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战国战国 · 文 Prose

北冥有鱼

In the Northern Darkness There Is a Fish (Beiming You Yu)

庄子

Zhuangzi

名篇Masterpiece 寓言Fable 想象Imagination 哲理Philosophy

北冥有鱼，其名为鲲。
鲲之大，不知其几千里也。
化而为鸟，其名为鹏。
鹏之背，不知其几千里也；
怒而飞，其翼若垂天之云。
是鸟也，海运则将徙于南冥。
南冥者，天池也。

In the northern darkness there is a fish, and its name is the Kun. The Kun is so great that one does not know how many thousand li it is. It changes into a bird, and its name is the Peng. The back of the Peng, one does not know how many thousand li it is; when it rises in anger and flies, its wings are like the clouds hanging from the sky. This bird, when the sea moves, will migrate to the southern darkness. The southern darkness is the pool of heaven.

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Meaning

The opening of the 'Free and Easy Wandering' of the Zhuangzi, the most famous fable of the whole book. In the northern darkness there is a fish called the Kun, so great that one does not know how many thousand li it is; it changes into a bird called the Peng, whose back is also of the unknown thousand li, and when it rises in anger and flies, its wings are like the clouds hanging from the sky; this bird, when the sea moves, migrates to the southern darkness, the pool of heaven. The fable, with the extreme imagination and exaggeration, establishes the great image of the Kun-Peng and sets the theme of the whole 'Free and Easy Wandering': the freedom of the great is beyond the small. Below, the cicada and the dove will laugh at the great Peng and question the 'rising to the height of ninety thousand li and going south'—the small cannot understand the great, and the Zhuangzi will further the argument of the 'free and easy wandering' beyond both the great and the small: 'the one who rides on the correctness of the heaven and the earth, and rides on the change of the six breaths, to wander through the infinite, what has he to depend on?'

北方的大海里有一条鱼，它的名字叫鲲。鲲的大，不知道有几千里。它变化成鸟，名字叫鹏。鹏的脊背，不知道有几千里；它振翅奋飞的时候，翅膀就像挂在天边的云。这只鸟，海水运动（海风大作）的时候就要迁徙到南方的大海。南方的大海，是天然形成的大池。

Appreciation

This passage is the typical sample of the Zhuangzi's 'the fables nine in ten,' its art in the imagination, the exaggeration, and the refrain. First, the writing of the 'great through the small': the Zhuangzi does not write the concrete form of the Kun-Peng but writes its greatness with the suspended stroke of the 'one does not know how many thousand li it is'—the less the reader can imagine its greatness, the more it is felt to be unnamable; the 'northern darkness' and the 'pool of heaven' give the greatness of the Kun-Peng an infinite frame of reference with the extremely far and wide space. Second, the philosophical image of the 'change': the fish changing into the bird, the northern darkness migrating to the southern darkness, the 'change' of the Zhuangzi writing the change of the kinds, carrying the concept of the equality of all things—all things change and none has the fixed form. Third, the refrain of the sentence-forms: 'in the northern darkness there is a fish, and its name is the Kun' and 'it changes into a bird, and its name is the Peng,' 'the back of the Peng, one does not know how many thousand li it is' and 'its name... its name,' the refrain and the return, the rhythm of the prose and the wonder of the imagination in one.

【白话串讲】庄子写《北冥有鱼》：“北冥有鱼，其名为鲲。鲲之大，不知其几千里也”。“化而为鸟，其名为鹏。鹏之背，不知其几千里也；怒而飞，其翼若垂天之云”——他写鲲鹏展翅。【意象与手法】庄子善用寓言与夸张：以「不知其几千里也」的复沓写体积之巨，以「垂天之云」的比喻写羽翼之广，以「海运」「天池」写时空之阔，想象奇诡、境界恢弘；句式长短错落，「北冥有鱼，其名为鲲」「化而为鸟，其名为鹏」如环相扣，回环往复，富有节奏。【情感与主旨】鲲鹏之喻寄寓了庄子对精神自由的向往：凡物皆有待（海运而后能徙），而真正的逍遥在于「乘天地之正，御六气之辩」的无所待；鲲化鹏、北冥徙南冥，正是突破局限、追求更高境界的寓言。【名句点睛】「怒而飞，其翼若垂天之云」以「怒」字写鹏奋飞之势，以「垂天之云」写翼之广大，气象雄浑，千古传诵，李白《上李邕》「大鹏一日同风起」即由此化出。

Background

Zhuangzi (c. 369–286 BC), named Zhou, a native of Meng of the state of Song of the Warring States, the main representative of the Daoist school, paired with Laozi as 'Lao-Zhuang.' In his life he only served as the keeper of the lacquer garden of Meng, then retired to the hidden life, refusing the generous appointment of King Wei of Chu, preferring to 'drag his tail in the mud' rather than be the turtle of the temple, his very life-choice the practice of the 'free and easy wandering.' In the mid-Warring States of his life, the feudal lords annexed and the wars were frequent, the rites and the music collapsing, and the scholars either sought the wealth and the rank with the arts of the vertical and the horizontal or preached the benevolence and the righteousness to the feudal lords; the Zhuangzi, looking on coldly, held that all the striving for the merit was the futile 'following the infinite with the finite,' and turned to ask how the individual can obtain the spiritual peace in the troubled age, and the 'Free and Easy Wandering' is the work that sets forth his teaching. This passage, from the opening of the 'Free and Easy Wandering,' is the most famous fable of the whole book.

庄子（约前369—前286），名周，战国时期宋国蒙人，道家学派的主要代表人物，与老子并称「老庄」。他一生只做过蒙地的漆园吏，后来隐归，拒绝楚威王厚币聘请，宁「曳尾于涂中」而不愿为庙堂之龟，其人生选择本身就是对「逍遥」的实践。庄子生活的战国中期，诸侯兼并、战乱频仍，礼崩乐坏，士人或以纵横术求富贵，或以仁义说干诸侯；庄子冷眼旁观，认为一切汲汲于功名的行为都是「以有涯随无涯」的徒劳，转而追问个体如何在乱世中获得精神的安顿，《逍遥游》即其开宗明义之作。本文节选自《庄子·逍遥游》开篇，是全书最著名的寓言之一。《逍遥游》全篇主旨在于论证「逍遥」——精神的绝对自由，而获得逍遥的前提是「无待」，即不依赖任何外在条件；鲲鹏之喻正是这一论证的起点：鲲之大、鹏之大，虽已超出常识，但鹏飞南冥仍需「海运」之助，仍是有待的，故庄子后文以「且夫水之积也不厚，则其负大舟也无力」层层推导，最终推出「至人无己，神人无功，圣人无名」的结论。本文在《庄子》中居首篇之首，历代文人奉为奇文开篇，其瑰丽的想象与深邃的哲思，奠定了庄子散文「汪洋恣肆」的基本风貌。

Art

The art is the 'great through the small' and the philosophical image of the 'change': the suspended stroke of the 'one does not know how many thousand li it is' writes the unnamable greatness, the 'northern darkness' and the 'pool of heaven' give the infinite frame of reference, and the 'change' of the fish into the bird carries the concept of the equality of all things; and the refrain of the sentence-forms, the wonder of the imagination and the rhythm of the prose in one.

本文是庄子散文「寓言十九」的典型样本，艺术上以想象、夸张与复沓见长。其一是「以大观小」的写法：庄子不写鲲鹏的具体形态，而以「不知其几千里也」的悬置之笔写其大，读者愈是无法想象其大，愈觉其大不可名状；「北冥」「天池」以极远极阔的空间为背景，使鲲鹏之「大」有了无限的参照系。其二是「化」的哲学意象：鱼化为鸟、北冥徙于南冥，庄子以「化」字写物类之变，暗含万物皆化、无有定形的齐物观念——鲲非终为鲲，鹏非终为鹏，正是「天地与我并生，而万物与我为一」的具象。其三是语言的回环与层递：「其名为鲲……其名为鹏」句式相复而意义相承；「鲲之大」与「鹏之背」对举，皆以「不知其几千里也」收束，造成一唱三叹的节奏；「怒而飞」三字以「怒」写奋飞之态，化静为动，极有气势。其四是「海运则将徙于南冥」的悬宕：鹏之徙，有待于海动风起，这个「有待」正是后文「无待」议论的伏笔，寓言与议论血肉相连。全篇不足百字而境界恢弘，是「以少驭多」的极致，也是中国浪漫主义文学的源头之一。

Allusions

The image of the Kun-Peng is one of the greatest archetypal images of the Chinese culture, its influence spanning over two thousand years. First, the 'Kun-Peng' has become the symbol of the great ambition: Li Bai's 'To Li Yong' of the Tang, 'the great Peng rises with the wind one day, soaring straight up ninety thousand li'; Du Fu's 'Mooring at Yueyang,' 'the going south cannot be reckoned, in the change there is the Kun-Peng'; the Song Li Qingzhao's 'Fisherman's Pride,' 'the wind of the ninety thousand li, the Peng rising'; and Mao Zedong's 'The Bird Answers' all directly use the Zhuangzi. Second, the 'northern darkness' and the 'southern darkness' the far and wide space of the Dao, and the 'pool of heaven' the mystery of the natural, the fable of the Zhuangzi the source of the imagination of the Chinese literature.

鲲鹏意象是中国文化中最伟大的原型意象之一，其影响横贯两千余年。其一，「鲲鹏」成为远大志向的象征：唐代李白《上李邕》「大鹏一日同风起，扶摇直上九万里」、杜甫《泊岳阳城下》「图南未可料，变化有鲲鹏」皆直接化用庄子；宋代李清照《渔家傲》「九万里风鹏正举」、毛泽东《念奴娇·鸟儿问答》「鲲鹏展翅，九万里，翻动扶摇羊角」，一路承传，使鲲鹏从哲学寓言变为英雄气概与凌云之志的代称。其二，「怒而飞」「垂天之云」开启了中国文学雄奇想象的先河：后世李白的「飞流直下三千尺」「白发三千丈」、苏轼的「乱石穿空，惊涛拍岸」，在夸张想象的谱系上都可上溯至庄子。其三，「北冥」「南冥」「天池」构成的空间意象，暗合古代「四海」「九州」的宇宙图景，而庄子以「冥」（幽暗深远）名之，赋予地理以形而上的意味，成为后世「逍遥游」精神的固定地标。其四，鲲化为鹏的「化」字，蕴含道家「齐物」「变化」的核心观念，与《齐物论》「物化」（庄周梦蝶）相发明，是中国哲学中「万物一体、变化无端」思想的诗意表达。正因如此，鲲鹏不仅是一则寓言，更是一套完整的文化符号系统。

Commentary

As the opening of the 'Free and Easy Wandering,' the classical status of this passage is unshakable. In the literary history, the 'Free and Easy Wandering' was praised by Lu Xun as 'vast and opening, of every bearing, none of the works of the various masters of the late Zhou can precede it,' and this passage is the first sound of that 'vast and opening'; the way of the Zhuangzi of arguing with the fables opened the romanticist vein of the Chinese prose, and, with the eloquence of the Mencius and the severity of the Han Feizi, constitutes the three masteries of the Warring States prose.

本文作为《逍遥游》的开篇，其经典地位不可动摇。在文学史上，《逍遥游》被鲁迅评为「汪洋辟阖，仪态万方，晚周诸子之作，莫能先也」，而本文正是这种「汪洋辟阖」的第一声；庄子以寓言说理的方式，开创了中国散文浪漫主义的一脉，与《孟子》之雄辩、《韩非子》之峻刻并为战国散文大家。在思想史上，鲲鹏寓言提出了「有待」与「无待」的核心命题，启发了后世对自由问题的无穷思考；魏晋玄学家郭象注《逍遥游》提出「各适其性」之说，苏轼「此心安处是吾乡」、李白「我本楚狂人」皆可见庄子精神的血脉。在文化史上，鲲鹏已沉淀为民族集体意象：从「鹏程万里」的成语，到毛泽东「鲲鹏展翅」的词章，再到现代文艺中常以鹏喻志，其生命力历久不衰。本文入选中学语文教材，是学生接触《庄子》的第一课，其瑰丽想象与深邃哲思，对培养想象力与思辨力意义重大；「北冥有鱼，其名为鲲」的起笔，被无数读者视为中国散文最神奇的开篇之一。一则在诸子著作中仅存百字的寓言，竟成为贯穿两千年的文化母题，这正是庄子「以卮言为曼衍」的魔力。

Prosody

Form Pre-Qin masters prose (fable form, loose sentences)先秦诸子散文（寓言体，散句）

Rhyme Unrhymed; the beauty of the sound is in the long and the short and the refrain and the return of the sentence-forms: 'in the northern darkness there is a fish, and its name is the Kun,' 'it changes into a bird, and its name is the Peng'本文为先秦散体，不押韵，其音韵之美在句式的长短错落与回环复沓：「北冥有鱼，其名为鲲」「化而为鸟，其名为鹏」句式相复，如环相扣；「不知其几千里也」两次出现，一唱三叹，造成回环的节奏，诵读之下，气脉绵长。

Tone pattern The 'in the northern darkness there is a fish' is calm, the 'one does not know how many thousand li it is' is suspended, 'when it rises in anger and flies' is grand, and 'the pool of heaven' is far—the whole from the fish to the bird to the migration, the wonder of the imagination carried by the rhythm句式长短相间，徐疾有致：短句（怒而飞、南冥者，天池也）急促有力，长句（鹏之背，不知其几千里也）舒缓悠长，正合寓言由叙到夸、由夸到议的语气流转；「也」字收束之句（不知其几千里也）带咏叹语气，如赞叹，如神往。

Reading note The refrain and the return of the sentence-forms carry the greatness of the Kun-Peng, the rhythm of the 'free and easy wandering.'本文虽为说理散文，而其声律之美极富感染力。全文以「也」字句贯穿：「其名为鲲」「其名为鹏」「不知其几千里也」「南冥者，天池也」，句尾「也」字频频出现，语气或叙述、或咏叹、或释名，使散句有了回环的韵致——这是先秦散文「以虚字传神」的典型，较之诗赋的押韵，别有一种从容悠长的诵读之美。句式的长短安排也极讲究：写鲲鹏之大用长句（鲲之大，不知其几千里也），语气舒缓，如凝视其大；写奋飞之态用短句（怒而飞），三字一顿，如见其势；末句「南冥者，天池也」以释名收束，语气归于平静，如潮水落定。这种长短相济、以虚字驭声的节奏，正是庄子「汪洋恣肆」文风在声律上的体现；诵读本文，其想象之奇与声调之美相得益彰，是「读其文如见其物」的绝佳例证，也为后世骈文与赋体提供了节奏的范本。

Line by line

北冥有鱼，其名为鲲。鲲之大，不知其几千里也。

In the northern darkness there is a fish, and its name is the Kun. The Kun is so great that one does not know how many thousand li it is. (The opening: the fish of the northern darkness, the greatness of the Kun written with the suspended stroke of the 'one does not know how many thousand li.')

北方的大海里有一条鱼，它的名字叫鲲。鲲的大，不知道有几千里。

In the Northern Sea there is a fish called kun. How big the kun is, no one knows how many thousand li.

此三句是全文的开篇，也是中国散文最著名的起笔之一。「北冥有鱼」五字，先立一处幽远至极的空间——「冥」为幽暗深远之意，北冥即北方极远之海，庄子不写具体地名而写「冥」，使开篇即带上形而上的意味；「有鱼」二字信手拈来，如叙家常，而这条鱼竟「不知其几千里也」，家常的语调与惊人的内容形成巨大反差，幽默而奇崛。「其名为鲲」交代名目，「鲲」本义为鱼子（小鱼），庄子反其意而用之，以极小的名字称极大的鱼，正是「大言若小」的反讽笔法。「鲲之大，不知其几千里也」以「不知」二字悬置其大，不写具体数字，愈是不知，愈觉其大不可限量——以虚写实，是大笔写大的典范。三句由空间、物象、名号、体积层层递进，奇境初开，已令读者神驰。

These three lines are the opening of the whole, one of the most famous openings in Chinese prose. 'In the Northern Darkness there is a fish' sets a remotest space - 'darkness' meaning the dim and deep, the Northern Darkness the farthest northern sea; Zhuangzi names not a place but the 'dark,' giving the opening a metaphysical air from the first; 'there is a fish' casual as household talk, yet this fish is 'I know not how many thousand li' - the homely tone against the staggering content, humorous and strange. 'Its name kun' gives the name; 'kun' originally means a fish-roe, a tiny fish, Zhuangzi turning the meaning, naming the greatest fish by the smallest name - the irony of 'great speech as small.' 'How great the kun - I know not how many thousand li' suspends its greatness in 'know not,' no fixed number, the more unknown the more illimitable - the grand brush for the grand. Three lines, from space to thing to name to size, layer on layer, the strange world opening, the reader already borne away.

化而为鸟，其名为鹏。鹏之背，不知其几千里也；怒而飞，其翼若垂天之云。

It changes into a bird, and its name is the Peng. The back of the Peng, one does not know how many thousand li it is; when it rises in anger and flies, its wings are like the clouds hanging from the sky. (The change and the flight: the fish changing into the bird, the wings of the Peng like the clouds hanging from the sky, the wonder of the imagination.)

它变化成鸟，名字叫鹏。鹏的脊背，不知道有几千里；它振翅奋飞的时候，翅膀就像挂在天边的云。

It transforms into a bird called peng. The peng's back, no one knows how many thousand li; when it rises and soars, its wings are like clouds draped across the heavens.

此段写鲲化鹏的巨变与鹏飞之壮，是全篇想象力的高潮。「化而为鸟」四字，写尽天地间最伟大的变化——鱼化为鸟，物类之变，一笔带过而神异自见，正合庄子「万物皆化」的哲学；「其名为鹏」与「其名为鲲」句式相复，回环中见层递，鲲鹏一体而两形，正是「物化」的具象。「鹏之背，不知其几千里也」以「背」代整体，与「鲲之大」对举，一写其大、一写其背，皆以「不知其几千里也」收束，一唱三叹。「怒而飞，其翼若垂天之云」是全篇最雄奇的一句：「怒」字写鹏奋飞时鼓翅的盛怒之态，化静为动，气象勃发；「垂天之云」以挂在天边的云写翼之广大，天与翼相接，浑然一体——鹏飞则翼蔽天日，其气势之壮，千古无对。四句由化到飞，境界由静转动，鲲鹏之雄姿如在目前。

This passage writes the kun's change into the peng and the peng's flight, the climax of the work's imagination. 'It changes into a bird' four characters, the greatest change under heaven - fish to bird, the transformation of kinds, done in one stroke, the wonder self-evident, suiting Zhuangzi's 'all things transform'; 'its name peng' echoing 'its name kun,' the loop with ascent, kun and peng one substance two shapes, the very image of 'the transformation of things.' 'The peng's back - I know not how many thousand li' taking the 'back' for the whole, set against 'how great the kun,' one writing its size one its back, both closed by 'I know not how many thousand li,' a chant three times turned. 'When it rises and flies, its wings are like clouds hanging from the sky' is the grandest line: the word 'rises' the peng's swelling effort at takeoff, stillness turned to motion, the spirit bursting; 'clouds hanging from the sky' the wings' breadth, sky and wing meeting and fused - the peng flies, its wings darkening sun and moon, the grandeur without peer through the ages. Four lines, from change to flight, the realm from still to moving, the kun-peng's mighty form before the eyes.

是鸟也，海运则将徙于南冥。南冥者，天池也。

This bird, when the sea moves, will migrate to the southern darkness. The southern darkness is the pool of heaven. (The migration: the sea moving and the migration to the southern darkness, the pool of heaven, the far and wide space of the Dao.)

这只鸟，海水运动（海风大作）的时候就要迁徙到南方的大海。南方的大海，是天然形成的大池。

This bird, when the sea stirs, will set out for the Southern Sea. The Southern Sea is the Pool of Heaven.

此段收束全篇，点出鲲鹏的归宿与「有待」的伏笔。「是鸟也」三字轻提前文，语气从容；「海运则将徙于南冥」写鹏之迁徙有待于海动风起——「海运」指海水翻动、海风大作，鹏乘此风势方能高飞南徙，这一笔看似顺写，实为后文「风之积也不厚，则其负大翼也无力」的议论埋下伏笔：大鹏虽大，仍需「海运」之助，仍是有待之物，逍遥之论由此展开。「南冥者，天池也」以「天池」释「南冥」，点出南冥是天然形成的大池，非人力所造，是与北冥遥对的另一极远之境——北冥始、南冥终，一北一南，正写鹏之远徙跨越万里。三句一写时机、一写归宿，语调从容而意蕴深远，为《逍遥游》全篇「无待」的哲学命题作了最形象的起兴，鲲鹏神话至此完整。

This passage closes the piece, naming the kun-peng's destination and the foreshadowing of 'dependence.' 'This bird' three words lightly taking up the part before, the tone unhurried; 'when the sea moves, will migrate to the Southern Darkness' - the peng's migration depends on the sea stirring and the wind rising: 'the sea moves' the heaving waters, the great wind; the peng rides this wind to fly south, a line that seems plain narrative, yet primes the later argument 'if the wind's mass is not deep, it has no strength to bear the great wings' - the peng, however great, still needs the 'sea moving,' still a dependent thing, from which the doctrine of carefree wandering opens. 'The Southern Darkness is the Pool of Heaven' glossing 'Southern Darkness' as 'Pool of Heaven,' a pool made by nature, not by man, the other farthest pole answering the Northern Darkness - starting in the north, ending in the south, one north one south, writing the peng's far migration across ten thousand li. Three lines, one the timing, one the destination, the tone unhurried, the meaning deep, giving the whole 'Carefree Wandering' its most image-rich springboard, the kun-peng myth now complete.

Study

Word focus

怒 To rise in anger (to rise with force). The word of the flight: 'when it rises in anger and flies, its wings are like the clouds hanging from the sky'—the rising with the force of the anger, the power of the flight of the great Peng, the one character writing the vigor of the flight. 「怒而飞」之「怒」字，是全文最见神力的炼字，写鹏奋飞时的神态。「怒」本指生气、愤怒，此处移以写鸟，写鹏振翅欲飞时那股鼓足力量、如怒气勃发的姿态——不是悠然起飞，而是「怒」然奋发，翅羽鼓张、气充天地，把大鹏起飞时的雄猛之势写得淋漓尽致。这个字的妙处在「以情写形」：鹏本无情，而庄子以「怒」字赋予它一股生命的暴烈与亢奋，使想象之物有了血肉般的力度；又「怒」写其势之猛，与「垂天之云」写其翼之广相配，一猛一广，鹏飞之壮遂不可一世。后人多从此字得其神：李白「大鹏一日同风起」的「起」、辛弃疾「鹏翼垂空」的「垂」，皆逊「怒」字之劲。庄子以一字写尽大鹏奋飞的精神状态，正是「炼字如铸铁」的典范。

垂天之云 The clouds hanging from the sky. The word of the wings: 'its wings are like the clouds hanging from the sky'—the wings of the Peng like the clouds hanging from the sky, the extreme exaggeration, the greatness of the Peng in the one image. 「其翼若垂天之云」之「垂天之云」四字，以云喻翼，是全文最瑰丽的比喻。「垂天」即挂在天边、从天垂落，写云之广大；「垂天之云」即天边垂挂的云层，其势横亘天际。以之喻鹏翼，写鹏展翅则双翼如天边之云，遮蔽半个天空——云的「垂」字写翼之低垂覆盖，云的「天」字写翼之广大无垠，两字组合，翼与天便浑然相接，鹏仿佛就是天的延伸。这个比喻的妙处在「以天写大」：不用山、不用海，而用与天相连的云为喻体，把鹏之翼写成了天象的一部分，想象之雄奇，古今无两。后世写大鸟巨翼者（如李白「扶摇直上九万里」的想象），皆不出庄子此喻的笼罩；「垂天之云」四字，遂成为中国文学写「大」的经典尺度。

冥 The darkness. The word of the far: 'the northern darkness' and 'the southern darkness'—the dark and the far of the sea, the northern and the southern, the far and wide space of the Dao, the infinite frame of reference of the greatness of the Kun-Peng. 「北冥有鱼」「南冥者，天池也」之「冥」字，是全文空间的立骨之字。「冥」本义为幽暗、深远（《说文》「冥，幽也」），又通「溟」，指大海；庄子以「冥」名海，不写「北海」「南海」而写「北冥」「南冥」，正取「冥」之幽暗深远义——北冥是幽深难测的极北之海，非实指的地理，而是想象中的终极之境。这个字的妙处在「以幽写远」：海既幽暗，则其中所生之鲲鹏亦带神秘色彩，为全篇的奇诡想象铺就底色；「冥」又暗含道家「玄」「无」的哲学意味，与「道」之幽深相通。北冥与南冥对举，一始一终，遥相呼应，构成鲲鹏迁徙的完整空间；末句「南冥者，天池也」以「天池」释之，更把地理升华为天界之境。庄子以一字立空间，其想象之精微，令人叹服。