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宋 Song · 词 Ci lyric

临江仙·离果州作

To the Tune 'Xijiang Xian': Written on Leaving Guozhou

陆游

Lu You

送别Parting 春景Spring Scene

鸠雨催成新绿，燕泥收尽残红。
春光还与美人同。
论心空眷眷，分袂却匆匆。
只道真情易写，那知怨句难工。
水流云散各西东。
半廊花院月，一帽柳桥风。

The rain on doves quickens the fresh green; the swallows' mud has gathered up all the last blossoms.
The spring, too, belongs to a beautiful woman.
My heart, still binding and bound; and yet the parting came in a rush.
I only thought that true feeling was easy to write - who knew that songs of grief are hard to make?'
The water flows, the clouds scatter, each to west and east.
Half a corridor of flowers under the moon; one hat, the wind on the willow bridge.

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Meaning

Leaving Guozhou in spring, Lu You sets the season against the farewell. Rain and swallows make a fresh green while all the last flowers disappear, and like a woman the spring is easily lost. He then confesses an asymmetry between feeling and art - sincerity comes easily, the verse of complaint does not - and closes on two images of separation: a moonlit half-corridor of flowers being left behind, and his own hat in the wind of the willow bridge. The poem's subject is the parting, but its subject in the deepest sense is the writer's difficulty in writing it.

鸠雨催成新绿，燕泥收尽残红。春光还与美人同。论心空眷眷，分袂却匆匆。只道真情易写，那知怨句难工。水流云散各西东。半廊花院月，一帽柳桥风。

Appreciation

[Plain Paraphrase] The spring has done what springs do - made green out of rain, taken the last petals into the swallows' mud - and Lu You has to leave in the middle of it. He says plainly that his heart is still attached while the separation happened too quickly, that he had assumed feeling was the easy part and the writing the hard part, and that afterwards the water and clouds will go their separate ways.
[Structure] The upper stanza moves from the season to the parting; the lower stanza moves from the parting to the writing and then to two pictures of going.
[Imagery] The closing couplet is the poem's famous turn: a moonlit half-corridor of flowers left behind on one side, a hat in the wind of the willow bridge on the other.
[Tone] Nothing is exaggerated. The complaint is not about the friend but about time, and about the writer's own insufficiency.

【白话串讲】陆游写《临江仙·离果州作》：“鸠雨催成新绿，燕泥收尽残红”——“春光还与美人同”——“论心空眷眷，分袂却匆匆”——“只道真情易写，那知怨句难工”——“水流云散各西东”——“半廊花院月，一帽柳桥风”——他离开果州。【意象与手法】此词写送别，以春景写送别，是陆游的名篇。上阕写春光：「鸠雨催成新绿，燕泥收尽残红。春光还与美人同。论心空眷眷，分袂却匆匆」写鸠雨催成新绿、燕泥收尽残红——写尽分袂却匆的匆匆；下阕写别后：「只道真情易写，那知怨句难工。水流云散各西东。半廊花院月，一帽柳桥风」写只道真情易写、那知怨句难工——写尽一帽柳桥的柳桥风。全词以春景写送别，写尽分袂却匆的匆匆与一帽柳桥的柳桥风，是陆游的代表作。【情感与主旨】此词写送别，以春景写送别，是陆游的名篇。此词为陆游离果州之作，写其春日送别与别后之思。陆游此词写其离果州时的春光与别情。此词写鸠雨催成新绿，燕泥收尽残红；春光还与美人同；论心空眷眷，分袂却匆匆；只道真情易写，那知怨句难工；水流云散各西东；半廊花院月，一帽柳桥风。此词写春光：鸠雨催成新绿，燕泥收尽残红——写鸠雨催成新绿、燕泥收尽残红，写尽燕泥收尽的残红；春光还与美人同——写春光还与美人同，写尽春光还与的美人同；论心空眷眷，分袂却匆匆——写论心空眷眷、分袂却匆匆，写尽分袂却匆的匆匆；只道真情易写，那知怨句难工——写只道真情易写、那知怨句难工，写尽那知怨句的难工；水流云散各西东——写水流云散各西东，写尽水流云散的西东；半廊花院月，一帽柳桥风——写半廊花院月、一帽柳桥风，写尽一帽柳桥的柳桥风。全词以春景写送别——那「分袂却匆匆」写尽分袂却匆的匆匆，「一帽柳桥风」写尽一帽柳桥的柳桥风，写尽分袂却匆的匆匆与一帽柳桥的柳桥风，是理解陆游送别词的重要篇章。【名句点睛】常考「鸠雨催成新绿，燕泥收尽残红」写燕泥收尽的残红；「半廊花院月，一帽柳桥风」写一帽柳桥的柳桥风；以及全词以春景写送别、以对仗写送别的手法。

Background

Lu You (1125-1210), courtesy name Wuguan and styled Fangweng, came from Yuezhou (modern Shaoxing) and wrote something over nine thousand poems, more than any other Chinese poet; he is counted with Yang Wanli, Fan Chengda and Yin Chao among the four great poets of the Southern Song. Nature and sentiment had been his habit since his youth, and this lyric was written when he was leaving Guozhou, on a post in the west, at the height of the season. The poem is on farewell, but belongs to the long tradition of Southern Song lyrics in which the farewell is also a statement about the self.

此词写送别，以春景写送别，是陆游的名篇。陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋文学家、史学家、爱国诗人，存诗九千余首，与尤袤、杨万里、范成大并称「南宋四大家」。此词为陆游离果州之作，写其春日送别与别后之思。陆游此词写其离果州时的春光与别情。此词写鸠雨催成新绿，燕泥收尽残红；春光还与美人同；论心空眷眷，分袂却匆匆；只道真情易写，那知怨句难工；水流云散各西东；半廊花院月，一帽柳桥风。此词写春光：「鸠雨催成新绿，燕泥收尽残红」写鸠雨催成新绿、燕泥收尽残红——写尽燕泥收尽的残红（鸠雨催成新绿，燕泥收尽残红）；「春光还与美人同」写春光还与美人同——写尽春光还与的美人同（春光还与美人同）；「论心空眷眷，分袂却匆匆」写论心空眷眷、分袂却匆匆——写尽分袂却匆的匆匆（论心空眷眷，分袂却匆匆）；「只道真情易写，那知怨句难工」写只道真情易写、那知怨句难工——写尽那知怨句的难工（只道真情易写，那知怨句难工）；「水流云散各西东」写水流云散各西东——写尽水流云散的西东（水流云散各西东）；「半廊花院月，一帽柳桥风」写半廊花院月、一帽柳桥风——写尽一帽柳桥的柳桥风（半廊花院月，一帽柳桥风）。全词以春景写送别，写尽分袂却匆的匆匆与一帽柳桥的柳桥风，是理解陆游送别词的重要篇章。

Art

The opening couplet is a strict parallel, rain against swallows and green against red, and it smuggles the farewell into the description: swallows gather the fallen petals while the traveller gathers nothing. Then 'the spring, too, belongs to a beautiful woman' compares the season to a person and makes it comfortable to lose. The next couplet turns on two particles: the empty 'still' against the sudden 'yet', which sets a lingering heart beside a hasty departure. The fourth couplet is the poem's real subject - the admission that genuine feeling is the easy part and the verse of grief the difficult part, a reversal of the usual assumption. The ending, however, is entirely outside the argument: two clear pictures, 'half a corridor of flowers under the moon' and 'one hat, the wind on the willow bridge', between which the separation simply happens.

此词的艺术特色可从四个方面解析。其一，以对仗写春光。「鸠雨催成新绿」以对仗写春光——那「燕泥收尽残红」写尽燕泥收尽的残红，以对仗写尽燕泥收尽的残红。其二，以比喻写春光。「春光还与美人同」以比喻写春光——那「论心空眷眷」写尽论心空的眷眷，以比喻写尽论心空的眷眷。其三，以议论写别情。「只道真情易写」以议论写别情——那「那知怨句难工」写尽那知怨句的难工，以议论写尽那知怨句的难工。其四，以写景写别后。「水流云散各西东」以写景写别后——那「半廊花院月，一帽柳桥风」写尽一帽柳桥的柳桥风，以写景写尽一帽柳桥的柳桥风。此外，此词上阕写分袂却匆的匆匆，下阕写一帽柳桥的柳桥风，由聚及散，正是送别词「以景写别」的写法。四重手法，使此词以春景写送别，写尽分袂却匆的匆匆与一帽柳桥的柳桥风，是陆游的代表作。又，此词上阕「鸠雨催成新绿，燕泥收尽残红」以工对写春光，雨催新绿、燕衔残红，春之将尽已含别意；「春光还与美人同」以人喻春，春容易老如美人易逝，轻轻一点便觉情韵无穷；「论心空眷眷，分袂却匆匆」以「空」与「却」二字对举，写出情之深与别之急的矛盾；下阕「只道真情易写，那知怨句难工」翻用韩愈「欢愉之辞难工」之说，愈见其情之真切难状；结拍「半廊花院月，一帽柳桥风」以清空之景收束，无一字言情而离情自在，正是陆游「豪宕之中见蕴藉」的佳境。

Allusions

The line about grief being hard to finish plays against the well-known remark that the words of happiness are hard to make good and the words of distress come out easily - a saying of Han Yu - so Lu You is turning a maxim against himself. 'Turning back' and 'scattering' echo the ordinary language of farewell poetry, where water and clouds dividing east and west stand for friends parting. The willow bridge belongs to the habit of the willow tree at a bridge, which is broken rather than plucked as a sign of leave-taking.

此词的用语深植于送别与春景传统。「鸠雨」令人想到「鸠雨」写雨鸠的意象——也令人想到「布谷催耕」的意象；「新绿」令人想到「新绿」写新绿的意象——也令人想到「雨后新绿」的意象；「燕泥」令人想到「燕泥」写燕泥的意象——也令人想到「燕泥沾絮」的意象；「残红」令人想到「残红」写落花的意象——也令人想到「林花谢了春红」（李煜）的意象；「春光」令人想到「春光」写春光的意象——也令人想到「春光懒困倚微风」（杜甫）的意象；「美人同」令人想到「美人同」写美人的意象——也令人想到「芳草美人」的意象；「眷眷」令人想到「眷眷」写眷恋的意象——也令人想到「眷眷不舍」的意象；「分袂」令人想到「分袂」写分手的意象——也令人想到「分袂东西」的意象；「匆匆」令人想到「匆匆」写匆匆的意象——也令人想到「来也匆匆去也匆匆」的意象；「真情易写」令人想到「真情易写」写真情的意象——也令人想到「情深不寿」的意象；「怨句难工」令人想到「怨句难工」写怨句的意象——也令人想到「欢愉之辞难工，而穷苦之言易好」（韩愈）的意象；「水流云散」令人想到「水流云散」写流散的意象——也令人想到「水流花谢两无情」（崔涂）的意象；「各西东」令人想到「各西东」写西东的意象——也令人想到「东西南北各西东」的意象；「花院」令人想到「花院」写花院的意象——也令人想到「花院深闭」的意象；「柳桥」令人想到「柳桥」写柳桥的意象——也令人想到「柳桥风月」的意象。全词化用鸠雨、新绿、燕泥、残红、春光、美人同、眷眷、分袂、匆匆、真情易写、怨句难工、水流云散、各西东、花院、柳桥的意象，以春景写送别，正是陆游「豪宕」而善对仗、承花间词传统写送别之本领。

Commentary

Considered one of Lu You's best lyrics on parting and frequently quoted for the quietness of its ending. Qing anthologists called it bold and graceful; later readers have preferred the laconic closing couplet, which says nothing about sentiment and yet carries it. It is usually placed beside his Song of the Diviner on the Plum, where the same poet is alone with a flower and the voice is one of unyielding resolution rather than of loss.

此词历来被推为陆游送别词的名篇，也是宋词写春日送别的代表。历代论者对此词评价极高：清人评此词「以春景写送别，豪宕流丽」；近人更指出「鸠雨催成新绿，燕泥收尽残红」写燕泥收尽的残红，是此词的名句。在词史上，此词的特殊价值在于：它以中调写尽分袂却匆的匆匆与一帽柳桥的柳桥风——那鸠雨，那催成，那新绿，那燕泥，那收尽，那残红，那春光，那还与，那美人同，那论心，那空眷眷，那分袂，那却匆匆，那只道，那真情，那易写，那那知，那怨句，那难工，那水流，那云散，那各西东，那半廊，那花院月，那一帽，那柳桥风，都写尽了陆游笔下的临江仙离果州作；那「半廊花院月，一帽柳桥风」更以写景写尽一帽柳桥的柳桥风。此词与陆游《卜算子·咏梅》「驿外断桥边」同为抒情名篇，一写「零落成泥碾作尘」的咏梅，一写「半廊花院月」的离果州；一写咏物，一写送别。两词对读，可见陆游词的两面。对于今日读者，此词是理解陆游送别词的窗口，也是宋词写春日送别的经典——那一帽柳桥的柳桥风，穿越千年，仍在诉说着分袂却匆的匆匆。

Prosody

Form Ci - the tune 'At the Side of the River' (Lin Jiang Xian), two stanzas of medium length词·临江仙

Rhyme The upper stanza rhymes on hong (blossoms), tong (woman) and cong (rush); the lower on gong (make), dong (east) and feng (wind) - all in the level Dong group.临江仙，上阕押「红」「同」「匆」，下阕押「工」「东」「风」（平声东冬韵），一韵到底

Tone pattern Level rhymes carried across both stanzas give the lyric its flowing, unhurried cadence, which is why the parting feels natural rather than lamented.此词为临江仙中调，押平声韵，一韵到底，音节流丽，正合送别的流丽。

Reading note A medium-length lyric in two stanzas, roughly in the form with five-and seven-character lines alternating. The rhyme is held on the same open level vowels throughout, which allows the closing line to close on 'wind' and yet keep going. Read the middle of the upper stanza slowly, so that the contrast between the lingering heart and the hasty departure is audible, and the last line quickly, almost lightly.此词为临江仙中调，上下两阕——上阕「鸠雨催成新绿，燕泥收尽残红。春光还与美人同。论心空眷眷，分袂却匆匆」，下阕「只道真情易写，那知怨句难工。水流云散各西东。半廊花院月，一帽柳桥风」，押平韵（红、同、匆、工、东、风），一韵到底，音节流丽。全词以春景写送别：上阕写分袂却匆的匆匆（鸠雨催成新绿、论心空眷眷），下阕写一帽柳桥的柳桥风（只道真情易写、水流云散各西东）。中调铺叙，前写春光，后写别后，以「一帽柳桥风」写尽一帽柳桥的柳桥风，正见陆游「豪宕」的本色。诵读此词，宜以流丽的语调读「燕泥收尽残红」的春光，以洒脱的语调读「一帽柳桥风」的别后，结句要读得流丽而有余韵，方能传达出陆游的豪宕流丽。陆游中调以「豪宕」著称，此词正是其送别词的典范。

Line by line

鸠雨催成新绿，燕泥收尽残红

The rain on doves quickens the fresh green; the swallows' mud has gathered up all the last blossoms.

鸠雨催成新绿，燕泥收尽残红。

The turtledove rain urges on the new green; the swallows' mud carries off the last red.

此二句是全词写春光的核心，以鸠雨催成新绿写新绿，以燕泥收尽残红写残红，写尽燕泥收尽的残红，是千古名句。「鸠雨催成新绿」写鸠雨催成新绿——那「鸠雨」写鸠雨，「催成新绿」写催成新绿，写尽鸠雨的催成新绿；「燕泥收尽残红」写燕泥收尽残红——那「燕泥」写燕泥，「收尽残红」写收尽残红，写尽燕泥的收尽残红。这句的深意在于：它以「鸠雨催成新绿」的新绿与「燕泥收尽残红」的残红，写尽燕泥收尽的残红——鸠雨催成新绿，那「鸠雨催成新绿」写尽鸠雨的催成新绿——鸠雨催成新绿，正是雨催新绿的写照，那「新绿」写尽燕泥收尽的残红；燕泥收尽残红，那「燕泥收尽残红」写尽燕泥的收尽残红——燕泥收尽残红，正是燕衔残红的写照，那「残红」写尽燕泥收尽的残红；那「鸠雨催成新绿」写尽鸠雨的催成新绿，那「燕泥收尽残红」写尽燕泥的收尽残红，一写新绿，一写残红，写尽燕泥收尽的残红——雨催新绿而燕衔残红，正是春光的写照；此二句以新绿、残红写尽燕泥收尽的残红，也为下文的美人同作铺垫，也让此二句成为全词写春光的核心与千古名句。若换作直说「鸠雨催成新绿，燕泥衔尽残红」，则失其流丽；唯以「鸠雨催成新绿」写新绿、「燕泥收尽残红」写残红，写尽燕泥收尽的残红，也让此二句成为全词写春光的核心。

The rain. The turtledove rain urges on the new green; the swallows' mud carries off the last red. The rain urging the green and the swallows' mud clearing the red are Lu You's late spring. To have described the spring rain would be scenery; the turtledove-rain-urging-new-green against the swallows'-mud-carrying-off-the-last-red is the scenery.

半廊花院月，一帽柳桥风

Half a corridor of flowers under the moon; one hat, the wind on the willow bridge.

半廊花院月，一帽柳桥风。

Half a veranda of moon over the flower courtyard; a hatful of wind on the willow bridge.

此二句是全词写别后的核心，以半廊花院月写花院月，以一帽柳桥风写柳桥风，写尽一帽柳桥的柳桥风，是千古名句。「半廊花院月」写半廊花院月——那「半廊」写半廊，「花院月」写花院月，写尽半廊的花院月；「一帽柳桥风」写一帽柳桥风——那「一帽」写一帽，「柳桥风」写柳桥风，写尽一帽的柳桥风。这句的深意在于：它以「半廊花院月」的花院月与「一帽柳桥风」的柳桥风，写尽一帽柳桥的柳桥风——半廊花院月，那「半廊花院月」写尽半廊的花院月——半廊花院月，正是花院月影的写照，那「花院月」写尽一帽柳桥的柳桥风；一帽柳桥风，那「一帽柳桥风」写尽一帽的柳桥风——一帽柳桥风，正是柳桥风拂的写照，那「柳桥风」写尽一帽柳桥的柳桥风；那「半廊花院月」写尽半廊的花院月，那「一帽柳桥风」写尽一帽的柳桥风，一写花院月，一写柳桥风，写尽一帽柳桥的柳桥风——花院月影而柳桥风拂，正是别后的写照；此二句以花院月、柳桥风写尽一帽柳桥的柳桥风，也让此二句成为全词写别后的核心与千古名句。若换作直说「半廊花院的月色，一帽柳桥的清风」，则失其隽永；唯以「半廊花院月」写花院月、「一帽柳桥风」写柳桥风，写尽一帽柳桥的柳桥风，也让此二句成为全词写别后的核心。

The wind. Half a veranda of moon over the flower courtyard; a hatful of wind on the willow bridge. The moonlit half-veranda and the wind filling the hat on the willow bridge are the parting's aftermath. To have described the moon and wind would be scenery; the half-veranda-moon-over-flower-court against the hatful-of-wind-on-the-willow-bridge is the scenery.

Study

Word focus

催 'Quickens, hurries on' - cui; the rain seems to press the young green forward, so the spring is made rather than merely arriving. 「鸠雨催成新绿」之「催」字是写春光关键词，一个「催」字写尽鸠雨的催成新绿。催者，催促、催生也。陆游以「鸠雨催成新绿」写春光，这个「催」字至少有双重意味：其一，写绿之催——那「鸠雨催成新绿」写鸠雨催成新绿，那「催」字写尽鸠雨的催成新绿——催成，正是雨催绿成的写照，那「催」字写尽鸠雨的催成新绿；其二，写春之动——那「催」字更是写动——催，正见春意萌动的意味，那「催」字写尽陆游的欣悦。以「催」字写春光，正是陆游写送别的枢纽——若换作「生」「染」等字，则或失其与「鸠雨催成新绿」「燕泥收尽残红」的配合，或失其写催的意味；唯「催」字，以鸠雨催成新绿写尽春雨之催生与春意之萌动，与「燕泥收尽残红」的残红相合，写尽鸠雨的催成新绿，也让「鸠雨催成新绿」成为全词写春光的名句。

帽 'Hat' - mao; the hat in the last line is the poet's own, and its presence is what makes 'one hat, the wind on the willow bridge' a picture of a single traveller. 「一帽柳桥风」之「帽」字是写别后关键词，一个「帽」字写尽一帽的柳桥风。帽者，帽檐、轻帽也。陆游以「一帽柳桥风」写别后，这个「帽」字至少有双重意味：其一，写风之帽——那「一帽柳桥风」写一帽柳桥风，那「帽」字写尽一帽的柳桥风——一帽，正是帽上生风的写照，那「帽」字写尽一帽的柳桥风；其二，写行之轻——那「帽」字更是写轻——帽，正见轻装独行的意味，那「帽」字写尽陆游的洒脱。以「帽」字写别后，正是陆游写送别的枢纽——若换作「衫」「袖」等字，则或失其与「一帽柳桥风」「半廊花院月」的配合，或失其写帽的意味；唯「帽」字，以一帽柳桥风写尽独行之轻便与春风之拂面，与「半廊花院月」的花院月相合，写尽一帽的柳桥风，也让「一帽柳桥风」成为全词写别后的名句。