"In the opening line, 'Beneath Solitary Melancholy Terrace flows the clear river; how many travelers' tears mingle in its waters?' the first half sets the mountain upright and the water level, one solitary, one clear. The imagery is distinct; to see the words is to see the scene. The second half blends human tears into the clear river of the first, a wonderfully unusual touch. The river flows vast and mighty-how many fleeing travelers' tears lie within it? This line alone is more desolate than 'The rivers and hills of this watery land enter the battle map' in the Third Inscription. Tears become a river, rivaling 'ten thousand bones lie dry.'"
"The second line, 'Northwest I gaze toward Chang'an; alas, countless mountains,' likewise uses comparison and evocation, and 'countless mountains' is another striking image. Standing in Ganzhou, the poet looks northwest toward the ancient capital of the Zhou Dynasty, with innumerable mountains and rivers between them. At first glance, the wording seems unremarkable, but savor it carefully, and an indescribable flavor emerges. The more one tastes it, the more endless its lingering savor becomes. As I understand it, this poem uses Chang'an, the ancient Zhou capital, to represent Jingzhou City. 'Alas, countless mountains' naturally means the poet feels increasingly distant from Jingzhou, the Chu Kingdom's capital. Yet... I still sense something I cannot fully explain or put into words."
The prefect of Ganzhou smiled. "It is only right that you cannot fully explain it. 'Northwest I gaze toward Chang'an; alas, countless mountains.' He lifts his eyes northward, with countless mountains and rivers barring the way, as though imprisoned here. Even if he cannot see it, he must still gaze toward it! This line resists a complete explanation because it both carries on what came before and leads into what follows.