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唐 Tang · 诗 Poem

灵隐寺

Lingyin Temple

宋之问

Song Zhiwen

鹫岭郁岧峣，龙宫锁寂寥。
楼观沧海日，门对浙江潮。
桂子月中落，天香云外飘。
扪萝登墖远，刳木取泉遥。
霜薄花更发，冰轻叶未凋。
夙龄尚遐异，搜对涤烦嚣。
待入天台路，看余度石桥。

The Vulture Peak rises steep and tall in its green gloom; the Dragon Palace is locked in silent solitude.
From the lofty tower I view the sun rising over the boundless sea; the temple gate faces the tidal bore of the Qiantang River.
Cassia blossoms fall from within the moon; a heavenly fragrance drifts beyond the clouds.
Grasping vines, I climb the far height of the pagoda; hollowing logs, I draw the spring water from afar.
The frost is light, yet the flowers bloom all the more; the ice is thin, and the leaves have not withered.
Since youth I have cherished the remote and the marvelous; seeking their match, I wash away the noise of the world.
When at last I take the road to the Terrace of Heaven, watch me cross its stone bridge.
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Meaning

Song Zhiwen's poem describes the grandeur and secluded holiness of Lingyin Temple near Hangzhou. Beginning with Buddhist mountain lore and sweeping river-and-sea views, it moves through moonlit cassia fragrance and frost-hardy blossoms to the poet's own lifelong love of the extraordinary. The closing couplet looks beyond the temple to Tiantai, the legendary land of immortals, expressing a wish to leave the dusty world behind.

鹫岭郁岧峣，龙宫锁寂寥。楼观沧海日，门对浙江潮。桂子月中落，天香云外飘。扪萝登墖远，刳木取泉遥。霜薄花更发，冰轻叶未凋。夙龄尚遐异，搜对涤烦嚣。待入天台路，看余度石桥。

Appreciation

[Plain Paraphrase] The Vulture Peak of Lingyin Temple looms steep and lush, and its halls sit as hushed as a sealed dragon's palace. From the tower one sees the sun over the sea; the gate looks out on the tidal bore of the Qiantang. Cassia petals seem to fall from the moon, and a divine fragrance floats beyond the clouds. Climbing vines to the pagoda, channeling the spring through hollowed logs, the poet lingers among flowers that bloom despite thin frost and leaves that stay green under light ice. Since youth he has sought the remote and wonderful to cleanse his mind of worldly clamor, and he dreams of the road to Tiantai, where he might cross the stone bridge into the immortal realm. [Structure] The poem is a fourteen-line five-character regulated verse, in effect a short regulated sequence. Its first two couplets set the temple in a vast cosmic frame — Buddhist peak and dragon palace, ocean sun and river tide; the middle couplets draw inward to fragrance, climbing, and frost-hardy plants; the last three couplets turn from scene to the poet's temperament and his yearning for Tiantai. [Imagery] The diction is deliberately double-registered: 'Vulture Peak' and 'Dragon Palace' are Buddhist, 'moon cassia' and 'Tiantai' are Daoist-immortal. The blend of the two vocabularies is what gives the temple its character of a sacred place suspended between the Buddha's India and China's own wonderland.

【白话串讲】 宋之问写《灵隐寺》：“鹫岭郁岧峣，龙宫锁寂寥”——“楼观沧海日，门对浙江潮”——“桂子月中落，天香云外飘”——“待入天台路，看余度石桥”——他写灵隐寺——楼观沧海日。 【意象与手法】 “鹫岭郁岧峣，龙宫锁寂寥”写鹫岭龙宫；“楼观沧海日，门对浙江潮”写楼观沧海、门对浙江潮；“桂子月中落，天香云外飘”写桂子天香；“扪萝登墖远、刳木取泉遥”写登塔取泉；结以“待入天台路，看余度石桥”写待入天台。清丽雄浑。 【情感与主旨】 宋之问写灵隐寺之作，写灵隐寺的雄浑气象与仙家意境，以“楼观沧海日，门对浙江潮”写尽古寺气象，是唐人写灵隐寺的名篇。 【名句点睛】 常考“楼观沧海日，门对浙江潮”写灵隐寺气象；“桂子月中落，天香云外飘”写桂子天香。

Background

Song Zhiwen (c. 656–712), courtesy name Yanqing, was from Fenzhou (present-day Fenyang, Shanxi). A leading court poet of the late seventh century, he was famed for exquisite regulated verse and, together with Shen Quanqi, is credited with perfecting the tonal patterns of the five-character regulated form. He served under Empress Wu Zetong and later Zhongzong, was banished to the far south, and was ordered to commit suicide in 712. This poem was written on a visit to Lingyin Temple in Hangzhou, a monastery founded in 326 by the Indian monk Huili and nestled against the peak Chinese Buddhists identified with the Vulture Peak (Gridhrakuta) where Sakyamuni preached.

《灵隐寺》为唐代诗人宋之问所作诗。宋之问（约656—约712），一名少连，字延清，汾州（今山西汾阳）人，唐代诗人。此诗写景山水，为游灵隐寺之作。诗中「鹫岭郁岧峣，龙宫锁寂寥」写鹫岭郁岧峣，龙宫锁寂寥；「楼观沧海日，门对浙江潮」写楼观沧海日，门对浙江潮；「桂子月中落，天香云外飘」写桂子月中落，天香云外飘；「扪萝登墖远，刳木取泉遥」写扪萝登墖远，刳木取泉遥；「待入天台路，看余度石桥」写待入天台路，看余度石桥。宋之问此诗以写景山水、看余度石桥写其山水之情，清丽雄浑，是宋之问诗中的名篇。此篇《灵隐寺》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《灵隐寺》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem's craft lies in its continuous, airtight parallelism and its cosmic scale. Every middle couplet is a strict parallel: tower-view against gate-facing, moon-fallen cassia against cloud-borne fragrance, vine-climbing against log-hollowing, thin frost against light ice. The opening couplet fuses Buddhist legend with the physical site — 'Vulture Peak' is Lingyin's own hill, yet also the Buddha's mountain, and 'Dragon Palace' hints at the dragon that, temple lore says, aided the founding monk Huili. Scale descends from the ocean and the moon to mossy logs and frost-touched flowers, while the poet's mind rises from landscape to the immortal Tiantai. The diction pairs the lush and towering with the hushed and lonely, producing the poem's signature quality of lucid splendor fused with solemn vastness.

此诗艺术上以「清丽雄浑、以景写情」见长。全诗共十四句，由鹫岭郁岧峣而楼观沧海日而桂子月中落。起「鹫岭郁岧峣，龙宫锁寂寥」写鹫岭郁岧峣：鹫岭郁岧峣，龙宫锁寂寥；「楼观沧海日，门对浙江潮」写楼观沧海日：楼观沧海日，门对浙江潮；「桂子月中落，天香云外飘」写桂子月中落：桂子月中落，天香云外飘；「扪萝登墖远，刳木取泉遥」写扪萝登墖远：扪萝登墖远，刳木取泉遥；结「待入天台路，看余度石桥」写待入天台路：待入天台路，看余度石桥。全诗以景写情，由鹫岭郁岧峣而看余度石桥，清丽雄浑，是宋之问诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

The poem is dense with Buddhist and Daoist lore. 'Vulture Peak' is the Chinese name for Gridhrakuta, the hill near Rajagriha where the Buddha preached; Lingyin Temple sits against a peak locally identified with it. 'Dragon Palace' alludes to the sea-god's palace and to the legend that a dragon helped Huili find the temple site. 'Cassia in the moon' refers to the legend of the cassia tree growing on the moon, whose blossoms and heavenly fragrance drift down to earth. The closing 'road to Tiantai' invokes Tiantai Mountain, the blessed land of immortals, whose famous Stone Bridge was believed to lead to the transcendent realm where the mortals Liu Chen and Ruan Zhao met goddesses.

诗中「鹫岭郁岧峣龙宫锁寂寥」「楼观沧海日门对浙江潮」「桂子月中落天香云外飘」「扪萝登墖远刳木取泉遥」「霜薄花更发冰轻叶未凋」「夙龄尚遐异搜对涤烦嚣」「待入天台路看余度石桥」等语，皆含典故故实。「鹫岭郁岧峣龙宫锁寂寥」用鹫岭之典（鹫岭为灵鹫山），写鹫岭郁岧峣龙宫锁寂寥；「楼观沧海日门对浙江潮」写楼观沧海日门对浙江潮；「桂子月中落天香云外飘」用月中桂之典，写桂子月中落天香云外飘；「扪萝登墖远刳木取泉遥」写扪萝登墖远刳木取泉遥；「霜薄花更发冰轻叶未凋」写霜薄花更发冰轻叶未凋；「夙龄尚遐异搜对涤烦嚣」写夙龄尚遐异搜对涤烦嚣；「待入天台路看余度石桥」用天台之典（天台为仙山），写待入天台路看余度石桥。诗人以鹫岭、月中桂、天台等典入诗，不着痕迹，而把写景山水之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

The couplet 'From the tower I view the sun over the sea; the gate faces the tide of Zhe' has been famous since Tang times as the definitive poetic description of Lingyin Temple. A well-known anecdote records that Song Zhiwen, visiting the temple by night, could not finish his poem until an old monk supplied 'Cassia blossoms fall from within the moon; a heavenly fragrance drifts beyond the clouds' — the next day he sought the monk out and found the cell empty; tradition identified the old monk as the banished poet Luo Binwang. Though clearly legend, the story shows how closely these lines were associated with the temple in popular memory. The poem is preserved in the Quan Tang shi and remains the best-known Tang poem on Lingyin.

这首《灵隐寺》，是宋之问写写景山水之作，写鹫岭郁岧峣、楼观沧海日、桂子月中落、扪萝登墖远、待入天台路之情，清丽雄浑。起「鹫岭郁岧峣，龙宫锁寂寥」——鹫岭郁岧峣（用鹫岭之典），龙宫锁寂寥。写鹫岭郁岧峣：鹫岭郁岧峣、龙宫锁寂寥——郁岧峣、锁寂寥；「楼观沧海日，门对浙江潮」——楼观沧海日，门对浙江潮。写楼观沧海日：楼观沧海日、门对浙江潮——观沧海日、对浙江潮；「桂子月中落，天香云外飘」——桂子月中落（用月中桂之典），天香云外飘。写桂子月中落：桂子月中落、天香云外飘——月中落、云外飘；「扪萝登墖远，刳木取泉遥」——扪萝登墖远，刳木取泉遥。写扪萝登墖远：扪萝登墖远、刳木取泉遥——登墖远、取泉遥；结「待入天台路，看余度石桥」——待入天台路（用天台之典），看余度石桥。写待入天台路：待入天台路、看余度石桥——入天台路、度石桥。这「待入天台路，看余度石桥」，是全诗之结：以看余度石桥写其山水。全诗清丽雄浑，以景写情，正是宋之问诗中的名篇。

Prosody

Form A five-character regulated verse (wuyan lüshi) extended to fourteen lines — in effect a short regulated sequence (pailü).诗（五言排律）
Rhyme The poem rhymes on liao, chao, piao, yao, diao, xiao, qiao — all belonging to the xiao rhyme group — and the single rhyme runs unbroken through all fourteen lines, as the pailü form requires.此诗为五言排律，共十四句。押韵：「寥」「潮」「飘」「遥」「凋」「嚣」「桥」押萧部韵。诗体依排律而定，句式整齐，音节随情起伏，正与写写景山水的清丽雄浑相称，也见其以排律写山水的工整。
Tone pattern The regulated tonal alternation gives the lines a measured rise and fall: the opening couplet is hushed and deep, the 'sea-sun' couplet opens wide and sonorous, the 'cassia' couplet turns light and clear, and the closing couplet trails off long and lingering.句式上，「鹫岭郁岧峣，龙宫锁寂寥」写鹫岭郁岧峣，音节幽远；「楼观沧海日，门对浙江潮」写楼观沧海日，音节雄浑；「桂子月中落，天香云外飘」写桂子月中落，音节清丽；「霜薄花更发，冰轻叶未凋」写霜薄花更发，音节明净；结「待入天台路，看余度石桥」写待入天台路，音节悠长。全诗音节随情起伏，由幽远而雄浑、由清丽而明净、由明净而悠长，正合排律「工整」之妙，读来如写景山水、看余度石桥之音，清丽而动人。
Reading note As a pailü, every couplet after the opening must be parallel, and the poem fulfills this with almost mechanical polish — tower against gate, moon against clouds, vines against logs, frost against ice. The even cadence suits the poem's double nature: solemn in its Buddhist opening, buoyant in its immortal close.此诗为五言排律，是宋之问写写景山水之作，也是其诗中的名篇。全诗的艺术特色在于「清丽雄浑、以景写情」：「鹫岭郁岧峣，龙宫锁寂寥」写鹫岭郁岧峣、「楼观沧海日，门对浙江潮」写楼观沧海日、「桂子月中落，天香云外飘」写桂子月中落、「待入天台路，看余度石桥」写待入天台路。全诗清丽雄浑，以景写情。尤为精妙者，是「桂子月中落，天香云外飘」用月中桂之典；而「待入天台路，看余度石桥」用天台之典，正是宋之问诗「清丽雄浑」的典范，为历代选本所常收。《灵隐寺》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

楼观沧海日，门对浙江潮。

From the lofty tower I view the sun rising over the boundless sea; the temple gate faces the tidal bore of the Qiantang River.

楼观沧海日，门对浙江潮。

From the tower, one watches the sun rise over the wide sea; the gate faces the Qiantang tide.

此二句写楼观沧海日，是全诗写楼观之态的关键。「楼观沧海日」写楼观沧海日，「楼观」写楼观、「沧海日」写沧海日；「门对浙江潮」写门对浙江潮，「门对」写门对、「浙江潮」写浙江潮。两句一写楼观沧海日、一写门对浙江潮，以楼观沧海日写观沧海日、以门对浙江潮写对浙江潮，写尽楼观沧海日、门对浙江潮之情。以楼写景，清丽而雄浑，是「以楼写景」的点睛之笔。

These two lines write watching the sun rise from the tower, the key image. 'From the tower, one watches the sun rise over the wide sea' — the tower's gaze, the sea sunrise; 'the gate faces the Qiantang tide' — the gate's fronting, the great tidal bore. One line the sunrise, one the tide, rising through the tower, clear and grand, the scenic key of the temple's prospect.

桂子月中落，天香云外飘。

Cassia blossoms fall from within the moon; a heavenly fragrance drifts beyond the clouds.

桂子月中落，天香云外飘。

Cassia seeds fall from the moon; heavenly fragrance drifts from beyond the clouds.

此二句写桂子月中落，是全诗写桂香之态的关键。「桂子月中落」用月中桂之典写桂子月中落，「桂子」写桂子、「月中落」写月中落；「天香云外飘」写天香云外飘，「天香」写天香、「云外飘」写云外飘。两句一写桂子月中落、一写天香云外飘，以桂子月中落写月中落、以天香云外飘写云外飘，写尽桂子月中落、天香云外飘之情。以桂写景，清丽而雄浑，是「以桂写景」的点睛之笔。

These two lines write cassia seeds falling from the moon, the key image. 'Cassia seeds fall from the moon' uses the allusion to the cassia of the moon, the seeds falling; 'heavenly fragrance drifts from beyond the clouds' — the sacred scent drifting above the clouds. One line the falling seeds, one the drifting scent, rising through the cassia, clear and grand, the temple's celestial air.

霜薄花更发，冰轻叶未凋。

The frost is light, yet the flowers bloom all the more; the ice is thin, and the leaves have not withered.

霜薄花更发，冰轻叶未凋。

Frost is thin, and flowers bloom the more; ice is light, and leaves have not withered.

此二句写霜薄花更发，是全诗写花叶之态的关键。「霜薄花更发」写霜薄花更发，「霜薄」写霜薄、「花更发」写花更发；「冰轻叶未凋」写冰轻叶未凋，「冰轻」写冰轻、「叶未凋」写叶未凋。两句一写霜薄花更发、一写冰轻叶未凋，以霜薄花更发写花更发、以冰轻叶未凋写叶未凋，写尽霜薄花更发、冰轻叶未凋之情。以霜写景，清丽而雄浑，是「以霜写景」的点睛之笔。

These two lines write thin frost and blooming flowers, the key image. 'Frost is thin, and flowers bloom the more' — the light frost, the flowers' brighter bloom; 'ice is light, and leaves have not withered' — the light ice, the leaves' unfaded green. One line the flowers, one the leaves, rising through the frost, clear and grand, the warm life within the cold mountain.

待入天台路，看余度石桥。

When I take the road to the Terrace of Heaven, watch me cross its stone bridge.

待入天台路，看余度石桥。

Wait till I enter the road to Tiantai; watch me cross the stone bridge.

结句写待入天台路，是全诗立意的落点。「待入天台路」用天台之典写待入天台路，「待入」写待入、「天台路」写天台路；「看余度石桥」写看余度石桥，「看余」写看余、「度石桥」写度石桥。两句一写待入天台路、一写看余度石桥，以待入天台路写入天台路、以看余度石桥写度石桥，写尽待入天台路、看余度石桥之情。以游写情，清丽而雄浑，是全诗最动人处，也是「以游写情」的点睛之笔。

The closing two lines write entering the road to Tiantai, the poem's landing. 'Wait till I enter the road to Tiantai' uses the allusion to the Tiantai pilgrimage, the road to the sacred mountain; 'watch me cross the stone bridge' — the crossing of the famous stone bridge. One line the road, one the crossing, rising through the journey, clear and grand, the poem's most moving point: the monk-scholar's longing to cross into the sacred mountain beyond.

Study

Word focus

沧海日 The sun over the vast sea. Paired with the Qiantang tide in the next line, it sets the mountain temple against the widest horizon in the Chinese landscape imagination — ocean, sunrise, and the great river mouth together. 「沧海日」写楼观沧海日，是写沧海之态的关键。「楼观沧海日」着一「沧海日」，写沧海日——着一「沧海日」，写楼观沧海日，见其海之沧。三字写尽沧海日之态，是「以词写海」的妙笔。「沧海日」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
浙江潮 The tide of the Zhe (Qiantang) River, famous for its tidal bore. By placing the temple gate 'facing' it, the poet turns a local phenomenon into the temple's cosmic frame. 「浙江潮」写门对浙江潮，是写浙江潮之态的关键。「门对浙江潮」着一「浙江潮」，写浙江潮——着一「浙江潮」，写门对浙江潮，见其潮之浙江。三字写尽浙江潮之态，是「以词写潮」的点睛之词。「浙江潮」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
天香 Heavenly fragrance. A term of worship for the incense of the gods; here it blends the temple's real incense with the legendary cassia of the moon, so the very air seems divine. 「天香」写天香云外飘，是写天香之态的关键。「天香云外飘」着一「天香」，写天香——着一「天香」，写天香云外飘，见其香之天。两字写尽天香之态，是「以词写香」的点睛之词。「天香」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
石桥 The stone bridge — the famous Shiliang (Stone Beam) bridge of Tiantai Mountain, believed in legend to be a gateway to the immortal realm, so that 'crossing it' means passing out of the dusty world. 「石桥」写看余度石桥，是写石桥之态的关键。「看余度石桥」着一「石桥」，写石桥——着一「石桥」，写看余度石桥，见其桥之石。两字写尽石桥之态，是「以词写桥」的点睛之词。「石桥」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

八声甘州·对潇潇暮雨洒江天 Eight Sounds of Yongzhou — Facing the Dusk Rain Showering the River Sky 柳永 · 同写登高望远、清丽沉雄，一写对潇潇暮雨洒江天、一写楼观沧海日门对浙江潮，皆于登高之中见望远 Both write of climbing high and gazing far in a clear, solemn register — one through dusk rain over the river, one through 'viewing the sea's sun from the tower, facing the Zhe tide at the gate'; each finds far distance within the act of ascent.

Liu Yong's 'Eight Sounds of Yongzhou' — 'Facing the pattering dusk rain over the river sky, one washing has cleared the autumn' — is the Song masterpiece of the traveler's climb. Song Zhiwen's 'Lingyin Temple' instead uses 'from the tower I view the sun over the sea; the gate faces the tide of Zhe' and 'cassia blossoms fall from the moon; a heavenly fragrance drifts beyond the clouds.' Both poems share the mood of climbing high and gazing far in clear solemnity: one writes the dusk rain to cleanse the autumn sky, the other the sea's sun and the river tide from a temple tower; one is Liu Yong's liquid tenderness, the other Song Zhiwen's granite vastness. Read together, they show two ways of writing 'the view from a height,' each finding far distance within ascent.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写登高望远、清丽沉雄，是宋词写羁旅的名篇；宋之问《灵隐寺》则以「楼观沧海日，门对浙江潮」「桂子月中落，天香云外飘」写观沧海日、月中落云外飘。两诗同写登高望远、清丽沉雄：一写对潇潇暮雨洒江天、以暮雨写清秋，一写楼观沧海日门对浙江潮、以登楼写山水；一为柳永之清丽、一为宋之问之雄浑，并读正可见诗写「登高望远」的两种笔法，皆于登高之中见望远。

 水调歌头·明月几时有 Prelude to Water Melody — When Will the Moon Be Clear and Bright? 苏轼 · 同写山水感怀、超然旷达，一写我欲乘风归去、一写鹫岭郁岧峣龙宫锁寂寥，皆于山水之中见超然 Both meditate on landscape with a transcendent, open-hearted spirit — one on riding the wind back to the moon, one on the Vulture Peak looming and the Dragon Palace locked in silence; each finds detachment within the scene.

Su Shi's 'Prelude to Water Melody' — 'I want to ride the wind and return home, yet fear the jade towers and jade halls, the height too cold to bear' — is the greatest long lyric of the Song, a meditation on landscape with a transcendent, open heart. Song Zhiwen's 'Lingyin Temple' instead writes 'the Vulture Peak looms steep and lush; the Dragon Palace is locked in silent solitude' and 'when I take the road to Tiantai, watch me cross the stone bridge.' Both poems share the mood of landscape meditation and transcendent ease: one rides the wind toward detachment, the other climbs the mountain toward the immortal realm; one is Su Shi's open-hearted flight, the other Song Zhiwen's granite vastness. Read together, they show two ways of writing 'feelings within landscape,' each finding the transcendent within the scene.

苏轼《水调歌头·明月几时有》「我欲乘风归去，又恐琼楼玉宇，高处不胜寒」，写山水感怀、超然旷达，是宋词长调的名篇；宋之问《灵隐寺》则以「鹫岭郁岧峣，龙宫锁寂寥」「待入天台路，看余度石桥」写郁岧峣锁寂寥、入天台度石桥。两诗同写山水感怀、超然旷达：一写我欲乘风归去、以乘风写超然，一写鹫岭郁岧峣龙宫锁寂寥、以游山写山水；一为苏轼之超然、一为宋之问之雄浑，并读正可见诗写「山水感怀」的两种笔法，皆于山水之中见超然。