苏轼，谁怕
Su Shi, Who's Afraid
一、乌台诗案
1079年。苏轼四十三岁。他在湖州当知州。朝廷来人把他逮了。
罪名：以诗讽刺新政。
王安石变法。苏轼反对。他不是反对变法本身——他反对的是变法的方式。他觉得太急了，太硬了，底下的人受不了。他写了几首诗，说了几句话。有人把这些诗翻出来，一句一句对照，说他在讽刺皇帝，讽刺朝政。
这就是乌台诗案。"乌台"是御史台的别称。御史台有柏树，上面栖了很多乌鸦。
苏轼被关了一百三十天。在狱中他以为自己要死了。他给弟弟苏辙写了两首诗当遗书。他真的以为自己活不过这一关。
最后没死。太后（曹太后）说了话。很多人求情。王安石本人据说也说了一句"圣朝不宜诛名士"。苏轼被贬到黄州。团练副使。一个没有实权的闲职。相当于流放。
他差点死了。然后他去了黄州。然后他写了赤壁赋。
中国文学史上最好的散文之一，是一个差点被杀的人在流放地写的。
二、他被凿了多少次
苏轼这辈子被凿了很多次。
第一次：乌台诗案。从湖州知州变成黄州团练副使。四十三岁到四十七岁。
第二次：旧党上台后他被召回，但他又说新法里有些好东西不该全废。两边都不讨好。被外放到杭州，然后颍州，然后扬州，然后定州。
第三次：新党再次上台。贬到惠州（今天的广东惠州）。五十九岁。
第四次：再贬到儋州（今天的海南岛）。六十二岁。宋朝的海南岛，等于天涯海角。比流放还远。
从四十三岁到六十五岁去世。二十二年里大部分时间不是在被贬就是在去被贬的路上。
杜甫一辈子穷。苏轼不一样——他年轻时名满天下，二十一岁考中进士，被欧阳修说"此人可谓善读书者也，他日文章必独步天下"。他尝过好日子。然后一步一步被推到底。
被推到底是什么感觉？
大部分人会碎。八大山人碎了——沉默了六十一年。杜甫碎了——用诗记录了苦难。屈原碎了——跳了汨罗江。
苏轼没碎。
三、黄州
黄州四年（1080-1084）。苏轼人生的最低点。也是他创作的最高点。
他到黄州的时候什么都没有。没有官俸（团练副使是虚职）。没有钱。家里人口多。他在城东找了一块荒地，自己种田。他给这块地起了个名字："东坡"。从此自号"东坡居士"。
他的名字——苏东坡——是从一块荒地来的。从失去一切开始的。
在黄州他写了什么？
《赤壁赋》。前赤壁赋和后赤壁赋。"寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。"——然后话锋一转——"惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也。"
前半段是哀。后半段是转。转的逻辑是：你失去的东西（官位，名声，京城的生活）是有限的。你拥有的东西（江上的风，山间的月）是无限的。你用有限的去衡量自己，当然觉得一无所有。你用无限的去衡量自己，你什么都不缺。
这不是自我安慰。这是一次真正的凿——凿掉了"失去官位就是失去一切"这个假设。
《念奴娇·赤壁怀古》。"大江东去，浪淘尽，千古风流人物。"——这不是一个被贬的人写的句子。这是一个站在时间之上的人写的句子。
《定风波》。"莫听穿林打叶声，何妨吟啸且徐行。竹杖芒鞋轻胜马，谁怕？一蓑烟雨任平生。"
谁怕？
两个字。这两个字是苏轼一生的注脚。被贬了？谁怕。再贬？谁怕。贬到海南岛？谁怕。
四、他凿了什么
苏轼凿了什么？
他没有凿外部世界。他不是苏格拉底（凿假知识），不是马克思（凿假自然），不是伽利略（凿假宇宙）。
他凿的是自己对苦难的反应。
被贬的正常反应是什么？愤怒。自怜。绝望。抱怨。屈原的反应是"举世皆浊我独清"——我是对的，世界是错的。然后跳江。杜甫的反应是把苦难写成诗——"朱门酒肉臭，路有冻死骨"。苦难是他的素材。
苏轼的反应不一样。他不愤怒，不自怜，不绝望。他说"谁怕"。他到惠州说"日啖荔枝三百颗，不辞长作岭南人"。他到儋州说"九死南荒吾不恨，兹游奇绝冠平生"。
这不是假装不痛。他痛过。乌台诗案在狱中他以为自己要死了。他给弟弟写遗诗的时候是真的绝望。
但他从绝望里出来了。他凿掉的不是痛苦本身——痛苦是真的。他凿掉的是"痛苦应该定义我"这个假设。你把我贬了。好。但你定义不了我。我不是"被贬的人"。我是苏轼。我在哪里，哪里就是我的地方。
黄州的荒地？我种东坡。
惠州的荔枝？我天天吃。
儋州的荒凉？我说这是我一生最奇绝的旅行。
你凿不碎一个不把你的凿当回事的人。
五、他和杜甫
杜甫和苏轼。中国诗歌史上最重的两个名字（跟李白三个人排在最前面）。
杜甫的诗是苦难的直接记录。他看到什么就写什么。饿了写饿。冷了写冷。看到征兵写征兵。看到死人写死人。他不消化苦难——他让苦难直接流过他，落在纸上。
苏轼的诗是苦难消化之后的产物。他不是不苦——他是把苦的东西吃下去了，然后吐出来的是别的东西。
杜甫："安得广厦千万间，大庇天下寒士俱欢颜。"——我冻死没关系，你们别冻着。
苏轼："竹杖芒鞋轻胜马，谁怕？"——我被贬了，那又怎样。
杜甫朝外看——他看天下。
苏轼朝内看——他看自己跟世界的关系。
杜甫的余项是苦难溢出来的诗。
苏轼的余项是苦难被消化之后溢出来的旷达。
两种余项。一种是生的。一种是熟的。
六、他和李白
李白和苏轼。两种自由。
李白的自由是天生的。他从来没被真正压到底过——他在长安不得志就走了，"安能摧眉折腰事权贵，使我不得开心颜"。他不是不能被压碎，他是没碰到过那种力量。他的自由是从来没有失去过的自由。
苏轼的自由是挣出来的。他被压到底了。乌台诗案差点死了。黄州四年。惠州。儋州。他的自由不是"我从来没失去过"——是"我失去了，但我发现失去以后我还在"。
李白："仰天大笑出门去，我辈岂是蓬蒿人。"——我不属于这里。
苏轼："此心安处是吾乡。"——我在哪里，哪里就是家。
李白要走。苏轼不走。不是不想走——是走不了。他被贬了。他不能走。但他在不能走的地方找到了安。
李白的自由需要走。苏轼的自由不需要。
这是两种自由的根本区别：一种需要条件（离开让你不自由的地方），一种不需要条件（你在哪里你就自由了）。
苏轼的自由更难。因为它不依赖外部条件。你把他放在黄州他自由。你把他放在惠州他自由。你把他放在海南岛他还是自由。
你拿他没办法。
七、他和八大山人
八大山人和苏轼。两个被命运碾过去的人。
八大山人：国没了，身份是死罪，沉默了六十一年。
苏轼：被贬了二十二年，笑了二十二年。
八大山人的回应是沉默。苏轼的回应是说话。八大山人用留白表达余项。苏轼用诗词文赋表达余项。一个是不说，一个是说不完。
两种回应，哪种更深？没有标准答案。
但有一个区别：八大山人的处境比苏轼更极端。八大山人是亡国者——他的构彻底碎了。苏轼再怎么被贬，他还在宋朝的框架里。他还是宋朝的臣子。他的构没碎——只是构给他的位置越来越差。
八大山人是碎片。苏轼是被推到角落的人。
碎片只能沉默。被推到角落的人还能说话——只要他选择说。
苏轼选择了说。
八、此心安处
1101年。苏轼从海南岛被召回。走到常州。病了。死了。六十五岁。
他一辈子在路上。从眉山到开封。从开封到黄州。从黄州到杭州。从杭州到惠州。从惠州到儋州。从儋州到常州。最后死在常州。
他没有回到家乡眉山。他一辈子都在往回走，但从来没有走到。
但他说过："此心安处是吾乡。"
这句话是他引用别人的（他朋友王巩的侍妾柔奴说的），但他用了，用得像是他自己的话。因为它就是他自己的话。他一辈子在践行这句话。
你的家乡不在眉山。不在开封。不在黄州。不在任何一个地理坐标上。你的家乡在你心安的地方。你心安了，你就到家了。
这跟慧能有什么关系？
慧能说"本来无一物"——你本来就是空的，不需要外面的东西。
苏轼说"此心安处是吾乡"——你不需要回到某个地方，你心安了就是家。
两个人说的不是同一件事，但结构是一样的：自由不依赖外部条件。慧能的版本是佛学的。苏轼的版本是生活的。
慧能的空是抽象的——他说的是所有人。
苏轼的安是具体的——他说的是自己。他在黄州种过地。他在惠州吃过荔枝。他在儋州看过大海。他的"心安"不是哲学命题。是活出来的。
九、谁怕
苏轼死后，他的诗词文赋成了中国文学的核心遗产之一。他是少数几个在诗、词、文、书法、绘画上都达到最高水平的人。
但他最大的遗产不是任何一首诗或一篇文。是他面对命运的姿态。
被凿了？那又怎样。
被贬了？谁怕。
被推到底了？我在底下种个东坡。
这是一种特殊的余项。不是方法（牛顿的F=ma）。不是工具（马克思的阶级分析）。不是沉默（八大山人的画）。是一种姿态——面对命运的凿，你可以不碎。
不是因为你比别人强。不是因为你不痛。是因为你选择不让痛苦定义你。
桥头又多了一个人。他不高不矮。有点胖——他自己说过"余以手为口"，意思是用手来满足嘴。他手上没有望远镜，没有两本书，没有秃笔。他手上有一杯酒。
他站在那里不像其他人那么严肃。其他人都在想——在凿，在忏悔，在沉默，在扶墙。苏轼不想了。他喝了一口酒。看了看周围的人。看了看远方。笑了。
谁怕？
注释
苏轼"被凿了还能笑"与Self-as-an-End理论中"凿构循环"和"余项守恒"的关系：凿构循环的核心论证见系列方法论总论（DOI: 10.5281/zenodo.18842450）。苏轼的独特位置在于他凿的不是外部世界——他凿的是自己对苦难的反应。他凿掉了"被贬就应该痛苦"和"痛苦应该定义我"这些假设。他的余项不是方法，不是工具，不是沉默——是一种面对命运的姿态。"此心安处是吾乡"与慧能"本来无一物"在结构上同构：自由不依赖外部条件。但苏轼的版本是生活的而非佛学的——它是活出来的，不是悟出来的。他与杜甫形成对比（苦难的直接溢出 vs 苦难消化后的旷达），与李白形成对比（天生的自由 vs 挣出来的自由），与八大山人形成对比（沉默 vs 说话）。
苏轼生平主要依据林语堂《苏东坡传》（The Gay Genius, 1947）及李一冰《苏东坡新传》（2020修订版）。乌台诗案（1079年）。黄州贬谪期（1080-1084年）。《赤壁赋》（前赤壁赋1082年秋，后赤壁赋1082年冬）。《念奴娇·赤壁怀古》（1082年）。《定风波》（"莫听穿林打叶声"，1082年）。惠州贬谪（1094年）。"日啖荔枝三百颗"出自《惠州一绝》。儋州贬谪（1097年）。"九死南荒吾不恨"出自《六月二十日夜渡海》。"此心安处是吾乡"出自《定风波·南海归赠王定国侍人寓娘》。苏轼去世（1101年，常州）。系列应用篇。
I. The Poetry Trial
1079. Su Shi was forty-three. He was serving as prefect of Huzhou. Officers from the capital came and arrested him.
The charge: satirizing the new policies through his poetry.
Wang Anshi's reforms. Su Shi opposed them — not the idea of reform, but the method. He thought it was too fast, too rigid, too hard on the people at the bottom. He had written a few poems, made a few remarks. Someone dug up the poems, parsed them line by line, and declared them satire against the Emperor and the court.
This was the Crow Terrace Poetry Trial. "Crow Terrace" was the popular name for the Censorate — its courtyard had cypress trees where crows roosted.
Su Shi was imprisoned for a hundred and thirty days. In his cell he believed he was going to die. He wrote two poems to his brother Su Zhe as a last testament. He genuinely believed he would not survive.
In the end, he lived. The Empress Dowager intervened. Many petitioned for mercy. Wang Anshi himself reportedly said: "A sage dynasty should not execute famous scholars." Su Shi was demoted to Huangzhou — Deputy Military Commissioner, a post with no real authority. Exile in all but name.
He nearly died. Then he went to Huangzhou. Then he wrote the Red Cliff Rhapsody.
One of the greatest prose pieces in the history of Chinese literature was written by a man who had nearly been executed, in the place of his exile.
II. How Many Times He Was Carved
Su Shi was carved by fate many times over.
First: the Poetry Trial. From prefect of Huzhou to a powerless exile in Huangzhou. Age forty-three to forty-seven.
Second: when the conservative faction returned to power, he was recalled — but then he said some of the new policies actually had merit and should not all be scrapped. Neither side was pleased. He was posted away from the capital — Hangzhou, then Yingzhou, then Yangzhou, then Dingzhou.
Third: the reformers returned to power. Demoted to Huizhou (in modern Guangdong). Age fifty-nine.
Fourth: demoted again to Danzhou (on Hainan Island). Age sixty-two. In Song dynasty terms, Hainan was the edge of the earth. Beyond exile.
From forty-three to his death at sixty-five. For most of twenty-two years he was either in exile or on his way to the next one.
Du Fu was poor all his life. Su Shi was different — he had been famous from the start. At twenty-one he passed the imperial examination. The great literary figure Ouyang Xiu said of him: "This man truly knows how to read; one day his writing will stand alone in the world." He had tasted the good life. Then, step by step, he was pushed to the bottom.
What does being pushed to the bottom feel like?
Most people break. Bada Shanren broke — sixty-one years of silence. Du Fu broke — he turned suffering into poetry. Qu Yuan broke — he walked into the Miluo River.
Su Shi did not break.
III. Huangzhou
Four years in Huangzhou (1080–1084). The lowest point of Su Shi's life. Also the highest point of his art.
When he arrived in Huangzhou he had nothing. No salary (his post was a sinecure). No money. A large family to feed. He found a patch of wasteland east of the city and farmed it himself. He named the plot "Eastern Slope" — Dongpo. From then on he styled himself "The Layman of the Eastern Slope."
His name — Su Dongpo — comes from a patch of wasteland. It begins with losing everything.
What did he write in Huangzhou?
The Red Cliff Rhapsodies. The first and the second. "A mayfly between heaven and earth, a single grain in the vast ocean. I grieve the brevity of my life, I envy the endlessness of the great river." — Then the pivot — "Only the clear breeze on the river and the bright moon over the mountains: the ear receives them as sound, the eye meets them as color. There is no prohibition on taking them, no limit to their use. They are the inexhaustible treasury of the Creator."
The first half is grief. The second half is the turn. The logic of the turn: what you have lost (your post, your reputation, life in the capital) is finite. What you possess (the wind on the river, the moon over the mountains) is infinite. Measure yourself by the finite, and of course you have nothing. Measure yourself by the infinite, and you lack nothing at all.
This is not self-consolation. This is a genuine act of carving — carving away the assumption "losing your position means losing everything."
"念奴娇 · Remembering Red Cliff." "The great river flows east, its waves have washed away a thousand years of gallant figures." — This is not a sentence written by a man in exile. This is a sentence written by a man standing above time.
"定风波 · Calming the Storm." "Do not mind the sound of rain beating through the forest. Why not chant and stroll at ease? A bamboo staff and straw sandals are lighter than a horse — who's afraid? A straw cloak in the mist and rain, and I will live out my days."
Who's afraid?
Two words. These two words are the footnote to Su Shi's entire life. Demoted? Who's afraid. Demoted again? Who's afraid. Demoted to Hainan Island? Who's afraid.
IV. What He Carved
What did Su Shi carve?
He did not carve the external world. He was not Socrates (carving false knowledge), not Marx (carving false nature), not Galileo (carving a false universe).
He carved his own response to suffering.
What is the normal response to demotion? Anger. Self-pity. Despair. Complaint. Qu Yuan's response was "the whole world is muddy and I alone am clean" — I am right and the world is wrong. Then he walked into the river. Du Fu's response was to turn suffering into poetry — "behind vermilion gates, meat and wine go rotten; on the road, bones of the frozen dead." Suffering was his raw material.
Su Shi's response was different. He was not angry, not self-pitying, not despairing. He said "who's afraid." In Huizhou he said: "If I can eat three hundred lychees a day, I would gladly remain a man of Lingnan forever." In Danzhou he said: "Nine deaths in the southern wilds and I hold no grudge — this journey has been the most extraordinary of my life."
This is not pretending it does not hurt. He had been in pain. During the Poetry Trial, in his cell, he believed he was going to die. The farewell poems he wrote to his brother were written in genuine despair.
But he came out of the despair. What he carved away was not the pain itself — the pain was real. He carved away the assumption "pain should define me." You demoted me. Fine. But you do not get to define me. I am not "the man who was demoted." I am Su Shi. Wherever I am, that is my place.
Wasteland in Huangzhou? I will farm my Eastern Slope.
Lychees in Huizhou? I will eat them every day.
Desolation of Danzhou? I call it the most extraordinary journey of my life.
You cannot break a man who does not take your breaking seriously.
V. Su Shi and Du Fu
Du Fu and Su Shi. Two of the heaviest names in the history of Chinese poetry (alongside Li Bai, the three stand at the very front).
Du Fu's poetry is the direct record of suffering. He wrote what he saw. Hungry, he wrote hunger. Cold, he wrote cold. He saw conscription and wrote conscription. He saw death and wrote death. He did not digest suffering — he let it flow straight through him onto the page.
Su Shi's poetry is the product of suffering after digestion. It is not that he did not suffer — he swallowed the bitter thing, and what came back up was something else.
Du Fu: "Would that I had ten thousand great mansions, to shelter all the cold scholars of the world in joy." — I freeze to death and that is fine, as long as you are warm.
Su Shi: "A bamboo staff and straw sandals are lighter than a horse — who's afraid?" — I have been demoted. So what.
Du Fu looked outward — he saw the world.
Su Shi looked inward — he saw his own relationship to the world.
Du Fu's remainder is poetry that spilled from suffering.
Su Shi's remainder is equanimity that spilled from suffering after it had been digested.
Two kinds of remainder. One is raw. The other is cooked.
VI. Su Shi and Li Bai
Li Bai and Su Shi. Two kinds of freedom.
Li Bai's freedom was inborn. He was never truly pushed to the bottom — when he was unhappy in the capital he simply left. "How could I bow and scrape before the powerful, denying my own heart its joy?" He was not incapable of being crushed; he simply never met that force. His freedom was the freedom of someone who has never lost.
Su Shi's freedom was won. He was pushed to the bottom. The Poetry Trial nearly killed him. Four years in Huangzhou. Huizhou. Danzhou. His freedom is not "I have never lost" — it is "I lost, and I discovered that after losing I was still here."
Li Bai: "I raise my head and laugh as I walk out the door — are we the sort to waste our days among the weeds?" — I do not belong here.
Su Shi: "Where my heart is at peace, there is my home." — Wherever I am, that is home.
Li Bai needed to leave. Su Shi did not leave. Not because he did not want to — he could not. He had been exiled. But in the place where he could not leave, he found peace.
Li Bai's freedom requires departure. Su Shi's freedom does not.
This is the fundamental difference between two kinds of freedom: one requires conditions (leaving the place that denies you freedom), the other requires none (wherever you are, you are free).
Su Shi's freedom is harder. Because it does not depend on external conditions. Put him in Huangzhou and he is free. Put him in Huizhou and he is free. Put him on Hainan Island and he is still free.
There is nothing you can do to him.
VII. Su Shi and Bada Shanren
Bada Shanren and Su Shi. Two men rolled over by fate.
Bada Shanren: his country was destroyed, his identity was a death sentence, he was silent for sixty-one years.
Su Shi: he was exiled for twenty-two years and laughed for twenty-two years.
Bada Shanren's response was silence. Su Shi's response was speech. Bada Shanren expressed remainder through blank space left on the paper. Su Shi expressed remainder through poetry and prose and song. One chose not to speak. The other could not stop speaking.
Which response is deeper? There is no standard answer.
But there is a difference: Bada Shanren's situation was more extreme than Su Shi's. Bada Shanren was the survivor of a fallen dynasty — his construction had shattered completely. No matter how far Su Shi was demoted, he remained inside the Song dynasty's framework. He was still a Song official. His construction had not broken — it had simply given him a worse and worse position within it.
Bada Shanren was a fragment. Su Shi was a man pushed to the corner.
A fragment can only be silent. A man pushed to the corner can still speak — if he chooses to.
Su Shi chose to speak.
VIII. Where the Heart Is at Peace
1101. Su Shi was recalled from Hainan Island. He made it as far as Changzhou. He fell ill. He died. Sixty-five years old.
He had spent his whole life on the road. From Meishan to Kaifeng. From Kaifeng to Huangzhou. From Huangzhou to Hangzhou. From Hangzhou to Huizhou. From Huizhou to Danzhou. From Danzhou to Changzhou. He died in Changzhou.
He never made it back to his hometown of Meishan. His whole life he was walking home, and he never arrived.
But he once said: "Where my heart is at peace, there is my home."
The line was originally someone else's — his friend Wang Gong's concubine Rouniang said it. But Su Shi used it, and used it as though it were his own. Because it was. He lived this sentence his entire life.
Your home is not in Meishan. Not in Kaifeng. Not in Huangzhou. Not at any set of geographic coordinates. Your home is where your heart is at peace. When your heart is at peace, you have arrived.
What does this have to do with Huineng?
Huineng said "originally there is nothing" — you are inherently empty, you do not need anything from outside.
Su Shi said "where my heart is at peace, there is my home" — you do not need to return to any place; when your heart is at peace, you are home.
They are not saying the same thing, but the structure is the same: freedom does not depend on external conditions. Huineng's version is Buddhist. Su Shi's version is lived.
Huineng's emptiness is abstract — it speaks of everyone.
Su Shi's peace is concrete — it speaks of himself. He farmed in Huangzhou. He ate lychees in Huizhou. He gazed at the ocean in Danzhou. His "heart at peace" is not a philosophical proposition. It was lived out.
IX. Who's Afraid
After Su Shi's death, his poetry, prose, and lyrics became one of the core legacies of Chinese literature. He is one of the few who reached the highest level in poetry, lyrics, prose, calligraphy, and painting alike.
But his greatest legacy is not any single poem or essay. It is his posture in the face of fate.
Carved? So what.
Demoted? Who's afraid.
Pushed to the bottom? I will plant an Eastern Slope down here.
This is a particular kind of remainder. Not a method (Newton's F=ma). Not a tool (Marx's class analysis). Not silence (Bada Shanren's paintings). It is a posture — when fate carves you, you can choose not to break.
Not because you are stronger than everyone else. Not because you do not feel pain. Because you choose not to let pain define you.
One more at the bridgehead. He is neither tall nor short. A little stout — he once wrote that his hand served as his mouth, meaning he used his hands to satisfy his appetite. He holds no telescope, no pair of books, no worn brush. He holds a cup of wine.
He stands there looking less serious than everyone else. The others are all thinking — carving, confessing, falling silent, bracing the wall. Su Shi has stopped thinking. He takes a sip of wine. Looks around at the others. Looks into the distance. Smiles.
Who's afraid?
Notes
The relationship between Su Shi's "laughing after being carved" and the chisel-construct cycle and conservation of remainder in Self-as-an-End theory: the core argument for the chisel-construct cycle can be found in the Methodological Overview (DOI: 10.5281/zenodo.18842450). Su Shi's unique position is that he carved not the external world but his own response to suffering. He carved away the assumptions "demotion should mean suffering" and "pain should define me." His remainder is not a method, not a tool, not silence — it is a posture in the face of fate. "Where my heart is at peace, there is my home" is structurally isomorphic with Huineng's "originally there is nothing": freedom does not depend on external conditions. But Su Shi's version is lived rather than Buddhist — it was achieved through experience, not through enlightenment. He contrasts with Du Fu (raw overflow of suffering vs. equanimity after digestion), with Li Bai (innate freedom vs. freedom won through loss), and with Bada Shanren (silence vs. speech).
Su Shi's life draws primarily on Lin Yutang, The Gay Genius: The Life and Times of Su Tungpo (1947) and Li Yibing, A New Biography of Su Dongpo (revised edition, 2020). The Crow Terrace Poetry Trial (1079). Huangzhou exile (1080–1084). The Red Cliff Rhapsodies (first, autumn 1082; second, winter 1082). "念奴娇 · Remembering Red Cliff" (1082). "定风波 · Calming the Storm" ("Do not mind the sound of rain," 1082). Huizhou exile (1094). "If I can eat three hundred lychees a day" from "Huizhou, A Quatrain." Danzhou exile (1097). "Nine deaths in the southern wilds" from "Crossing the Sea on the Night of the Twentieth Day of the Sixth Month." "Where my heart is at peace, there is my home" from "定风波 · To Wang Dingguo's Companion Rouniang, on Their Return from the South." Su Shi's death (1101, Changzhou). Applied essay in the series.