Great Cang Mountain, Small Cang Mountain, surround like the Chushan outside the Drunk Man's Pavilion. Ten thousand plum blossoms, bamboo shoots, pines and cypresses, and ten thousand rocks and gorges exceed the realm of ordinary existence.
Since the time of the Heluo region, thousands of volumes have been recorded, from Yao and Shi to Confucius and Mencius. Tiny characters on the fly's head hold several generations of knowledge, and the likes of Chao, Zhang, Han and Liu are sought to restore them.
What are the Three Laws and Eight Rhythms really for? The study of current literature has been long forgotten. Fortunately, there is an old man from Xingyuan who understood the key at a young age.
Next year, when he reaches his 70th birthday, he will not know about the dust and commotion in the capital. He appreciates flowers with warblers and butterflies, and climbs trees to reach ripe fruit with monkeys. Both literati and scholars gather around every glass of wine, and even woodcutters and herdsmen are allowed to sit together in the same class.
For thirty years, the whole country has been unified under a single rule, and books and writing have traveled beyond the borderlands of Jingmai. Even those who have left their position in high politics to reside in rural isolation are respected in the Qing Dynasty. Is there any way to reach the divine abode like a celestial palace, separated by the dangers of Penglai and the Weak Water? How can we spread our wings and fly there to rest in its depths? Wang Weiji's heart can be approached, but how can we follow Tao Yuanming's path?
Upon reflection, each person has their own fate, and what they should do is decided by Heaven. Great Cang Mountain and Small Cang Mountain are not easily accessible to ordinary tourists. I will send a poem to you to imagine them. I live in a small hut alone, withered grass in my hand.
《寄题婺源戴氏苍山歌》一诗，以其细腻的笔触和深邃的意境，勾勒出一幅远离尘嚣、归隐自然的田园画卷。开篇即以“大苍山，小苍山”为引，将读者引入一个仿佛醉翁亭外、滁州山峦环抱的幽静之地。诗人用“万梅万竹万松柏”形容山中植被之茂盛，再用“万岩万壑超人寰”描绘山川之奇绝，字里行间透露出对自然美景的无限向往与赞美。
随后，笔触一转，诗人谈古论今，从“河洛以来万万卷”的浩瀚典籍，谈及历史上的圣贤先哲，如姚（重华，即舜）、姒（大禹）、孔子、颜回等，展现出深厚的文化底蕴和对学问的尊崇。而“蝇头细字藏数世，晁张韩柳笔追还”一句，既体现了书籍传承文明的重要作用，又暗含了对唐宋八大家中文风的追慕。
然而，诗人并未沉溺于过往的辉煌，而是笔锋犀利地指出“三道八韵果何用，时文之学久已删”，表达了对当时科举制度下时文空洞无物的批判。紧接着，他以戴氏为例，赞美其早年便悟透人生真谛，远离名利场，怡然自得于山水之间，无论是“花间自与莺蝶赏”，还是“果熟朝共猿猱攀”，都展现了人与自然和谐共处的理想状态。
戴氏的生活态度，吸引了文人雅士的频繁造访，他们围炉煮酒，畅谈诗赋，就连樵夫牧子也能与之平等相待，共享山林之乐。这不仅是对戴氏人格魅力的颂扬，也是对平等、和谐人际关系的向往。
诗中“海内一统三十载，书文车轨过荆蛮”反映了国家统一、文化交融的盛况，而戴氏选择“捐轩弃冕考槃涧”，甘愿放弃世俗的荣华富贵，追求心灵的自由与宁静，这无疑是清朝包容多元价值观的体现。
诗人虽心生羡慕，渴望能如神仙般“插翅一飞往”，但深知“神仙窟宅何可到，蓬莱弱水隔险艰”，于是转而以王维、陶渊明自比，虽不能至，心向往之。最终，诗人悟出“既而思之各有分，命所当得天不悭”，每个人的人生轨迹自有定数，无需强求，体现了对命运的淡然接受。
末尾，诗人以“大苍山，小苍山，此非百顷之家不能办，游人未易窥豹斑”作结，既强调了戴氏苍山的非凡与珍贵，也流露出自己虽身处简陋，却心怀远方的情怀。整首诗在想象与现实的交织中缓缓落下帷幕，留给读者无尽的遐想与回味。
