汉乐府名篇《陌上桑》中“罗敷夸夫”一段,集中表现了美女罗敷的机敏和智慧,展示了她高超的斗争艺术,在前两段的基础上进一步画龙点睛,成功地塑造了一个外美与内美高度统一的采桑女子的艺术形象。 但是,有些论者对这一段的解释却明显有误:比如说“先用随从千骑,夫居上头,给官气十足的使君当头一棒。‘何用’六句详叙夫婿服饰华贵;‘十五’四句言其年富位显,朝大夫、侍中郎、专城居一字儿摆开,使之相形见绌”(见1991年《文史知识》第31页);还有的说“丈夫乘马出门必定有千余个僚属和差使簇拥跟随。在浩浩荡荡的队伍中丈夫鹤立鸡群,走在最前列。这样的场面和气派当然不是‘五马’的使君所能比拟的。这是从威势方面夸耀丈夫的。接着又从富贵方面夸夫:‘青丝系马尾, A section of the “Luoshui Kwafu” in Han Yuefu’s famous “Mo Shangsang” featured the expressiveness and wisdom of the beauty Luo Fu, demonstrated her superb struggle art, and further improved the finishing touch on the basis of the first two paragraphs. A highly unified image of the Caisang woman’s image of foreign beauty and internal beauty. However, some commentators have clearly misunderstood this paragraph: For example, “First ride with the followers of the thousand riders, the husband stays on top, and give the official a full shot.” Why use ’six details of Fufu’s costumes; The ’15th Five-Year’ four-letter words are rich, and the doctors of the DPRK, Shi Zhonglang, and the special city are set apart, making them pale in comparison with each other (see “The Knowledge of Literature and History, 1991”, p. 31); “There must be more than a thousand husbands and poor followers to follow her husband when he leaves for the horse. In her mighty team, her husband stands out and is at the forefront. This kind of scene and style is certainly not comparable to the “five horses”. This is to boast about her husband in terms of power and power, and then from the wealthy aspect: "The silk is a cauda equina,