[原文]
12.2 暨乎汉世，承流而作。扬雄之诔元后，文实烦秽，沙麓撮其要，而挚疑成篇，安有累德述尊，而阔略四句乎?杜笃之诔，有誉前代;吴诔虽工，而他篇颇疏，岂以见称光武，而改盼千金哉!傅毅所制，文体伦序;孝山崔瑗，辨絜相参:观其序事如传，辞靡律调，固诔之才也。潘岳构意，专师孝山，巧于序悲，易人新切，所以隔代相望，能[徵]徽厥声者也。至如崔骃诔赵，刘陶诔黄，并得宪章，工在简要。陈思叨名，而体实繁缓，文皇诔末，[旨]百言自陈，其乖甚矣。
[今译]
到了汉朝，继承以前的趋势来创作。扬雄的《元后诔》，文辞实在是繁多杂乱，“沙麓”四句只是摘要，可是挚虞疑心它是全篇，哪有累计德行叙述尊者，却简略得只有四句呢?杜笃的诛文，在以前的时代很有声誉;他的《吴汉诔》虽写得工巧，可是别的诔多粗疏，难道因为受到光武帝的称赞，就改变看法，都成了千金的责重啊!傅毅所写的诔，是符合诔文体制和次序的;苏顺崔瑗所作，内容的辨白，文辞的简洁是结合的:看他们叙事像传记，文辞细密，音律协调，确实是写诔文的人才。潘岳在构思上专学苏顺，很会叙述悲情，容易达到新颖和贴切，所以和苏顺隔代并称，能够得到美好的声名。再像崔骃的诔赵，刘陶的诔黄，都是写诔的规范，好在简练扼要。曹植虚得名声，他的诔文实在辞繁而文气舒缓，在《文帝诔》的末了，用百余字来说自己，它太背离要求了。
12.2 In the Han Dynasty, mourning-songs continued to be written. Yang Xiong's mourning-song for Empress Yuan is lengthy and unkempt. From it the Annals of Han quoted four lines, which Zhi Yu took to be the complete work. How could a poem lauding the virtues of a noble personage have only four short lines? Du Du's mouning- songs were well known at his time. Yet, except for the one written for Wu Han, they are all rather commonplace. They were famous because Emperor Guangwu praised one of them. Fu Yi's works are well organized. The works of Su Shun and Cui Yuan are clear and concise. Their narratives resemble biographical writing, their language is carefully chosen, and their rhythms are harmonious. These three had a natural gift for writing mourning-songs. Pan Yue followed Su Shun's example in composition. He is particularly good at expressing sorrow and his language is fresh and touching. Thus although separated by dynasties, he enjoys the same reputation as Su Shun. Cui Yin's mourning-song for Zhao and Liu Tao's for Huang were both written according to the rules. Conciseness and cogency are their merits. Cao Zhi hardly deserves his reputation; his mourning-songs are verbose and forced. In the last part of the mourning-song written for his brother Emperor Wen, he lavished a hundred words on himself. How mistaken!
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