蘇軾居儋期間相關書寫，構成一幅「受難」圖景，讓觀者能夠清楚地知道「苦難」的原因與過程；然面對「苦難」時，蘇軾不僅描述它，更從中展現出「超曠」的人格特質，用「詩意」柔化了「苦難」，豐富了「苦難」的內涵，將「苦難」藏於「詩意化」的文字之後。蘇軾在「苦難」中呈現「中原式」的「秀異」，通過科舉與政治、權力、利益進行連結，為百姓揭示出一種足以改變階級的文化資本累積模式，故百姓對之不但認同還熱烈追求，使得蘇軾有機會在此進行一場蠻荒的文化再製。又蘇軾將儒、釋、道等文化思想與生命經歷內化，融會成個人獨特的人生思想、文化品味，形成「東坡式」的「秀異」。此「秀異」帶有文人階級性，而成為文人模仿的對象，並內化為中國古典文化的一部分，是具有象徵性、代表性的符號。到了現代社會，更深根到一般民眾心中，是華人文化社會場域中不可分割的文化底蘊。

The writings of Su Shi （Su Dongpo） accomplished during his residence in Danzhou composed a picture of “victimization” which clearly showed readers the reason and process of his “suffering.” When facing his suffering, Su Shi not only described it vividly but also revealed his personality as a “broad-minded” person who used the “poetic expression” to soften his “suffering,” enriching its meaning and hiding it behind his “poetic” words. In the “suffering,” Su Shi presented the “distinction” of the “central plains,” which was connected to politics, power, and interests through imperial examination, unfolding people at that time a model that was accumulated by cultural capital could change the classes. Thus, people not only agreed with the model but also eagerly pursued it; therefore, this effect gave Su Shi a chance to make an uncivilized cultural reproduction. Moreover, Su Shi internalized cultural thoughts including Confucianism, Buddhism and Taoism and his life experience, integrating them into his own unique thinking and cultural taste, which turned to be the “distinction” of “Su Shi.” This “distinction” consisted of the nature of literati class, so it became the object of imitation by literati. Being internalized as a part of Chinese classical culture, this “distinction” was a symbolic and representative sign. In modern society, it has already been deepened into people’s mind as the indispensable cultural heritage in Chinese cultural and social fields.