[原文]
13.2 暨汉武封禅，而霍[子侯]嬗暴亡，帝伤而作诗，亦哀辞之类矣。降及后汉，汝阳[王]主亡，崔瑗哀辞，始变前式。然履突鬼门，怪而不辞，驾龙乘云，仙而不哀;又卒章五言，颇似歌谣，亦彷狒乎汉武也。至于苏[慎]顺张升，并述哀文，虽发其情华，而未极其心实。建安哀辞，惟伟长差善，《行女》一篇，时有恻怛。及潘岳继作，实[踵]锺其美。观其虑[善]赡辞变，情洞悲苦，叙事如传，结言摹诗，促节四言，鲜有缓句;故能义直而文婉，体旧而趣新，《金鹿》《泽兰》，莫之或继也。
[今译]
到汉武帝在泰山祭天地，跟去的霍嬗突然死去，武帝哀伤作诗，也是哀辞的一类了。下到后汉，汝阳公主死了，崔瑗作了哀辞，开始改变以前的样式。但说脚步突入鬼门，奇怪而不通，驾龙腾云，是仙家而没有悲哀;又最后一章是五字句，很像歌谣，也跟汉武帝的哀辞相似。到了苏顺张升，都作哀文，虽然表现出他们的情感和文采，却是没有反映出内心的真实感受。建安时的哀辞，只有徐幹写得较好，他的一篇《行女》，常有悲痛。到潘岳接下来创作，确实是聚集了他们的优点。看他的哀文考虑得周到，文辞变化，感情充满悲苦，叙事像传，组织语言摹仿《诗经》，四字句音节急促，少有和缓的句子;所以能够做到意义正直，文辞婉转，体裁是旧的，情趣是新的，他作的《金鹿哀辞》和《泽兰哀辞》，没有人能够继承下去的。
13.2 When Emperor Wu of Han made sacrifices to heaven and earth on Mount Tai, his young attendant Huo Shan died of a sudden illness. Deeply grieved, the emperoг composed a poem in his memory. This is also a lament. A change in the form of the lament was initiated in the Later Han Dynasty, when Cui Yuan wrote a lament for the Prince of Ruyang, a grown-up. However, the phrase about the dead "entering the gate of the ghosts" is bizarre and senseless; the sentence about the dead "riding a dragon over clouds" is fanciful and not sorrowful. Its final verse, written in five-character lines in the style of a folk song, is modeled on Emperor Wu's lament over Huo. Su Shun and Zhang Sheng both wrote laments. They used dazzling language that did not fully express the feelings of the heart. In the Jian'an period, only Xu Gan wrote good laments: His "Lamentation for a Daughter" expresses genuine sorrow. Modeling his writing on Xu Gan's, Pan Yue brought this genre to perfection. His thoughts are fertile and language varied; his feelings are deep and his grief intense; his narrative resembles biographical writing and his style follows that of the Book of Poetry; his short four-character lines are untarnished by sluggishness. As a result, his works are elevated in thought and gracious in diction, ancient in form yet new in feeling. His laments on his daughter Jin Lu and on a friend's daughter Ze Lan are unequaled.
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