All poems

唐 Tang · 诗 Poem

利州南渡

Crossing at Lizhou

温庭筠

Wen Tingyun

行旅travel 七律seven-character regulated verse 归隐seclusion

澹然空水对斜晖，曲岛苍茫接翠微。
波上马嘶看棹去，柳边人歇待船归。
数丛沙草群鸥散，万顷江田一鹭飞。
谁解乘舟寻范蠡，五湖烟水独忘机。

Calm, empty water faces the slanting light,
the curving isle, vast, joins the green haze.
On the waves a horse neighs; watch the boat oar away,
by the willows travelers rest, waiting for the boat's return.
A few clumps of sand-grass; a flock of gulls scatters,
ten thousand acres of river-field, one egret flies.
Who understands, taking a boat to seek Fan Li,
on the Five Lakes' misty water, alone forget the scheming mind.

Listen

Meaning

At the Lizhou ferry, Wen Tingyun paints a tranquil river crossing and, amid the bustle of travelers, suddenly longs for Fan Li's escape into the misty lakes. The poem ends with a quiet refusal of the worldly 'scheming mind' in favor of solitary freedom.

澄澈平静的江水映着斜阳，曲折的小岛在苍茫暮色中连着青翠的山色。水面上传来马的嘶鸣，人们目送渡船摇去；柳树边的行人正歇着脚，等待船只回来。几丛沙洲的野草间，一群白鸥四散飞起；万顷临江的田野上，一只白鹭独自飞过。谁能懂得乘船去追寻范蠡的行踪呢？在五湖的烟水之间，独自忘却一切机心。

Appreciation

The first six lines are a complete sketch of the ferry. The subtlety is the layering of motion and stillness: the first couplet is all still (water, isle, mountain), the second is all motion and sound (horse neigh, boat away, travelers rest, wait return), the third turns to motion-within-stillness—the flock of gulls scattering is motion, the one egret flying is still; 'ten thousand acres' large against 'one egret' small sets off an instantly open realm. These three couplets go from still to motion, then from motion back to still, like one breath. The ferry is the noisiest place, people and boats coming and going, each with their aim. The poet among them suddenly thinks of Fan Li—who, after success, gave up office and drifted the Five Lakes. This turn of thought makes the ferry before him a metaphor for life: everyone waits for a boat to somewhere, only he asks whether one might go nowhere. The two characters 'forget the scheming mind' are a gentle refusal of this ferry's whole pageant of beings.

【白话串讲】 “澹然空水对斜晖，曲岛苍茫接翠微”——温庭筠写利州渡口：空水斜晖。“数丛沙草群鸥散，万顷江田一鹭飞”——“谁解乘舟寻范蠡，五湖烟水独忘机”——他想起范蠡，泛舟五湖。【意象与手法】前六句是一幅完整的渡口写生。妙在动静的层次：首联全静（水、岛、山），颔联全动而且有声（马嘶、棹去、人歇、待归），颈联又转为动中之静——群鸥散是动，一鹭飞是静，“万顷”之大与“一鹭”之小相形，境界顿时空阔。这三联由静入动、再由动归静，如一次呼吸。【情感与主旨】渡口是最喧闹的地方，人来舟往，各有所营。诗人置身其中，却忽然想起范蠡——那个功成之后弃官泛舟五湖的人。这一念之转，把眼前的渡口变成了人生的隐喻：众人都在等船去往某处，唯有他想问，可不可以不去任何地方。“忘机”二字，正是对这一渡口众生相的温和拒绝。【名句点睛】 “数丛沙草群鸥散，万顷江田一鹭飞”——以“数丛”对“万顷”，以“群鸥”对“一鹭”，小大相形、众寡相映，画面开阔而不空洞，是晚唐七律写景的名联。

Background

Lizhou is today's Guangyuan in Sichuan, where the Jialing River flows. Wen Tingyun spent his life frustrated, failing the jinshi again and again, wandering long, several times traveling through Shu. This poem was likely written on a trip through Shu, crossing the river at the Lizhou ferry. With his exams blocked and career hopeless, amid the ferry's noise he suddenly births the thought of drifting away by boat.

《利州南渡》约作于唐宣宗大中年间，时温庭筠羁旅蜀中，自长安南下，途经利州（今四川广元）嘉陵江渡口而作。温庭筠字飞卿，太原祁（今山西祁县）人，晚唐著名词人、诗人，才高而累举不第，一生沉沦下僚，长期漂泊于江南、巴蜀、荆襄之间。他的诗与李商隐齐名，称「温李」，而诗风较李商隐更为清丽疏淡；其词为花间派鼻祖，秾艳精巧。然此诗却一洗艳科习气，纯写渡口行旅与江湖之思，可见其诗题材之广。利州地处嘉陵江畔，为入蜀要津，南渡嘉陵是旅人常见的一段水路。诗中「范蠡」「五湖」的用典，点出诗人面对喧闹渡口时骤生的归隐之念——一个终生困于场屋、饱受奔波之苦的文人，在江天浩渺之间，忽然想起那位功成身退、泛舟五湖的越国大夫，其向往绝非偶然，而是长年漂泊与失意后的精神投射。理解这一背景，方能读懂尾联那一声「谁解」背后的孤寂与超脱，也才能把这首看似闲适的写景诗，读成一首失意文人的心曲。

Art

The poem takes 'crossing' as its axis, unfolding layer by layer. The first couplet writes the ferry's natural setting, the far view; the second writes the ferry's human activity, the near view and close-up; the third suddenly opens out, writing the fowl between river and sky, returning from human affairs to nature, the view widening; the closing connects the boat before the eyes to Fan Li's boat, from real to empty. The four couplets' camera is far—near—far—empty, releasing and gathering freely. Especially praiseworthy is the second couplet 'on the waves a horse neighs; watch the boat oar away; by the willows travelers rest, waiting for the boat's return'—one going one returning, one motion one still, writes the ferry's back-and-forth cycle to the full; and the third couplet's quantitative disparity (a few clumps / ten thousand acres, flock of gulls / one egret) creates visual impact, the clever thought of late-Tang poets managing antithesis.

此诗前六句是一幅完整的渡口写生，妙在动静的层次经营。首联「澹然空水对斜晖，曲岛苍茫接翠微」全静——澄澈的江水、西沉的斜阳、曲折的岛屿、苍茫的远山，是一幅静谧的暮江图；颔联「波上马嘶看棹去，柳边人歇待船归」全动且有声——马嘶、棹去、人歇、待归，渡口的喧闹与人来舟往尽在其中；颈联「数丛沙草群鸥散，万顷江田一鹭飞」又转为动中之静——群鸥惊散是动，一鹭孤飞是静，「万顷」之大与「一鹭」之小相形，境界顿时空阔。这三联由静入动、再由动归静，如一次完整的呼吸，章法极见匠心。尾联「谁解乘舟寻范蠡，五湖烟水独忘机」由景入情，以范蠡之典收束，把眼前的渡口升华为人生隐喻。全诗以空间的开阔（空水、翠微、万顷）衬托内心的孤迥，写景如画，抒情如谶，是晚唐七律中难得的疏淡之作，亦见温庭筠诗才之多面。综而言之，《利州南渡》正是以如此艺术匠心，于尺幅之间见千里之势，言有尽而意无穷，足见作者驾驭语言、熔铸意境之深厚功力，故能历久而不失其动人之处。

Allusions

(1) 'Green haze' (cuiwei) means green-shaded mountain color, from the Erya, broadly the mountainside or green hills. (2) 'Fan Li' was a minister of Yue in the Spring and Autumn, who after helping Goujian destroy Wu retired at the height of success, taking a small boat to drift the Five Lakes, as in the Shi Ji. (3) 'Five Lakes' means Taihu and its surroundings, Fan Li's retreat. (4) 'Forget the scheming mind' (wang ji) means to forget the cunning heart, from the Liezi tale of the sea-man who befriended gulls until he harbored a scheme and the gulls would not descend—secretly echoing the third couplet's 'flock of gulls scatters,' the poem's finest correspondence.

此诗尾联用范蠡典故，是全诗唯一的用典，却分量极重。范蠡，春秋越国大夫，佐越王勾践灭吴后，知其可与共患难不可与共安乐，遂辞官泛舟五湖（一说太湖），隐姓埋名，成为功成身退、全身远祸的典范。「五湖烟水」即指范蠡隐居的五湖烟波，历来为隐逸之象征。「忘机」出自《庄子》，谓消除机心、与物无争，语本「机心存于胸中则纯白不备」，后多指弃绝世俗计较、与自然相忘的淡泊心境。温庭筠引范蠡，表面是羡慕其泛舟之逸，实则是以范蠡的「功成」反衬自己的「功未成而身已倦」——他并无范蠡的功业可退，却已饱尝漂泊之倦，故「谁解」二字既是叹知音难觅，也是自伤身世。此外，「翠微」指青翠的山色（陶渊明、王维诗常用之），「棹」即船桨，代指船，「江田」指临江的田地，皆为常语。全诗以一典提挈全篇，使写景之作陡然获得历史与人生的纵深，是温诗用典精当的范例，亦可见其以少少许胜多多许的剪裁功夫。

Commentary

The Qing scholar Ji Yun said: 'The fifth and sixth lines write the river-sky's emptiness and breadth—famous lines.' Yu Bixia in his Shallow Talks on the Poetic Realm said: 'The whole writes the river-crossing scene in a calm, far brush; the close uses the Fan Li tale, transcendent beyond the dust.' A modern noted that 'flock of gulls scatters' secretly matches the closing 'forget the scheming mind' via the Liezi gull tale, calling the composition 'so fine most readers miss it.'

此诗在温庭筠集中别具一格，历代评家多赏其疏淡。明人胡应麟《诗薮》谓晚唐七律「温李最著」，而温之写景往往「清丽中有疏宕」；此诗正是其疏宕一面。清人沈德潜《唐诗别裁》选此诗，称其「写渡口如画，结处悠然有幅巾归隐之致」。近人俞陛云《诗境浅说》评：「前六句皆写渡头景物，而动静分明，末二句以范少伯（范蠡）相比，见高踪难企，亦见身世之感。」现代学者多指出，温庭筠以绮丽词人而为清远之诗，正见其才力之广；此诗之「万顷江田一鹭飞」一联，尤被推为晚唐七律写景名句，与杜甫「飘飘何所似，天地一沙鸥」、柳宗元「孤舟蓑笠翁，独钓寒江雪」同具以阔大衬孤寂的意境。亦有论者认为，尾联的归隐之叹，是晚唐士人在党争倾轧、仕途无望下的普遍心理投射，温庭筠以渡口为喻，写出了一个时代的集体倦怠，其价值不特在景语之工，更在时代心理的忠实记录。

Prosody

Form Seven-character regulated verse (level-beginning, first line rhyming)七言律诗（仄起首句入韵）

Rhyme Rhymes with the Ping shui upper-level fifth Wei group: hui, wei, gui, fei, ji. The Wei rhyme is light and far, fitting the river-sky's emptiness and the misty-water vastness; closing on 'ji' (scheming mind) especially shows the indifferent will.押平水韵上平五微韵：晖、微、归、飞、机。微韵清微悠远，与江湖疏淡、归隐闲远之情调相合，五个韵脚一路轻清，如江上烟波，淡而有致，读来有清空之气。

Tone pattern The second couplet 'watch the boat oar away' 'waiting for the boat's return' two verb-complement structures at the line-ends, rhythm symmetric like the boat's coming and going; the third couplet 'flock of gulls scatters' sound hurried and scattered, 'one egret flies' sound relaxed and settled, sound-feeling fully synchronized with the picture.首联「澹然空水」「曲岛苍茫」以静语起，音节舒缓；颔联「马嘶」「人歇」插入动态与声响，节奏转促；颈联「数丛」「万顷」以数量对举，一放一收；尾联以虚字「谁解」振起，归于「独忘机」的平远。四联动静相生，声情与画境同步起伏，是七律章法从容的范例。

Reading note The two middle couplets' antithesis is extremely neat: 'on the waves' against 'by the willows' is a position antithesis, 'a few clumps' against 'ten thousand acres' a quantity antithesis, 'flock of gulls' against 'one egret' a many-few antithesis. Three antitheses stacked together without feeling stiff, all because the scene has life of its own.此诗虽为七律，却无晚唐律诗常见的雕琢堆垛，通篇以白描与层次取胜，对仗工稳而不纤巧。中二联「波上马嘶看棹去，柳边人歇待船归」与「数丛沙草群鸥散，万顷江田一鹭飞」，一写人事喧动、一写自然动静，皆以眼前实景成对，属对自然如话，是温庭筠「清丽中有疏宕」风格的体现。尤为人称道的是颈联的章法：以「数丛」对「万顷」、以「群鸥」对「一鹭」，小大相形、众寡相映，在有限的十四字中开拓出无限的江天空间，这种「以阔大衬孤迥」的手法，直承杜甫写景七律的精髓。全诗平仄合仄起首句入韵正格，用韵取微韵之清远，与归隐主题恰相表里。清人沈德潜谓其「结处悠然有幅巾归隐之致」，正点出此诗声律与意蕴的高度统一——声音愈清，归思愈远，是晚唐七律中疏淡一脉的代表作，足为温李并称中温诗清远一面的力证。

Line by line

澹然空水对斜晖，曲岛苍茫接翠微。

Calm empty waters meet the slanting sun; winding islets, vast, join the green hills.

澄澈平静的江水映着斜阳，曲折的小岛在苍茫暮色中连着青翠的山色。

The clear, still river mirrors the setting sun; the winding islets, vast in the dusk, meet the blue hills.

起首一联，纯写静景，却静得有层次。「澹然空水对斜晖」写水之澄澈与日之将沉，一水一日，相对无言，整个江面笼罩在一种透明而略带慵懒的暮色里；「对」字把水与晖写成两两相望的伴侣，静中已含一丝脉脉的情意。「曲岛苍茫接翠微」则由近水推到远岛、远山，岛因江曲而形「曲」，山因暮霭而显「苍茫」，岛与山在视线的尽头相接，空间的纵深便这样被轻轻拉开。这一联无一字写人、写动，却以「澹然」「苍茫」二词把暮江的空阔与诗人此时的闲远心境叠合为一。它是全诗的基调，也是后文动景与归思得以安放的背景——正因为开篇如此宁静，渡口的喧嚣（颔联）与孤鹭的飞起（颈联）才显得格外触目，动静的对照由此立根，为全篇的呼吸节奏定下先抑后扬的基调。

The opening couplet writes pure stillness, yet layered. 'Calm empty waters meet the slanting sun' — the water's clarity and the sinking sun, one water one sun, facing in silence, the whole river wrapped in a transparent, faintly languid dusk; the word 'meet' writes water and sun as partners gazing at each other, a thread of quiet affection within the stillness. 'Winding islets, vast, join the green hills' pushes from the near water to the far islets and hills, the islets 'winding' in the river's bends, the hills 'vast' in the dusk haze, islet and hill meeting at the edge of sight, the depth of space lightly opened. Not one word of person or movement, yet the words 'calm' and 'vast' layer the dusk river's emptiness with the poet's own far, quiet mood. It is the keynote of the poem, the ground on which the noisy motion and the homesickness below rest — precisely because the opening is so still, the ferry's bustle and the lone egret's flight strike the more sharply.

波上马嘶看棹去，柳边人歇待船归。

On the waves a horse neighs as the boat is rowed away; by the willows men rest, waiting for the boat's return.

水面上传来马的嘶鸣，人们目送渡船摇去；柳边行人歇脚，等着船再回来。

On the water a horse neighs as they row the ferry away; by the willows, travelers rest, waiting for the boat to return.

颔联由静入动，且是喧闹的动、有声的动。「波上马嘶」写渡船载马离岸，水声马嘶交杂；「看棹去」写岸上人目送船去，一个「看」字有倚门望归的牵挂。「柳边人歇待船归」则写另一群候船者，在柳荫下歇脚，等待返程的船——「待」字与「看」字呼应，一送一迎、一去一归，把渡口作为人舟往来枢纽的功能写得极鲜活。这一联最妙处在以人事点出渡口的本质：它从来不是风景，而是无数人「去」与「归」的交汇点。诗人作为渡客之一，既是「看棹去」的送者，也是「待船归」的候者，身处喧闹而心在局外，这种既在其中又在其外的姿态，为尾联的抽身而思埋下伏笔。以动衬静、以闹衬冷，是此联在章法上的功用，也使首联的静不再是死静，而是喧闹将至前的短暂安宁。

The neck couplet turns from still to motion, and noisy, sounding motion. 'On the waves a horse neighs as the boat is rowed away' — the ferry carrying horses from the shore, water sound and horse neigh mingled; 'men rest, waiting for the boat's return' another group waiting, resting in the willow shade for the return crossing — 'waiting' echoes 'rowed away', one sending one welcoming, one going one returning, writing the ferry as the hub of coming and going. The beauty: writing the ferry's essence through human affairs — it is never scenery, but the meeting point of countless 'goings' and 'returns'. The poet, one of the crossing travelers, is both the sender 'watching the boat row away' and the waiter 'waiting for the boat's return', in the bustle yet apart from it, this posture of being within and without preparing the closing withdrawal. Setting motion against stillness, bustle against cold, the couplet's structural function, making the opening's stillness not dead stillness, but the brief calm before the noise.

数丛沙草群鸥散，万顷江田一鹭飞。

Clumps of sand-grass scatter the gulls; on ten thousand qing of river-field, one egret flies.

几丛沙洲的野草间，一群白鸥四散飞起；万顷临江的田野上，一只白鹭独自飞过。

A few clumps of sand-grass, a flock of gulls scattering; over the ten-thousand-qing river fields, one egret flies.

颈联又由动归静，且是晚唐七律中极负盛名的写景一联。「数丛沙草群鸥散」写近景：沙洲野草间栖息的鸥鸟被人舟惊起，四散而飞，是动；「万顷江田一鹭飞」写远景：辽阔的江边田畴之上，一只白鹭悠然飞过，是静。以「数丛」对「万顷」，小大相形；以「群鸥」对「一鹭」，众寡相映——群鸥之散反衬一鹭之孤，万顷之阔反衬一鹭之小，画面开阔而不空洞，孤寂而不衰飒。这一联的匠心，全在「以阔大衬孤迥」：正是江天之大，才显出那一只白鹭的清绝；也正是群鸥的喧哗散去，才显出白鹭飞翔的从容。它暗含诗人自我的投影——在这熙来攘往的渡口，他愿做那只独飞的白鹭，而非随群惊散的鸥鸟。景语至此，已全是情语，是温庭筠诗中难得的「不着色而自远」之笔，亦见晚唐七律写景之极则。

The following couplet returns from motion to stillness, and a famous scenic couplet of late-Tang regulated verse. 'Clumps of sand-grass scatter the gulls' the near view: the gulls resting among the sand-grass, startled by the men and boats, scatter in flight, motion; 'on ten thousand qing of river fields, one egret flies' the far view: over the vast river fields, one egret drifts past, still. 'A few clumps' against 'ten thousand qing', the small against the vast; 'a flock of gulls' against 'one egret', the many against the single — the gulls' scatter sets off the egret's solitude, the vast fields set off the egret's smallness, the picture open without being empty, solitary without being bleak. The craft lies in 'setting the lone against the vast': precisely because the river and sky are so wide, the one egret's purity shows; precisely because the gulls' clamor has scattered, the egret's flight shows its ease. It secretly projects the poet's self — at this hustling ferry, he would be that lone flying egret, not the gulls scattered by the crowd. Scenic language here is all feeling, the rare brush of Wen Tingyun that 'gains distance without color', the extreme of late-Tang regulated-verse scenery.

谁解乘舟寻范蠡，五湖烟水独忘机。

Who understands riding the boat to seek Fan Li, alone in the misty waters of the five lakes, forgetting all scheming?

谁能懂得驾一叶舟去追寻范蠡的行踪呢？在五湖的烟水之间，独自忘却一切机心。

Who will understand taking a boat to follow Fan Li's trail, alone forgetting all worldly scheming on the misty waters of the five lakes?

尾联由景入情，以范蠡之典收束全篇，是全诗的点睛与升华。「谁解」二字既是叹知音难觅，也是自伤——这渡口的熙攘众生，谁懂得功成身退、泛舟归隐的道理？一个「解」字，把前面六句的景物全部收拢到一种人生感慨之下：渡口众人皆在「等船去往某处」，唯有诗人忽然想问，可不可以不去任何地方。「五湖烟水独忘机」以范蠡的隐逸境界作答，烟水迷茫，机心尽忘，与首联「澹然空水」的澄明遥相呼应，使全诗在结构上首尾圆合。这一念之转，把眼前的渡口变成了人生的隐喻：众人皆渡，而我欲归。温庭筠终生困于场屋、漂泊无依，此处对范蠡的追慕，并非真有退隐之实，而是失意文人对「不被驱使、自在江湖」的想象性补偿，其超脱中藏着深沉的身世之悲，故读来余味悠长，非一般闲适语可比，也非单纯的慕隐套语所能局限。

The closing couplet turns from scene to feeling, closing on the allusion to Fan Li, the eye and elevation of the poem. 'Who understands?' both sighing that kindred spirits are rare, and grieving the self — among this ferry's hustling crowd, who understands the way of retiring after achievement and drifting in the lakes? The word 'understand' gathers all six lines of scenery under one human reflection: the ferry crowd all 'wait for the boat to go somewhere', only the poet suddenly asks, could one go nowhere at all? 'Alone in the misty waters of the five lakes, forgetting all scheming' answers in Fan Li's recluse realm, the misty waters, the scheming heart all forgotten, echoing the opening 'calm empty waters' in a round, closed structure. This turn of thought turns the present ferry into a metaphor of life: all the others cross, and I would return. Wen Tingyun, lifelong trapped in the examination rooms, drifting and homeless, his admiration of Fan Li here is not true retirement, but the imaginative compensation of the disappointed scholar for 'not being driven, at ease on the rivers and lakes'; within the transcendence lies the deep grief of his own lot, so the aftertaste is long, not a common word of ease, nor a mere set piece of admiring the recluse.

Study

Word focus

澹然 The 'calm' (danran) originally describes still water; here it writes both the river's clarity without waves and secretly the poet's mood at the moment. Opening with the thing's calm and closing with the man's 'forget the scheming mind,' head and tail run one meaning through—what the whole poem seeks is precisely this 'calm' state of being. 「澹然空水对斜晖」的「澹然」，形容水波平静、澄澈无波的样子，本出《庄子》「澹然无极」一脉的虚静美学。温庭筠以此二字开篇，先立起一个透明、安定的水境，为全诗定下闲远清澄的基调。值得玩味的是，「澹然」不仅写水，也暗中写心——诗人泊舟待渡，心随水定，外之空水与内之澹然合而为一，这是古典诗歌「心境互写」的典型笔法。一个叠义形容词，既省去了对水势的繁琐描摹，又以虚静之气统摄全篇，使后文的动景（马嘶、鸥散）与归思（忘机）都有了安顿之处。温庭筠虽以秾艳词风著称，此处却以「澹然」领起，显出其诗亦能疏淡，正见才人之笔无所不可，亦可见晚唐七律在丽密之外另开清远一途，为后世宋人疏淡诗风埋下先声。

一鹭 A key expression in the poem. Read it as an image, mood, or grammar point in context. 颈联「万顷江田一鹭飞」中，最见精神的是这个「一」字。「万顷」极言其大，「一鹭」极言其孤，大小、众寡的强烈反差，全系于「一」字的点化。若无此「一」，则「万顷江田鹭飞」只是寻常的田野即景；有了「一」，便有了孤迥的意境与诗人的自我投影——在浩渺江天之间，那独自飞翔的白鹭，正是诗人茕茕孑立、不与群鸥同散的精神写照。这个「一」字，与杜甫「天地一沙鸥」、柳宗元「孤舟蓑笠翁」中的「一」「孤」同一机杼，皆以数量之极小反衬空间之极大，从而把物理的空阔转化为心理的孤寂。温庭筠于此一字见巧，不着色相而意境自远，是晚唐七律炼字以简驭繁的范例，亦可见其疏淡一面之可贵，非徒以藻绘见长者所能梦见。

忘机 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「五湖烟水独忘机」的「忘机」，语本《庄子》，谓消除机心、与物无争，后泛指弃绝世俗计较、回归淡泊的心境。温庭筠用此二字收束，既点出范蠡式隐逸的核心精神，也把前面所有的景物（空水、翠微、一鹭）收拢为一种人生姿态的总括——烟水迷茫处，正宜忘机。值得注意的是「独」字与「忘机」的搭配：众人皆在渡口奔忙、计算行程（「待船归」的「待」便含功利性的期盼），唯诗人愿「独」自忘机，不与世俗同其机心。这一个「独」字，把范蠡的典故从遥远的历史拉回诗人当下的孤独抉择，使尾联不流于泛泛的慕隐，而成为一种带体温的自白。以「忘机」作结，全诗由景及理、由闹及静，戛然而止而余韵悠长，是温诗章法收束的稳处，也是其诗风疏淡一脉的凝定之笔。