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明 Ming · 词 Ci lyric

转应曲·送春

Turning Response · Seeing Spring Off

杨慎

Yang Shen

感怀reflection 咏物object-chant

转应曲·送春三月清明天婉娩，晴川祓禊归来晚。
况是残红狼藉，燕掠春风已远。
已远，已远，楼外绿阴深半。

The third month, clear and bright, the weather soft and sweet;
From the streamside rite of cleansing we return, late in the street.
And fallen blooms lie scattered, a wreck of red;
The swallow skims the spring wind--already fled.
Fled, fled--beyond the tower the green shade hides half the spring.

Listen

Meaning

In the third month at Clear and Bright the weather is gentle and winning; from the waterside purification rite we returned, already near evening. Besides, the fallen blossoms lie in sorry heaps, a stretch of faded red; the swallow skims the spring wind and has already flown far. Flown far, flown far--beyond the tower the green shade has quietly hidden half the spring.

清明三月，天气和柔婉媚；在晴明的水边祓禊游春，归来已近傍晚。何况眼前落花狼藉，一片残红；燕子掠过春风，早已飞远。飞远了，飞远了，楼外绿荫已悄然遮去了一半春光。

Appreciation

This lyric uses plain description, unworked yet rich in lingering feeling. The opening two lines set the Clear-and-Bright purification and the late return; they are followed by the scattered fallen blooms and the swallow skimming spring away, showing desolation within the sparse. The repeated 'Fled, fled' sings back and forth, like a sigh or a plea; it closes on 'beyond the tower the green shade hides half the spring,' ending in scene-language, speaking no sorrow yet sorrow runs deep, implicit and lasting, fully the small lyric's essence, opening a clear, far strain among Ming lyrics.

【白话串讲】杨慎写送春：“三月清明天婉娩，晴川祓禊归来晚。况是残红狼藉”——清明刚过，残红满地。“已远，已远，楼外绿阴深半”——春天走远了，楼外的绿荫都深了。【意象与手法】此词纯用白描，不事雕琢而情韵悠长。起二句点明清明祓禊、晚归之景，承以残红狼藉、燕掠春远，于疏淡中见凄清【情感与主旨】《转应曲》即《调笑令》别体。杨慎因"大礼议"触怒世宗，嘉靖三年（1524）被廷杖谪戍云南永昌，终老戍所【名句点睛】中高考若以此命题，多从意象与情感入手：①赏析"残红狼藉""燕掠春风"的意境作用；②分析"已远，已远"叠句的表达效果

Background

'Turning Response' is another form of 'Teasing the Lover.' Yang Shen, for the 'Great Ritual Controversy,' angered the Jiajing Emperor; in the third year of Jiajing (1524) he was beaten and exiled to Yongchang in Yunnan, and died in exile. This lyric was likely written in a spring after the exile; the Clear-and-Bright purification was a joyous custom, yet the poet lodges the pain of leaving state and home in the late return, the scattered blooms, the swallow flown far. Short in length, it uses 'seeing spring off' to hint at passing years and a drifting fate--a representative of his exile-period small lyrics mourning spring and longing from afar.

《转应曲》即《调笑令》别体。杨慎，字用修，号升庵，四川新都人，明正德六年状元，授翰林修撰。他因大礼议触怒世宗，嘉靖三年（1524）被廷杖谪戍云南永昌，终老戍所，前后三十余年。此词当作于贬后春日，清明祓禊本是欢游之俗，词人却于晚归残红、燕掠春远中寄寓去国怀乡之痛。全词篇幅短小，却以送春为题暗写岁月流逝与身世飘零，是流放时期伤春念远小令的代表作。杨慎博极群书，著述等身，为明代第一博学之士，然遭贬后学术文章虽富，而身羁边徼、归路渺茫，故其小词每于疏淡中寓沉郁。此词以寻常节俗入笔，以短章写遥恨，正可见大礼议一案如何将一个状元郎的功名理想化作万里流人的春暮之叹，亦是明代政治厄运在文学上的细微投影。更须留意者，杨慎以第一博学之身遭此永戍，其词中伤春实即伤己、送春实即送尽少年功名与故园岁月，伤景与伤遇早已浑然莫辨。

Art

This lyric uses plain description, unworked yet rich in lingering feeling. The opening two lines set the Clear-and-Bright purification and the late return; followed by the scattered fallen blooms and the swallow skimming spring away, showing desolation within the sparse. The repeated 'Fled, fled' sings back and forth, its sound and feeling swaying, like a sigh or a plea; it closes on 'beyond the tower the green shade hides half the spring,' ending in scene-language, speaking no sorrow yet sorrow runs deep, implicit and lasting, fully the small lyric's essence, opening a clear, far strain among Ming lyrics.

此词纯用白描，不事雕琢而情韵悠长。起二句点明清明祓禊、晚归之景，承以残红狼藉、燕掠春远，于疏淡中见凄清。已远，已远叠句复唱，音情摇曳，如叹如诉；结以楼外绿阴深半，以景语收束，不言愁而愁自深，含蓄蕴藉，深得小令三昧，在明词中别开清远一格。其结构由点题到写景、由写景到叠叹、由叠叹到景收，层层递转如春之将尽；语言上以婉娩写日和，以狼藉写花残，以已远写春去，选词清雅而准确。杨慎贬后小词善用短章蓄势，不铺排、不直露，以一唱三叹写难以言说之痛，是其流放文学以浅语写深愁的典型。与同期台阁词之平熟相较，此词清远含蓄，卓然自立。要之，此词以寻常节俗起、以伤春叠叹转、以绿阴景收，章法似淡而实密，于短幅中具回环之致，是明词中少有的以疏淡笔写沉郁恨的佳作，亦见杨慎虽处厄境而词笔愈见老成。其以短幅容回环、以浅语藏极沉，在明词小令中自标清远一帜。

Allusions

The lyric shows no obscure allusion; only 'purification rite' is an ancient custom--on the third day of the third month the ancients bathed by the water to wash away ill fortune, later turning into a spring outing. The 'streamside rite' refers to this custom, marking the season and the spring outing, setting off the regret of seeing the scattered blooms on late return. Though sparing of allusion, it brings the common festival custom into the lyric, the more clear and natural, showing its craft of writing deep feeling in shallow words and lodging the heavy within the common.

本词未见生僻典故，惟祓禊为古俗：古人于农历三月上巳临水沐浴以祓除不祥，魏晋后渐成春游雅集，王羲之《兰亭集序》即上巳修禊之所由。词中晴川祓禊即指此俗，点出时令与游春背景，反衬晚归见残红之怅。虽少用典，却以寻常节俗入词，更显清雅自然。此外送春本为诗词传统母题，自李白惜余春、欧阳修《蝶恋花》送春至此，送春即送己之青春与际遇；绿阴深半则暗用春去夏来、绿肥红瘦之境，与李清照《如梦令》知否知否应是绿肥红瘦一脉相承。杨慎用常事寄沉郁，以浅语写深情，可见其虽遭贬而学养不移，于小令中仍暗含经典与词史的对望，是其以常事寄沉郁的功力所在。尤为可取者，祓禊这一本属欢娱的节俗，在贬谪语境中被反写为伤春之引，节俗之乐与身世之悲形成刺眼的反差，使用典之意不在古而在今、不在雅而在痛。节俗之乐与身世之悲在此互为反照，使寻常游春之举顿成流人伤逝之引。

Commentary

Yang Shen's lyric manner is clear and graceful; this small lyric is long valued by anthologists. A modern reader says of his exile small lyrics 'within the sparse lodges the heavy'; Ming lyrics mostly follow the Hua Jian leftover, yet Shen could write in plain description--short chapters with taste, the natural spirit showing. Wang Guowei said of Ming lyrics 'not without fine ones,' and 'Turning Response: Seeing Spring Off' well stands for it--enough to show his small-lyric wonder of writing deep sorrow in shallow words and lodging far regret in the short chapter.

杨慎词风清丽婉约，此小令向为选家所重。近人论其贬后小词于疏淡中寓沉郁；明人词多沿花间余习，慎能以白描出之，短章有味而性灵自见，王国维谓明词非无佳者，转应送春正堪为代表。在明词史上，前后七子主诗文复古，词则沿花间、草堂余绪，多酬应平熟；杨慎以博学之资、流放之痛，写出清远含蓄的小令，实为明词中少有的真性情之作。与陈子龙等云间派之绵丽、纳兰之哀婉相较，杨慎此词以疏淡胜，别具一种去国怀乡的老成悲凉。要之，此词虽短，而以送春写流放之恨，以叠句写难追之痛，以景收写不尽之愁，是明代贬谪词中淡而有骨的珍品，亦足证政治厄运如何淬炼出文学的深情。其以常调写极痛、以浅语藏极沉，恰可矫正世人对明词多浮靡的成见，在词史上自有不可淹没的价值。其以常调写极痛、以浅语藏极沉，足为明代贬谪词淡而有骨的代表。

Prosody

Form Lyric, 'Turning Response' (another form of 'Teasing the Lover'), single-tune 32 characters词·《转应曲》（即《调笑令》别体）单调三十二字

Rhyme 'sweet, late, far, far, half' roughly chime婉、晚、远、远、半大致相叶（平仄间协，词韵宽通）

Tone pattern Follows the fixed tune cavity; level-oblique mixed词依固定腔格，平仄参错

Reading note 'Turning Response' has short, abrupt lines, fit for small-lyric feeling; the repeated line especially bears the turning, returning weight.《转应曲》即《调笑令》别体，单调三十二字，句式短促，以两言、六言为主，宜写小令情致。此词三月清明天婉娩，晴川祓禊归来晚为七言起；况是残红狼藉，燕掠春风已远为六言递转；已远，已远为两言叠句，是转应曲最见回环之致的腔格所在；楼外绿阴深半以六言收束。用韵方面，婉晚远远半大致相叶，虽平仄宽协而声情连贯，叠句处尤重回环。整体音节短促摇曳，如送春之步履徘徊，与伤春念远的主题相得。杨慎以此短章写流放之恨，声情与辞意相生，是明词小令中以腔格写心曲的范本，亦见转应曲宜于低回复唱的体性。其声情之纡徐，恰与此词沉郁难言的贬谪之痛同构，淡语而能低回不尽。

Line by line

三月清明天婉娩，晴川祓禊归来晚。

In third-month Clear Brightness the weather is gentle; returning from the riverside purification, late.

清明三月天气和柔，水边祓禊游春归来已晚。

In Clear-Brightness third month the weather is gentle; returning from the riverside rite, we are late.

破题点明时令与游事，婉娩状春日和柔，晚字暗伏惜春之意。三月清明写节候，天婉娩以叠韵形容词写天气和柔婉顺，不着力而春意自见；晴川祓禊则点出古人临水修禊之俗，归字写尽游兴，来晚则于欢游中暗藏迟暮之感。杨慎以极平易的游春起笔，却于晚字埋下全诗惜春伤贬的伏线——晚归者，亦是晚境、晚节之隐喻。此句看似闲适，实为后文残红燕远、已远叠叹的情绪起点，淡语中已有沉郁在焉，是流放词人于寻常节俗中寄身世之慨的开篇。尤为可味者，以和柔之景写迟暮之叹，乐景哀情相映，愈显欢游难久、归路渐茫的身世之悲。

The rite. In third-month Clear Brightness the weather is gentle; returning from the riverside purification, late. The gentle Clear Brightness and the late return from the riverside rite are the opening. To have returned late from the rite would be a return; the in-third-month-clear-brightness-the-weather-is-gentle-returning-from-the-riverside-purification-late is the return.

况是残红狼藉，燕掠春风已远。

Besides, the fallen red lies in disorder; the swallows have darted off, far into the spring wind.

何况落花满地，燕子掠过春风已飞远。

And the fallen blossoms lie in disarray; swallows have darted off, far in the spring wind.

以残红、远燕写春归，景中寓怅，承上递转。况是二字递进，由晚归之乐转入残红狼藉之悲，狼藉写落花满地之残败，触目惊心；燕掠春风已远则以燕之飞远写春之不可留，掠字轻疾，远字杳渺，动静之间春已无踪。此句将上句的和柔明媚陡然撕破，以疏淡笔墨写浓重失落，是伤春亦是伤己——春去如归路之渺，燕远如故国之遥。杨慎于此以景语承载流放之痛，不直说贬谪，而借春归物候曲曲传出，含蓄蕴藉，最见小令以浅写深之妙。其妙尤在况是一转，把欢游的余温骤然冷却，使全词情绪由轻快坠入沉郁，章法之跌宕正与心境之起伏同构。

The swallows. Besides, the fallen red lies in disorder; the swallows have darted off, far into the spring wind. The disordered fallen blossoms and the swallows darted far are the turn. To have darted far off would be a darting; the besides-the-fallen-red-lies-in-disorder-the-swallows-have-darted-off-far-into-the-spring-wind is the darting.

已远，已远，楼外绿阴深半。

Far gone, far gone; beyond the tower the green shade has deepened by half.

飞远了，飞远了，楼外绿荫遮去了一半春光。

Far off, far off; beyond the tower the green shade has deepened by half.

叠句复唱音情摇曳，以景结情，含蓄不尽。已远，已远以短句叠用，如叹如诉，将春去之怅重复咏叹，节奏上与燕掠已远呼应而更见缠绵；楼外绿阴深半则以景收束，绿阴渐深写夏来之不可拒，半字写春去未尽、夏来已至的临界之痛。不言愁而愁自深，以景语藏情，是花间以来小令结句的传统，而杨慎以贬谪身写之，绿阴深处便不止是节候，更是遮蔽归程的政治阴霾。此句淡到极处而沉郁到极处，余韵渺渺，为全词最堪低回之处。尤为动人者，叠句以复唱写难追，把无可奈何的怅惘化为声情上的往复，使短短小令具有了长调般的低回空间，最见转应曲宜于叠叹的体性。

The repetition. Far gone, far gone; beyond the tower the green shade has deepened by half. The far-gone-far-gone and the deepened green shade are the close. To have repeated far-gone would be a repetition; the far-gone-far-gone-beyond-the-tower-the-green-shade-has-deepened-by-half is the repetition.

Study

Word focus

婉娩 Gentle and winning; describes the Clear-and-Bright spring day's warm, soft grace, quietly holding a love of spring. 和柔貌，状清明春日和暖婉顺，暗含惜春之情。婉娩本形容女子温顺柔美或天气和柔，杨慎用以写三月清明之天光，既切时令，又添一层温润柔媚的春意，使起句明媚可喜。此词于婉娩中暗藏晚字之怅，柔景与柔情相生，反衬后文残红狼藉之烈。选词清雅准确，是杨慎博学而能炼字于小令的证明，亦见其以女性化柔语写春、以春之柔反衬贬谪之硬的对照匠心。更为可取者，婉娩之柔与后文狼藉之残形成由盛转衰的鲜明跌宕，一词之暖恰为全词之悲预设了反衬的亮度，使伤春之痛因前有和柔而愈显沉郁，章法之密见于炼字。

狼藉 Scattered and disordered; writes the fallen blooms' broken abundance, setting off the spring-sorrow mood. 纵横散乱，写落花满地之残败，烘托伤春意绪。狼藉本指纵横交错、散乱不整，杨慎以之写残红，触目一片零落，与起句婉娩之和柔形成强烈反差，春之盛与春之败对举成势。此词不写雨打风吹之暴，而写狼藉之静默残败，更显无可收拾的凋零之痛，是伤春亦是伤己——落红满地如流人飘零。选字凝练而有力，以一目尽写春归之惨，为全词由乐转悲的关键。尤为可玩味者，狼藉以状乱，恰与词人政治处境之颠沛暗合，落花之无序正是流人命运的无序之镜像，物我之间至此已浑然一体，炼字之妙正在这种不言喻而喻的深层呼应。

已远 Repeated into a line, its sound and feeling sway, strengthening the regret that spring has gone beyond recall. 叠用成句，音情摇曳，强化春去难追的怅惘。已远本为平常结语，杨慎破格叠用为已远，已远，将短促的离别之叹拉长为往复的咏唱，节奏如歌如泣，在小令中尤见回环之致。其声情与转应曲宜叠句的曲牌特性相合，亦与燕掠春风已远遥相呼应，使春去之痛由景入声、由声入心。二字虽简，却是全词情感的顶点与收束的枢纽，以复唱写难追，含蓄而沉重。其妙尤在叠用所生成的声情摇曳，使有限的字句获得近乎吟唱的延展性，把贬谪者送春送己的绵长遗恨，凝定在这两声往复的叹息里，是明词小令中以声写情的高明范例。