【摘要】 宋人好用愧思马少游的典故以表达归隐之思，在此语境中，作者的身份底色实为心怀家国的马援。北宋中晚期，以苏轼为中心的两代苏门文人屡次在诗文中论及马援与马少游，从中可见其自我认知与处世心态的转变。从新法环境下渴望急流勇退、谪途中却不改忠正的“马援”，到党禁时代退居乡里的“马少游”，苏门文人经历了从庙堂坠入江湖的身份转型、从忠鲠立朝到超脱于进退之外的心态蜕变。苏过更为马少游式的人生注入了新的精神内涵，马少游的款段下泽、颜子的箪瓢陋巷、许汜的求田问舍、陶渊明的三径之乐被杂糅在一起，成为元祐子弟在北宋晚期的典型形象，而这正是北宋士大夫价值观之内在化、个体化、地方化的表现。更多还原

【Abstract】 The Literati in the Song dynasty often used the allusion of Ma Shaoyou to express their yearning for seclusion. In this context, the users of this allusion were actually in the position of Ma Yuan, who tended to pursue worldly success. In the mid-late Northern Song Dynasty, the literati of Su School showed a special preference to this allusion, which reflects the transformation in their self-awareness and outlook on life.Ma Yuan symbolizes a conflicting attitude between seclusion and serving the country, while Ma Shaoyou represents contentment with serving as a minor official in the countryside. The literati of Su School gradually identified with Shaoyou, reflecting their transition from being loyal to the Song court to being detached to both political ideal and fortune. Moreover, Su Guo(Su Shi’s son) added new spiritual values to Ma Shaoyou’s image. Ma’s characteristics were blended with those of Yan Yuan, Xu Si and Tao Yuanming, and became a typical image of Yuanyou party’s posterity in the late Northern Song period, which was the result of scholarofficials’ turning inward in their pursuit.更多还原