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魏晋 Wei-Jin · 诗 Poem

拟行路难·其二

Imitations of The Road Is Hard, No. 2

鲍照

Bao Zhao

咏物Object poem 感怀memory 忧愤Theme 抒情Emotion

洛阳名工铸为金博山，千斫复万镂，上刻秦女携手仙。
承君清夜之欢娱，列置帏里明烛前。
外发龙鳞之丹彩，内含兰芳之紫烟。
如今君心一朝异，对此长叹终百年。

A famous craftsman of Luoyang cast this golden Boshan censer;
A thousand cuttings and ten thousand engravings—on it are carved the Qin maiden and her lord rising hand in hand to immortality.
Once I served my lord's delight on clear nights, set out within the curtains before the bright candle.
Without, it gave forth the cinnabar splendour of dragon scales; within, it held the purple smoke of orchid fragrance.
Now in a single morning my lord's heart has changed; facing this, I shall sigh long to the end of my hundred years.

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Meaning

A famous craftsman of Luoyang cast this golden Boshan censer, hammered and chiselled and engraved ten thousand times over, with the figures of the Qin maiden Nongyu and Xiao Shi rising hand in hand to immortality carved on its body. In those days it had the favour of serving my lord's pleasure on clear nights, set out within the bed-curtains before the bright candle. Outside it flashed with the cinnabar brilliance of dragon scales, and inside it held the purple smoke of orchid-scented incense. But now my lord's heart has changed in a single morning, and facing this censer I can only sigh, long and without ceasing, to the end of my hundred years.

洛阳的名匠铸成了这座金博山炉，千锤万刻、精雕细镂，炉身上刻着秦女弄玉与萧史携手成仙的图纹。当年承蒙君子在清夜欢娱之时，将我陈设在帷帐之中、明烛之前。炉外迸发着龙鳞般的丹红光彩，炉内蕴含着兰草般的紫色芳烟。可如今君心一旦变了，面对这香炉，只能长声叹息，直至百年。

Appreciation

The conception is ingenious, for the whole poem hangs on one object, a golden Boshan censer. The first six lines spend themselves on its splendour: a famous Luoyang craftsman cast it, a thousand cuttings and ten thousand engravings shaped it, the Qin maiden and her lord rise hand in hand across its body, dragon-scale cinnabar burns on the outside and orchid-scented purple smoke gathers within. Then the last two lines drop sheer: in a single morning the lord's heart has changed, and a hundred years of sighing remain. The short span of 'a single morning' set against the long labour of 'a thousand cuttings' produces the whole shock of the poem. Moving from thing to person and from splendour to ruin, Bao Zhao fuses the grievance of the abandoned woman with the sigh of the low-born scholar, and his ornate diction is carried on a hard, sinewy frame.

【白话串讲】鲍照写一件精雕的金博山炉，“如今君心一朝异，对此长叹终百年”——当初爱它如珍宝，如今变了心，只剩长叹。他用一件器物，写尽人心的易变。【意象与手法】此诗构思奇巧，以「金博山」香炉为全诗意象核心，通篇比兴双关。前六句极写香炉之精工华美——「千斫复万镂」状雕琢之繁，「龙鳞丹彩」「兰芳紫烟」写色香之盛，铺陈中见富贵气象；后二句陡转，「如今君心一朝异」以「一朝」对前文「千斫万镂」之长久，形成强烈的时间反差。由物及人、由盛转衰，一扬一抑之间，弃妇之怨与寒士之叹熔于一炉，辞藻妍丽而骨力遒劲。【情感与主旨】《拟行路难》为鲍照拟汉乐府杂曲歌辞之作，存十八首，此其二。鲍照出身寒微，遭门阀压抑，其乐府多写寒士不平与弃妇哀怨。此首借香炉起兴，明写女子为君所宠、忽遭见弃之悲，暗寓诗人「才秀人微」、遇合无常的身世之感——士人之得遇与见弃，正如香炉之承欢与弃置，皆系于「君心」之一朝。【名句点睛】命题多在：一赏「千斫复万镂」与「一朝异」的对比效果；二析以香炉双关弃妇、寒士的比兴手法；三考「秦女携手仙」典故之用，暗喻昔日欢好、反衬今日弃置。

Background

Imitations of The Road Is Hard is Bao Zhao's reworking of a Han Music Bureau miscellaneous song title; eighteen pieces survive, and this is the second. Bao Zhao came of humble family and was held down by the great clans, so his Music Bureau poems mostly write the resentment of the poor scholar and the sorrow of the discarded woman. This piece begins from a golden Boshan censer and sings the grief of a woman once favoured and suddenly cast off. Some read the censer as a figure for the woman herself, and the change of the lord's heart as a satire on how quickly warmth cools between ruler and subject or between friends, with an undertone of the poet's own sense of being brilliant yet of low standing and of never meeting his hour. It was probably written when his official career was blocked under Emperor Wen of Song, and its indirection carries much reproach.

鲍照（约414—466），字明远，东海人，南朝宋著名诗人，与谢灵运、颜延之并称「元嘉三大家」。鲍照出身寒微，才高而位卑，一生沉沦下僚，曾任临海王刘子顼前军参军等微职，后死于乱军之中，史称「才秀人微」。门阀士族制度下，寒门士子纵有奇才亦难获进用，鲍照对此有切肤之痛，其乐府诗多写寒士不平之鸣与弃妇哀怨之情。《行路难》本为汉代乐府杂曲歌辞，古辞不传，《乐府解题》谓「备言世路艰难及离别悲伤之意」，鲍照拟之而作十八首，以抒胸中郁结，此其二。此首借「金博山」香炉起兴，咏女子为君所宠、忽遭见弃之悲；然「承君清夜之欢娱」「如今君心一朝异」之语，明写男女，暗喻君臣朋友——士人之得遇与见弃，正如香炉之承欢与弃置，皆系于「君心」之一朝，诗中寄托着诗人自身「才秀人微」、遇合无常的身世之感，约作于宋文帝时仕途困踬之际，婉而多讽，沉痛深至。诗中之金博山炉既为起兴之物象，亦为诗人自我之写照——寒士之才具正如名炉之精工，而遇合之无常，千载之下犹令人感喟。

Art

The poem is ingeniously built around the golden Boshan censer as the core image. The first six lines write out the censer's fine workmanship and splendour: 'a thousand cuttings and ten thousand engravings' states the elaboration of the carving, while dragon-scale cinnabar and orchid-scented purple smoke render its colour and its perfume, so that the amplification breathes wealth. The last two lines then drop sheer, and 'Now in a single morning my lord's heart has changed' sets the brevity of one morning against the long labour of a thousand cuttings, producing a violent contrast. Moving from object to person and from splendour to ruin, working by double-edged evocation, the poem fuses the discarded woman's grievance with the poor scholar's sigh in a single vessel; the diction is beautiful, and the bone beneath it is strong.

此诗构思奇巧，以「金博山」香炉为全诗意象核心，通篇比兴双关，章法上先扬后抑、层层蓄势。前六句极写香炉之精工华美：首句「洛阳名工铸为金博山」点出产地、工匠与材质——洛阳为汉魏名都，名工铸之，金字冠之，见其名贵；「千斫复万镂」以「千」「万」与「斫」「镂」叠用，极状雕琢之繁复精细，历时之久、用力之勤，尽在其中；「上刻秦女携手仙」写炉身纹饰，弄玉萧史携手飞升之像，暗含昔日神仙眷侣般欢好的隐喻；「承君清夜之欢娱，列置帏里明烛前」转写香炉之受宠，曾于清夜欢娱之时被陈设于帏帐明烛之间，承欢之荣、受宠之深可见；「外发龙鳞之丹彩，内含兰芳之紫烟」以「外」「内」对举，色香并写——外则丹彩如龙鳞，内则紫烟如兰芳，铺陈尽致，富贵气象毕现。后二句陡然转折：「如今君心一朝异」以「一朝」对前文「千斫万镂」之长久，形成强烈的时间反差，宠爱之骤变与雕琢之艰辛恰成对照；「对此长叹终百年」以「长叹」「百年」写弃置后的无尽悲凉。由物及人、由盛转衰，一扬一抑之间，弃妇之怨与寒士之叹熔于一炉，辞藻妍丽而骨力遒劲，是鲍照「丽而能讽」的典范。

Allusions

The golden Boshan is the Boshan censer, an incense-burner used by the aristocracy of Han and Jin, shaped like layered mountain peaks. 'The Qin maiden rising hand in hand to immortality' uses the story of Xiao Shi and Nongyu, who played the pipes and ascended as immortals, told in the Biographies of Immortals; the figures of the pair rising hand in hand are carved on the censer, which both describes the ornament and hints at a past happiness like that of an immortal couple. 'The purple smoke of orchid fragrance' transforms the ordinary imagery of incense. Throughout, the beauty of the censer and its final abandonment work as a double statement about a woman whose beauty fades and whose love is withdrawn; the allusions leave no seam, and grief is lodged within ornate language.

「金博山」即博山炉，汉晋贵族薰香之器，炉盖铸成重峦叠嶂之形，炉中燃香，烟气自山间镂孔袅袅而出，故称博山炉。《西京杂记》载长安巧工丁缓「作九层博山香炉」，镂为奇禽怪兽、穷诸灵异，盛行于汉代宫廷贵族之间，故首句「洛阳名工铸为金博山」实有据可征。博山炉在古诗中常与闺阁欢爱相连：承欢时香烟缭绕、暖意融融，弃置后炉冷烟销、蛛网尘封，故后世常以炉烟喻情爱之盛衰，此诗正是其滥觞。「秦女携手仙」用萧史弄玉典故——《列仙传》载秦穆公之女弄玉好吹箫，与善吹箫之萧史结为夫妇，后弄玉乘风、萧史乘龙飞去成仙，此处言炉上刻弄玉萧史携手飞升之像，既状纹饰之美，又暗喻昔日神仙眷侣般的欢娱，与「如今君心一朝异」的弃置形成仙凡之隔的强烈对照。「兰芳之紫烟」化用薰香意象，兰为香草，《楚辞》传统中以香草喻美人品德，紫烟则暗示炉火炽盛时之欢洽。全诗以香炉之华美而终遭弃置，双关女子色衰爱弛、士人遇合无常，用典自然无痕，丽辞中寓悲慨，开唐人宫怨、闺怨托物双关之法门。

Commentary

Shen Deqian, in Sources of Ancient Poetry, said that Bao Zhao's Music Bureau poems are 'like the five giants hewing open a mountain, making what the world had never had', and this piece, ornate as it is, still shows that strangeness of force. Zhong Rong, in Gradations of Poets, praised him as 'skilled at fashioning words that give shape to things'. The Ming critic Lu Shiyong, in General Discourse on the Mirror of Poetry, wrote that 'Bao Zhao's talent and force stand out and overwhelmed his age'. Modern discussions of this poem generally approve the way it uses a censer as figure and remains beautiful while carrying reproach, opening the way for the double-edged palace and boudoir plaints of the Tang. Wang Fuzhi likewise admired the way it 'writes grief through splendid objects, so that the sorrow shows all the more sharply'.

历代评家于此诗评价甚高。钟嵘《诗品》评鲍照「善制形状写物之词」，又谓其「贵状雅俗之语」，此诗状物精工、雅俗相兼，正合此评——写博山炉之形、色、香、光，历历如绘，而寄意深远，非徒咏物。沈德潜《古诗源》谓鲍照乐府「如五丁凿山，开人世所未有」，赞其创辟之功：鲍照大力创作七言乐府，打破此前七言诗稀少之局，《拟行路难》十八首正是其代表，李白《行路难》三首即直接继承其衣钵，杜甫《春日忆李白》亦称「俊逸鲍参军」，可见其影响之深远。明陆时雍《诗镜总论》云「鲍照材力标举，凌厉当年」，王夫之《古诗评选》亦赏其「以华物写哀，反形其戚」——以华美之物写哀怨之情，华美愈甚，反衬悲戚愈深，正此诗写法之妙。近人论此诗，多许其以香炉为喻、丽而能讽，开唐人宫怨、闺怨诗双关寄托之法门，王昌龄《长信秋词》之「玉颜不及寒鸦色」、杜牧《秋夕》之托物言怨皆其流裔。此诗与《拟行路难》其一「泻水置平地」之直抒激愤不同，一隐一显，可见鲍照乐府风格的多样性。

Prosody

Form Music Bureau poem (an imitation of the miscellaneous song title The Road Is Hard)乐府诗（拟《行路难》杂曲歌辞，七言杂言古体）

Rhyme Mixed-length ancient style, free change of rhyme全诗一韵到底，押平声韵，「山、仙、前、烟、年」五字同属平水韵下平一先部，韵脚绵长悠远，与铺陈之华美及长叹之悲慨相合。

Tone pattern Ancient style, not bound by level and oblique patterning古体不拘平仄，以七言为主，首句九字、次句五七杂言，句式参差，气脉随铺陈而舒、随转折而紧。

Reading note One of Bao Zhao's eighteen Imitations of The Road Is Hard, chiefly in seven-character and mixed-length lines.《行路难》为汉代乐府杂曲歌辞，《乐府解题》谓其「备言世路艰难及离别悲伤之意」，古辞不传，鲍照拟之而作十八首，是乐府旧题拟作的开创性成果——此前七言诗极少，鲍照大力以七言杂言写乐府，将七言从零星句式中解放为整篇歌行，此首即是代表。此诗句式杂言：首句「洛阳名工铸为金博山」九字，破常格而出，音节阔大，如开篇之重锤；次句「千斫复万镂，上刻秦女携手仙」为五七杂言，长短相间，如雕琢之起落；其后四句皆七言，「承君清夜之欢娱，列置帏里明烛前」「外发龙鳞之丹彩，内含兰芳之紫烟」「如今君心一朝异，对此长叹终百年」，句式渐趋整饬，铺陈愈盛则音节愈稳，转折愈骤则声情愈促。全诗一韵到底，平声先韵绵长悠远，读来一气流走，正合香炉华美之铺陈与长叹之悲慨；古体不拘平仄，以气驭声，气盛则声宏，气郁则声沉，鲍照以气运辞，遂开盛唐歌行之先声——李白《行路难》三首即直接承此体而发扬光大。

Line by line

洛阳名工铸为金博山

A famous craftsman of Luoyang cast this golden Boshan censer.

洛阳的名匠铸造了这座金博山炉。

Famous craftsmen of Luoyang cast it as a golden boshan censer.

起句点题，五个信息层次分明：洛阳为汉魏名都，名工为天下良匠，铸为见其制作之郑重，金博山言其材质与形制之华贵——一座炉器，集名城、名匠、名材于一身，名贵不凡可知。博山炉为汉晋贵族薰香之器，炉盖铸成重峦叠嶂之形，燃香时烟气自山间缭绕而出，本就精工华美；诗人以「名工铸为」四字着意渲染，暗含此炉来之不易、弥足珍贵之意，为后文「如今君心一朝异」的弃置蓄势——越是贵重珍爱之物，弃置愈显其悲。起句平实庄重，如史笔叙述，却为全诗定下以物寓人、以盛写衰的基调：炉之被珍爱如此，其被弃置亦当可悲，而诗人以炉自比，寒士之才具与遭遇，亦如名炉之精工与冷落。

The opening names the theme, five information layers clear: Luoyang is a Han-Wei capital, famous-craftsman is the best artisan, cast writes the making's solemnity, golden-boshan writes the material and form's luxury - one censer gathers famous city, famous craftsman, famous material, hence its luxury. The boshan censer is Han-Jin aristocratic incense burner, the lid cast as layered peaks, smoke curling from the mountains when lit, already exquisite. The poet uses famous-craftsman-cast four characters to render the making's care, secretly preparing the later now-my-lord's-heart-changes abandonment - the more precious the loved object, the more tragic its abandonment. The opening is plain and solemn, like a historical brush, yet sets the poem's object-for-person, splendor-to-decay tone: the censer so cherished, its abandonment so tragic; the poet compares himself to the censer, the poor scholar's talent and fate like the famous censer's craftsmanship and neglect.

千斫复万镂，上刻秦女携手仙

A thousand cuttings and ten thousand engravings—on it are carved the Qin maiden and her lord rising hand in hand to immortality.

千锤万凿、反复雕镂，炉身上刻着弄玉萧史携手成仙的图纹。

A thousand cuts, ten thousand carvings; on it is engraved the Qin maiden hand in hand with her immortal.

两句状雕琢之繁与纹饰之丽，是全诗铺陈的展开。「千斫复万镂」以「千」「万」对举、以「斫」「镂」叠用，极状制作之繁复精细——斫为砍削，镂为雕刻，千次万次的雕琢，写尽工匠心血与炉身之精美，亦暗喻女子当年之盛、受宠之深，如名炉之千锤百炼；「上刻秦女携手仙」写炉身纹饰，用萧史弄玉吹箫乘凤成仙之典，弄玉萧史携手飞升，本是神仙眷侣的极致，刻于炉身，正暗喻昔日男女欢好如神仙眷属。两句由工及纹、由实及虚，把香炉的华美推向顶点，铺陈蓄势至此而足；「千斫万镂」之长久艰辛与后文「一朝异」之短暂骤变遥遥相对，精工愈甚，弃置愈悲，对比之力全在铺陈之厚。

These two lines describe the carving's complexity and the ornament's beauty, the poem's descriptive expansion. A-thousand-cuts-ten-thousand-carvings uses thousand and ten-thousand paired, cuts and carvings stacked, exhausting the making's complexity - cut means chiseling, carving means engraving; a thousand ten thousand carvings write the artisan's effort and the censer's beauty, also secretly comparing the woman's former prime, deep favor, like the censer's thousand cuts. On-it-is-engraved-the-Qin-maiden-hand-in-hand-with-her-immortal writes the censer's ornament, using Xiao Shi and Nong Yu's flute-and-phoenix immortal allusion; Nong Yu and Xiao Shi hand in hand ascending is the ultimate immortal couple, engraved on the censer, secretly comparing the former man-woman joy as immortal spouses. The two lines move from craft to ornament, from solid to void, pushing the censer's beauty to its peak. The thousand-cut-ten-thousand-carving long effort and the later one-morning-change's sudden contrast echo from afar; the finer the craft, the more tragic the abandonment, the contrast's force all in the description's thickness.

外发龙鳞之丹彩，内含兰芳之紫烟

Without, it gave forth the cinnabar splendour of dragon scales; within, it held the purple smoke of orchid fragrance.

炉外迸发着龙鳞般的丹红光彩，炉内蕴含着兰草般的紫色芳烟。

Outside it shines with dragon-scale crimson radiance; inside it holds orchid-fragrant purple smoke.

两句以对偶写香炉之色与香，是全诗铺陈华美的顶点。「外发龙鳞之丹彩」写其色：丹彩如龙鳞般熠熠生辉，龙鳞取其华贵尊荣之象，丹彩写其绚烂夺目之光；「内含兰芳之紫烟」写其香：紫烟如兰芳般氤氲缭绕，兰芳取其高洁清雅之质，紫烟写其袅袅升腾之态。一外一内、一色一香、一显一隐，对仗工整而意象丰满，把博山炉的富贵气象写足写透。而深味之，色香俱盛正是承欢时的光景——炉火炽盛则丹彩焕发，薰香正浓则紫烟袅袅，两句实为昔日欢娱的缩影，与下句「如今君心一朝异」的炉冷烟销恰成对照。铺陈愈华美，转折愈沉痛，以色香之盛写欢情之盛，以欢情之盛反衬弃置之悲，正是「以华物写哀，反形其戚」的妙用。

These two lines use parallel for the censer's color and scent, the descriptive peak of luxury. Outside-it-shines-with-dragon-scale-crimson-radiance writes the color: crimson radiance like dragon scales gleaming; dragon-scales for luxury, crimson for dazzling light. Inside-it-holds-orchid-fragrant-purple-smoke writes the scent: purple smoke like orchid fragrance curling; orchid for purity, purple smoke for rising curl. One outside one inside, one color one scent, one manifest one hidden; the parallel is refined and the imagery rich, the boshan censer's wealth fully written. Yet tasted deeply, color and scent both thriving is the favored time - fire fierce then crimson radiance, incense thick then purple smoke; the two lines are actually a miniature of former joy, set against the later now-my-lord's-heart-changes censer-cold-smoke-extinguished. The more gorgeous the description, the more painful the turn; using color and scent's splendor for joy's splendor, using joy's splendor to set off abandonment's grief - this is the use of gorgeous object for grief, making the sadness more visible.

如今君心一朝异，对此长叹终百年

Now in a single morning my lord's heart has changed; facing this, I shall sigh long to the end of my hundred years.

可如今君心一旦改变，面对这香炉，只能长声叹息，直至百年。

Now my lord's heart changes in a morning; facing this censer I sigh on for a hundred years.

末二句陡转，是全诗情感的爆发与收束。「如今」二字如利剑斩断前六句的华美铺陈，时间由「清夜欢娱」的往昔骤至「君心一朝异」的现在；「一朝」与「千斫复万镂」形成强烈对照——雕琢之工至于千斫万镂，而君心之变仅在一朝之间，长久的经营与骤然的翻覆，反差越大，悲慨越深。「君心异」三字双关：明写女子所事之君恩情断绝，暗喻士人所遇之君知遇无常，弃妇之怨与寒士之叹由此合流。「对此长叹终百年」以「长叹」写当下之哀，以「终百年」写余生之长——面对这只昔日承欢、今遭弃置的香炉，叹息竟要延续到百年之后，可见此痛之深且长。全诗以炉始、以叹终，盛衰之间，情致沉郁，戛然而止而余哀不尽，是鲍照乐府「骨力遒劲」的典范收束。

The closing two lines suddenly turn, the emotional explosion and resolution. Now is like a sword cutting the preceding six lines' gorgeous description, time from the clear-night-joy past suddenly to my-lord's-heart-changed present. One-morning and a-thousand-cuts-ten-thousand-carvings form strong contrast: the carving's craft reaches thousand cuts, yet the lord's heart changes in one morning; long building and sudden overturning, the greater the contrast the deeper the grief. My-lord's-heart-changes is double-meaning: on the surface the woman's lord's favor broken, inside the scholar's patron's favor uncertain; the abandoned woman's grievance and the poor scholar's sigh converge here. Facing-this-censer-I-sigh-on-for-a-hundred-years uses long-sigh for the present grief, a-hundred-years for the remaining life's length - facing this censer, once favored now abandoned, the sigh must extend to a hundred years, showing the pain's depth and length. The poem opens with the censer and closes on the sigh; between splendor and decay the feeling is somber, stopping abruptly yet lasting grief - this is the model resolution of Bao Zhao's yuefu's vigorous bone.

Study

Word focus

千斫复万镂 Numerals and verbs are piled up to state the utmost elaboration of the carving, throwing into relief how abruptly the change comes in a single morning. 「千斫复万镂」五字，是全诗铺陈之笔的根基，极状制作之繁复精细。「千」「万」为数词对举，极言其多，非实数而表无穷；「斫」「镂」为动词对举，斫是砍削大形，镂是精雕细刻，一粗一细，写尽从粗坯到成器的全部工序；「复」字连接，写出工序之层层递进、往复无穷。五字叠用两组对举，音节铿锵，如闻金石相击之声，把工匠千锤百炼的心血、香炉精美绝伦的质地全部托出。更深一层，这五字暗喻女子（及诗人）当年之精心自饰、才具之美，如名炉之千斫万镂——越写雕琢之精，越见弃置之痛，为「一朝异」的骤变蓄足势能。炼字之妙在于以工写悲：工愈甚，悲愈深，铺陈与转折之间的张力，全系于这五字的分量。

一朝 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「如今君心一朝异」之「一朝」，意为一个早晨、一时之间，是全诗转折的关键词，与「千斫复万镂」构成最刺目的对照。千斫万镂，是漫长的经营、千锤百炼的心血；一朝，却是转瞬即逝的刹那。香炉之成，费尽千日之功；君心之变，只需一朝之顷——长久与短暂、艰辛与轻易、专一与无常，全在这组对照中迸发出来，宠爱之骤变、人情之凉薄，不言自明。「一朝」一词《诗经》已有，如《王风·中谷有蓷》之叹，而鲍照以之入乐府，与「千斫万镂」对举，更见炼字对比之工。后来白居易《长恨歌》写宠衰之骤、李商隐「君恩如水向东流」写君心之易，皆承此「君心易变」的母题，而鲍照实开其先。

龙鳞 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「外发龙鳞之丹彩」之「龙鳞」，以龙之鳞甲喻博山炉炉身之纹饰与光泽，是全诗设色最见富贵气象的一笔。龙在中国文化中是至尊至贵的象征，龙鳞取其鳞甲层叠、光华闪烁之象——丹彩本已是红色之光，加上「龙鳞」的比喻，更见其纹饰之繁复、光泽之绚烂，如龙鳞般熠熠生辉。而「龙」之尊贵，正暗合香炉当年受宠之荣：承欢之时，炉火映照，丹彩焕发，如龙腾之象，尊荣无两；如此华贵之物，尚遭「君心一朝异」之弃置，则宠幸之不可恃、荣华之不可久，愈见其悲。以「龙鳞」状炉，既写物象之华美，又寓荣宠之短暂，一喻而两意俱到，正是鲍照「善制形状写物之词」的体现，亦见其「丽而能讽」的功力。

终百年 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「对此长叹终百年」之「终百年」，意为直到百年之后、终此一生，是结句最见分量之词。「长叹」写当下之哀，尚属一时之痛；「终百年」则把一时的叹息延展为终身的悲慨——面对这只昔日承欢、今遭弃置的香炉，叹息不是一时半晌，而是要延续到生命的尽头，足见此痛之深且长，几乎与生命等长。「百年」在古代诗文中常指人的一生，如曹操「人生不满百」、古诗「生年不满百」，而鲍照以「终百年」冠于「长叹」之下，叹之无尽与生之有限并置，愈见绝望之深。更深一层，此叹既是弃妇对君恩之叹，亦是寒士对知遇之叹——才秀人微者一生之遇合，正如这香炉承欢一朝、弃置百年，诗人的身世之痛，尽在这三字之中。结句以「终百年」收束，余哀绵绵，是全诗情感的最终落实。