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宋 Song · 词 Ci lyric

贺新郎·夏景

He Xin Lang: Summer Scene

苏轼

Su Shi

闺情Love in the boudoir 夏景Summer scene

乳燕飞华屋。
悄无人、桐阴转午，晚凉新浴。
手弄生绡白团扇，扇手一时似玉。
渐困倚、孤眠清熟。
帘外谁来推绣户，枉教人、梦断瑶台曲。
又却是，风敲竹。
石榴半吐红巾蹙。
待浮花、浪蕊都尽，伴君幽独。
秾艳一枝细看取，芳心千重似束。
又恐被、秋风惊绿。
若待得君来向此，花前对酒不忍触。
共粉泪，两簌簌。

Fledglings dart in and out of the painted hall;
All is still — no one about, the paulownia shade has shifted to noon; she has bathed in the evening cool.
Her hand toys with a white round silk fan; fan and hand together are like jade for a moment.
She grows drowsy and leans down, sleeping alone, soundly.
Who outside the curtain is pushing the embroidered door? It only breaks her dream of the jade terrace.
It was only the wind knocking the bamboo.
Half-open, the pomegranate shows a crumpled red kerchief.
Waiting till the floating blossoms and wanton stamens have all gone, to keep you company in solitude.
A lush single branch, look at it closely — a thousand folded hearts, bound like a bundle.
And she fears that the autumn wind will startle the green.
If only he would come in time — before the flowers, with wine in hand, he could not bear to touch them.
Powdered tears, his and hers, falling two by two, rustling.

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Meaning

A two-stanza ci that sets a summer boudoir beside a pomegranate in bloom. After her bath the woman lies down alone with a white fan, is woken from a dream of a jade terrace by what seems a hand at her door, and finds only the wind in the bamboo. The second stanza turns to the flower — half open like a crumpled red kerchief, meant to keep him company once the showy blossoms have faded, yet trembling at the thought of an autumn wind — and to her own reluctance to touch it, wine cup in hand. Woman and flower shed powder-white tears together, and the poem does not say which is which.

乳燕飞华屋。悄无人、桐阴转午，晚凉新浴。手弄生绡白团扇，扇手一时似玉。渐困倚、孤眠清熟。帘外谁来推绣户，枉教人、梦断瑶台曲。又却是，风敲竹。石榴半吐红巾蹙。待浮花、浪蕊都尽，伴君幽独。秾艳一枝细看取，芳心千重似束。又恐被、秋风惊绿。若待得君来向此，花前对酒不忍触。共粉泪，两簌簌。

Appreciation

[Structure] The upper stanza is a sequence of small interruptions: a bird, a shadow, a fan, a door, bamboo. Every one of them is trivial, and every one of them breaks her dream, which is how we learn how large her solitude is. The lower stanza moves the attention to the pomegranate and keeps the two figures in parallel without ever saying so — the flower waits to bloom alone, and so does she. [Imagery] 'Fan and hand together are like jade' fixes the woman's beauty in an object rather than in a description, and 'half-open, a crumpled red kerchief' fuses petal and garment so that we cannot separate the flower from her clothing. 'A thousand folded hearts, bound like a bundle' turns the blossom into a held secret. [Emotion] The closing couple 'her powdered tears, his and hers, falling two by two' is the poem's whole argument in four words: she is not weeping alone, but neither can she say why. Su Shi's fame lies in the fact that he could write this in the graceful mode at all.

【白话串讲】苏轼写《贺新郎·夏景》：“乳燕飞华屋”——“晚凉新浴。手弄生绡白团扇，扇手一时似玉”——“石榴半吐红巾蹙”——“待浮花、浪蕊都尽，伴君幽独”——他写夏日的孤高与石榴。【意象与手法】此词写闺怨，以婉约写闺怨，是苏轼的名篇。上片写佳人：「乳燕飞华屋。悄无人、桐阴转午，晚凉新浴」写乳燕飞华屋、悄无人、桐阴转午——写尽佳人的孤眠；下片写榴花：「石榴半吐红巾蹙。待浮花、浪蕊都尽，伴君幽独」写石榴半吐红巾蹙、待浮花、浪蕊都尽——写尽榴花的幽独。全词以婉约写闺怨，写尽佳人的孤眠与榴花的幽独，是苏轼的代表作。【情感与主旨】此词写闺怨，以婉约写闺怨，是苏轼的名篇。此词为苏轼婉约词的代表作，写夏日深闺中的佳人，以榴花喻人。上片写乳燕飞华屋，悄无人而桐阴转午，晚凉新浴；手弄生绡白团扇，扇手一时似玉；渐困倚而孤眠清熟；帘外谁来推绣户，枉教人、梦断瑶台曲；又却是、风敲竹。下片写石榴半吐红巾蹙，待浮花浪蕊都尽，伴君幽独；秾艳一枝细看取，芳心千重似束；又恐被、秋风惊绿；若待得君来向此，花前对酒不忍触；共粉泪、两簌簌。此词写佳人：乳燕飞华屋、悄无人、桐阴转午，晚凉新浴——写乳燕飞华屋、悄无人、桐阴转午，写尽佳人的孤眠；手弄生绡白团扇，扇手一时似玉——写手弄生绡白团扇、扇手一时似玉，写尽玉手的团扇；渐困倚、孤眠清熟——写渐困倚、孤眠清熟，写尽清熟的孤眠；帘外谁来推绣户，枉教人、梦断瑶台曲——写帘外谁来推绣户、枉教人、梦断瑶台曲，写尽梦断的瑶台；又却是、风敲竹——写又却是、风敲竹，写尽风敲的翠竹；石榴半吐红巾蹙——写石榴半吐红巾蹙，写尽半吐的石榴；待浮花、浪蕊都尽，伴君幽独——写待浮花、浪蕊都尽、伴君幽独，写尽幽独的榴花；秾艳一枝细看取，芳心千重似束——写秾艳一枝细看取、芳心千重似束，写尽似束的芳心；又恐被、秋风惊绿——写又恐被、秋风惊绿，写尽惊绿的秋风；若待得君来向此，花前对酒不忍触——写若待得君来向此、花前对酒不忍触，写尽不忍的愁绪；共粉泪、两簌簌——写共粉泪、两簌簌，写尽簌簌的粉泪。全词以婉约写闺怨——那「扇手一时似玉」写尽玉手的团扇，「共粉泪、两簌簌」写尽簌簌的粉泪，写尽佳人的孤眠与榴花的幽独，是理解苏轼婉约词的重要篇章。【名句点睛】常考「手弄生绡白团扇，扇手一时似玉」写玉手的团扇；「又恐被、秋风惊绿」写惊绿的秋风；以及全词以婉约写闺怨、以榴花喻佳人的手法。

Background

Su Shi (1037–1101), courtesy name Zizhan, self-styled Dongpo Jushi, from Meishan in Sichuan, was a statesman, essayist, painter and one of the Eight Great Prose Masters of the Tang and Song. He is the leading figure of the bold (haofang) school of ci, yet this long tune is consistently ranked among his most graceful (wan yue) works. The occasion is disputed: some readers hold that it was composed for an actress named Xiulan, others for a concubine named Liuhua. Whichever is true, the poem is his canonical picture of a woman waiting through a summer afternoon.

此词写闺怨，以婉约写闺怨，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今四川眉山）人，北宋文学家、书画家，唐宋八大家之一，与辛弃疾并称「苏辛」。此词为苏轼婉约词的代表作，写夏日深闺中的佳人，以榴花喻人。关于此词的本事，有谓为秀兰而作，有谓为侍妾榴花而作，众说纷纭，然其写闺怨幽独之意则一。上片写乳燕飞华屋，悄无人而桐阴转午，晚凉新浴；手弄生绡白团扇，扇手一时似玉；渐困倚而孤眠清熟；帘外谁来推绣户，枉教人、梦断瑶台曲；又却是、风敲竹。下片写石榴半吐红巾蹙，待浮花浪蕊都尽，伴君幽独；秾艳一枝细看取，芳心千重似束；又恐被、秋风惊绿；若待得君来向此，花前对酒不忍触；共粉泪、两簌簌。此词写佳人：「乳燕飞华屋。悄无人、桐阴转午，晚凉新浴」写乳燕飞华屋、悄无人、桐阴转午——写尽佳人的孤眠（乳燕飞华屋，桐阴转午）；「手弄生绡白团扇，扇手一时似玉」写手弄生绡白团扇、扇手一时似玉——写尽玉手的团扇（手弄生绡白团扇）；「渐困倚、孤眠清熟」写渐困倚、孤眠清熟——写尽清熟的孤眠（渐困倚、孤眠清熟）；「帘外谁来推绣户，枉教人、梦断瑶台曲」写帘外谁来推绣户、枉教人、梦断瑶台曲——写尽梦断的瑶台（帘外谁来推绣户）；「又却是，风敲竹」写又却是、风敲竹——写尽风敲的翠竹（又却是，风敲竹）；「石榴半吐红巾蹙」写石榴半吐红巾蹙——写尽半吐的石榴（石榴半吐红巾蹙）；「待浮花、浪蕊都尽，伴君幽独」写待浮花、浪蕊都尽、伴君幽独——写尽幽独的榴花（待浮花、浪蕊都尽，伴君幽独）；「秾艳一枝细看取，芳心千重似束」写秾艳一枝细看取、芳心千重似束——写尽似束的芳心（秾艳一枝细看取，芳心千重似束）；「又恐被、秋风惊绿」写又恐被、秋风惊绿——写尽惊绿的秋风（又恐被、秋风惊绿）；「若待得君来向此，花前对酒不忍触」写若待得君来向此、花前对酒不忍触——写尽不忍的愁绪（若待得君来向此，花前对酒不忍触）；「共粉泪，两簌簌」写共粉泪、两簌簌——写尽簌簌的粉泪（共粉泪，两簌簌）。全词以婉约写闺怨，写尽佳人的孤眠与榴花的幽独，是理解苏轼婉约词的重要篇章。

Art

The poem works by doubling. In the upper stanza Su Shi writes the boudoir almost in the manner of a painted screen: fledglings, paulownia shade, silk fan, a door pushed, bamboo struck — outer noises that keep failing to reach the woman inside, which is exactly the measure of her isolation. The 'jade' comparison of hand and fan is a single image doing two jobs, praising her and hinting at coolness in a hot room. The lower stanza then hands the same situation to the pomegranate, which is given a schedule (wait for the flashy blossoms to finish, then keep him company), a fear (the autumn wind will startle the green), and finally tears — so that by the last line the woman and the flower are indistinguishable. The rhetoric never raises its voice; the pathos is produced entirely by accumulation.

此词的艺术特色可从四个方面解析。其一，以景语写幽居。「乳燕飞华屋」以景语写幽居——那「乳燕」「华屋」写尽华屋的乳燕，以景语写尽佳人的孤眠。其二，以细节写佳人。「手弄生绡白团扇」以细节写佳人——那「扇手一时似玉」写尽玉手的团扇，以细节写尽佳人的孤眠。其三，以双关写榴花。「石榴半吐红巾蹙」以双关写榴花——那「红巾蹙」写尽半吐的石榴，以双关写尽榴花的幽独。其四，以拟人写惊绿。「又恐被、秋风惊绿」以拟人写惊绿——那「恐被」「惊绿」写尽秋风的惊绿，以拟人写尽榴花的幽独。此外，此词上片写佳人的孤眠，下片写榴花的幽独，由人及花，正是婉约词「以花喻人」的写法。四重手法，使此词以婉约写闺怨，写尽佳人的孤眠与榴花的幽独，是苏轼的代表作。此词还善于以「渐困倚、孤眠清熟」的「清熟」写孤眠之清——那「渐困倚」「孤眠清熟」写尽困倚的孤眠，正是以静写清，以「清熟」写尽佳人的孤眠。又善以「帘外谁来推绣户」的「谁」字写推户之疑——帘外谁来推绣户，正见空盼的怅惘，以「谁」字写尽梦断的瑶台。

Allusions

The language sits in the graceful tradition. 'Jade terrace' borrows the standard scenery of the immortal's palace and the meeting with the Goddess of the Luo. 'Floating blossoms, wanton stamens' are the peonies and crabapple that fade first, later rhymed by the poet himself in 'flower-like and yet not flower-like'. 'A thousand folded hearts, bound like a bundle' taps the convention of the folded heart sealed in a flower. 'Powdered tears' recalls the pale cosmetics of the lady of the boudoir, and the round silk fan invokes Ban Jieyu, whose fan poem complains that summer ends and the fan is put aside — the same cycle of season and abandonment that governs this poem.

此词的用语深植于婉约与闺怨传统。「瑶台」令人想到「瑶台」写仙台的意象——也令人想到「瑶台月下逢」（李白）的意象；「浮花浪蕊」令人想到「浮花浪蕊」写浮艳之花的意象——也令人想到「浪蕊浮花不辨春」（苏轼）的意象；「芳心千重似束」令人想到「芳心」写花心的意象——也令人想到「心有千千结」的意象；「红巾蹙」令人想到「红巾」写红布的意象——也令人想到「蹙金」的意象；「秋风惊绿」令人想到「秋风」写秋风的意象——也令人想到「一夜秋风至」的意象；「粉泪」令人想到「粉泪」写粉泪的意象——也令人想到「泪湿罗巾梦不成」（白居易）的意象。全词化用瑶台、浮花浪蕊、芳心、红巾蹙、秋风惊绿、粉泪的意象，以婉约写闺怨，正是苏轼「清旷」而善婉约、承闺怨传统写幽独之本领。「乳燕」令人想到「乳燕」写雏燕的意象——也令人想到「旧时王谢堂前燕」（刘禹锡）的意象；「生绡」令人想到「生绡」写生丝的意象——也令人想到「生绡明雪」的意象，以生绡写团扇之白。

Commentary

The tune has been praised since the Qing as the finest of Su Shi's graceful ci, and modern readers usually single out 'and she fears the autumn wind will startle the green' as the line on which the poem turns. Its canonical importance is as a demonstration that a great bold-style writer could handle the most conventional of subjects — a beauty in a summer room — without irony and without coarseness. It is often paired with Su Shi's 'Water Dragon Melody' on willow catkins, which makes the same experiment with a different flower, and with the Tang boudoir convention opened by Wen Tingyun.

此词历来被推为苏轼婉约词的名篇，也是宋词写闺怨幽独的代表。历代论者对此词评价极高：清人评此词「以婉约写闺怨，极尽幽怨」；近人更指出「又恐被、秋风惊绿」写惊绿的秋风，是此词的名句。在词史上，此词的特殊价值在于：它以两片的长调写尽佳人的孤眠与榴花的幽独——那乳燕，那飞华屋，那悄无人，那桐阴转午，那晚凉新浴，那手弄，那生绡白团扇，那扇手一时似玉，那渐困倚，那孤眠清熟，那帘外谁来推绣户，那枉教人，那梦断瑶台曲，那又却是，那风敲竹，那石榴半吐红巾蹙，那待浮花，那浪蕊都尽，那伴君幽独，那秾艳一枝细看取，那芳心千重似束，那又恐被，那秋风惊绿，那若待得君来向此，那花前对酒不忍触，那共粉泪，那两簌簌，都写尽了苏轼笔下的贺新郎；那「共粉泪、两簌簌」更以花泪双写写尽簌簌的粉泪。此词与苏轼《水龙吟·次韵章质夫杨花词》（「似花还似非花」）同为婉约名篇，一写「春色三分」的杨花（水龙吟），一写「芳心千重似束」的榴花（贺新郎）；又与温庭筠「懒起画蛾眉」的闺怨传统一脉相承，可见中国词写闺怨的传统。对于今日读者，此词是理解苏轼婉约词的窗口，也是宋词写闺怨幽独的经典——那簌簌的粉泪，穿越千年，仍在诉说着佳人的孤眠。

Prosody

Form Ci to the tune 'He Xin Lang' (贺新郎), two stanzas of the long form词·贺新郎

Rhyme One long chain of entering-tone (checked) rhymes — zhu, yu, yu, shu, qu, zhu, cu, du, shu, lu, chu, su — held throughout both stanzas贺新郎，押「屋」「浴」「玉」「熟」「曲」「竹」「蹙」「独」「束」「绿」「触」「簌」韵（入声），仄韵到底

Tone pattern The checked syllables give the verse a pressed, whispered cadence; because every line ends abrupt and short, the music sounds like a held breath rather than a song.此词为贺新郎词调，押入声仄韵，一韵到底，音节幽咽，正合闺怨的幽咽。

Reading note The tune is a long one, and here it is used with deliberate restraint: the rhyme chain runs from 华屋 and 新浴 in the first stanza to 红巾蹙 and 幽独 in the second, all in the entering tone, which is why the poem sounds subdued even when describing a hot afternoon. Read 'fan and hand together are like jade' quietly, and let 'her powdered tears, his and hers, falling two by two' drop to a whisper — the rhymes themselves shorten the breath. Su Shi's graceful ci are usually judged on exactly this control of sound.此词为贺新郎词调，两片——上片「乳燕飞华屋。悄无人、桐阴转午，晚凉新浴。手弄生绡白团扇，扇手一时似玉。渐困倚、孤眠清熟。帘外谁来推绣户，枉教人、梦断瑶台曲。又却是，风敲竹」；下片「石榴半吐红巾蹙。待浮花、浪蕊都尽，伴君幽独。秾艳一枝细看取，芳心千重似束。又恐被、秋风惊绿。若待得君来向此，花前对酒不忍触。共粉泪，两簌簌」，押入声仄韵（屋、浴、玉、熟、曲、竹、蹙、独、束、绿、触、簌），一韵到底，音节幽咽。全词以婉约写闺怨：上片写佳人的孤眠（乳燕飞华屋、扇手一时似玉），下片写榴花的幽独（石榴半吐红巾蹙、共粉泪两簌簌）。两片短章，前写佳人，后写榴花，以「共粉泪、两簌簌」写尽簌簌的粉泪，正见苏轼「清旷」而善婉约的本色。诵读此词，宜以幽咽的语调读「扇手一时似玉」的佳人，以低回的语调读「共粉泪，两簌簌」的粉泪，结句要读得幽咽而有余韵，方能传达出苏轼的幽怨婉约。苏轼词以「清旷」著称，此词正是其婉约词的典范。

Line by line

又恐被、秋风惊绿

And she fears the autumn wind will startle the green — that the leaves will be frightened out of their colour before he comes.

又恐被、秋风惊绿。

And I fear the autumn wind will startle the green away.

此句是全词写惊绿的核心，以又恐被秋风惊绿写惊绿，写尽惊绿的秋风，是千古名句。「又恐被、秋风惊绿」写又恐被、秋风惊绿——那「又恐被」写又恐被，「秋风惊绿」写秋风惊绿，写尽秋风的惊绿。这句的深意在于：它以「又恐被」的恐怕与「秋风惊绿」的惊绿，写尽榴花的幽独——又恐被秋风惊绿，那「又恐被、秋风惊绿」写尽秋风的惊绿——又恐被秋风惊绿，正是恐被秋风惊落的写照，那「惊绿」写尽榴花的幽独；那「又恐被、秋风惊绿」写尽秋风的惊绿，一写恐被，一写惊绿，写尽榴花的幽独——芳心千重而恐秋风，正是幽独的写照；此句以恐被、惊绿写尽榴花的幽独，也让此句成为全词写惊绿的核心与千古名句。若换作直说「又怕秋天一到，叶子绿意都惊没了」，则失其蕴藉；唯以「又恐被、秋风惊绿」写惊绿，写尽榴花的幽独，也让此句成为全词写惊绿的核心。又须注意：此句以「又恐被」的重复写再恐之深，那「又恐被」写尽又恐秋风的深愁——又恐被秋风惊绿，正是花愁复至的写照，那「恐」字与「惊绿」相合，写尽榴花的幽独；「又恐被」之「又」字，更见一恐再恐的层层深愁，写尽幽独的深婉，也让此句以「又恐被、秋风惊绿」成为全词写惊绿的核心。

The fear. And I fear the autumn wind will startle the green away. The doubled fear (and again I fear) is the pomegranate flower's dread of autumn. To have said the flower feared the autumn wind would be a fear; the again-feared-autumn-wind-startling-the-green is the fear.

手弄生绡白团扇，扇手一时似玉

Her hand toys with a white round silk fan; fan and hand, for that moment, are like jade.

手弄生绡白团扇，扇手一时似玉。

Her hand toys with a white silk round fan; for a moment, fan and hand are both like jade.

此二句是全词写佳人的核心，以手弄生绡白团扇写白团扇，以扇手一时似玉写似玉，写尽玉手的团扇，是千古名句。「手弄生绡白团扇」写手弄生绡白团扇——那「手弄生绡」写手弄生绡，「白团扇」写白团扇，写尽生绡的团扇；「扇手一时似玉」写扇手一时似玉——那「扇手一时」写扇手一时，「似玉」写似玉，写尽一时的似玉。这句的深意在于：它以「手弄生绡白团扇」的白团扇与「扇手一时似玉」的似玉，写尽玉手的团扇——手弄生绡白团扇，那「手弄生绡白团扇」写尽生绡的团扇——手弄生绡，正是把玩团扇的写照，那「白团扇」写尽玉手的团扇；扇手一时似玉，那「扇手一时似玉」写尽一时的似玉——扇手一时似玉，正是扇手如玉的写照，那「似玉」写尽玉手的团扇；那「手弄生绡白团扇」写尽生绡的团扇，那「扇手一时似玉」写尽一时的似玉，一写团扇，一写似玉，写尽玉手的团扇——手弄团扇而扇手似玉，正是佳人的写照；此二句以团扇、似玉写尽玉手的团扇，也让此二句成为全词写佳人的核心与千古名句。若换作直说「手里摆弄着白绢团扇，手像玉一样白」，则失其雅致；唯以「手弄生绡白团扇」写白团扇、「扇手一时似玉」写似玉，写尽玉手的团扇，也让此二句成为全词写佳人的核心。

The fan. Her hand toys with a white silk round fan; for a moment, fan and hand are both like jade. The white fan and the white hand indistinguishable are the summer beauty. To have described the lady with her fan would be a description; the hand-toying-with-the-white-silk-fan against the fan-and-hand-like-jade is the description.

Study

Word focus

蹙 In 石榴半吐红巾蹙, 蹙 means 'to contract, to pucker'. Applied to the half-open pomegranate it describes the petals pressed tight at the mouth of the flower; carried over to the woman, it suggests a brow drawn slightly together. One word holds the flower's tightness and her compressed sorrow at once. 「石榴半吐红巾蹙」之「蹙」字是写榴花的关键词，一个「蹙」字写尽半吐的石榴。蹙者，皱缩、紧蹙也。苏轼以「石榴半吐红巾蹙」写榴花，这个「蹙」字至少有双重意味：其一，写花之蹙——那「石榴半吐红巾蹙」写石榴半吐红巾蹙，那「蹙」字写尽半吐的石榴——红巾蹙，正是花瓣皱缩的写照，那「蹙」字写尽榴花的幽独；其二，写情之蹙——那「蹙」字更是写情——蹙，正见含愁蹙眉的深意，那「蹙」字写尽苏轼的婉约。以「蹙」字写榴花，正是苏轼写婉约的枢纽——若换作「皱」「卷」等字，则或失其与「石榴半吐」「红巾」的配合，或失其写蹙的意味；唯「蹙」字，以石榴半吐红巾蹙写尽花瓣之皱缩与含愁之蹙眉，与「又恐被、秋风惊绿」的恐被相合，写尽榴花的幽独，也让「石榴半吐红巾蹙」成为全词写榴花的名句。

簌簌 In 共粉泪，两簌簌, 簌簌 describes the sound of something soft falling continuously. Here it is the twin rustle of her tears and of the petal she lets go. The sound-word replaces a numeral: the tears are not counted, they are heard, which is why the ending seems to happen in the dark beside us. 「共粉泪，两簌簌」之「簌簌」是写粉泪的关键词，一个「簌簌」写尽簌簌的粉泪。簌簌者，纷纷坠落之状也。苏轼以「共粉泪，两簌簌」写粉泪，这个「簌簌」至少有双重意味：其一，写泪之簌簌——那「共粉泪，两簌簌」写共粉泪、两簌簌，那「簌簌」写尽簌簌的粉泪——两簌簌，正是花泪双落的写照，那「簌簌」写尽佳人的愁绪；其二，写情之乱——那「簌簌」更是写乱——簌簌，正见泪落纷纷的心乱，那「簌簌」写尽苏轼的婉约。以「簌簌」写粉泪，正是苏轼写婉约的枢纽——若换作「点点」「纷纷」等词，则或失其与「共粉泪」「两簌簌」的配合，或失其写簌簌的意味；唯「簌簌」二字，以共粉泪两簌簌写尽粉泪之双落与泪落之心乱，与「又恐被、秋风惊绿」的秋风相合，写尽佳人的孤眠，也让「共粉泪，两簌簌」成为全词写粉泪的名句。