魏晋 Wei-Jin · 赋 Fu rhapsody
雪赋
Rhapsody on Snow
岁将暮，时既昏。
寒风积，愁云繁。
梁王不悦，游于兔园。
乃置旨酒，命宾友。
召邹生，延枚叟。
相如末至，居客之右。
俄而微霰零，密雪下。
王乃歌北风于卫诗，咏南山于周雅。
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岁将暮，时既昏。
寒风积，愁云繁。
梁王不悦，游于兔园。
乃置旨酒，命宾友。
召邹生，延枚叟。
相如末至，居客之右。
俄而微霰零，密雪下。
王乃歌北风于卫诗，咏南山于周雅。
授简于司马大夫，曰："抽子秘思，骋子妍辞，侔色揣称，为寡人赋之。
"相如于是避席而起，逡巡而揖。
曰："臣闻雪宫建于东国，雪山峙于西域。
岐昌发咏于来思，姬满申歌于黄竹。
曹风以麻衣比色，楚谣以幽兰俪曲。
盈尺则呈瑞于丰年，袤丈则表沴于阴德。
雪之时义远矣哉！
请言其始。
若乃玄律穷，严气升。
焦溪涸，汤谷凝。
火井灭，温泉冰。
沸潭无涌，炎风不兴。
北户墐扉，裸壤垂缯。
于是河海生云，朔漠飞沙。
连氛累霭，揜日韬霞。
霰淅沥而先集，雪纷糅而遂多。
其为状也，散漫交错，氛氲萧索。
蔼蔼浮浮，瀌瀌弈弈。
联翩飞洒，徘徊委积。
始缘甍而冒栋，终开帘而入隙。
初便娟于墀庑，末萦盈于帷席。
既因方而为珪，亦遇圆而成璧。
眄隰则万顷同缟，瞻山则千岩俱白。
于是台如重璧，逵似连璐。
庭列瑶阶，林挺琼树。
皓鹤夺鲜，白鹇失素。
纨袖惭冶，玉颜掩姱。
若乃积素未亏，白日朝鲜。
烂兮若烛龙衔耀照昆山。
尔其流滴垂冰，缘溜承隅。
粲兮若冯夷剖蚌列明珠。
至夫缤纷繁骛之貌，皓旰皦洁之仪。
回散萦积之势，飞聚凝曜之奇。
固展转而无穷，嗟难得而备知。
若乃申娱玩之无已，夜幽静而多怀。
风触楹而转响，月承幌而通晖。
酌湘吴之醇酎，御狐貉之兼衣。
对庭鹍之双舞，瞻云雁之孤飞。
践霜雪之交积，怜枝叶之相违。
驰遥思于千里，愿接手而同归。
"邹阳闻之，懑然心服。
有怀妍唱，敬接末曲。
于是乃作而赋积雪之歌。
歌曰："携佳人兮披重幄，援绮衾兮坐芳缛。
燎薰炉兮炳明烛，酌桂酒兮扬清曲。
"又续而为白雪之歌。
歌曰："曲既扬兮酒既陈，朱颜酡兮思自亲。
愿低帷以昵枕，念解佩而褫绅。
怨年岁之易暮，伤后会之无因。
君宁见阶上之白雪，岂鲜耀于阳春。
"歌卒，王乃寻绎吟玩，抚览扼腕。
顾谓枚叔，起而为乱。
乱曰："白羽虽白，质以轻兮，白玉虽白，空守贞兮。
未若兹雪，因时兴灭。
玄阴凝不昧其洁，太阳曜不固其节。
节岂我名，洁岂我贞。
凭云升降，从风飘零。
值物而赋象，任地而构造。
素因遇立，污随染成。
纵心皓然，何虑何营？
"
Xiangru thereupon left his mat and rose, hesitated, bowed, and said: I have heard that the Palace of Snow was built in the eastern kingdom and that the Mountain of Snow stands in the western regions. King Wen of Zhou raised his chant of the homeward march, and King Mu prolonged his song of the yellow bamboo. The airs of Cao likened its colour to hempen cloth, and the songs of Chu paired it with the hidden orchid. A foot of snow is an omen of a plentiful year; ten feet betoken the sickness of the darker power. Far-reaching indeed is the meaning of snow in its season. Let me speak of its beginnings.
When the dark pitch-pipe is spent and the harsh air rises, Scorched Creek runs dry and the Valley of Hot Springs freezes; the fire wells go out and the warm springs turn to ice; the boiling pools no longer surge and the burning winds no longer blow. Households of the north seal their doors with mud, and the naked lands hang up silk for warmth. Then clouds are born of river and sea, sand flies over the northern desert, vapours link and haze piles up, veiling the sun and sheathing the rose of dawn. The sleet patters down and gathers first, and then the snow comes mingled and thick.
As for its shapes: it scatters and crosses, it steams and thins away; soft and floating, dense and glittering, it flies and sprinkles in linked flight, hovers and settles in drifts. At first it rides the eaves and covers the ridgepoles; at last it lifts the curtain and enters at the chink. It turns delicately about the steps and porches, and then winds and fills the hangings and the mats. Meeting a square it becomes a jade tablet; meeting a circle it becomes a jade disc. Look down over the lowlands, and ten thousand acres are one white silk; look up at the mountains, and a thousand crags are white together. Then the terraces are like doubled jade, the highways like strung gems; the courtyard sets out stairs of jasper, the grove lifts trees of jade. The white crane loses its brightness and the silver pheasant its purity; the sleeve of fine silk is ashamed of its beauty, and the face of jade is dimmed in its loveliness.
And when the drifts are not yet lessened and the morning sun is fresh, all is ablaze as though the Torch Dragon held its splendour in its mouth and lit the hills of Kunlun. When the melt drips and hangs in icicles, running along the eaves and catching at the corners, all is brilliant as though the River Earl had split open oysters and set out bright pearls. As for the look of that swarming, thronging multitude, the bearing of that white and shining purity, the force of its whirling, scattering, winding and heaping, the marvel of its flying, gathering, freezing and blazing, these turn and turn without end, and I sigh that they can never be fully known.
And when the pleasure of it is prolonged without end, and the night is deep and still and full of thought: wind touches the pillars and turns into sound, the moon comes to the window and shines through. We pour the pure wine of Xiang and Wu and put on our doubled coats of fox and badger; we watch the paired dance of the cranes in the courtyard and look at the single wild goose flying among the clouds; we tread the piled frost and snow and pity the branch and leaf that must part. Our far thoughts race a thousand miles, and we long to take hands and go home together.
Zou Yang heard him and was inwardly convinced, and having lovely words of his own to offer he respectfully took up the closing air and made the Song of Piled Snow. The song ran: Leading a fair companion, we draw the doubled curtains; taking a damask quilt, we sit on the fragrant mat; we light the incense burner and the bright candles, pour the cassia wine and raise a clear tune. Then he went on and made the Song of White Snow: The tune already raised, the wine already set, our faces flush with wine and our thoughts grow close; I would let down the curtain and share the pillow, and think of loosing the girdle-pendants and the sash; I grieve that the year so easily comes to its dusk, and mourn that our meeting again has no cause. Do you not see the white snow on the steps, and can it shine bright in the warmth of spring? When the song was done the king turned it over and hummed it and dwelt upon it, and laying his hand on the scroll he gripped his own wrist; then he looked at old Mei and bade him rise and make the closing envoi.
The envoi ran: White feathers are white, but their substance is light; white jade is white, but it guards its purity in vain. Neither is like this snow, which rises and vanishes with its season: the dark power gathers, yet does not hide its purity; the great sun blazes, yet cannot hold it to its constancy. Constancy is not my name, purity is not my chastity; riding the clouds I go up and down, following the wind I drift and fall; I take the form of whatever I meet and build myself according to the ground. My whiteness stands by circumstance, my stain comes with what dyes me. Let the heart run free and clear: what is there to worry over, what to contrive?
Meaning
A rhapsody in the Han manner of host and guest: at the year's end the King of Liang, out of spirits, gathers his guests in the Rabbit Park, snow begins to fall, and he commands Sima Xiangru to compose upon it. Xiangru first recalls the lore and omens of snow, then describes the freezing of the world, the coming of the storm, the shapes and motions of the falling flakes, the white world it makes of terrace, road, courtyard and grove, its brilliance under the morning sun and in the melting icicles, and finally the night's revel and the longing for home that it stirs. Zou Yang answers with two songs of snow, and Mei Cheng closes with an envoi arguing that snow, unlike white feather or white jade, claims neither constancy nor purity for itself but takes its shape from whatever it meets, so that a heart left free and clear has nothing to worry over and nothing to contrive.
岁末将尽，天色已昏。寒风渐积，愁云层叠。梁王心中不乐，游于兔园，便陈设美酒，召集宾客好友，请来邹阳，延请枚乘，司马相如最后才到，坐在客人的上座。不久细霰飘零，密雪纷下。梁王于是歌咏《卫风》中的《北风》诗，吟唱《小雅》里的《南山》诗，把竹简交给司马相如说：「请施展你幽秘的构思，驰骋你妍丽的文辞，描摹雪色，斟酌形貌，替我作一篇雪赋。」 相如离席而起，迟疑行礼道：「臣听说雪宫建于东方之国，雪山屹立西域。周文王发为《来思》之咏，周穆王续作《黄竹》之歌。曹国风诗以麻衣比雪色，楚地歌谣以幽兰配曲。雪盈尺是丰年之瑞，雪过丈则显阴德之灾。雪的时义多么深远！请容我说它的起始。 及至玄冬将尽，寒气上升。焦溪干涸，汤谷凝结，火井熄灭，温泉成冰，沸潭不再涌腾，炎风不再吹起。北户人家泥封门窗，裸身之壤也垂下缯帛。于是河海升云，大漠飞沙，连氛重霭，掩日蔽霞，霰淅沥先集，雪纷杂渐多。 雪的状貌，散漫交错，氛氲萧索，蔼蔼浮浮，瀌瀌盛多，联翩飞洒，徘徊堆积。起初沿屋檐冒栋梁，终而开帘入缝隙；先在阶庑边轻柔回旋，后在帷席上萦绕。遇方成珪，逢圆化璧。俯瞰低地则万顷同白，仰望山岩则千峰俱素。于是楼台如重璧，大道似连璐，庭列瑶阶，林挺琼树，皓鹤失其鲜，白鹇失其素，纨袖愧其艳，玉颜掩其姣。 及至积雪未消，朝阳鲜丽，烂然如烛龙衔耀照昆山；那融滴垂冰，缘檐承角，粲然如冯夷剖蚌列明珠。至于缤纷繁聚之貌、皓洁之仪、回散积结之势、飞聚凝辉之奇，本辗转无穷，叹难尽知。 何况游乐不已，夜静多怀：风触柱而回响，月临窗而通辉。饮湘吴美酒，披狐貉兼衣，对庭中鹍鸡双舞，望云际孤雁独飞，踏霜雪之积，怜枝叶相违，驰远思于千里，愿携手而同归。」 邹阳听罢，怅然心服，也怀妍词相和，敬续末曲，作积雪之歌：「携佳人披重幄，抱绮被坐芳褥，燃薰炉炳明烛，斟桂酒扬清曲。」又续白雪之歌：「曲既扬酒既陈，朱颜醉思相亲，愿低帷就枕，念解佩脱绅，怨年岁易暮，伤后会无因。君岂见阶上白雪，岂能鲜耀于阳春。」歌毕，梁王玩味吟赏，抚卷扼腕，回头对枚乘说，起来作乱辞。 乱辞道：「白羽虽白，质轻为空；白玉虽白，空守其贞。不如这雪，因时兴灭：玄阴凝而不掩其洁，太阳照而不固其节。节非我名，洁非我贞，凭云升降，随风飘零，值物赋象，任地构造，素因遇而立，污随染而成。纵心皓然，何虑何营？」
Appreciation
The rhapsody is tightly built, unfolding by the old device of host and guest in turn: first the occasion of the snow, then its causes, its shapes, its brilliance, the night spent enjoying it, and at last the songs of Zou Yang and the envoi of Mei Cheng. Its sentences run mainly in balanced fours and sixes with sao-style lyrics set among them, so that sound and feeling reinforce each other. The colouring is rich without being heaped up, and the similes come in wave after wave, terraces like doubled jade and highways like strung gems, exhausting the look of the thing. In the closing section the writing passes from scene to argument, and the snow's readiness to take whatever shape its season and its ground allow becomes the illumination of the whole.
【白话串讲】 谢惠连写雪：岁暮天昏，寒风积，愁云繁。“俄而微霰零，密雪下”——先是细雪，后是大雪。这篇《雪赋》是中国文学里写雪最华美的一篇，让谢惠连名垂青史。 【意象与手法】 全赋结构谨严，主客问答依次展开：先叙致雪之由，次写雪之成因、状貌、光彩、夜玩，终以邹阳歌、枚乘乱收束。句式以四六骈俪为主，间以骚体歌辞，声情并茂。设色秾丽而不堆砌，博喻层出，「蔼蔼浮浮，瀌瀌弈弈」「台如重璧，逵似连璐」极尽其形，末段由景入理，以雪之任运自然点醒全篇 【情感与主旨】 谢惠连（407—433），陈郡阳夏人，谢灵运族弟，以才藻见赏于灵运。此赋虚构梁孝王兔园之会，命司马相如赋雪，实为六朝贵族园林宴集、以文相娱之风的折射，亦可见当时骈赋讲求藻饰、征事用典的创作趣味；乱辞「纵心皓然，何虑何营」则由体物入玄思，寄任运自然之理 【名句点睛】 考点一：结构，主客问答、由景入理的汉赋遗法；考点二：艺术，骈俪句式与博喻排比，如「台如重璧，逵似连璐」的形似之妙；考点三：「侔色揣称」的咏物要旨与乱辞「纵心皓然」的玄理
Background
Xie Huilian (407-433), a native of Yangxia in Chen prefecture, was a clansman of Xie Lingyun, who admired his gifts. The rhapsody was most likely written under the Liu-Song of the Southern Dynasties, imitating the Han device of host and guest in dialogue and inventing a gathering of King Xiao of Liang in the Rabbit Park at which Sima Xiangru is ordered to write on snow. Though its setting is lodged in antiquity, it reflects the Six Dynasties fashion for aristocratic garden parties at which letters were the entertainment, and it shows the taste of the age for the parallel rhapsody, which prized ornament and the marshalling of learned reference.
谢惠连（407—433），陈郡阳夏人，谢灵运族弟，南朝宋文学家，以才藻见赏于谢灵运，时人并称「大小谢」，其才思敏捷，十岁能文，《雪赋》为其代表作，钟嵘《诗品》谓其「才思富捷」。此赋约作于南朝宋文帝元嘉年间，虚构梁孝王兔园之会，命司马相如赋雪，实为借古人之口写雪之状貌与哲理。其背景虽托于古，实则是六朝贵族园林宴集、以文相娱之风的折射：梁孝王兔园宾从之盛，正是六朝豪门招揽文士、宴饮酬唱的写照；司马相如奉命作赋，正是六朝文人以辞赋为才学、以藻饰为能事的缩影。谢惠连一生仕途不显，仅三十七岁而卒，然其《雪赋》与谢庄《月赋》并称，开南朝骈赋清丽一路，是六朝咏物赋的典范，也是理解南朝贵族文化与骈文艺术的重要作品。此赋亦反映了南朝士人「以文为娱」的审美趣味，其铺陈雕琢而归于玄理的结构，为后世咏物赋确立了范式，在赋体文学史上占有重要地位。
Art
The rhapsody is strictly constructed, its host-and-guest exchange opening out in order: first the reason for the snow, then its formation, its appearance, its brilliance, the pleasure taken in it by night, and finally the songs of Zou Yang and the envoi of Mei Cheng. Its lines are chiefly parallel fours and sixes, with sao-style songs interspersed, so that sound and feeling are both full. The colouring is lush yet not piled up, and elaborate similes come layer upon layer, with phrases for the dense glitter of the fall and comparisons of terraces to doubled jade and highways to strung gems that render the shape of it to the utmost. In the last section the writing rises from scene to principle, and the snow's willingness to follow its season awakens the meaning of the whole.
全赋结构谨严，主客问答依次展开：先叙致雪之由（岁暮、梁王不悦、游兔园、命赋雪），次写雪之成因（玄律穷、严气升、河海生云、霰集雪下），再写雪之状貌（散漫交错、因方成珪、台如重璧）、光彩（烛龙衔耀、冯夷剖蚌）与夜玩（风触楹、月通晖、对鹍双舞），终以邹阳积雪歌、白雪歌与枚乘乱辞收束，由景入理，层次井然。句式以四六骈俪为主，间以骚体歌辞，声情并茂；设色秾丽而不堆砌，博喻层出，如「蔼蔼浮浮，瀌瀌弈弈」「台如重璧，逵似连璐」「皓鹤夺鲜，白鹇失素」等，极尽雪之形色；末段乱辞由雪之因时兴灭、遇物赋形，升华为「纵心皓然，何虑何营」的玄理，由体物而入玄思，是六朝赋「体物写志」的典型，也是骈赋艺术成熟的标志。尤妙者，写雪之状貌一段，由「其为状也」总起，而以叠字、博喻层层铺写，先总后分、由实入虚，正是骈赋「铺采摘文」而能「以简驭繁」的典范。其体物之精，直可追汉赋而韵致过之。
Allusions
The Rabbit Park of the King of Liang draws on King Xiao of Liang, Liu Wu, who gathered Mei Cheng and Sima Xiangru in that park. The chant of the homeward march refers to the ode 'Gathering Ferns' in the lesser odes, with its line that now on our return the snow falls thick. The song of the yellow bamboo uses the Yellow Bamboo song of King Mu of Zhou. The hempen cloth of the airs of Cao comes from 'The Mayfly', where the hemp robe is like snow. The Torch Dragon comes from the 'Classic of Mountains and Seas', and the River Earl is the god of the Yellow River. The references are abundant yet apt, and show how thoroughly a Six Dynasties rhapsodist could marshal his sources.
此赋用典繁富而贴切，足见六朝赋家征事之功。「梁王兔园」用梁孝王刘武筑东苑（兔园）以延枚乘、司马相如等文士之典，事见《汉书·梁孝王传》；「雪宫建于东国」用《孟子》「齐有雪宫」之典；「岐昌发咏于来思」指周文王（姬昌）《小雅·采薇》「昔我往矣，雨雪霏霏，今我来思」之咏；「姬满申歌于黄竹」用周穆王（姬满）游于黄台之上，北风雨雪，作《黄竹》诗三章之典，见《穆天子传》；「曹风以麻衣比色」用《曹风·蜉蝣》「麻衣如雪」之句；「楚谣以幽兰俪曲」用宋玉《讽赋》「幽兰白雪」之曲；「烛龙」出《山海经·大荒北经》「烛龙衔火精以照天」，写雪光之烂；「冯夷」为河伯之名，出《山海经》等，写冰凌之粲。用典皆切合雪之题材而浑化无痕，正见南朝骈赋「典重而藻丽」的艺术追求。此外，「梁王不悦」「授简于司马大夫」等情节，亦暗用《汉书·枚乘传》《西京杂记》所载兔园宾从故事，将历史故实融入虚构场景，虚实相生，正是六朝赋「拟古设境」的典型手法。
Commentary
The 'Selections of Refined Literature' includes this rhapsody, and Crown Prince Zhaoming treated it as a model of the Six Dynasties short rhapsody on an object. The Ming critic Sun Kuang said of it that every line is tempered and every word finely wrought. Modern scholars pair Xie Huilian's 'Rhapsody on Snow' with Xie Zhuang's 'Rhapsody on the Moon' as the works that opened the clear and lovely line of Southern Dynasties parallel rhapsody, and hold that its skill in depicting things and the argument of its close are alike exemplary for writers of the form.
《文选》收录此赋，昭明太子萧统以之为六朝咏物小赋之范，与谢庄《月赋》并收，可见其在六朝赋中的地位。明人孙月峰评此赋「句句炼，字字工」，极赏其语言之精工；清人许梿评《雪赋》「刻画之工，为赋雪之祖」，以为后世咏雪之作皆祖此篇。现代论者以为谢惠连《雪赋》与谢庄《月赋》并称，开南朝骈赋清丽一路，其状物之工（如「台如重璧，逵似连璐」的形似之妙）、结尾之理（「纵心皓然，何虑何营」的玄思），足为赋家法式。此赋在文学史上的意义有三：其一，以骈俪之体写咏物之篇，将汉赋的铺陈扬厉转为六朝的清丽工巧，是赋体演变的里程碑；其二，以「主客问答」写咏物，借司马相如、邹阳、枚乘之口展开，为咏物赋提供了「设代言人」的范式；其三，由体物而入玄理，将「雪」升华为「因时兴灭、纵心皓然」的哲理象征，开唐宋咏物诗「托物言志」之先声，是理解六朝骈赋艺术成就与玄学思想的经典文本。其影响亦及于唐诗，如韩愈《咏雪》、柳宗元《江雪》等，皆可于此赋中见其端绪。
Prosody
Line by line
岁将暮，时既昏。寒风积，愁云繁
The year draws to its close and the light has already dimmed; cold winds gather, and sorrowing clouds lie thick.
岁末将尽，天色已昏。寒风渐积，愁云层叠
The year is drawing to its close, the hour already dusk; cold winds pile up, and clouds of sorrow thicken across the sky.
此四句发端，以对仗凝练之笔布下寒愁之氛，是全文的起兴。「岁将暮」点明时节——一年将尽，岁末寒冬；「时既昏」点明时辰——天色已昏，暮色四合；「寒风积」写风——寒风渐积，愈吹愈烈；「愁云繁」写云——愁云层叠，阴翳满天。四句八字对仗，一写时、一写色、一写风、一写云，由时间而空间，层层布景，将一个岁暮天寒、风愁云惨的冬日黄昏写得如在目前。「愁云」之「愁」字尤为点睛：云本无情，着一「愁」字，天亦含愁，为下文「梁王不悦」的人心之愁预作渲染——天愁引出人愁，景语即是情语。此四句发端虽短，却以凝练的笔法定下全文的冷寂基调，如一幅冬景画的开卷，为雪之将下、赋之将作提供了时令与气氛的铺垫。
The four opening lines set the atmosphere through tight, balanced phrasing before a flake has fallen. 'The year draws to its close' fixes the season, 'the hour is dusk' the time of day; 'cold winds pile up' gives the wind, 'sorrowful clouds thicken' the sky. The four phrases move from time to weather, layering a winter evening. The word 'sorrowful' is the masterstroke: clouds are indifferent, yet once they are called sorrowful, the sky itself seems to grieve, preparing the human melancholy of the Prince of Liang that follows. In just eight words the piece establishes its cold, hushed register like the opening scroll of a winter landscape.
其为状也，散漫交错，氛氲萧索
As for its shapes: it scatters and crosses, it steams and thins away.
雪的状貌，散漫交错，弥漫而萧索
As for its appearance: it drifts and scatters, crossing and weaving, dense and diffused, chilly and forlorn.
此三句总括雪貌，领起下文铺陈，是全文写雪之「总纲」。「其为状也」以「其」指雪，「状」言形貌，是骈赋体物惯用的发语，总起下文；「散漫交错」写雪之形——雪花散落漫飞、纵横交错，疏密相间，写其飘落之态；「氛氲萧索」写雪之气——氛氲为弥漫浓郁之貌，写雪势之盛、雪气之浓，萧索为冷落寂寥之貌，写雪境之清冷。四字两两相对，一写形之散、一写气之盛，将雪「既纷纷而洒落，复郁郁而弥漫」的状貌写得概括而传神。此三句的妙处在于「总—分」的章法：先总括雪之状貌，再以「蔼蔼浮浮，瀌瀌弈弈」等叠字铺陈细写，先总后分、纲举目张，正是汉赋「铺采摘文」而骈赋「以简驭繁」的章法所在，也是谢惠连体物精工的起点。
This sentence summarizes the look of the snow before the detailed description that follows, functioning as the governing statement of the rhapsody's central image. 'Drifts and scatters, crossing and weaving' renders the flakes in motion, sparse and dense by turns; 'dense and chilly' splits the difference between the thick, rich air of falling snow and the desolate, cold stillness it leaves behind. The skill lies in the structure: a total statement first, then the layered reduplicative descriptions that expand on it—Han rhapsody as a web, but here controlled by a single concise frame. It is the starting point of Xie Huilian's meticulous art of describing a thing.
台如重璧，逵似连璐
The terraces are like doubled jade, the highways like strung gems.
楼台如重叠的白璧，大道似相连的美玉
The terraces look like stacked discs of jade, the broad roads like strands of linked jade.
此二句以博喻写雪后世界，是全文最著名的写景名句，极见骈赋形似之工。「台如重璧」写雪覆楼台之状：台榭之上积雪层层，如重叠的白璧（璧为圆形玉器），以玉喻雪，写其白、其厚、其莹；「逵似连璐」写雪覆大道之状：道路之上积雪相连，如连绵的美玉（璐为美玉），以玉喻路，写其长、其净、其光。「璧」「璐」皆美玉，以玉喻雪，写尽雪之洁白莹润；「重」「连」写雪之厚积相连，如铺天盖地。此二句以物喻物、以博喻见长，与下句「庭列瑶阶，林挺琼树」连用「瑶」「琼」等玉类字，将雪后世界写得如琼楼玉宇、瑶台仙境，极尽设色之秾丽与想象之华美，是六朝赋「侔色揣称」艺术的高峰，也是后世写雪最常引用的名句。
These two lines, the rhapsody's most famous, compare the snowbound world to jade with astonishing precision. Terraces piled with snow become 'stacked jade discs'—round jade objects—conveying whiteness, thickness, and sheen; the roads, joined by unbroken snow, become 'linked jade,' conveying length, purity, and luster. Choosing 'jade' twice and then extending the metaphor with 'jasper steps' and 'jade trees' in the next lines, Xie turns the snowscape into a realm of jade pavilions and immortal terraces. It represents the peak of the Six Dynasties art of matching words to the thing described, and remains the most quoted image of snow in later Chinese literature.
纵心皓然，何虑何营
Let the heart run free and clear: what is there to worry over, what to contrive?
纵放此心于皓白之境，有何忧虑、有何营求
Let the mind roam in that whiteness—what is there to worry over, what is there to seek?
乱辞收束，由雪之洁升华为任运自然之哲理，是全文的点睛之笔。「纵心皓然」写心之纵放：纵心于皓然洁白之境，心如雪之皓然、之空明，不染尘滓；「何虑何营」以反诘写心之无累：有何忧虑、有何营求——虑为忧思，营为营求，皆尘世之累；雪因时兴灭、遇物赋形，无所执著，人若能如雪之随遇而安、任运自然，则何虑何营？此二句以雪之洁写心之净，以雪之随物赋形写人之随遇而安，将咏物升华为玄理：白羽虽白而质轻，白玉虽白而空守其贞，皆有所执；唯雪因时兴灭、素因遇立，无所执著而无所不包——这正是魏晋玄学「自然」「逍遥」思想的诗化表达。全赋由体物而写志，由雪之状貌而入雪之哲理，结以「纵心皓然，何虑何营」，举重若轻，境界全出，是骈赋「体物写志」的典范收束。
The coda rises from the snow's purity to a philosophy of natural ease. 'Let the mind roam in that whiteness' identifies the mind with the snow, luminous and unstained; 'what is there to worry over, what is there to seek?' rejects both anxious care and restless striving. The snow rises and falls with the season and takes the shape of whatever it touches, holding nothing; if a person could be as unattachmented, what would remain to grieve or pursue? The passage transforms the object poem into metaphysics: white plumage is light, white jade keeps a sterile chastity, but the snow clings to nothing and contains everything. It is the poetic expression of Wei-Jin Daoism's idea of natural freedom, and a model conclusion to a rhapsody that describes a thing only to arrive at a truth.
Study
Word focus
Related Reading
Both belong to the lyric short rhapsody of the Wei and Jin; one sings snow and lodges an argument, the other paints a goddess and lodges feeling, and both are finely ornamented.
曹植《洛神赋》以「翩若惊鸿，婉若游龙」写洛神之美，托宓妃以寄怀才不遇之悲，情辞并茂、哀婉悱恻；此赋以「台如重璧，逵似连璐」写雪之美，托雪以寄任运自然之思，清丽工巧、体物入微。两赋同属魏晋南北朝抒情小赋，同以极尽形容之笔写美（美人之美与雪之美），而曹赋以写情为主、寄慨深沉，谢赋以体物为主、归于玄理，一情一理、一哀一旷，恰成对照。比较二赋，可见抒情小赋从建安到南朝的发展：由言志抒情到体物写志，由情辞奔放到藻饰工丽，正是赋体演变的重要轨迹。
小园赋 Rhapsody on the Small Garden 庾信 · 皆六朝骈赋名篇，一清丽一沉郁 Different (purpose)Both are famous Six Dynasties parallel rhapsodies; Xie depicts an object with clear grace, Yu lodges the grief of his own life, and read together they show the changing course of the form.
庾信《小园赋》以「一寸二寸之鱼，三竿两竿之竹」写小园之趣，「岂必连闼洞房，南阳樊重之第」写归隐之思，然身世之悲（羁北不归）弥漫其间，沉郁悲凉；此赋以「岁将暮，时既昏」写冬景，「纵心皓然，何虑何营」写玄思，清丽洒脱。两赋同为六朝骈赋名篇，同以精巧骈俪写景抒情，而谢赋体物清丽、归于玄理之旷，庾赋托身世之悲、寄乡关之思，一旷一悲。比较二赋，既可见南朝骈赋从宋到梁的发展，也可体会赋家身世对作品情调的决定性影响。
三都赋序 Preface to the Rhapsodies on the Three Capitals 左思 · 同出魏晋赋坛，一主征实一尚藻丽 Same (Wei-Jin rhapsody)Both come from the Wei-Jin world of the rhapsody; Zuo Si's preface argues for factual truth in the form while Xie Huilian prizes ornament, and the contrast shows the range of the genre.
左思《三都赋序》主张「美物者贵依其本，赞事者宜本其实」，强调赋须征实、反对虚辞滥说，其《三都赋》十年乃成、洛阳纸贵；此赋虚构梁王兔园之会，借司马相如等赋雪，以想象之笔写雪之状貌，尚藻饰、重骈俪。两赋同为魏晋南北朝赋坛之作，而左思主征实、谢惠连尚藻丽，正是赋学观念的两极：汉魏大赋重铺陈征实，南朝骈赋重藻饰抒情。比较二者，可见赋体由汉入晋、由晋入南朝的演变脉络，也可体会「征实」与「尚文」两种赋学观的分野与消长。