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魏晋 Wei-Jin · 诗 Poem

度关山

Crossing the Mountain Pass

曹操

Cao Cao

咏史History 言志Theme

天地间，人为贵。
立君牧民，为之轨则。
车辙马迹，经纬四极。
黜陟幽明，黎庶繁息。
於铄贤圣，总统邦域。
封建五爵，井田刑狱。
有燔丹书，无普赦赎。
皋陶甫侯，何有失职。
嗟哉后世，改制易律。
劳民为君，役赋其力。
舜漆食器，畔者十国。
不及唐尧，采椽不斫。
世叹伯夷，欲以厉俗。
侈恶之大，俭为共德。
许由推让，岂有讼曲。
兼爱尚同，疏者为戚。

Between heaven and earth, humans are most precious.
Setting up rulers to govern the people, making laws and standards for them.
Carriage ruts and horse tracks, traverse the four extremes.
Dismiss the dim and promote the wise, so the common people multiply and thrive.
Ah, the brilliant sages, oversee the entire realm.
Enfeoff five ranks of nobility, set up well-field system and punishments.
Burn the red lettered laws, but do not indiscriminately pardon or ransom.
Gao Yao and Fu Hou, how could they fail in their duties?
Alas for later generations, they altered the systems and changed the laws.
They labor the people for the ruler, exacting taxes and corvée.
When Shun used lacquered utensils, ten states rebelled.
Not like Tang Yao, who used unhewn rafters.
The world laments Bo Yi, wishing to reform customs.
Luxury is the greatest evil, frugality is the common virtue.
Xu You declined the throne, how could there be disputes over right and wrong?
Universal love and shared equality, make distant kin close.

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Meaning

This poem expounds Cao Cao's political philosophy: emphasizing the preciousness of human life, advocating wise governance, just laws, frugality, and universal love. It criticizes later rulers for corrupting ancient institutions, oppressing the people, and indulging in luxury, using historical examples to argue for reform.

天地之间，人最为尊贵。设立君主来治理万民，为百姓确立法则轨度。车辙马迹所至，经纬纵横，通达四方极远之地。黜退昏庸、升进贤明，使黎民百姓繁衍生息。啊，那辉煌的贤圣之君，总领邦国疆域。分封五等爵位，实行井田、设制刑狱。有焚烧苛法丹书之举，却不滥行赦免赎罪。皋陶、甫侯这样的贤士，何曾失其职守。可叹后世之君，改易制度律令。劳苦百姓以奉养君主，征役赋税榨取民力。舜用漆饰食器，背叛者竟有十国；不如唐尧采椽为屋、不加雕斫。世人赞叹伯夷之清，想以此激励风俗。奢侈是恶行中最大的，节俭才是共同的德行。许由推让天下，哪里还会有争讼曲直。兼爱尚同，疏远之人也如亲族一般。

Appreciation

The poem opens with a powerful assertion of human value, then elaborates on ideal ancient governance—wise rulers, good laws, fair appointments, and simple living. It contrasts this with later decadence, citing Shun's luxury causing rebellion and Yao's frugality. Allusions to Bo Yi and Xu You reinforce the moral. The piece is a forceful political argument in verse, characteristic of Cao Cao's ambitious, reformist mindset.

【白话串讲】 “天地间，人为贵”——曹操说：天地之间，人最宝贵。他写理想的政治：“立君牧民，为之轨则”——立君主管理百姓，要立规矩。一代枭雄，心里装的是天下苍生。【意象与手法】全诗以四言短句运议论之长河，起「天地间，人为贵」六字立极，如巨石投河，势不可遏。中段铺陈圣王之制，连用皋陶、甫侯、尧、舜、伯夷、许由诸典，如贯珠而下，毫不板滞；「嗟哉后世」一转，由颂古入讽今，顿挫有力；「舜漆食器」与「唐尧采椽」一奢一俭，对照分明；末以「兼爱尚同，疏者为戚」收束，归于仁政理想。语言质健苍茫，不尚雕琢而自有霸气，开建安「志深笔长、梗概多气」之风。【情感与主旨】《度关山》为曹操乐府述志诗，约作于其挟天子令诸侯、致力拨乱兴治之际。诗借论治道以明政见：反对汉末滥赦、横征与奢靡，主张法明吏贤、崇俭爱民、以民为本。曹操本习申商之法、兼采儒墨，诗中「黜陟幽明」「燔丹书」「兼爱尚同」等语，正见其熔法、儒、墨于一炉的实用主义政治观，是理解曹魏霸业思想的重要文本。【名句点睛】常考「天地间，人为贵」的民本思想与「侈恶之大，俭为共德」的崇俭主张；「於铄」「共德」等字词的训释；以及全诗以议论入乐府、熔儒法墨于一炉的独特风貌。

Background

Written during Cao Cao's rise, when he sought to restore order amid the late Han collapse. He advocated legalism, meritocracy, and frugality, opposing the widespread corruption and extravagance. This poem reflects his synthesis of Confucian, Legalist, and Mohist ideas to justify his rule and reforms.

《度关山》为曹操乐府述志诗，属相和歌辞·相和曲，《乐府诗集》列于《度关山》古题之下，古辞已佚，曹操借旧题自铸新辞，以论政言志。诗约作于建安年间曹操挟天子以令诸侯、致力拨乱兴治之际。曹操出身宦官家庭，早年任洛阳北部尉，即以五色棒杖杀犯禁权贵，起家即以法治为务；其后破黄巾、讨董卓、平袁绍，深知汉末政治之弊：外戚宦官擅权、豪强大族兼并、滥赦赎以收人心、聚敛横征以养军费、奢靡相竞以败风俗。此诗正是针对这些积弊而发，主张法明吏贤、崇俭爱民、以民为本。曹操思想本习申商法术，兼采儒墨，诗中「黜陟幽明」「燔丹书」「兼爱尚同」等语，正见其熔法、儒、墨于一炉的实用主义政治观，是理解曹魏霸业思想的重要文本，也是建安文学「志深笔长」精神的直接体现。又据《三国志·武帝纪》注引《魏书》，曹操「雅性节俭，不好华丽」，后宫衣不锦绣、侍御履不二采，帷帐屏风坏则补纳；其以节俭律己律人，正是诗中「侈恶之大，俭为共德」的现实注脚。此诗与《让县自明本志令》等文并观，可见曹公自述政治怀抱的一贯态度，是研究建安政治思想的第一手材料。

Art

The poem uses four-character lines throughout, giving it a terse, weighty rhythm. It piles allusions like pearls—Gao Yao, Fu Hou, Yao, Shun, Bo Yi, Xu You—without becoming tedious. The shift from praise of antiquity to lament for later times creates a strong contrast. The language is plain yet forceful, typical of Cao Cao's 'heroic' style.

全诗以四言短句运长篇议论，是文人乐府中罕见的政论体。起句「天地间，人为贵」六字立极，如巨石投河，势不可遏，一句定下全诗民本基调；「立君牧民，为之轨则」以下，铺陈圣王之制：立君牧民、车辙经纬、黜陟幽明、黎庶繁息，一路排闼而下，堂堂正正。「於铄贤圣，总统邦域」一转，以赞叹领起对古制的追述——封建五爵、井田刑狱、燔丹书而不滥赦，皋陶甫侯各得其职，句句有典，如贯珠而下，毫不板滞。「嗟哉后世，改制易律」再一转，由颂古陡入讽今，「劳民为君，役赋其力」八字，直刺汉末横征暴敛，沉痛有力。继而以舜漆食器之奢与唐尧采椽之俭、伯夷之清、许由之让，反复论证「侈恶之大，俭为共德」的崇俭主张，末以「兼爱尚同，疏者为戚」收束，归于仁政理想。全诗议论如斩钉截铁，语言质健苍茫，不尚雕琢而自有霸气，开建安「梗概多气」之风。全诗虽为议论，却并非平铺直叙：以「人为贵」立纲，以「於铄」「嗟哉」两声叹辞分领颂古与讽今两大段落，中间又借舜、尧、伯夷、许由四典构成正反论证，层层转折，故四言短句虽密，读来却觉气脉贯通、波澜起伏，是「以议论为诗」在汉魏之际的杰出尝试，开后世政论诗之先河。

Allusions

Key allusions: 'Gao Yao' and 'Fu Hou' were legendary just officials; 'burn the red lettered laws' refers to abolishing harsh laws; 'Shun's lacquered utensils' from Hanfeizi, showing luxury leads to rebellion; 'Tang Yao's unhewn rafters' symbolizes thrift; 'Bo Yi' was a hermit praised for integrity; 'Xu You' declined the throne. 'Universal love and shared equality' directly quotes Mozi, showing Cao Cao's eclectic borrowing.

此诗用典密集而皆有政论功能。「皋陶」为舜之司法官，作五刑、明刑弼教；「甫侯」即吕侯，周穆王时作《吕刑》，二典并举，喻古之良士执法无私、各得其职。「燔丹书」谓焚毁苛酷的刑书，丹书为以朱砂书写的法典誓文，此言立法当简而明、不务繁苛，与「无普赦赎」对举，反对汉末滥行赦免以市恩。「舜漆食器，畔者十国」用《韩非子·十过》之典：舜作食器，流漆墨其上，诸侯以为奢侈，叛者十三国（诗言十国，取其成数），极言奢侈足以失众；「唐尧采椽不斫」用《史记·五帝本纪》尧「采椽不斫，茅茨不剪」之俭德，一奢一俭，对照分明。「伯夷」让国而隐，为清节之祖，诗人叹之「欲以厉俗」；「许由推让」出《庄子·逍遥游》，尧让天下于许由而不受，故「岂有讼曲」。末「兼爱尚同」径用《墨子》术语，疏者亦亲，正是墨家「兼爱」「尚同」之旨。诸典熔于一炉，足见曹公不拘一家、务为治用的取鉴态度。又「经纬四极」之「四极」出《淮南子》「四极废，九州裂」，本指天地四方的尽头，诗人用以形容圣王车辙马迹之远被，气魄宏大；「井田刑狱」并举，则见其兼重井田之制与刑狱之公，正是儒法并用的治道蓝图。诸语皆有所本而浑然无迹，足证曹公虽不以文士自居，其熔铸经典的功力实不在建安诸子之下。

Commentary

Critics like Zhong Rong found Cao Cao's poems 'grievous'; Ao Taosun likened him to 'an old general of Youzhou, deep and forceful'. Modern scholars see 'Crossing the Mountain Pass' as a plain but grand political manifesto, revealing the statesman's ambition, more sturdy than ornate.

钟嵘《诗品》列曹操于下品，然评其诗「古直，甚有悲凉之句」，一语道出魏武乐府质直苍茫的本色。宋人敖陶孙《诗评》喻「魏武帝如幽燕老将，气韵沉雄」，最能传其神。清人沈德潜《古诗源》选曹操乐府，许以「沉雄俊爽，时露霸气」。就诗史而言，《度关山》以四言论政，直承《诗经·大雅》以诗言政的传统，又变《雅》诗之温厚为乱世之刚健，与《短歌行》《龟虽寿》等并称魏武乐府的代表作。诗中「天地间，人为贵」的民本之论，「侈恶之大，俭为共德」的崇俭主张，与后世唐太宗「水能载舟，亦能覆舟」的君民之喻、杜甫「朱门酒肉臭」的悯民之叹一脉相通，可见其思想的深远影响。以政治家之眼论政、以诗人之笔写志，朴质中自见霸气，此诗足为建安诗坛「志深笔长」之代表。又近人鲁迅《魏晋风度及文章与药及酒之关系》谓曹操「是一个很有本事的人，至少是一个英雄」，其诗文「清峻、通脱」，此诗正以「清峻」见长；刘勰《文心雕龙·时序》称建安文学「梗概多气，志深笔长」，曹操实开其端。后世论乐府者，多推曹公为「汉末实录，真诗史也」（钟惺语），《度关山》虽为议论，亦何尝不是一代乱政之实录与救治之良方。

Prosody

Form Four-character yuefu (political discourse)四言乐府诗（相和曲，述志论政体）

Rhyme Frequent rhyme changes following argument sections换韵较密，随议论段落转韵；韵脚以入声字为主，贵、则、极、息、域、狱、赎、职、律、力、国、俗、德、曲等相叶，音节短促有力

Tone pattern Archaic four-character, ignoring tonal patterns四言二二节拍，句短节促，古体不究平仄，然节奏铿锵，气势沉雄

Reading note Short lines sustain long argument, sturdy and forceful, typical of Cao Cao's robust style.《度关山》为四言乐府，通篇三十二句，句句四言，二二节拍，音节短促而有力，如连珠迸发，正与议论体诗歌斩截痛快的文气相配。全诗换韵较密，随议论段落转韵，而韵脚多取入声字（贵、则、极、息、域、狱、赎、职、律、力、国、俗、德、曲等），入声韵收尾短促、一收即断，读来如金石相击、刀斫斧劈，恰好传达出论政诗的刚健肃杀之气；间以「於铄」「嗟哉」等叹辞领起段首，音节跌宕，声情并茂。四言诗自《诗经》之后渐趋式微，汉末文人多作五言，曹操独以四言乐府写胸中块垒，其《短歌行》《观沧海》《龟虽寿》皆四言，而《度关山》更以四言运长篇政论，是对《诗经》四言传统的创造性复兴。此诗不事雕琢、不尚藻饰，以「清峻通脱」之言写「梗概多气」之志，正体现了建安文学「慷慨以任气，磊落以使才」的时代精神。

Line by line

天地间，人为贵

Between heaven and earth, humans are most precious.

天地之间，人最为尊贵。

Between heaven and earth, man is noblest.

起句六字，是全诗的立极之笔，也是中国诗歌中最响亮的民本宣言。「天地间」三字先拓开一个无限广大的空间，日月星辰、山川万物皆在其中；「人为贵」三字猛然收束，把「人」从万物中高高标举，一个「贵」字，掷地有声。此语本出《孝经》「天地之性人为贵」，曹操化用于诗，开宗明义，先立其本。在战乱频仍、白骨蔽野的汉末，人人命如草芥，「人为贵」三字不啻一声惊雷，既是对生灵的悲悯，也是对执政者的当头棒喝：立君之本，正在于民。这六字奠定了全诗的基调，此后论立君、论轨则、论黜陟、论崇俭，无不是这六个字的展开，其思想高度直追先秦诸子，是建安诗歌中罕有其匹的政论高格。

The opening six characters establish the poem's ground, the loudest people-first declaration in Chinese poetry. Between heaven and earth opens an infinite space; man is noblest suddenly gathers it, elevating man above all things. The noble character rings. The phrase comes from the Classic of Filial Piety; Cao Cao transforms it into poetry. In late-Han war, when lives were as grass, man-is-noblest was a thunderclap - both compassion for the people and a rebuke to rulers. These six characters set the tone for all that follows.

黜陟幽明，黎庶繁息

Dismiss the dim and promote the wise, so the common people multiply and thrive.

黜退昏庸、升进贤明，使黎民百姓繁衍生息。

Dismiss the dim, promote the wise; the people multiply and thrive.

这是全诗治道主张的核心句。「黜陟幽明」语出《尚书·舜典》「三载考绩，三考黜陟幽明」，黜为罢退，陟为升进，幽指昏庸暗昧之人，明指贤明方正之士，四字概括了用人行政的总纲——赏罚分明、进贤退不肖；「黎庶繁息」紧承其后，点明这一切的最终目的：让百姓生息繁衍。两句一手段、一目的，逻辑严密。在汉末「举秀才，不知书；举孝廉，父别居」的察举败坏之时，曹操力行「唯才是举」，先后三次下令求贤，此句正是其人才政策的思想宣言。以四言八字写一部吏治纲要，言简意赅，掷地有声，见出曹公以政治家的身份写诗的独有力度——诗不只是抒情言志，更是经世之文。

This is the core of the poem's good-rule claim. Dismiss the dim, promote the wise comes from the Book of Documents, writing the administrative principle of rewarding the worthy and dismissing the incompetent. The people multiply and thrive names the goal. Means and end, logically tight. In late-Han when the recommendation system was corrupt, Cao Cao enforced talent-only recruitment; this line is its manifesto. Eight characters write a code of official administration, concise and ringing, showing the politician-poet's force.

嗟哉后世，改制易律

Alas for later generations, they altered the systems and changed the laws.

可叹后世之君，改易制度律令。

Alas for later ages: they altered systems and changed the laws.

「嗟哉」一声长叹，是全诗由颂古转入讽今的枢纽，章法上的一记猛转。「后世」与前面的「贤圣」相对，一颂一叹，顿挫分明；「改制易律」四字，直指后世君臣轻改先王法度、律令朝更夕改之弊。值得注意的是，曹操此叹并非反对变革本身，而是反对「改制易律」之后「劳民为君，役赋其力」的恶果——他把批判的锋芒对准改制的动机与效果：改法易律而意在聚敛，则法愈密而民愈困。这一转承上启下：上文铺陈的圣王之制（封建、井田、刑狱、不滥赦）由此获得现实参照，下文对奢靡、聚敛的抨击也由此顺势引出。一个「嗟」字含无限沉痛，全诗由颂扬而叹惋，情感起伏，议论遂不板滞。

Alas! is a long sigh, the poem's turning from praising antiquity to satirizing the present. Later ages contrasts with the earlier sage kings. Altered systems and changed laws points to later rulers' light changing of the old laws. Cao Cao's lament is not against reform itself, but against its consequence - laboring the people for the ruler. The sigh carries infinite grief, turning the poem from praise to lament, preventing the argument from becoming rigid.

劳民为君，役赋其力

They labor the people for the ruler, exacting taxes and corvée.

劳苦百姓以奉养君主，征役赋税榨取民力。

They toil the people for the ruler, taxing their strength.

这是全诗批判最尖锐处，八字写尽后世虐政之实。「劳民为君」四字，直揭统治的颠倒：古之立君，本为牧民；后世劳民，却为奉君，主客易位，纲纪荡然。「役赋其力」进一步坐实：征役驱使民力，赋税榨取民财，一「役」一「赋」，双管齐下，百姓膏血尽矣。这八个字与起句「人为贵」遥相呼应、正反相形：因为人为贵，故劳民役赋乃滔天之恶。汉末徭役赋税之重，史不绝书，董卓、袁绍辈无不「劳民为君」，曹操本人早年亦尝目击流民之惨，故此语并非空论，而是血泪凝成。以最朴素的语言写最沉痛的现实，正是建安诗歌「缘事而发」的本色，也是曹公民本思想最直接的流露。

This is the poem's sharpest criticism, eight characters exhausting later tyranny. They toil the people for the ruler reveals the inversion: ancient rulers existed for the people; later ones labor the people for themselves. Taxing their strength further confirms: corvée drives the people, taxes drain their wealth. These eight characters echo the opening man-is-noblest: because man is noble, laboring him is the greatest evil. Late-Han exactions are historical; this line is written in blood, showing the Jian'an poetry's event-rooted style.

侈恶之大，俭为共德

Carriage ruts and horse tracks, traverse the four extremes.

奢侈是恶行中最大的，节俭才是共同的德行。

Extravagance is the greatest vice; thrift is the common virtue.

这是全诗论点之纲，也是曹操崇俭反奢思想的宣言。「侈恶之大」语本《左传》「俭，德之共也；侈，恶之大也」，曹操略加改易，将「共德」与「大恶」对举，一正一反，斩截如铁。「共德」之「共」通「洪」，大也，谓节俭是德行中最大的；以「大」对「大」，褒贬立判。这一论断在汉末有极强的现实针对性：外戚宦官穷奢极欲，豪强竞起楼阁，灵帝卖官鬻爵，奢靡之风弥漫朝野，曹操本人则雅性节俭、不好华丽，后宫衣不锦绣，帷帐屏风坏则补纳，正以身作则实践此句。由「舜漆食器，畔者十国」的史鉴到「俭为共德」的定论，由反例到正论，层层逼进，议论之严密、语气之刚健，正是魏武乐府的本色。

This is the poem's thesis, Cao Cao's declaration against extravagance. Extravagance is the greatest vice comes from the Zuo Tradition; thrift is the common virtue sets them as iron. The common virtue's common means great. The contrast is immediate. This line is pointed at late-Han eunuch extravagance; Cao Cao himself was frugal, practicing what he preaches. From historical warning to settled judgment, the argument advances layer by layer, showing Wei Wu's yuefu style.

兼爱尚同，疏者为戚

Universal love and shared equality, make distant kin close.

兼爱尚同，疏远之人也如亲族一般。

Universal love and shared will make even the distant kin.

这是全诗的收束之句，也是曹公政治理想的最高处。「兼爱」「尚同」皆《墨子》之旨：兼爱谓爱无差等，尚同谓一同天下之义；「疏者为戚」即疏远之人也如亲戚一般，正是兼爱的具体落实。以墨家语入诗收束全篇，颇堪玩味：曹操论政，首取儒家之民本（人为贵）、法家之明法（黜陟幽明、燔丹书），终归墨家之兼爱，三家思想熔于一炉，可见其「外定武功，内兴文学」的务实用世态度，也可见他心目中的理想社会——上下同义、爱无差等、人人相亲。然而在「白骨露于野，千里无鸡鸣」的乱世，这样的理想近乎空想，故末句在仁厚中又隐着一层苍凉。以理想作结，全诗的批判与建构遂浑然一体，余韵悠长。

This is the poem's closing, the height of Cao Cao's political ideal. Universal love and shared will are Mozi's doctrines; make even the distant kin is the practice of universal love. Closing with Mozi in a Confucian-Faqian poem is telling: Cao Cao's rule takes Confucian people-first, Faqian clear law, and Mozi universal love - three schools fused. In the era of white bones and silent thousands, this ideal is near utopian; the closing is generous yet desolate. The ideal close makes criticism and construction one.

Study

Word focus

贵 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「天地间，人为贵」之「贵」字，是全诗思想的支点，一字而全篇立骨。「贵」者，尊贵、贵重，价值最高之谓。在诗人心目中，「人」不是「黔首」「蚁民」，而是天地之间最贵重的存在，这一判断把民本思想提升到宇宙观的高度。此字本出《孝经》「天地之性人为贵」，曹操不取「性」而径言「贵」，更见斩截与力量：不是抽象的人性论，而是具体的价值判断——执政者的一切制度、法令、征敛，都必须以此为准绳。下文「立君牧民」「黎庶繁息」「劳民为君，役赋其力」诸句，皆由此字生发：因为人为贵，故立君乃为牧民而非役民；因为人为贵，故劳民役赋之政乃大逆不道。一字之立，全诗之纲举目张，是典型的以一字定主旨的炼字法。

於铄 Splendid; an exclamation of praise (於, interjection; 铄, bright). 「於铄贤圣」之「於铄」，是叹美之辞，为全诗由议论转入颂古的领起字。「於」读作乌，叹辞；「铄」为辉煌、美盛之意，二字连用，犹言「啊，多么辉煌」，典出《诗经·周颂·酌》「於铄王师，遵养时晦」。曹操借颂诗之语叹美古之贤圣，声情高亢，音节洪亮，正如钟鼓齐鸣，把对圣王之治的向往之情喷薄而出。此二字之用，妙在与前后文形成声情对照：前文「黜陟幽明，黎庶繁息」议论平实，至此忽发浩叹，文气由沉稳而昂扬；下文「封建五爵，井田刑狱」的铺陈，又在这叹美声中被自然带出。一个叹辞领起一段颂古，起落之间，议论的文字有了诗的节奏与情感的温度，正见曹公熔经铸典、驱遣自如的笔力。

黜陟 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「黜陟幽明」之「黜陟」，是《尚书》成语，黜为罢退、陟为升进，二字相对，概括了用人的全部机枢——进退赏罚，一出于公。曹操引此典入诗，不是书袋的堆砌，而是其「唯才是举」政策的思想源头：汉末察举制度崩坏，「举茂才，不知书」之谣盛行，豪强把持选举，黜陟之权遂成私器。曹操此语，正是要恢复黜陟的公义——贤者虽仇必举，不肖者虽亲必弃。二字之妙，在以一种行政程序写一种政治理想，由手段而及目的，与下文「黎庶繁息」紧相衔接：黜陟所以为民，非为官也。以四个字写一部用人纲要，言约而意丰，是政治诗特有的精炼，也是曹公「清峻通脱」文风的体现——不作浮词，直指要害。

共德 Great virtue (共通洪, meaning 'great'). 「俭为共德」之「共」字，通「洪」，大也，「共德」即大德，是理解此句的关键。若不解此通假，以为节俭是「共同的德行」，则语意浮泛；一解为「洪」，则「侈恶之大，俭为洪德」对仗严整，褒贬之力倍增。《左传·庄公二十四年》：「俭，德之共也；侈，恶之大也。」曹操化用此语而改「俭」之位置，直陈「侈恶之大，俭为共德」，把「大恶」与「大德」并置，一刀两断，不容置喙。此字之用，见出曹公对经典的熟稔与改铸的魄力：不囿于原文，而取其精神，为我所用。就全诗而言，「共德」与「大恶」的对照，正是崇俭反奢论点的收网之笔，一字定褒贬，语简意重，读之如闻金玉之声。

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