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清 Qing · 词 Ci lyric

别紫云

Parting from Ziyun

陈维崧

Chen Weisong

赠别farewell 艳情love 清词Qing lyric

二载相依，三生有约，月明曾过青溪口。
枇杷花下细偎人，梧桐影里频携手。
此去天涯，重逢知否？
断云幽鸟空依旧。
相思莫更种芭蕉，芭蕉易雨还易瘦。

Two years we leaned together, a bond of three lives, beneath the bright moon we crossed the Green Creek mouth.
Under the loquat blossoms we clung close; in the plane-tree shadows we often joined hands.
This parting sends me to the world's end—shall we meet again?
The broken cloud and lonely bird remain as before in vain.
Plant no more banana for longing—the banana easily meets rain and easily grows thin.

Listen

Meaning

Written at parting from Ziyun, the poet recalls two years of intimacy and a three-life vow, then faces separation with uncertain reunion, ending by warning against planting banana trees whose easy rain and thinning mirror love's wasting grief.

两载相偎相依，三生早有盟约，月明时曾同过青溪渡口。枇杷花下轻轻依偎着你，梧桐影里频频携手。这一去天各一方，重逢又怎可知？断云幽鸟空自依旧。相思莫再种下芭蕉，芭蕉易遭雨打，也易消瘦。

Appreciation

The first part recalls two years together and a three-life vow: bright moon at Green Creek, clinging under loquat, hands joined in plane shadows—tender and warm. The second part writes after parting: to the world's end, reunion unsure, broken cloud and lonely bird remain in vain; he warns against planting banana, for it easily meets rain and easily grows thin, just like longing. The upper recalls, the lower parts, using joyous scene to set off sad feeling. Loquat and plane write the density of old pleasure; broken cloud and lonely bird write the loneliness after parting; the close uses the banana's easy rain and thinning as a double pun on love's wasting—clever and deep. Chen Weisong wielded the bold Yangxian brush in love lyric, uniting strength and softness, showing sincerity amid the charming.

【白话串讲】陈维崧和歌妓紫云分别：“二载相依，三生有约，月明曾过青溪口”。“枇杷花下细偎人，梧桐影里频携手”——“此去天涯，重逢知否”——“相思莫更种芭蕉，芭蕉易雨还易瘦”——他劝自己，别再种相思了。【意象与手法】上忆下别，以乐景反衬哀情。枇杷、梧桐写旧欢之密，断云、幽鸟写别后之寂；结以芭蕉易雨易瘦双关相思之瘦，巧而深。【情感与主旨】写与歌妓紫云（或挚爱）的依依别情与绵邈相思。陈维崧以阳羡派豪宕之笔写艳情，刚柔相济，于旖旎中见沉挚。【名句点睛】相思莫更种芭蕉，芭蕉易雨还易瘦——以物之易雨易瘦喻人之易老易瘦，别出心裁，最见巧思。

Background

Chen Weisong was the head of the early-Qing Yangxian lyric school, with vast, unrestrained talent, especially good at long tunes and love songs. Ziyun may have been a singer he loved; this lyric was written at parting, using a dense, lovely brush for tender feeling.

陈维崧（一六二五至一六八二），字其年，号迦陵，江苏宜兴人，阳羡词派创始人，清初词坛巨擘，与朱彝尊并称「朱陈」，又与纳兰性德、朱彝尊并称「清词三大家」。其祖陈于廷、父陈贞慧皆明末名士，维崧早年才名藉甚，然明清易代后科场蹭蹬，长期落拓，晚年举博学鸿词，授翰林院检讨，参与修《明史》，未几而卒。其词初学苏轼、辛弃疾，后融稼轩之豪与白石之雅，风格霸悍沉雄，题材极广，怀古、咏物、纪游、艳情无不擅长。紫云为当时名妓（或谓即其眷恋之歌儿），《别紫云》写与紫云两载相依、一朝远别的旖旎与沉痛。清初文网渐密，士人每借艳词遣怀，陈维崧以阳羡派豪宕之笔写儿女之情，刚柔相济，于旖旎中见沉挚，此词即其「能豪亦能艳」的显例，亦折射易代文人以深情自遣的复杂心绪。其词风兼融苏辛之豪与白石之雅，于儿女之情中每见身世之感，清初阳羡一派的苍凉骨力实滥觞于此，亦为清词三大家格局中不可或缺的沉雄一脉。陈维崧以落拓之身写旖旎之辞，豪宕与柔婉并行不悖，正见易代文人借艳词以遣幽怀的复杂心绪，亦使此作超越寻常赠别而具时代之厚度。

Art

The first part densely narrates the meeting; the second sparsely writes the parting grief. It uses repetition (easy rain, easy thin) and punning; a strong school writing soft feeling yet graceful—an example of his 'grand spirit, veiled splendor.'

此词章法最妙处在「上忆下别、以乐衬哀」的跌宕结构。上片纯写两载旧欢：以「二载相依，三生有约」将现实相守与来世盟约叠合，深情直通永恒；「月明曾过青溪口」点染往昔同游之地，青溪本为南朝乐府多情之渊薮，暗用古意；「枇杷花下细偎人，梧桐影里频携手」则以秾丽背景衬亲昵动作，暖香盈纸。下片陡转别后，「此去天涯，重逢知否」以撕裂之问扯碎温馨；「断云幽鸟空依旧」以恒常之物反衬离散之人，一个「空」字写尽徒然；结拍「相思莫更种芭蕉，芭蕉易雨还易瘦」更翻进一层，以芭蕉易雨易瘦双关人之因思而瘦，巧而能沉。全词由乐景铺排到哀情骤落，以极乐衬极悲，且于艳情中暗藏身世之慨，是阳羡派「以豪笔写柔情」的典型，刚柔互见，于清词赠别中别开生面。上片极写旖旎，下片骤转孤寒，以极乐反衬极悲，章法之跌宕正合离情之曲折；结拍以芭蕉巧喻收束，于艳情中藏沉挚，足见阳羡词「刚柔互见」之腕力。全词由乐景铺排到哀情骤落，脉络分明而情韵流转，以散曲式口语衬字点逗其中，遂使小词兼具的疏宕之气与绸缪之致，在清词赠别中别开生面。

Allusions

Three lives: past, present, future lives, meaning the depth of fate. Green Creek: Nanjing's Green Creek, a Six Dynasties pleasure quarter. Banana: in classical lyric often figures parting sorrow (as in 'the banana does not unfold, the lilac knots').

「青溪」在今南京，南朝时为繁华风流之地，乐府《青溪小姑曲》等皆出其间，向为文人写情之典实，陈维崧拈「月明曾过青溪口」，暗袭六朝烟水气脉。「三生有约」化用前生今生来生之说（如白居易「三生石上旧精魂」），将爱情写入轮回，深得唐人传奇情旨。「芭蕉」在古典诗词中本为愁雨、愁绪之象，李商隐「芭蕉不展丁香结」、李煜「帘外芭蕉三两窠，风情渐紧」皆以芭蕉写幽闷，此处却翻新为「易雨易瘦」双关相思之瘦，既承传统意象又别出机杼。「梧桐影」亦含「梧桐更兼细雨」的孤寂传统。全词用典融于口语，不堆垛而意远，以六朝青溪之古意、三生之佛语、芭蕉之愁象，织成一片似直而曲的别情之网，最见清词「驱使故实如己出」的功力。青溪、三生、芭蕉诸意象皆有所本，或出六朝乐府，或出唐人传奇，或承五代词心，经陈维崧驱遣而浑化无迹，遂使一首代言小词兼具千年情爱书写之厚度。六朝烟水、佛家轮回与唐宋愁象被重新编织，既见用典之富，更见使事如己出的化境，宜其能为清词情语立一沉挚而秾丽之范。

Commentary

His-year's love songs often show charm within boldness; alongside Nalan's grief and Zhu's elegance he stands in early Qing, and this piece may stand for him.

陈维崧为阳羡派宗主，论者谓其词「拗怒故壮」「沉雄俊爽」，然此《别紫云》却于豪宕之外别出柔婉，足见其风格之广。清人蒋景祁序《陈迦陵词》称其「取裁非一体，造就非一诣」，正可移评此作。近人论清词，多以陈维崧与朱彝尊并峙，朱尚醇雅、陈尚霸悍，而此词之旖旎沉挚，恰证阳羡派非徒以豪横取胜。它与纳兰性德之哀婉、朱彝尊之清空鼎足，共成清词三大家之多元风貌。今人读之，既能赏其「细偎」「频携手」的密丽笔触，亦当体会清初落拓文人以艳词遣怀的深处苦心——儿女之情愈真，身世之慨愈隐，所谓「借艳写心」，正是易代词坛一种普遍的抒情策略，此词可为显例。蒋景祁序《陈迦陵词》称其「取裁非一体，造就非一诣」，此词以豪笔写柔情，正可证阳羡派非徒以霸悍取胜；与纳兰之哀婉、朱彝尊之清空鼎足，共成清词多元之盛，亦见易代文人借艳词以遣幽怀的深衷。近人论清词三大家，每以此作证陈维崧风格之广，足称阳羡词「能豪亦能艳」的显例。

Prosody

Form Parting from Ziyun uses the tune Treading the Sands (double tune, fifty-eight characters)词（双调赠别词，上下片各五句）

Rhyme Rhyme category not specified in the source; follows the tune's convention.押词韵尤侯部（口、手、否、旧、瘦），一韵到底

Tone pattern The tune's standard tonal pattern applies; no specific tone note recorded in the source.依词谱平仄，上片平缓铺叙，下片跌宕收束

Reading note The upper recalls pleasure, the lower grieves at parting, closing on the banana's easy rain and thinning as a figure for love's wasting—tender and intense, a famous love lyric of Jialing.此词双调，上下片各五句，以赠别为题，体制近于小令而情韵绵长。用韵取词林正韵尤侯部，口、手、否、旧、瘦同叶，平仄递换间声情由旖旎转凄婉，与「上乐下悲」的章法同构。上片四句写旧欢，以「二载」「三生」领起，叙事中含情；下片「此去天涯，重逢知否」以问句振起，「断云幽鸟空依旧」景中寓悲，结拍「芭蕉易雨还易瘦」以巧喻收束，声情由畅转咽。陈维崧为阳羡派开山，论者谓其词「拗怒故壮」，然此作于豪宕之外别出柔婉，可见其风格之广。整体看，其韵律安排服务于情感跌宕：乐景处韵脚轻快（口、手），悲处转沉（否、旧、瘦），以声律之起伏写尽离情之曲折，是清词赠别中「刚柔相济」的范本。

Line by line

二载相依，三生有约，月明曾过青溪口。枇杷花下细偎人，梧桐影里频携手。

Two years we leaned together, a three-life vow; beneath the bright moon we crossed Green Creek mouth; under loquat blossoms we clung close, in plane shadows often joined hands.

两载相偎相依，三生早有盟约，月明时曾同过青溪渡口。枇杷花下轻轻依偎着你，梧桐影里频频携手。

Two years we leaned on each other; a vow was made across three lives. By moonlight we once crossed the mouth of Green Creek. Beneath the loquat blossoms I nestled close to you; in the wisteria shadow we often joined hands.

上片纯写旧欢，以「二载」「三生」两组时间概念开篇，将现实的相守与来世的盟约叠合，深情便不止于当下而直通永恒。「月明曾过青溪口」以具体地名与月色点染往昔同游，青溪本为南朝乐府多情之地，暗用古意。「枇杷花下细偎人，梧桐影里频携手」二句，以枇杷之秾丽、梧桐之清影作背景，以「细偎」「频携手」的亲昵动作写尽绸缪，视听兼具、暖香盈纸。全片以乐景铺排，看似绮靡，实则为下片「此去天涯」的骤冷蓄势——以极乐衬极悲，是陈维崧艳词中「刚柔相济」笔法的典型，于旖旎中已暗藏别恨的种子，章法血脉因之贯通。

The first stanza writes only old joy, opening on the two time-concepts of two years and three lives, folding present constancy and a vow for the afterlife into one, so that love reaches not only now but eternity. By moonlight we once crossed the mouth of Green Creek names the old outing through a concrete place and moon; Green Creek was already a place of love songs in the southern dynasties yuefu, and the allusion is hidden. Beneath the loquat blossoms I nestled close to you; in the wisteria shadow we often joined hands: against the rich loquat bloom and the clear wisteria shade, the close nestling and the frequent clasped hands write the tenderness to the full, sight and warmth both on the page. The stanza piles up happy scenes, seemingly lush, but really storing force for the sudden chill of to the edge of the world in the second half; extreme joy sets off extreme grief, the typical Chen Weisong manner of strength and tenderness in balance, where the seed of parting is already hidden in the enchantment, and the joints of the composition run through.

此去天涯，重逢知否？断云幽鸟空依旧。相思莫更种芭蕉，芭蕉易雨还易瘦。

This parting to the world's end—shall we meet again? Broken cloud and lonely bird remain as before in vain; plant no more banana for longing—the banana easily meets rain and easily grows thin.

这一去天各一方，重逢又怎可知？断云幽鸟空自依旧。相思莫再种下芭蕉，芭蕉易遭雨打，也易消瘦。

Now I go to the edge of the world; will we ever meet again? The broken cloud and lonely bird remain as before, in vain. Plant no more the plantain for your longing; the plantain is easily beaten by rain, and easily grows thin.

下片陡转别后，起以「此去天涯，重逢知否」的撕裂之问，将上片的温馨一把扯碎。「断云幽鸟空依旧」以景衬情，云断鸟幽，物色如故而人已天涯，一个「空」字写尽物是人非的徒然。结拍「相思莫更种芭蕉，芭蕉易雨还易瘦」尤见巧思：芭蕉在古典诗词中本为代雨、代愁之物，此处却翻进一层，劝莫「种」相思，因芭蕉易雨易瘦，正似人之因思而瘦。以物之易雨易瘦双关人之易老易瘦，将抽象相思化为可触可感的植物意象，既承东坡「点点是离人泪」以物喻情之法，又别出机杼，于深情中见俏皮，是阳羡派豪宕词人写艳情时刚柔互见、巧而能沉的佳证。

The second stanza turns abruptly to after parting, opening on the tearing question now I go to the edge of the world; will we ever meet again? which rips the warmth of the first stanza apart. The broken cloud and lonely bird remain as before, in vain sets feeling against scene: cloud parted, bird solitary, the world unchanged, yet the people now at the ends of the earth; the single word in vain writes the futility of things remaining the same while people change. The close, plant no more the plantain for your longing; the plantain is easily beaten by rain, and easily grows thin, shows special ingenuity: the plantain, in classical poetry, is already the emblem of rain and of grief, but here the thought turns deeper, advising her not to plant longing, because the plantain is easily rained upon and easily made thin, exactly as a person grows thin from longing. Using the plantain's susceptibility to rain and thinning as a double entendre for human aging and wasting, it turns abstract longing into a tangible plant image; inheriting Su Shi's every drop is a parting tear, yet with a turn of its own, playful in deep feeling. It is a fine instance of the Yangxian school's bold poet writing love with strength and tenderness interwoven, clever yet profound.

Study

Word focus

细偎 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「枇杷花下细偎人」之「细偎」二字，写尽两情相依之态。「细」者，轻柔、绵密也，形容依偎之体贴入微，非热烈拥抱之粗放，而是花下低回、气息相闻的缱绻；「偎」字本有亲昵依附之意。二字组合，以极俭之笔勾出极浓之情，与「频携手」呼应，一静一动皆见恩爱。陈维崧为阳羡派宗主，词风多豪宕，此「细偎」一联却极尽柔婉，正可见其刚柔相济的腕力——于霸悍笔底忽出旖旎，反差愈显情深，亦证清词大家不独能豪，亦能深于儿女之情，艳词至此已脱甜熟而入沉挚。

空依旧 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「断云幽鸟空依旧」之「空依旧」三字，是全词由乐转悲的关纽。「依旧」写云鸟不改、物色如常，本属安然之景；着一「空」字，便顿生人事已非、自然无情之慨——物自青青，人已远别，昔日同看之云鸟，今唯「空」对孤身。此字以景之恒常反衬人之离散，将「重逢知否」的忧惧化为深沉的物我对照。陈维崧善用虚字传神，「空」字在此四两拨千斤，使上片繁华一瞬成空，遂自然引出结拍劝莫种愁的痴语，章法血脉贯通，最见其以虚字运斤成风的炼字功力。

易瘦 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「芭蕉易雨还易瘦」之「易瘦」二字，是全词诗眼式的收束。芭蕉因雨而叶卷、因湿而「瘦」，本是植物常理，词人却以「易瘦」双关人之因思而瘦、因别而悴，将自然物性巧妙嫁接于人情。一个「易」字尤妙，写出相思之来势迅疾、侵蚀无声，较之直说「人瘦」，以物之易雨易瘦喻人之易老易损，既出新意又合物理。此种以物拟情、因物及人的手法，承李煜「芭蕉」意象而翻新，于深情中见巧思，是艳词脱去甜熟、归于沉挚的关键，亦显阳羡派「豪中见婉」的气质。

别紫云