poem's most forceful brush, and its beauty lies in the writing of not writing. The poet does not write how lofty the porch-master is, but only writes that outside the door the vulgar have never once come: not a single vulgar man has ever stepped through this door. One negation at once writes the host's lone loftiness, the simplicity of his associations, and the quietness of his gate and court, without effort. The ancients writing recluses mostly laid the brush on the side of no carriage and horse clamor; this line is exactly the same hand, yet adds a layer of pride: the words never once are not that no one wished to come, but that the vulgar do not deserve to come and cannot come, a rejection and self-respect from within outward. This line follows the upper line's bamboo charm: precisely because this gentleman's charm is not shallow, it naturally cuts off the vulgar; and it paints the quiet stage for the lower line's self-delight of the old stone and cold vine sharing one smile. Among the twenty-eight characters, this line is the coldest, and most shows integrity.

老石寒藤同一笑

The old rock and the cold vine share one smile— (The third line: the old rock and the cold vine, two insensate things, given a smile, the things and the man in sympathy, the joy of the recluse in the scene.)

庭中的老石、寒藤,与我相视会心,同作一笑。

The old stone and the cold vine share one smile.

此句是全诗最空灵、最见禅趣的一笔。「老石寒藤」本是庭院中无情的景物,诗人却以「同一笑」三字,赋予它们与人相同的生命与性情:石之古朴,藤之清寒,与轩主之孤高,正是一类,彼此相视,会心一笑。这一「笑」,是物我相忘的笑,是寂寞中的自得其乐,也是无须与人言说的默契——俗人未来,而石藤相知,足矣。此句将前二句的「竹」与「无人」之境,推向物我交融的至乐之境,冷中有暖,静中有生趣。且「老」「寒」二字,着色清冷,而「笑」字一转,便化清冷为欣然,正是宋人「于极冷处见极热」的笔法,也是全诗情感最饱满的一刻。

This line is the poem's most empty and Zen-delighting brush. The old stone and the cold vine are originally the passionless things of the courtyard, yet the poet, with the three words share one smile, gives them a life and nature like man's: the stone's plainness and the vine's cold purity, of a kind with the porch-master's lone loftiness, the two gazing at each other and smiling in mutual understanding. This smile is the smile of forgetting object and self, the delight in solitude, and the tacit understanding that need not be spoken to others - the vulgar have not come, and the stone and vine understand, which is enough. This line pushes the first two lines' bamboo and no-man realm to the supreme delight of object and self blending, warmth within cold, living delight within stillness. Moreover, the two words old and cold lay a clear cold color, and the word smile turns, changing the cold purity into gladness, exactly the Song way of seeing the utmost warmth in the utmost cold, and the moment of the poem's fullest feeling.

我知公是在家僧

I know that you are a monk at home. (The last line reveals the theme: the master, living among men, is beyond the world in heart, the whole poem's praise gathered in the one judgment.)

我明白了,您正是一位身在红尘而心出家门的在家僧人。

I know you are a monk who stays at home.

结句以「知」字收束,是全诗的「眼」,也是题旨所在。前面写了竹之风味、俗人未至、石藤一笑,皆为此句蓄势;至此,诗人一语道破:这位轩主,身居人境,而心超物外,正是所谓「在家僧」——不出家而有出尘之心,居市朝而有山林之趣。着一「我知」,见出诗人与主人是深交知己,非泛泛相赞;而「在家僧」三字,把主人半生行迹、一生性情,概括殆尽,分量极重。此句既是对独爱轩主人的评语,也是张元干的自况:刚直不阿、屡遭挫辱而心志不改,正是「在家僧」的操守。全诗至此,如画龙点睛,由写景而写人,由形似而传神,戛然收住,余味不尽。

The closing line gathers in the word know, the poem's eye and the seat of its purport. The earlier writing of the bamboo's charm, the vulgar's not arriving, and the stone and vine's smile all gather force for this line; at this point, the poet speaks out: this porch-master dwells in the world of men, yet his heart transcends things, exactly the so-called monk at home - not leaving the home yet having the heart to leave the dust, dwelling in the market court yet having the forest delight. The words I know show that the poet and the host are deep friends who know each other, not ordinary praise; and the three words monk at home sum up the host's half-life traces and lifelong character, the weight most heavy. This line is at once the verdict on the Solitary Love Porch's master, and Zhang Yuangan's own self-description: upright and not yielding, repeatedly suffering insult and disgrace yet not changing the will, exactly the monk-at-home's integrity. The whole poem, to this point, is like the dragon's eye in painting, moving from scenery to man, from likeness to spirit, stopping abruptly, the aftertone unending.

Study

Word focus

风味 Flavor. The word of the bamboo and the man: 'this gentleman's flavor is by no means shallow'—the clear flavor of the bamboo and the elegant taste of the master in one word, the poem's opening holding the whole in one stroke. 「此君风味极不浅」之「风味」,是全诗立格之字,以二字兼摄竹与主人之神。味者,滋味;风者,风致。风味连文,便是一种只可意会、不可言传的韵致,古人评诗评人,每以「风味」相高。以之写竹,则竹之清疏、劲节、萧散,皆不在形色,而在气味之间;以「极不浅」三字殿之,更见其味之深长,耐人品鉴。此二字一出,独爱轩主人的品格基调便已奠定:他不以功名富贵为事,而以「风味」相高,所爱者竹,所养者气,其人清峻高蹈的性情,于此可窥。故「风味」虽仅二字,实为通篇命脉,后文「俗人」「老石寒藤」「在家僧」,皆自此二字生发,是题咏诗「立骨」之字,轻拈即出,而重若千钧。

未曾 Never. The word of the inversion: 'have vulgar men ever come outside the door?'—the 'never' inverting the loftiness of the master, the gate without the miscellaneous guests, the writing by not writing. 「户外俗人来未曾」之「未曾」,是全诗最具孤高之气的一字。「未曾」即从不、没有过,一个否定词,把时间拉得极长:不是今日不来,而是从来不曾来过,门庭之僻,交往之简,以至俗人绝迹,尽在这二字之中。此字之妙,尤在语气:若说「俗人不来」,是客观陈述,难免带些寂寞;说「来未曾」,则口吻之中,似有三分得意,仿佛这清寂不是缺憾,而是勋绩,是主人刻意守护的一方净土。「未曾」二字,冷而自足,傲而自喜,把隐者那种「门虽设而常关」、拒俗人于千里之外的孤高,写得神气十足,与下句石藤一笑的自得其乐,正是内在的呼应,是全诗性情最见骨力的一字。

同一笑 Share one smile. The word of the sympathy: 'the old rock and the cold vine share one smile'—the insensate things given the smile, the things and the man in sympathy, the joy of the recluse in the scene. 「老石寒藤同一笑」之「同一笑」,是全诗由物我相对到物我相忘的转折点。「同一笑」三字,把老石、寒藤、主人三方,置于同一会心的瞬间:石老而古,藤寒而清,主人孤而高,三者本是一类,故能相视一笑,莫逆于心。着一「同」字,物我之别顿消,我即石藤,石藤即我,笑在一处,心在一处,正是禅家所谓「物我两忘」「万物一体」的境界。若只写「石藤向我笑」,则我为主、物为宾,犹有隔阂;「同一笑」则宾主不分,同喜同乐,境界便高了一等。此三字是全诗唯一的动情之处,于极清极冷之中,生出无限温煦,把隐者寂寞而自足、孤独而自乐的心境,写得既具体又空灵。

在家僧 A monk at home. The word of the theme: the heart beyond the world while dwelling among men, the fusing of the Buddhist 'the lay' and the Chan 'the home'—the whole poem's praise gathered in the one judgment. 「我知公是在家僧」之「在家僧」,是全诗的结穴之字,也是题眼。「在家」与「僧」本相矛盾:僧者出家,在家则非僧;诗人却以「在家僧」三字,化解矛盾,创造出一种既入世又出世的人格形象:身居红尘之中,而心已超然物外;不剃度、不入山,而其行其志,与僧无异。此三字用以写独爱轩主人,极为贴切:日日对竹、对石、对藤,门无俗客,心如止水,不是在家僧而何?且「在家僧」中暗含一份敬重与知己之情,唯张元干这般同具风骨、同历世患的人,方能识得、道得此语。三字落笔,全诗之旨豁然开朗,主人之人格、诗人之襟怀、题咏之意趣,一齐托出,收得干净,又余味无穷。