先秦 Pre-Qin · 诗 Poem
东君
The Lord of the East
暾将出兮东方，照吾槛兮扶桑。
抚余马兮安驱，夜皎皎兮既明。
驾龙辀兮乘雷，载云旗兮委蛇。
长太息兮将上，心低徊兮顾怀。
羌声色兮娱人，观者憺兮忘归。
緪瑟兮交鼓，箫钟兮瑶簴。
鸣篪兮吹竽，思灵保兮贤姱。
翾飞兮翠曾，展诗兮会舞。
应律兮合节，灵之来兮蔽日。
青云衣兮白霓裳，举长矢兮射天狼。
操余弧兮反沦降，援北斗兮酌桂浆。
撰余辔兮高驼翔，杳冥冥兮以东行。
Shining upon my balustrade, the Fusang tree.
I soothe my horse and drive on calmly,
The night in brightness has already turned to dawn.
I yoke dragon wheels and ride on thunder,
Bearing cloud banners that stream and sway.
I heave a long sigh as I am about to ascend,
My heart lingers, turning back with longing.
Ah, the sounds and sights delight the people,
The onlookers are dazed and forget to return.
Strum the zithers, beat the drums in unison,
Strike the bells on their jade frames.
Play the flute, blow the yu,
Yearning for the spirit, so virtuous and fair.
They flit and soar like kingfishers,
Unfolding verses and dancing together.
Answering the pitch, keeping the rhythm,
The spirits come, shading the very sun.
With blue clouds for robes and white rainbows for skirts,
He raises his long arrow to shoot the Celestial Wolf.
He grasps his bow and sinks back down,
Lifting the Big Dipper to ladle cassia wine.
He gathers his reins and soars aloft,
Through the vast darkness, journeying eastward again.
Meaning
The poem recounts the sun god's journey from his rise above the Fusang tree in the east, his majestic procession across the sky, the joyful celebration of his worshippers, his act of shooting the Celestial Wolf (symbolizing the expulsion of evil), and his final return to the east through darkness—a cycle that promises the renewal of light each day.
温煦的太阳将从东方升起，照耀着我屋槛旁的扶桑神树。 轻抚我的马儿从容前行，长夜皎洁天色已将明。 驾着龙车乘着雷声，载着云旗随风舒展。 长长叹息即将升空，心中徘徊眷恋不舍。 那歌声舞容令人沉醉，旁观的人悠然忘返。 绷紧琴瑟齐击鼓，敲响钟磬挂在玉架。 吹起篪笛吹响竽，思念那贤美神灵。 翩然飞旋翠羽翻，展歌诗而合舞。 应和音律合节拍，神灵降临遮蔽天日。 青云为衣白霓为裳，举起长箭射那天狼。 操持弧弓向西沉落，举起北斗酌那桂酒。 揽起缰绳高飞翱翔，在幽冥中又向东方而行。
Appreciation
This hymn to the sun god is unique among the Nine Songs for its radiant and heroic tone. The poet adopts the persona of the deity, giving voice to the sun's own experience: the calm departure at dawn, the grandeur of his thunderous chariot, a moment of tender reluctance, the ecstatic festival in his honor, and the climactic shooting of the Celestial Wolf, a cosmic act that carries political resonance. The poem weaves myth, ritual, and personal longing into a tapestry of motion and color, ending with a return to darkness that nevertheless promises a new dawn. It stands as a brilliant example of Chu Ci romanticism and a profound expression of hope amidst worldly darkness.
【白话串讲】 “暾将出兮东方，照吾槛兮扶桑”——屈原写《九歌·东君》：太阳神驾着龙车从东方升起。“驾龙辀兮乘雷，载云旗兮委蛇”——“羌声色兮娱人，观者憺兮忘归”——人们看太阳神的盛典，忘了回家。 【意象与手法】 以太阳神东君第一人称自述，铺写其自东方扶桑升起、驾龙车乘雷云、巡行天际、射落天狼的壮阔行程；中段“緪瑟兮交鼓、箫钟兮瑶簴”以祭礼盛乐渲染热烈氛围；末段“举长矢兮射天狼”以射天狼象征祛除恶害。以兮字结构的反复与押韵的流转形成回旋往复的乐章感。想象瑰丽、节奏铿锵。 【情感与主旨】 《九歌》中祭祀太阳神的乐歌，将自然天象神格化，融祭祀、神话与抒情为一体。以射天狼寄托诗人深沉的政治理想与对清明治世的向往，是先秦太阳崇拜与楚地巫风结合的杰作，与《云中君》《少司命》共同构成楚人神灵谱系。 【名句点睛】 常考“暾将出兮东方，照吾槛兮扶桑”以日出扶桑写太阳神升起；“举长矢兮射天狼”以射天狼象征祛恶护国。
Background
The Eastern Lord belongs to the Nine Songs, a set of sacrificial hymns from the southern state of Chu, traditionally attributed to Qu Yuan. These songs were rooted in local shamanistic rituals, where deities were invited, entertained, and bid farewell through music and dance. The sun god, known as Dongjun, held a venerable place in Chu cosmology as a bringer of light, warmth, and victory over dark forces. The hymn was likely performed at dawn or during daylight festivities, marked by lively music and dancing. Qu Yuan is believed to have refined these folk songs, infusing them with literary elegance and layers of meaning, while preserving their ritual function. The poem reflects a worldview where the divine and human intermingle, and where natural phenomena are personified as active, sentient beings.
《东君》是屈原《九歌》十一篇中祭祀太阳神的乐歌，列于《云中君》之后。九歌本是楚地民间祭神歌曲，经屈原改造润色，成为兼具巫祭仪式与文人抒怀的瑰丽组诗。东君即太阳之神，楚人称之为东君，言日出东方而得名。在楚人的神灵谱系里，日神地位尊崇，既司光明温暖，也象征驱邪战胜。祭祀东君的仪式通常在黎明或白昼举行，与祭夜神不同，场面热烈、声色娱人。理解这首诗，先要把它放回楚地巫风的大背景：彼时楚人信鬼而好祠，其祠必作歌乐鼓舞以乐诸神，东君便是这场迎神赛会中被召唤、被礼赞、又被欢送的主角。屈原以第一人称代神立言，让太阳神自己讲述从东方扶桑升起、驾龙车乘雷云、巡行天际、射落天狼、酌饮桂浆、复归东方的完整行程。这种人神同乐的写法，既保留了祭歌的原始热烈，又注入了诗人对光明、对楚国命运的深沉寄托。尤其值得注意的是，东君不同于云中君的缥缈、湘夫人的缠绵，它是九歌中最具雄健气魄与明朗气象的一篇，通篇写光、写动、写上升，几乎没有哀怨之音，这在整组九歌里显得格外珍贵。读懂东君，也就读懂了楚人心中那轮永不沉沦的太阳，以及屈原在黑暗世道里对光明的全部向往。 楚地的太阳崇拜并非孤例，它上接上古神话，下启汉赋对天象的铺写。东君所承，既是中原华夏的日神观念，更是楚地巫风里独有的太阳礼赞；它把自然天象神格化，又把神格人化，使一场祭典既是娱神，也是自娱，更是诗人借神抒怀的巧妙伪装。
Art
The poem excels in dynamic narrative and spatial imagery, following the sun's arc from sunrise to departure. It contrasts the god's awe-inspiring power with his tender, human-like reluctance, creating a multifaceted character. Vivid colors—blue clouds, white rainbows—and a symphony of sounds—zithers, drums, bells, flutes—immerse the reader in a sensory celebration. The use of the particle 'xi' breaks each line into rhythmic pulses, mirroring the dance and music of the ritual. The closing line, 'through the vast darkness, journeying eastward again,' both completes the cycle and leaves a resonant, hopeful note, emphasizing eternal renewal.
《东君》的艺术首先在于它的动态叙事与空间展开。全诗几乎是一部长达十二句的太阳旅行纪录片：从扶桑初升，到夜尽天明，再到驾龙乘雷、云旗委蛇，继而升空顾怀、声色娱人，然后是祭乐大作、神灵蔽日，最后射天狼、酌桂浆、高驼翔而归东。镜头由低到高、由近到远、由静到动，把太阳一日的运行写得层次分明又气势奔涌。其次是以人写神、以神喻人的手法。诗中的东君既有神的威仪，又有人的柔情，还带着祭典中观者憺兮忘归的世俗欢腾，神性与人性交汇，庄严而不冰冷。第三是色彩与声音的铺排。青云衣、白霓裳是冷色调的明净；緪瑟、交鼓、箫钟、鸣篪、吹竽是一组密集的听觉轰炸；翾飞翠曾、展诗会舞则是视觉的翩跹。声色交织，恰如一场盛大祭典的实况转播。第四是结尾的余韵。杳冥冥兮以东行，日神在幽冥中又向东方而行，既呼应开篇的东方日出，又暗示光明循环不息、明日复来，给整首祭歌留下一个开放而温暖的收束。全诗想象瑰丽、节奏铿锵，融神话、祭仪、抒情于一炉，典型体现了楚辞浪漫主义的雄健朗气魄。 更妙的是全诗几乎从头到脚都在动——乘雷、委蛇、翾飞、高驼翔，这种不停的运动感，正是靠兮字切割出的短句一节节推上去的。若用后世格律去框它，反而缚住了这轮太阳的翅膀。所以读东君，要用耳朵听它的歌，用身体感它的舞，而不是用平仄的尺去量它的光。
Allusions
The poem draws deeply on ancient solar mythology. The Fusang tree, from which the sun rises, appears in the Classic of Mountains and Seas, where ten suns bathe beneath it. The Celestial Wolf (Tianlang) is a star associated with invasion and conflict; shooting it symbolizes vanquishing enemies and protecting the state. This image later echoes in Su Shi's famous line about drawing his bow to shoot the Wolf, showing its enduring cultural significance. The Big Dipper is imagined as a ladle for scooping cassia wine, a playful and majestic cosmic image. 'Xi' as a poetic particle is characteristic of Chu songs, lending the poem its musical, incantatory quality while connecting myth to heavenly bodies and statecraft.
《东君》的用典与神话渊源极深。其根柢是上古太阳崇拜与扶桑十日之神话。按《山海经·海外东经》，汤谷上有扶桑，十日所浴，九日居下枝，一日居上枝；又载一日方至、一日方出，皆载于乌。屈原笔下的照吾槛兮扶桑、暾将出兮东方，正是这一神话的诗化呈现，把太阳栖息神树的古老想象直接化入祭歌。天狼星在古代天文分野中主侵掠，举长矢兮射天狼实有政治寓意，后世苏轼《江城子》会挽雕弓如满月，西北望，射天狼，正是同一意象的隔代回响，可见楚辞所立之象，已成为中国文化中驱邪卫国的经典符号。诗中援北斗兮酌桂浆，以北斗为勺酌酒，既合星象之名，又见楚人浪漫的想象——把满天星斗都变成宴饮的器物。至于兮字这一楚辞标志性语助，则源自楚地民歌的歌唱节奏，屈原将其系统化，成为九歌共有的音乐骨架。东君所承，既是中原华夏的日神观念，更是楚地巫风里独有的太阳礼赞；它上接神话，下启汉赋对天象的铺写，在太阳书写的谱系里，是一座不可绕过的里程碑。 扶桑、天狼、北斗三象并列，神话、星象、政论三者合一，这正是楚辞以小见大、以神喻人的最高明处。
Commentary
Commentators have long seen deeper meanings beneath the surface. Wang Yi viewed the Nine Songs as Qu Yuan's way of expressing reverence for the gods while revealing his own hidden grievances; thus, the radiant sun god and his triumphant arrow may reflect the poet's wish for a purified, protected Chu realm. Zhu Xi interpreted the sun as a metaphor for the ruler, with the god's actions symbolizing loyal service to the state. Modern scholars often approach the piece as a ritual script elevated to literature. In the context of the Nine Songs, 'Eastern Lord' stands out for its absence of elegiac sorrow, conveying instead a powerful faith in light and justice—a rare brightness in Qu Yuan's often melancholic corpus.
《东君》在《九歌》中的位置与历代评价，颇能说明它的独特价值。王逸《楚辞章句》谓九歌乃屈原放逐江南、见俗人祭祀之礼歌舞之乐，其词鄙陋，因为作九歌之曲，上陈事神之敬，下见己之冤结。以此观东君，则表面颂神之辞，亦未尝不隐含诗人对楚国光明前途的瞩望——射天狼正是驱除奸佞、护佑楚邦的政治寓言。洪兴祖《楚辞补注》进一步疏解名物，使扶桑、天狼、北斗之属皆有着落。朱熹《楚辞集注》则于东君特重其义，以日喻君，以为诗人托日神以寓其忠君爱国之诚。至近世，学者多从神话学与祭祀戏剧角度重读九歌，认定东君原是楚地迎日神的祭舞脚本，屈原予以文学化提升。耐人寻味的是，东君在九歌里独标一种明朗健朗的基调，与少司命的温柔、山鬼的幽凄、国殇的悲壮各擅胜场，而它的光明气象尤为后世所宝爱。王国维论屈子之词，谓之若无《离骚》《九歌》，不可想像楚辞之伟；东君一篇，正是这伟岸气象中最耀眼的一束光。它不仅属于祭祀文学，更属于中华民族对光明与正义的永恒向往。 东君在九歌里是少有的不含哀怨的一篇，这种明朗，恰恰反衬出屈原在黑暗世道里对光明的执念——他把最暖的光，留给了一轮太阳。
Prosody
Line by line
暾将出兮东方，照吾槛兮扶桑。
The warm sun is about to rise from the east, shining upon my balustrade, the Fusang tree. This opening sets time (dawn), place (east), mythic anchor (Fusang), and the first-person divine perspective. The word 'tun' specifically denotes the gentle glow of a newborn sun, establishing a warm, intimate tone.
温煦的太阳将从东方升起，照耀着我屋槛旁的扶桑神树。
The warm sun is about to rise in the east, shining on my rail, oh, the Fusang tree.
这一句是全诗的起手式，也是整场迎日祭典的序幕。暾字极讲究，它不指正午烈日，而是刚露面的、温煦的初升之阳，带着清晨特有的柔软与希望。将出兮东方，一个将字写出即将破晓的临界感，太阳尚未完全跃出，天地已在等待。照吾槛兮扶桑则把神话空间安顿下来：太阳升起，光照之处正是神树扶桑，而吾槛乃是东君所居的栏槛，第一人称代神立言由此确立。这一句看似平铺，却同时交代了时间（拂晓）、方位（东方）、神话坐标（扶桑）与叙述视角（神自道），四两拨千斤。更妙在光照的温柔——不是炽烈灼人，而是照在栏槛上，像主人拂晓推窗，光先落在手边。楚人迎日，先迎的是这般可亲的光，而非可畏的火。读懂这一句，就摸到了整首诗温暖明朗的底色。
This is the opening of the poem and the prologue of the whole sun-welcoming rite. The word 'warm' is most carefully chosen: not the noon blaze but the soft, tender early sun just appearing, carrying the softness and hope of dawn. 'About to rise in the east'—the single 'about to' writes the threshold before dawn, the sun not fully leapt out yet heaven and earth already waiting. 'Shining on my rail, oh, the Fusang tree' fixes the mythic space: where the sun rises, the light falls precisely on the sacred Fusang tree, and 'my rail' is the railing where the Eastern Lord dwells, the first-person speech for the god established here. The line seems plain, yet at once gives time (dawn), direction (east), mythic coordinates (Fusang), and viewpoint (the god speaking), four ounces moving a thousand catties. The art lies in the tenderness of the light—not searing but falling on the railing, like the master pushing open the window at dawn, light first resting on the hand. The Chu people welcome the sun by welcoming this approachable light, not fearsome fire. Reading this line, one touches the warm, bright undertone of the whole.
驾龙辀兮乘雷，载云旗兮委蛇。
I yoke dragon wheels and ride on thunder, bearing cloud banners that stream and sway. This depicts the sun's dramatic ascent, with thunder as the sound of the divine chariot and clouds as flowing banners.
驾着龙车乘着雷声，载着云旗随风舒展。
Driving the dragon car, oh, riding the thunder, trailing the cloud banners, oh, in winding folds.
这一句写太阳升空后的出行阵仗，气象陡然打开。龙辀即龙车，古人以日行于天为乘车，屈原更以龙为御，把天文想象成一场神话巡游。乘雷二字最见力量：太阳破云而出时，雷声隆隆，古人以为那是日车的轰鸣，屈原直接拿来作动词，让东君骑着雷声前进，听觉与视觉合而为一。下句载云旗兮委蛇，云旗指以云为旗，委蛇形容旗帜随风舒展、连绵不断的样子。请注意这面旗不是人间的锦缎，而是天上的流云，它随风委蛇，正是日出时云霞漫卷的实景。两句对仗工稳，一写车驾之动，一写旌旗之态，动静相生。至此，一个威严而华美的太阳神形象已巍然立起，读者仿佛听见车声辚辚、看见云旗蔽空，祭典的盛大被推到第一个高潮。
This line writes the procession after the sun rises, the air suddenly opening wide. 'Dragon car' is the dragon chariot; the ancients took the sun's journey across the sky as a riding, and Qu Yuan further uses the dragon as the driver, turning the astronomy into a mythic progress. The words 'riding the thunder' show the most force: when the sun bursts through clouds, thunder rumbles, and the ancients thought that the roar of the sun chariot; Qu Yuan takes it directly as a verb, letting the Eastern Lord ride the thunder forward, hearing and sight fused. The next line, 'trailing the cloud banners, oh, in winding folds,' means banners of cloud, 'in winding folds' describing the flags unrolling in the wind, continuous. Note this banner is not human brocade but the drifting clouds of heaven, winding in the breeze, precisely the actual scene of cloud-wrack rolling at sunrise. The two lines are well-matched, one the motion of the chariot, one the bearing of the flags, motion and stillness feeding each other. By now a majestic, splendid sun-god stands erect; the reader seems to hear the rumble of the car and see the cloud-banners filling the sky, the rite's splendor pushed to its first climax.
长太息兮将上，心低徊兮顾怀。
I heave a long sigh as I am about to ascend, my heart lingering, turning back with longing. A sudden human touch: the god hesitates, recalling the world below. This passage personalizes the celestial being and deepens the emotional resonance.
长长叹息即将升空，心中徘徊眷恋不舍。
A long sigh, oh, as he is about to rise; his heart lingers, oh, turning back in longing.
这一句忽然收起前面的威仪，露出东君作为神的温柔一面，是全诗最动人的一笔。长太息是深长的叹息，将上是即将升空离去；心低徊兮顾怀，写他临行前心中徘徊、频频回顾、恋恋不舍。太阳每天都要升起又落下，对神而言本是寻常事，屈原却赋予它人的离愁——仿佛每一次升空都是一次告别，每一次告别都带着对人间的不舍。这种将自然现象人格化的笔法，正是楚辞最动人的秘密：神不是冷冰冰的法则，而是有性情、有牵挂的存在。低徊二字尤其细腻，写的是盘旋不前、一步三回头的状态，把一个即将离去的身影写得极有温度。也正因东君有此顾怀，后面观者憺兮忘归的欢腾才不止是热闹，而多了一层人神相恋的柔情。神惜人，人恋神，楚地巫祭的真精神就藏在这低徊一顾里。
This line suddenly withdraws the foregoing majesty, revealing the gentle side of the Eastern Lord as a god, the most moving stroke of the poem. 'A long sigh' is a deep sigh; 'about to rise' about to ascend and depart; 'his heart lingers, oh, turning back in longing' writes his hesitation before leaving, his frequent backward glances, his reluctance. The sun rises and sets every day, an ordinary matter for a god, yet Qu Yuan gives it human sorrow—as though each ascent were a farewell, each farewell carrying reluctance to part from the human world. This personification of natural phenomenon is the most moving secret of Chuci: the god is no cold law but a being with feelings and attachments. The word 'lingers' is especially fine, writing the hovering, foot-turning, one-step-three-look state, giving the departing figure warmth. Precisely because the Eastern Lord has this backward longing, the later 'the watchers are entranced and forget to return' is more than bustle, carrying the softness of god-human love. The god pities the people, the people love the god; the true spirit of Chu sacrifice lies in this lingering glance.
青云衣兮白霓裳，举长矢兮射天狼。
With blue clouds for robes and white rainbows for skirts, he raises his long arrow to shoot the Celestial Wolf. The god now appears in vivid colors, performing his heroic act of cosmic protection—symbolically removing threats to the state.
青云为衣白霓为裳，举起长箭射那天狼。
Robe of blue cloud, oh, skirt of white rainbow; he lifts the long arrow, oh, to shoot the Sky Wolf.
这一句是全诗的华彩与高潮，也是屈原政治寄托的集中爆发。青云衣、白霓裳写东君的衣饰，以青云为上衣、白霓为下裳，冷色调的明净正好对应太阳初升时天宇的清朗，也暗示神格的高洁。紧接着举长矢兮射天狼，画面陡然由柔转刚：太阳化作一张满弓，射出长箭直指天狼星。天狼在古代星象中主侵掠边患，射天狼便不仅是神话动作，更是驱除外患、护佑楚邦的象征。屈原借日神之弓，射向人间奸佞与敌寇，把祭神的颂歌悄然转化为爱国的壮歌。值得注意的是，这一射并不带杀气，而是光明对黑暗的清扫，是日出驱散夜色这一自然事实的神话表达。至此，东君完成了从温柔初升到威武祛邪的形象升华，明与刚、柔与力，在这两句里完美统一。
This is the splendor and climax of the poem, the concentrated burst of Qu Yuan's political hope. 'Robe of blue cloud, oh, skirt of white rainbow' writes the Eastern Lord's dress, blue cloud as the upper robe, white rainbow as the lower skirt, the cold-tone clarity matching the clearness of the sky at sunrise and suggesting the purity of the godhood. At once, 'he lifts the long arrow, oh, to shoot the Sky Wolf'—the picture turns suddenly from soft to strong: the sun becomes a full bow, loosing a long arrow straight at the Sky Wolf star. The Sky Wolf in ancient astrology governs invasion and border strife; shooting the wolf is no mere mythic act but the symbol of driving out external peril and guarding the state of Chu. Qu Yuan borrows the sun-god's bow to shoot at the human court's traitors and enemies, quietly turning the hymn of honoring the god into a song of patriotism. Notably, this shooting carries no slaughterous air; it is light sweeping away darkness, the mythic expression of sunrise dispersing night. Here the Eastern Lord completes his sublimation from gentle dawn rise to majestic warding-off of evil—bright and strong, soft and forceful, perfectly united in these two lines.
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Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
云中君与东君同列九歌，一写云神、一写日神，恰如楚人天空里的阴阳双璧。云中君写云之缥缈来去，连蜷兮既留、烂昭昭兮未央，气息幽微流转；东君则写日之升沉，乘雷、射天狼、高驼翔，气象雄健奔放。两篇一柔一刚、一晦一明，合看正见楚人对天象的完整礼赞。更耐寻味的是，云中君多写眷恋徘徊的失落，东君却始终明朗向上，连低徊顾怀都带着暖意。同一位屈原，在同一组祭歌里，把云与日写成了两种性格、两种心境，足见九歌并非机械的诸神名录，而是有温度的神灵谱系。
国殇 国殇 屈原 · 同出九歌、皆含卫国壮怀 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
国殇亦列九歌，写楚军将士卫国捐躯之悲壮，与东君射天狼的驱邪卫国之意遥相呼应。东君以神弓射天狼，是神话层面的御敌；国殇以血肉之躯战沙场，是人间的御敌。两者一神一人，却共享同一种楚人不畏强暴、护国以死的精神底色。差别在于，国殇是沉痛的挽歌，东君是明亮的颂歌；一写死之壮，一写光之胜。并读可见屈原爱国之诚的两副面孔：既能写尽牺牲的惨怛，也能唱出光明的必胜。九歌以国殇殿后、以东君耀前，明暗相生，恰成一组完整的楚国精神肖像。
江城子·密州出猎 Riverside Town · Hunting at Mizhou 苏轼 · 同用射天狼意象、楚辞与宋词隔代回响 Both use the image of shooting the Celestial Wolf, separated by a thousand years.Su Shi's line 'drawing my bow like a full moon, shooting the Wolf in the northwest' directly echoes Qu Yuan's 'long arrow.' This shows how the antique symbol of defending against invaders persists across genres and eras, from ritual hymn to song lyric.
苏轼江城子会挽雕弓如满月，西北望，射天狼，与东君举长矢兮射天狼，相隔千年却共用一象。屈原的箭从太阳神手中射出，射的是楚国边患与奸佞；苏轼的弓在猎场拉开，射的也是西北边患的豪情。意象同源，气脉相通——楚辞所立的射天狼，已成为中国文化里驱除外侮的经典符号。不同处在体与境：屈原借神以寄国忧，气象浑茫；苏轼以人而抒壮志，英武淋漓。一为祭歌之雄，一为词章之豪，对照而读，正见一个伟大意象如何穿越文体与朝代，始终照亮中国人的卫国之心。