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唐 Tang · 诗 Poem

与高适薛据登慈恩寺浮图

Climbing the Pagoda of the Temple of the Grace with Gao Shi and Xue Ju

岑参

Cen Shen

塔势如涌出，孤高耸天宫。
登临出世界，磴道盘虚空。
突兀压神州，峥嵘如鬼工。
四角碍白日，七层摩苍穹。
下窥指高鸟，俯听闻惊风。
连山若波涛，奔凑似朝东。
青槐夹驰道，宫馆何玲珑。
秋色从西来，苍然满关中。
五陵北原上，万古青濛濛。
净理了可悟，胜因夙所宗。
誓将挂冠去，觉道资无穷。

The pagoda, the shape, like the gushing forth,
Alone and high, towering to the palace of the sky.
Climbing, going beyond the world,
The stone steps, circling the empty void.
Looking down, pointing at the high birds,
Bending down, hearing the startling wind.
The autumn color, coming from the west,
The grey and the vast, filling the pass of the middle.
The pure principle, now can be understood,
The superior cause, long the honored of the past.

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Meaning

A poem of the high climb of the pagoda, written by Cen Shen. The pagoda, the shape, like the gushing forth — alone and high, towering to the palace of the sky — the gushing pagoda and the towering height. Climbing, going beyond the world — the stone steps, circling the empty void — the climbing beyond the world and the circling steps. Looking down, pointing at the high birds — bending down, hearing the startling wind — the high birds and the startling wind. The autumn color, coming from the west — the grey and the vast, filling the pass of the middle — the autumn of the west and the grey pass. The pure principle, now can be understood — the superior cause, long the honored of the past — the close's principle and the cause. The poem is the high climb and the enlightenment: the towering pagoda, the autumn of the pass, and the close's pure principle.

塔势仿佛从地中涌出，孤高直耸入天宫。登临塔顶，如同超出世界；石阶盘旋，直入虚空。塔身突兀，压住神州大地；峥嵘高峻，仿佛鬼斧神工。四角之高，能遮白日；七层之高，直摩苍穹。下窥可见高飞的鸟，俯听可闻惊急的风。连绵的山势如波涛，奔涌凑集似朝东。青槐夹着驰道，宫馆何等玲珑。秋色从西边袭来，苍茫充满关中。五陵的北原之上，万古青濛濛一片。佛家的净理可以领悟，胜因是我素来所宗。我发誓将挂冠而去，觉悟佛道以资养无穷。

Appreciation

[Plain Paraphrase] The pagoda, the shape, like the gushing forth, alone and high, towering to the palace of the sky. Climbing, going beyond the world, the stone steps, circling the empty void. Looking down, pointing at the high birds, bending down, hearing the startling wind. The autumn color, coming from the west, the grey and the vast, filling the pass of the middle. The pure principle, now can be understood, the superior cause, long the honored of the past. [Structure and Thought] The poem moves from the towering pagoda and the climbing beyond the world, through the high birds and the startling wind, and the autumn of the west filling the pass, to the close's pure principle and the superior cause. [Key Technique] The poem's art is the climb of the enlightenment: the climbing beyond the world and the grey pass of the autumn, and the close's pure principle understood — the high climb gathered in the scene and the close's enlightenment. [Emotional Tone] High, far, and enlightened: the poem is the climb of the pagoda, the grey pass and the close's pure principle.

【白话串讲】岑参写《与高适薛据登慈恩寺浮图》：“塔势如涌出，孤高耸天宫”——“登临出世界，磴道盘虚空”——“突兀压神州，峥嵘如鬼工”——“下窥指高鸟，俯听闻惊风”——他登慈恩寺塔——塔势如涌出。【意象与手法】塔势如涌出、孤高耸天宫，写塔之高；下窥指高鸟、俯听闻惊风，写登临之险；连山若波涛、五陵青濛濛，写俯瞰关中之大观；结以“净理了可悟”“誓将挂冠去”由登临悟佛道、生出世之思。雄浑壮阔。【情感与主旨】岑参与高适、薛据同登慈恩寺浮图之作，写塔势之高峻与登临所见之壮阔，是唐人登塔诗中的名篇。【名句点睛】常考“塔势如涌出，孤高耸天宫”写塔之高；“下窥指高鸟，俯听闻惊风”写登临之险。

Background

Cen Shen (c. 715–770), the frontier poet of the Tang, wrote this 'Climbing the Pagoda of the Temple of the Grace' with Gao Shi and Xue Ju — the high climb of the pagoda. The gushing pagoda towering to the palace of the sky, the climbing beyond the world with the stone steps circling the empty void, the high birds and the startling wind, the autumn of the west filling the pass of the middle, and the close's pure principle understood with the superior cause — the poem gathers the high climb and the enlightenment, the scene and the principle. The poem is one of the famous climbing poems of the poet.

《与高适薛据登慈恩寺浮图》为盛唐诗人岑参所作五言古诗。岑参（约715—770），江陵人，天宝进士，官至嘉州刺史，世称岑嘉州，以边塞诗著称，与高适并称「高岑」。慈恩寺浮图即大雁塔，位于长安（今西安）慈恩寺内，唐高宗永徽三年（652）由玄奘法师主持修建，以藏佛经。天宝年间，岑参与高适、薛据等同登慈恩寺浮图，各赋诗纪之，杜甫亦有《同诸公登慈恩寺塔》之作。诗中「塔势如涌出，孤高耸天宫」写塔势之高峻；「登临出世界，磴道盘虚空」写登临之高；「下窥指高鸟，俯听闻惊风」写俯视之景；「连山若波涛，奔凑似朝东」写关中群山；「五陵北原上，万古青濛濛」写五陵北原之苍茫；「净理了可悟，胜因夙所宗」写由登临悟佛理；「誓将挂冠去，觉道资无穷」写出世之思。盛唐诗人好登临赋诗，此诗于同登慈恩寺浮图中，写塔势之雄峻、关中之大观，并由之悟佛道、生出世之思，雄浑壮阔，是唐人登塔诗中的名篇，也是岑参诗「雄奇豪放」风格的典型体现。

Art

The poem's art is the art of the high climb. The pagoda opens: the pagoda, the shape, like the gushing forth — the gushing shape of the pagoda; alone and high, towering to the palace of the sky — the towering height. The climb follows: climbing, going beyond the world — the going beyond; the stone steps, circling the empty void — the circling steps. The far scene: looking down, pointing at the high birds — bending down, hearing the startling wind — the high birds and the startling wind; the autumn color, coming from the west — the grey and the vast, filling the pass of the middle — the autumn of the west and the grey pass. And the close gathers the enlightenment: the pure principle, now can be understood — the superior cause, long the honored of the past — the principle and the cause — the high climb, the grey pass and the close's enlightenment, gathered in the poem.

此诗艺术上以「极写高峻、由景入悟」见长。全诗二十二句，前十六句写塔势之雄峻与登临所见，后六句写由登临所悟。首八句极写塔势之高峻：「塔势如涌出，孤高耸天宫」，写塔势仿佛从地中涌出，孤高直耸天宫；「登临出世界，磴道盘虚空」，写登临塔顶如同超出世界，石阶盘旋直入虚空；「突兀压神州，峥嵘如鬼工」，写塔身突兀压住神州，峥嵘如鬼斧神工；「四角碍白日，七层摩苍穹」，写塔之高可遮白日、摩苍穹。中八句写登临所见：「下窥指高鸟，俯听闻惊风」，写俯视可见高鸟、可闻惊风；「连山若波涛，奔凑似朝东」，写群山如波涛奔凑朝东；「青槐夹驰道，宫馆何玲珑」，写长安宫馆之玲珑；「秋色从西来，苍然满关中」，写秋色苍然满关中；「五陵北原上，万古青濛濛」，写五陵北原之万古苍茫。后六句写所悟：「净理了可悟，胜因夙所宗」，写佛家净理可悟、胜因素所宗；「誓将挂冠去，觉道资无穷」，写誓将挂冠归隐、觉悟佛道。全诗由极写高峻而登临所见、由登临所见而由景入悟，雄浑壮阔，是唐人登塔诗中的名篇。

Allusions

'The palace of the sky' (tian gong) is the palace of the sky — the towering of the pagoda; 'the empty void' (xu kong) is the empty void — the circling of the stone steps; 'the pass of the middle' (guan zhong) is the pass of the middle — the pass of the middle, the grey filling; 'the pure principle' (jing li) is the pure principle — the principle of the Buddhism, the pure principle understood; 'the superior cause' (sheng yin) is the superior cause — the superior cause, the honored of the past.

诗中「天宫」「世界」「净理」「胜因」「觉道」等语，皆含佛教典故。「天宫」即天界之宫殿，佛教以天宫为诸天所居；「世界」为佛教语，指众生所居之处，佛经言「三千大千世界」；「净理」指佛家清净之理；「胜因」指殊胜的善因，佛教以善因得善果，「胜因夙所宗」写其素来尊奉佛家胜因之说；「觉道」指觉悟之道、佛道。「挂冠」则用典，东汉逢萌挂冠东都门而去，后世以「挂冠」写辞官归隐。岑参此诗以天宫、世界、净理、胜因、觉道等佛家语写登塔所悟，又以挂冠之典写其出世之思，不着痕迹，而把登临慈恩寺浮图所悟之佛道与归隐之志写得真切可感，是善于熔铸佛典与故实的体现。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。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

This poem is one of the famous climbing poems of Cen Shen, quoted for the height of its scene and the enlightenment of its close. The gushing pagoda and the grey pass, and the pure principle understood, are among the admired passages of the poet's climbing poems. Critics praise the poem's height: the high climb gathered in the far scene, to the close's enlightenment.

这首《与高适薛据登慈恩寺浮图》，是岑参与高适、薛据同登大雁塔之作，极写塔势之雄峻与登临所见之壮阔，并由之悟佛道、生出世之思，雄浑壮阔，令人神往。诗的开头八句，极写塔势之高峻：「塔势如涌出，孤高耸天宫」——塔势仿佛从地中涌出，孤高直耸天宫，着一「涌」字，写尽塔势之突兀拔地；「登临出世界，磴道盘虚空」——登临塔顶，如同超出世界，石阶盘旋，直入虚空；「突兀压神州，峥嵘如鬼工」——塔身突兀压住神州，峥嵘如鬼斧神工；「四角碍白日，七层摩苍穹」——塔之高，四角可遮白日，七层直摩苍穹。这八句，由「涌出」「耸天宫」「出世界」「盘虚空」「压神州」「如鬼工」「碍白日」「摩苍穹」，层层加码，把塔之高峻写得无以复加。接着写登临所见：「下窥指高鸟，俯听闻惊风」——俯视可见高飞的鸟，俯听可闻惊急的风，写登临之险；「连山若波涛，奔凑似朝东」——连绵的山势如波涛，奔涌凑集似朝东，写关中群山之壮阔；「青槐夹驰道，宫馆何玲珑」——长安宫馆之玲珑；「秋色从西来，苍然满关中。五陵北原上，万古青濛濛」——秋色苍然满关中，五陵北原万古苍茫，写尽俯瞰关中的大观，也透出一股历史苍茫之感。末六句写所悟：「净理了可悟，胜因夙所宗」——佛家的净理可以领悟，胜因是我素来所宗；「誓将挂冠去，觉道资无穷」——我发誓将挂冠而去，觉悟佛道以资养无穷。由登临之高、所见的苍茫，而生悟佛道、出世归隐之思。这「誓将挂冠去」，既是登临的感慨，也是盛唐诗人在仕与隐之间的思索。全诗雄浑壮阔，由景入悟，正是岑参「雄奇豪放」诗风的体现，也是盛唐登临诗的时代气象。

Prosody

Form A regulated five-character poem of the climb五言古诗（古体，非近体律诗）

Rhyme The poem rhymes on the level-tone gong, kong, feng, zhong and zong of the group — the even, level rhyme that carries the high enlightenment.全诗为五言古诗，押平声韵，韵脚「宫」「空」「工」「穹」（东冬部）、「风」「东」「珑」「中」「濛」（东部）、「宗」「穷」（东部）一韵到底，用韵宽稳。古体诗不拘平仄对仗，而以意运笔，此诗以「宫」「空」「工」「穹」「风」「东」「珑」「中」「濛」「宗」「穷」等字一韵到底，音节浑厚开阔，正与登塔雄浑壮阔之气相称，也见其作古体以畅写登临之情的用心。

Tone pattern The cadence is that of the climb: the level opening with the gushing pagoda, the rising with the far scene, and the close's fall with the pure principle understood.句式上，首八句极写塔势之高峻，「塔势如涌出」音节奇崛，「四角碍白日，七层摩苍穹」音节雄浑；中八句写登临所见，「下窥指高鸟，俯听闻惊风」音节险峻，「连山若波涛」音节奔放，「五陵北原上，万古青濛濛」音节苍茫；后六句写所悟，「净理了可悟」音节转清，「誓将挂冠去」音节决绝。全诗音节随景起伏，由奇崛而雄浑、由雄浑而苍茫、由苍茫而清静，正合古体诗「以意运笔」之体，读来如登高俯瞰、长风扑面之音，雄浑而悠长。

Reading note The poem's sound matches its height: the even, level rhymes carry the cadence of the climb, and the close — 'jing li liao ke wu, sheng yin su suo zong' — falls with the principle, the sound of the enlightenment of the height.此诗为五言古诗，是唐人登塔诗中的名篇，也是岑参「雄奇豪放」诗风的典型体现。全诗的艺术特色在于「极写高峻、由景入悟」：首八句「塔势如涌出，孤高耸天宫」「突兀压神州，峥嵘如鬼工」「四角碍白日，七层摩苍穹」以想象之笔层层加码，极写塔势之高峻；中八句「下窥指高鸟，俯听闻惊风」「连山若波涛，奔凑似朝东」「秋色从西来，苍然满关中」「五陵北原上，万古青濛濛」写登临俯瞰之壮阔大观；后六句「净理了可悟，胜因夙所宗。誓将挂冠去，觉道资无穷」由登临所悟佛理、生出世之思。全诗由极写高峻而登临所见、由登临所见而由景入悟，雄浑壮阔，章法井然。尤为精妙者，是「塔势如涌出」以「涌」字写塔势之突兀，「四角碍白日」以「碍」字写塔高之极，皆是岑参雄奇诗风的力字；而「秋色从西来，苍然满关中」写尽关中苍茫大观，「誓将挂冠去」由登临而悟出世之思，正见盛唐登临诗的时代气象，为历代选本所常收。

Line by line

塔势如涌出，孤高耸天宫。

The pagoda, the shape, like the gushing forth, alone and high, towering to the palace of the sky.

塔势仿佛从地中涌出，孤高直耸入天宫。

The pagoda seems to surge from the earth, lonely and towering into the heavenly palace.

首二句极写塔势之突兀高峻，是全诗写塔的纲领。「塔势如涌出」写塔势仿佛从地中涌出，「涌出」二字，把塔的拔地而起写得有动势，仿佛不是建成的，而是从地底涌出，写尽塔势之突兀；「孤高耸天宫」写孤高直耸入天宫，「孤高」写其独立高耸，「耸天宫」写其高可及天。两句一写其势之涌、一写其高之耸，以「涌出」「耸天宫」写尽慈恩寺浮图之高峻，起笔即以想象之笔、雄浑之气定调，为全诗极写塔高作了总起。

The first two lines write the pagoda's abrupt height to the utmost, the poem's outline for the tower. The pagoda seems to surge from the earth writes the tower as if surging up from the ground; surge two characters write its rising from the earth with motion, as if not built but poured up from below, exhausting the tower's abruptness. Lonely and towering into the heavenly palace writes its solitary height reaching the sky. The two lines one write its surging momentum, one its towering height; using surge and tower into the heavenly palace to exhaust the pagoda's loftiness - the opening sets the tone with imaginative brush and grand air, the total start for writing the tower's height.

登临出世界，磴道盘虚空。

Climbing, going beyond the world, the stone steps, circling the empty void.

登临塔顶，如同超出世界；石阶盘旋，直入虚空。

Climbing, I leave the world behind; the stone steps wind through empty space.

此二句写登临之高，是全诗写塔高的关键推进。「登临出世界」写登临塔顶，如同超出世界，「世界」为佛教语，写登临之高，仿佛已超出尘世、超出众生所居之世界；「磴道盘虚空」写石阶盘旋直入虚空，「磴道」写塔内石阶，「盘虚空」写其盘旋而上、直入空际。两句一写登临之境界、一写磴道之盘空，以「出世界」「盘虚空」写尽登塔之高峻，仿佛已置身于尘世之外、虚空之中，为后文俯视所见的壮阔与悟道之思作了铺垫，是「以佛教语写塔高」的妙笔。

These two lines write the height of the ascent, the key advance in writing the tower's loftiness. Climbing, I leave the world behind writes reaching the top as if transcending the world; world is a Buddhist term, writing the ascent's height as if beyond the mortal dust, beyond the world men dwell in. The stone steps wind through empty space writes the internal stone stair winding straight into the void; stone steps, winding through the void writes its spiral climb into the air. The two lines one write the ascent's realm, one the stair's winding through sky; using leave the world behind and wind through empty space to exhaust the climb's loftiness, as if already standing beyond the mortal dust, within the void - preparing the grand downward view and the awakening below, the exquisite stroke of writing the tower's height through Buddhist terms.

下窥指高鸟，俯听闻惊风。

Looking down, pointing at the high birds, bending down, hearing the startling wind.

下窥可见高飞的鸟，俯听可闻惊急的风。

Looking down, I point at flying birds; bending my ear, I hear the rushing wind.

此二句写登临俯视之景，以高鸟惊风写塔之极高。「下窥指高鸟」写下窥可见高飞的鸟，「高鸟」本已飞得很高，而在塔上俯视，犹在下方，「指」字写其可以指点俯视，极言塔之高；「俯听闻惊风」写俯听可闻惊急的风，「惊风」写风势之急，而俯身可闻，见其已凌驾于风之上。两句以高鸟、惊风写登临所见所闻，以鸟之高、风之急反衬塔之更高——鸟飞于塔下，风生于塔下，登塔之人，已超出其上。以物衬塔，含蓄而有力，是「以宾衬主」的典范之笔。

These two lines write the downward view from the ascent, using high birds and rushing wind to write the tower's extreme height. Looking down, I point at flying birds writes the downward gaze at soaring birds; high birds already fly high, yet viewed from the tower they are still below; point writes being able to point at them from above, exaggerating the tower's height. Bending my ear, I hear the rushing wind writes the urgent wind heard below; rushing wind writes the wind's force, and bending to hear shows one already above the wind. The two lines use high birds and rushing wind for the ascent's sights and sounds; using the birds' height and the wind's urgency to set off the tower's still greater height - birds fly below the tower, wind rises below the tower; the climber has transcended them. Using things to set off the tower, reserved and powerful - the model of foil for the main.

秋色从西来，苍然满关中。

The autumn color, coming from the west, the grey and the vast, filling the pass of the middle.

秋色从西边袭来，苍茫充满关中。

Autumn colors come from the west, vast and gray, filling the whole Guanzhong plain.

此二句写登临俯瞰关中之大观，是全诗写景的高潮。「秋色从西来」写秋色从西边袭来，「从西来」写秋色之来有方向、有动势，仿佛可感；「苍然满关中」写苍茫的秋色充满关中，「苍然」写秋色之苍茫萧瑟，「满关中」写其弥漫全境、无边无际。两句一写秋色之来、一写秋色之满，以「从西来」的动势与「满关中」的广度，写尽登塔俯瞰关中所见之苍茫秋色，境界壮阔，也暗含时序流转、历史苍茫之感。秋色满关中，正与下文「五陵北原上，万古青濛濛」的历史苍茫相呼应，是「由景入思」的枢纽。

These two lines write the grand view of Guanzhong from the ascent, the poem's scenery climax. Autumn colors come from the west writes autumn hues pressing from the west; from the west writes the colors' coming with direction and motion, as if sensible. Vast and gray, filling the whole Guanzhong plain writes the vast autumn colors filling the Guanzhong region; vast and gray writes the autumn bleakness, filling Guanzhong writes their diffusion through the whole, boundless. The two lines one write the colors' coming, one their filling; using from the west's motion and filling Guanzhong's breadth to exhaust the vast autumn colors seen from the tower's summit, the realm grand, also secretly holding the feeling of time's flow and history's vastness. Autumn colors filling Guanzhong echoes the later northern plain of the Five Tombs, green and dim through the ages - the pivot of passing from scenery to thought.

净理了可悟，胜因夙所宗。

The pure principle, now can be understood, the superior cause, long the honored of the past.

佛家的净理可以领悟，胜因是我素来所宗。

The pure truth can be fully awakened to; the excellent cause I have long honored.

此二句由登临所悟佛理，是全诗由景入悟的关目。「净理了可悟」写佛家的净理可以领悟，「净理」指佛家清净之理，「了可悟」写其于登临之际，了然可悟——登塔之高、俯瞰之苍茫，使诗人于胸中有所悟；「胜因夙所宗」写胜因是我素来所宗，「胜因」指殊胜的善因，「夙所宗」写其素来尊奉。两句一写当下之悟、一写夙昔之宗，由登临所见而悟佛家之理，是诗人于雄浑壮阔的登临之景中归于清静之思的转折，为后文「誓将挂冠去」的出世之志作了铺垫，是「由景入悟」的妙笔。

These two lines write the Buddhist truth awakened from the ascent, the poem's pivot from scenery to awakening. The pure truth can be fully awakened to writes the Buddhist pure truth being understood; pure truth means the Buddhist principle of purity; fully awakened writes its clear comprehension at the moment of ascent - the tower's height, the vast downward view, make the poet awaken something in his breast. The excellent cause I have long honored writes the excellent cause long honored; excellent cause means the surpassing good cause; long honored means its long reverence. The two lines one write the present awakening, one the long-held reverence; from the ascent's sights to awakening the Buddhist principle, the turn of the poet's grand ascent scenery into quiet thought - preparing the later vow to hang up the cap, the exquisite stroke of passing from scenery to awakening.

Study

Word focus

涌 'To gush' — the gushing shape of the pagoda, like the springing of the earth. 「涌」字写塔势如从地中涌出，是写塔势突兀的关键。「塔势如涌出」着一「涌」，把塔的拔地而起写得有动势——仿佛不是建成的，而是从地底涌出，写尽塔势之突兀奇崛。着一「涌」字，使静止的塔有了生命力，以想象之笔写塔之高峻，是全诗写塔的第一个力字，定下了雄浑的基调。「涌」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。

碍 'To obstruct' — the obstructing of the void, the circling of the steps. 「碍」字写塔之四角能遮住白日，是写塔极高的关键。「四角碍白日」着一「碍」，写塔的四角之高，能阻碍、遮蔽白日——本是大阳普照，而塔之高，四角竟可碍日，以「碍」字写塔高之极，仿佛白日也为其所遮。着一「碍」字，把塔高写到与日相抗的夸张之境，雄奇有力，是岑参「雄奇」诗风的典型用字。「碍」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。

苍然 'The grey and the vast' — the grey filling the pass, the autumn of the west. 「苍然」写秋色之苍茫萧瑟，是写关中秋色大观的关键。「秋色从西来，苍然满关中」着一「苍然」，写秋色之苍茫，兼含青色与萧瑟之意——秋色满关中，一片苍茫萧瑟。两字写尽登塔俯瞰所见之秋色气象，境界壮阔，也暗含时序流转、历史苍茫之感，是「由景入思」的枢纽词。「苍然」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。

挂冠 'To hang the cap' — the hanging of the cap, the leaving of the office. 「挂冠」用东汉逢萌挂冠东都门之典，写辞官归隐，是写诗人出世之志的关键。「誓将挂冠去」着一「挂冠」，写其誓将辞官归隐——由登临所悟佛理，而生动摇仕途、决意归隐之志。两字用典而自然，把盛唐诗人在登临雄景后的出世之思写得真切，是全文由景入悟、由悟生志的归结词。「挂冠」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。