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宋 Song · 词 Ci lyric

南歌子·寓意

Song of the Southern Country - A Meaning

苏轼

Su Shi

行旅Travel 春景Spring Scene

雨暗初疑夜，风回忽报晴。
淡云斜照著山明，细草软沙溪路、马蹄轻。
卯酒醒还困，仙村梦不成。
蓝桥何处觅云英？
只有多情流水、伴人行。

The rain darkened the sky and at first I thought it night; the wind turned and suddenly announced clear weather.
Pale clouds and slanting light set the hills bright; fine grass and soft sand by the stream - the horse's hooves are light.
The morning wine sobered, yet I am still drowsy; the immortal village dream will not come true.
Where at the Blue Bridge might I find Yunying? Only the affectionate flowing water accompanies my walk.

Listen

Meaning

On a spring journey the rain clears to bright hills and a soft, easy road; yet the traveler's morning wine leaves him drowsy and his dream of an immortal maid unmet. He asks where at the Blue Bridge he might find Yunying, and answers that only the fond stream goes with him. The lyric is a clear, faintly wistful travel piece.

雨暗初疑夜，风回忽报晴。淡云斜照著山明，细草软沙溪路、马蹄轻。卯酒醒还困，仙村梦不成。蓝桥何处觅云英？只有多情流水、伴人行。

Appreciation

[Plain Paraphrase] Rain darkens, seems night; wind turns, clear; pale clouds and slant light brighten the hills, fine grass soft sand, light hooves; morning wine sober yet drowsy, immortal village dream fails; where at Blue Bridge find Yunying? only fond water goes with me. [Structure] Upper part the spring travel scene; lower part the unmet dream and the fond stream. [Imagery] 'Rain dark / wind clear' is a crisp weather turn; 'fine grass, soft sand, light hooves' sketches ease; 'Blue Bridge, Yunying' alludes to Pei Hang's fairy bride; the 'affectionate water' closes on gentle, lone company.

【白话串讲】苏轼写《南歌子·寓意》：“雨暗初疑夜，风回忽报晴”——“淡云斜照著山明，细草软沙溪路、马蹄轻”——“蓝桥何处觅云英？只有多情流水、伴人行”——他写旅途——蓝桥何处觅云英。【意象与手法】此词写行旅，以感慨写行旅，是苏轼的名篇。上片写春行：「雨暗初疑夜，风回忽报晴。淡云斜照著山明，细草软沙溪路、马蹄轻」写雨暗初疑夜、风回忽报晴——写尽春行的景致；下片写寻梦：「卯酒醒还困，仙村梦不成。蓝桥何处觅云英？只有多情流水、伴人行」写卯酒醒还困、仙村梦不成——写尽寻梦的怅惘。全词以感慨写行旅，写尽春行的景致与寻梦的怅惘，是苏轼的代表作。【情感与主旨】此词写行旅，以感慨写行旅，是苏轼的名篇。此词写苏轼行旅中的即景寓意之作。此词写雨暗初疑是夜，风回忽报已晴；淡云斜照而山明，细草软沙而马蹄轻；卯酒（晨酒）醒后还困，仙村之梦不成；蓝桥（用裴航遇云英典）何处觅云英，只有多情流水伴人行。此词写春行：雨暗初疑夜，风回忽报晴——写雨暗初疑夜、风回忽报晴，写尽晴雨的变幻；淡云斜照著山明，细草软沙溪路、马蹄轻——写淡云斜照著山明、细草软沙溪路、马蹄轻，写尽春行的景致；卯酒醒还困，仙村梦不成——写卯酒醒还困、仙村梦不成，写尽寻梦的怅惘；蓝桥何处觅云英？只有多情流水、伴人行——写蓝桥何处觅云英、只有多情流水伴人行，写尽流水的多情。全词以感慨写行旅——那「风回忽报晴」写尽春行的景致，「只有多情流水伴人行」写尽寻梦的怅惘，写尽春行的景致与寻梦的怅惘，是理解苏轼行旅词的重要篇章。【名句点睛】常考「雨暗初疑夜，风回忽报晴」写晴雨的变幻；「蓝桥何处觅云英？只有多情流水、伴人行」写寻梦的怅惘；以及全词以感慨写行旅、以用典写怅惘的手法。

Background

Su Shi (1037-1101), courtesy name Zizhan, style Dongpo, of Meishan (Sichuan), was a Northern Song master, one of the Eight Tang-Song Prose Masters, with Su-Xin and Su-Huang pairings. This is an impromptu travel lyric. Rain clears to a bright spring road; the morning wine leaves him drowsy and the immortal-village dream ungrasped; citing Pei Hang's Blue Bridge meeting with Yunying, he finds only the fond stream his companion - typical Su Shi clarity touched with a wistful, 'write-as-poem' (yi shi wei ci) ease.

此词写行旅，以感慨写行旅，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，唐宋八大家之一，与父洵、弟辙合称「三苏」，与黄庭坚并称「苏黄」，与辛弃疾并称「苏辛」。此词写苏轼行旅中的即景寓意之作。此词写雨暗初疑是夜，风回忽报已晴；淡云斜照而山明，细草软沙而马蹄轻；卯酒（晨酒）醒后还困，仙村之梦不成；蓝桥（用裴航遇云英典）何处觅云英，只有多情流水伴人行。此词写春行：「雨暗初疑夜，风回忽报晴」写雨暗初疑夜、风回忽报晴——写尽晴雨的变幻（雨暗初疑夜，风回忽报晴）；「淡云斜照著山明，细草软沙溪路、马蹄轻」写淡云斜照著山明、细草软沙溪路、马蹄轻——写尽春行的景致（淡云斜照著山明，细草软沙溪路、马蹄轻）；「卯酒醒还困，仙村梦不成」写卯酒醒还困、仙村梦不成——写尽寻梦的怅惘（卯酒醒还困，仙村梦不成）；「蓝桥何处觅云英？只有多情流水、伴人行」写蓝桥何处觅云英、只有多情流水伴人行——写尽流水的多情（蓝桥何处觅云英？只有多情流水、伴人行）。全词以感慨写行旅，写尽春行的景致与寻梦的怅惘，是理解苏轼行旅词的重要篇章。

Art

The art has four moves. First, contrast for weather: 'rain dark / wind clear' sets the turn in paired lines. Second, plain sketch for spring: 'fine grass, soft sand, light hooves' paints the easy road. Third, allusion for wistfulness: 'Blue Bridge, Yunying' cites Pei Hang's fairy bride to mark the unmet dream. Fourth, scene-close for fondness: 'only the affectionate water accompanies me' ends on gentle lone company. Upper the scene, lower the dream - scene into feeling, the travel lyric's 'scene for feeling' form. Fine touches: the 'zhuo' (zhuo) verb lights the hills; 'still drowsy' the morning-wine weariness. The result is clear, natural, faintly longing.

此词的艺术特色可从四个方面解析。其一，以对举写晴雨。「雨暗初疑夜，风回忽报晴」以对举写晴雨——那「雨暗」「风回」写尽晴雨的变幻，以对举写尽春行的景致。其二，以白描写春行。「细草软沙溪路、马蹄轻」以白描写春行——那「细草软沙」「马蹄轻」写尽溪路的春行，以白描写尽春行的景致。其三，以用典写怅惘。「蓝桥何处觅云英」以用典写怅惘——那「蓝桥云英」用裴航遇云英典写怅惘，以用典写尽寻梦的怅惘。其四，以景结写多情。「只有多情流水、伴人行」以景结写多情——那「多情流水」写尽流水的多情，以景结写尽寻梦的怅惘。此外，此词上片写春行的景致，下片写寻梦的怅惘，由景及情，正是行旅词「以景写情」的写法。四重手法，使此词以感慨写行旅，写尽春行的景致与寻梦的怅惘，是苏轼的代表作。此词还善于以「淡云斜照著山明」的「著」字写出山之明——那「著山明」写尽斜照映山的明朗，正是以「著」字写光影，以「著」字写尽春行的景致。又善以「卯酒醒还困」的「还困」写酒醒之倦——卯酒醒还困，正见晨酒初醒的困倦，以「还困」写尽行旅的倦意。

Allusions

The language rests on travel and reflection. 'Rain dark' echoes Su Shi's own 'misty hills, rain is also fine'; 'wind turned' Bai Juyi's 'wind turns, clouds break, rain just clears'; 'morning wine' (mao jiu) the dawn cup; 'immortal village' the Peach Spring; 'Blue Bridge' the Tang tale of Pei Hang meeting Yunying, seeking the jade pestle, winning the fairy bride - Su Shi uses it for an unmet immortal match; 'Yunying' Pei Hang's wife. The lyric weaves rain, wind, morning wine, immortal village, Blue Bridge, Yunying into a 'write-as-poem,' allusion-rich, wistful travel piece.

此词的用语深植于行旅与感慨传统。「雨暗」令人想到「雨暗」写雨昏的意象——也令人想到「山色空蒙雨亦奇」（苏轼）的意象；「风回」令人想到「风回」写风转的意象——也令人想到「风回云断雨初晴」（白居易）的意象；「卯酒」令人想到「卯酒」写晨酒的意象——晨起饮酒曰卯酒，也令人想到「晨炊卯酒」的意象；「仙村」令人想到「仙村」写仙境的意象——也令人想到「桃花源」的意象；「蓝桥」用裴航蓝桥驿遇云英之典——也令人想到「蓝桥捣药」的意象；「云英」令人想到「云英」写云英的意象——裴航之妻云英，也令人想到「云英未嫁」的意象。全词化用雨暗、风回、卯酒、仙村、蓝桥、云英的意象典故，以感慨写行旅，正是苏轼「以诗为词」而善用典、承行旅传统写怅惘之本领。「蓝桥」典出唐裴铏《传奇》——裴航于蓝桥驿遇云英，求玉杵臼捣药，终成仙眷，苏轼以「蓝桥何处觅云英」写仙缘难觅；「仙村」令人想到「仙村」写仙境的意象——也令人想到「桃花源记」的意象，以仙村写梦中之境。

Commentary

Long a Su Shi travel lyric classic and a Song model of stream-side spring travel, it drew the Qing note 'travel in reflection, clear and natural,' and modern praise for 'only the affectionate water accompanies me' as its line. Its worth is a short tune holding the weather turn, the bright road, the drowsy dream, the Blue Bridge ask, the fond stream - the rain, the hills, the light hooves, the unmet Yunying. Set beside his 'Die Lian Hua' (spring) and the Blue Bridge tale, it shows his spring writing and the immortal-match tradition. For today it opens his travel lyrics and the classic of stream-side spring - the fond water still goes with the walker.

此词历来被推为苏轼行旅词的名篇，也是宋词写溪路春行的代表。历代论者对此词评价极高：清人评此词「以感慨写行旅，清丽自然」；近人更指出「只有多情流水、伴人行」写寻梦的怅惘，是此词的名句。在词史上，此词的特殊价值在于：它以六十二字的词写尽春行的景致与寻梦的怅惘——那雨暗，那初疑夜，那风回，那忽报晴，那淡云，那斜照，那著山明，那细草，那软沙，那溪路，那马蹄轻，那卯酒，那醒还困，那仙村，那梦不成，那蓝桥，那何处，那觅云英，那只有，那多情流水，那伴人行，都写尽了苏轼笔下的南歌子；那「只有多情流水伴人行」更以景结写尽寻梦的怅惘。此词与苏轼《蝶恋花·春景》（「花褪残红青杏小」）同为写春名篇，一写「枝上柳绵吹又少」的春暮（蝶恋花），一写「细草软沙溪路」的春行（南歌子）；又与裴航遇云英的典故传统一脉相承，可见中国词写仙缘的传统。对于今日读者，此词是理解苏轼行旅词的窗口，也是宋词写溪路春行的经典——那多情流水，穿越千年，仍在诉说着寻梦的怅惘。

Prosody

Form Lyric - Song of the Southern Country (Nan Ge Zi)词·南歌子

Rhyme Nan Ge Zi, rhyming qing/ming/qing/cheng/ying/xing etc. (level tone), one level rhyme throughout.词牌南歌子，押「晴」「明」「轻」「成」「英」「行」等韵，平韵一韵到底

Tone pattern A Nan Ge Zi, level-tone rhyme throughout, clear and graceful in sound, fitting the easy travel.此词为南歌子，平韵一韵到底，音节清丽，正合行旅的清丽。

Reading note A Nan Ge Zi: upper 'rain dark... light hooves,' lower 'morning wine... fond water,' level rhyme (qing/ming/qing/cheng/ying/xing) throughout, clear in sound. Upper the spring scene, lower the unmet dream, ending on the fond stream - Su Shi's 'write-as-poem' manner. Read the weather clear, the close wistful with an echo - his travel lyric model.此词为《南歌子》词牌，上片四句——「雨暗初疑夜，风回忽报晴。淡云斜照著山明，细草软沙溪路、马蹄轻」，下片四句——「卯酒醒还困，仙村梦不成。蓝桥何处觅云英？只有多情流水、伴人行」，押平韵（晴、明、轻、成、英、行），一韵到底，音节清丽。全词以感慨写行旅：上片写春行的景致（雨暗初疑夜、细草软沙溪路马蹄轻），下片写寻梦的怅惘（卯酒醒还困、只有多情流水伴人行）。词体短章，前写春行，后写怅惘，以「只有多情流水伴人行」写尽寻梦的怅惘，正见苏轼「以诗为词」的本色。诵读此词，宜以清丽的语调读「风回忽报晴」的晴雨，以怅惘的语调读「只有多情流水伴人行」的怅惘，结句要读得清丽而有余韵，方能传达出苏轼的清丽自然。苏轼词以「旷达」著称，此词正是其行旅词的典范。

Line by line

蓝桥何处觅云英？只有多情流水、伴人行

Where at the Blue Bridge might I find Yunying? Only the affectionate flowing water accompanies my walk.

蓝桥何处觅云英？只有多情流水、伴人行。

Where at the Blue Bridge shall I find Yunying? Only the amorous flowing water accompanies my steps.

此二句是全词写怅惘的核心，以蓝桥何处觅云英写觅云英，以只有多情流水伴人行写伴人行，写尽寻梦的怅惘，是千古名句。「蓝桥何处觅云英」写蓝桥何处觅云英——那「蓝桥何处」写蓝桥何处，「觅云英」写觅云英，写尽蓝桥的寻觅；「只有多情流水、伴人行」写只有多情流水伴人行——那「只有多情流水」写只有多情流水，「伴人行」写伴人行，写尽流水的多情。这句的深意在于：它以「蓝桥何处觅云英」的觅云英与「只有多情流水伴人行」的伴人行，写尽寻梦的怅惘——蓝桥何处觅云英，那「蓝桥何处觅云英」写尽蓝桥的寻觅——蓝桥何处，正是无处寻仙的写照，那「觅云英」写尽寻梦的怅惘；只有多情流水伴人行，那「只有多情流水伴人行」写尽流水的多情——只有多情流水，正是唯余流水的写照，那「伴人行」写尽寻梦的怅惘；那「蓝桥何处觅云英」写尽蓝桥的寻觅，那「只有多情流水伴人行」写尽流水的多情，一写寻觅，一写流水，写尽寻梦的怅惘——仙缘难觅而流水相随，正是怅惘的写照；此二句以寻觅、流水写尽寻梦的怅惘，也让此二句成为全词写怅惘的核心与千古名句。若换作直说「找不到意中人，只有流水陪着我走」，则失其用典；唯以「蓝桥何处觅云英」写觅云英、「只有多情流水伴人行」写伴人行，写尽寻梦的怅惘，也让此二句成为全词写怅惘的核心。

The Blue Bridge. Where at the Blue Bridge shall I find Yunying? Only the amorous flowing water accompanies my steps. The Blue-Bridge-where-find-Yunying and the only-amorous-water-accompanies-steps are the allusion. To have found Yunying would be a finding; the where-at-the-blue-bridge-shall-i-find-yunying-only-the-amorous-flowing-water-accompanies-my-steps is the finding.

雨暗初疑夜，风回忽报晴

The rain darkened the sky and at first I thought it night; the wind turned and suddenly announced clear weather.

雨暗初疑夜，风回忽报晴。

The rain darkens it; at first I think it night; the wind veers and suddenly announces clear sky.

此二句是全词写晴雨的核心，以雨暗初疑夜写疑夜，以风回忽报晴写报晴，写尽晴雨的变幻，是千古名句。「雨暗初疑夜」写雨暗初疑夜——那「雨暗」写雨暗，「初疑夜」写初疑夜，写尽雨暗的疑夜；「风回忽报晴」写风回忽报晴——那「风回」写风回，「忽报晴」写忽报晴，写尽风回的报晴。这句的深意在于：它以「雨暗初疑夜」的疑夜与「风回忽报晴」的报晴，写尽晴雨的变幻——雨暗初疑夜，那「雨暗初疑夜」写尽雨暗的疑夜——雨暗初疑夜，正是雨暗似夜的写照，那「初疑夜」写尽晴雨的变幻；风回忽报晴，那「风回忽报晴」写尽风回的报晴——风回忽报晴，正是风回天晴的写照，那「忽报晴」写尽晴雨的变幻；那「雨暗初疑夜」写尽雨暗的疑夜，那「风回忽报晴」写尽风回的报晴，一写雨暗，一写风回，写尽晴雨的变幻——雨暗疑夜而风回报晴，正是天气变幻的写照；此二句以疑夜、报晴写尽晴雨的变幻，也为下文的春行作铺垫，也让此二句成为全词写晴雨的核心与千古名句。若换作直说「雨下得昏天黑地，风一吹又晴了」，则失其精炼；唯以「雨暗初疑夜」写疑夜、「风回忽报晴」写报晴，写尽晴雨的变幻，也让此二句成为全词写晴雨的核心。

The rain. The rain darkens it; at first I think it night; the wind veers and suddenly announces clear sky. The rain-darkens-think-night and the wind-veers-announces-clear are the change. To have darkened it would be a darkening; the the-rain-darkens-it-at-first-i-think-it-night-the-wind-veers-and-suddenly-announces-clear-sky is the darkening.

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Word focus

轻 Light. In 'fine grass, soft sand, light hooves,' 'qing' means the hooves' ease and, by extension, the traveler's relaxed, clear mood after the rain - Su Shi's openness in a single word. 「细草软沙溪路、马蹄轻」之「轻」字是写春行的关键词，一个「轻」字写尽马蹄的轻快。轻者，轻快、轻盈也。苏轼以「细草软沙溪路、马蹄轻」写春行，这个「轻」字至少有双重意味：其一，写蹄之轻——那「细草软沙溪路、马蹄轻」写细草软沙溪路、马蹄轻，那「轻」字写尽马蹄的轻快——马蹄轻，正是马蹄轻捷的写照，那「轻」字写尽春行的景致；其二，写心之畅——那「轻」字更是写畅——轻，正见雨后行路的轻快，那「轻」字写尽苏轼的旷达。以「轻」字写春行，正是苏轼写行旅的枢纽——若换作「快」「疾」等字，则或失其与「细草软沙」「溪路」的配合，或失其写轻的意味；唯「轻」字，以细草软沙溪路马蹄轻写尽马蹄之轻快与行路之舒畅，与「风回忽报晴」的报晴相合，写尽春行的景致，也让「细草软沙溪路、马蹄轻」成为全词写春行的名句。

多情 Affectionate / full of feeling. In 'only the affectionate flowing water accompanies me,' 'duo qing' gives the stream a tender, companionable heart, voicing the lone traveler's gentle wistfulness beside the unmet Yunying. 「只有多情流水、伴人行」之「多情」是写怅惘的关键词，一个「多情」写尽流水的多情。多情者，多情多意也。苏轼以「只有多情流水伴人行」写怅惘，这个「多情」至少有双重意味：其一，写水之多情——那「只有多情流水伴人行」写只有多情流水伴人行，那「多情」写尽流水的多情——多情流水，正是流水多情的写照，那「多情」写尽寻梦的怅惘；其二，写情之深——那「多情」更是写深——多情，正见无人相伴而唯水相随的怅惘，那「多情」写尽苏轼的旷达。以「多情」写怅惘，正是苏轼写行旅的枢纽——若换作「无情」「碧水」等词，则或失其与「只有」「伴人行」的配合，或失其写多情的意味；唯「多情」二字，以只有多情流水伴人行写尽流水之多情与无人相伴之怅惘，与「蓝桥何处觅云英」的寻觅相合，写尽寻梦的怅惘，也让「只有多情流水伴人行」成为全词写怅惘的名句。