句（An Image in Verse）
何用密防奸，
如明亦似昏。
谣言流边际，
恶客在内门。
忆昔明有贤，
何暇预防银？
坏事盈四海，
无逃圣人眼。
Four orifices shall be selected, defrayed, munched,
In a color either elusive or expressive.
Rumors, slanderous, speak against the margins,
While malevolent guests lurk behind the gates.
Reminisce past moments of brilliance,
A vigilant predilection for silver would not exist.
Ill deeds extant from all four seas,
Eluding the gaze of sages, impossible.
Poetic Analysis:
The poem "句" (An Image in Verse) is composed by the poet Shi Zanning during the Song Dynasty. The poem presents a reflective, philosophical contemplation on the futility of secretive measures against deception.
The poet questions the efficacy of relying on excessive precautions to prevent deceit, highlighting the paradox inherent in both transparency and opacity. The poem explores the futile attempt to discern between truth and falsehood and the pervasive nature of deception in society. It implies that deception exists not only externally but also internally, emphasizing the importance of self-reflection and self-awareness.
The central theme underlying this poem is the folly of attempting to control untruths in society, as the poet suggests these falsehoods are as inevitable as day and night. The imagery evoked by the poem is a powerful call to action, reminding the reader of the prevalence of deceit and the necessity of avoiding complacency.
The poet contrasts the present state of affairs with a seemingly idealized past, where wise individuals were so wise that they would not even think of protecting themselves from deceit. However, the phrase "坏事盈四海，无逃圣人眼" (Ill deeds extant from all four seas, eluding the gaze of sages, impossible) reveals the reality that deception exists everywhere, beyond even the insight of wise men.
Overall, the poem serves as a reminder of the universal and insidious nature of deceit, highlighting the necessity for constant vigilance within oneself and society. It encourages readers to resist complacency and remain aware of the potential for deception even in the most seemingly transparent environments.
释赞宁（九一九～一○○一），俗姓高，吴兴德清（今属浙江）人。后唐天祐十六年生，天成中出家，清泰初入天台山（《小畜集》卷二○通南山律，时人谓之“律虎”。吴越中，置为两浙僧统，赐号明义宗文。入宋，改赐通慧大师。初补左街讲经首座、知西京教门事。真宗咸平元年（九九八），充右街僧录。三年迁左街（《咸淳临安志》卷七○）。四年卒，年八十三（《释氏疑年录》卷六）。一说咸平二年卒（《释氏稽古略》卷四）。《西湖高僧事略》等有传。今录诗八首。...
释赞宁。释赞宁（九一九～一○○一），俗姓高，吴兴德清（今属浙江）人。后唐天祐十六年生，天成中出家，清泰初入天台山（《小畜集》卷二○通南山律，时人谓之“律虎”。吴越中，置为两浙僧统，赐号明义宗文。入宋，改赐通慧大师。初补左街讲经首座、知西京教门事。真宗咸平元年（九九八），充右街僧录。三年迁左街（《咸淳临安志》卷七○）。四年卒，年八十三（《释氏疑年录》卷六）。一说咸平二年卒（《释氏稽古略》卷四）。《西湖高僧事略》等有传。今录诗八首。
初归筠庄苏粹之以诗见贻次韵答之 其二。宋代。李弥逊。他年同上楚江楼，花绕春城小谢州。翻手雨云人事改，跳丸日月岁光流。霜空暮落能鸣雁，秋水风移不系舟。偶筑一丘邻胜隐，杖筇冲雨亦来游。
凝清堂为姚府尹赋。明代。金幼孜。玉雪襟怀鹤氅轻，画堂燕坐有馀清。捲帘自爱青山好，隐几不闻啼鸟声。日转暖云当户静，雨馀碧草上阶生。就中此意谁能识，岁久应知太守情。
送元勋不伐侍亲之官泉南八首。宋代。李廌。看罢吴山看越山，一帆千里玩风澜。令人颇忆羊裘老，为钓桐庐七里滩。
从军行。清代。张印。昔闻从军苦，今见从军乐。从军岂真乐，毋乃为残虐。我有灶下媪，全家住近洛。饭罢袖手閒，为我谈厓略。昨有潼关兵，新调来襄鄂。入市逢酒肆，牛羊恣大嚼。撒手出门去，佣保还诺诺。乘醉过青楼，应声奏箫籥。幸蒙垂爱怜，临行簪珥攫。一夕报贼来，远近惊风鹤。彼闻翻大喜，距踊如雀跃。沿途有村店，藉口制草屩。毫无造物仁，俨同敝赋索。一人不如意，千百横刀槊。民也告之官，县官惊以愕。投刺谒主帅，主帅殊落寞。身家与性命，畴不儿郎托。似此区区者，九牛一毛灼。掉头更不言，反是县官错。翌日拔队行，所在苦摽掠。有马不刍秣，十匹百匹捉。有兵不肩荷，前车后车缚。时或值商贾，搜求罄其橐。鞭夫如鞭狗，弹人如弹鹊。一事稍阻挠，首级立时落。一级银二钱，请赏向戎幕。娇姹谁家女，亦既成婚约。宁馨谁家儿，绕项金锁钥。女驮马上去，男系民前铎。夫婿蹑迹追，爷娘望尘扑。看看十里外，日已西山薄。明早见积骸，狼藉填沟壑。家人哭之恸，捶胸更拊膊。保正为报营，营中方饮酌。粉黛排屏风，珠宝堆山岳。开口未及说，身已贯木索。裍置大旗边，自分死锋锷。倏见缚鸡来，认得羽毛驳。今供役盘飧，昨食我稻穛。须臾兵尽醉，相邀纵六博。卢雉信口呼，金钱信手摸。想见傥来物，源源不一涸。乘间逃生归，思欲主帅吁。相距三百里，程途数日隔。男儿生胡为，恨不兵籍著。呜呼彼军人，此孽何可作。亦既客欺主，又复强凌弱。我闻湘泽间，近亦风声恶。岂无儿在家，岂无女出阁。一旦有兵役，宁能免鼎镬。天道信难知，作诗叩冥漠。
登丹棱县白塔寺塔与吕竿川同赋。明代。杨慎。窣堵岧嵉出半空，蔚蓝天界接刚风。鱼凫彊域遥瞻外，龙鹄山川近览中。乍似潜虬穿坎窞，俄惊飞鸟出樊笼。登高胜侣归来晚，楼阁烟花紫翠重。
下第。金朝。王特起。人间万事等摴蒱，敢谓何人不得卢。胜负到头俱偶尔，狂夫安用绕床呼。
立春和卢星野方伯韵杂兴 其七。明代。霍与瑕。吮舐嗟流俗，叔疑岂异哉。蝇声纷止棘，蛇影每侵杯。枸杞参差长，桃花次第开。春风如许趣，行乐且蒿莱。
南乡子 于公索幻化。金朝。王哲。幻化色身绕。电脚余光水面泡。忽有忽无遄速甚，如飙。过隙白驹旋旋飘。何不悟虚嚣。早早回头养玉苗。苗上金丹光泼泼。彰昭。透过云衢入碧霄。
题万寿圆觉院。宋代。吴钢。梵室香飘隔竹闻，壁间肆笔烂奎文。山深翠辇经行处，犹卧从龙数点云。
鹧鸪天。宋代。陈允平。谁向瑶台品凤箫。碧虚浮动桂花秋。风从帘幕吹香远，人在阑干等月高。金粟地，蕊珠楼。佩云襟雾玉逍遥。仙娥已有玄霜约，便好骑鲸上九霄。
筑园六首 其四。清代。陈式金。万力千工事太颠，经营匠石竟逾年。吾曹情性宜山野，怕著朱栏斗色妍。
西征黄莲坑遇雪。明代。陈淳。行入黄莲北，风严雪又加。满山罗玉树，遍地错琼花。清洒姿元颣，虚明质不华。瘴眸为一洗，惊觉若仙家。
春晚。明代。黎遂球。中岁爱春色，春居无所为。读书花落里，待客燕归时。午梦炉烟过，晴云阁气知。新香与浮绿，寒煖递相移。
咏史诗·长安。唐代。胡曾。关东新破项王归，赤帜悠扬日月旗。从此汉家无敌国，争教彭越受诛夷。