在謝靈運的《登江中孤嶼》一詩中，最後的四句常被詬病爲不和諧的“玄言的尾巴”。由此提出的問題是，本詩的敘事寫景和說理抒情之間有什麽邏輯關係？另外，“崑山”和“安期”，從表面上看分别代表不同的神話（神仙）系統，那麽，“想像崑山姿”二句與“始信安期術”二句之間又有什麽樣的聯繫？要解決上述問題，關鍵在於對“崑山”和“安期”的理解。這裏的崑山，指向的不是西王母，而是《馬君傳》中的太真夫人，安期也不是《史記》和《列仙傳》中的安期，而是《馬君傳》中的安期先生。謝靈運《山居賦》中有“安期先生是馬明生之師”的表述，這一情節當來自《馬君傳》。故本文試圖從該傳的知識背景出發，對此詩作一全新的解讀，並對謝靈運和《馬君傳》之間的關係作一考證。

The last four lines of Xie Lingyun’s poem “Deng jiang zhong guyu”(On Climbing Isolated Island in the River)has been criticized as a disharmonious xuanyan de weiba (tail to subtle words). This criticism raises the question as to what the logical connection between the descriptive narrative and the lyrical reasoning in the poem is. Besides, as Mount Kun and Scholar Anqi appear to belong to different mythological genealogies, what is the relationship between “imagining the beauty of the Kun Mount”and “believing in Master Anqi’s magic arts”? Understanding Kun Mount and Master Anqi correctly is the key to answering these questions. The “Mount Kun”here refers not to Xiwangmu (Queen Mother of the West)but to Taizhen furen (Lady of Grand Perfection) in Majun zhuan (Hagiology of Lord Ma), and the “Anqi”here not to the one in Shiji (Records of the Grand Historian ) or Liexian zhuan (Legendary Biographies of Taoist Immortals of Antiquity)but is the Anqi xiansheng (Master Anqi)in Majun zhuan. Xie’s statement, “Master Anqi was Ma Mingsheng’s teacher, ”in his “Shan ju fu”(Rhapsody of Dwelling in the Mountain)is also derived from Majun zhuan. This paper takes the background of Majun zhuan as its entry point, provides a new reading of Xie’s poem, and explores the relationship between the poet and Majun zhuan.