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清 Qing · 词 Ci lyric

长相思·山一程

Everlasting Longing: One Mountain after Another

纳兰性德

Nalan Xingde

羁旅traveler's sentiments 思乡homesickness 清词Qing dynasty ci poetry

山一程，水一程，身向榆关那畔行，夜深千帐灯。
风一更，雪一更，聒碎乡心梦不成，故园无此声。

Over mountains one range after another, over rivers one stretch after another,
Toward the side of Yu Pass I journey, at deep night a thousand tents alight.
Wind blows watch after watch, snow falls watch after watch,
Shattering my homesick heart, no dream can form, my homeland has no such sound.

Listen

Meaning

The poet travels over mountains and rivers toward Shanhai Pass. At night, thousands of tents are lit. Wind and snow continue through the watches, shattering his homesick heart, preventing dreams, for his homeland has no such sounds.

翻过一程山，又涉过一程水，身子向山海关那一边迤逦前行，待到夜深时分，千百座军帐里灯火通明。风刮了一更，雪落了一更，那凄厉的嘈杂声碎了思乡的心，教人连梦也做不成，可故乡的园子里，从来就没有这样的风雪之声。

Appreciation

This poem is a traveler's song written while accompanying the emperor beyond the Great Wall. The repetitive structure of 'one mountain after another' and 'one watch after another' creates a rhythmic effect, while the grand scene of a thousand tents contrasts with the poet's solitude. The poem expresses deep homesickness through understatement, especially in the final line 'my homeland has no such sound.'

【白话串讲】随康熙出巡塞外，纳兰性德在风雪夜里睡不着，“聒碎乡心梦不成”——山一程水一程地走，走得越远，越想家。这首词让多少异地打拼的人，一眼就破防。【意象与手法】短小精悍，白描如画。两组"一程""一更"的复沓叠唱，回环往复，既状行程之遥、风雪之频，又自生抑扬声情【情感与主旨】康熙二十一年（1682），纳兰性德以一等侍卫随康熙帝出山海关，赴盛京（今沈阳）告祭祖陵并巡视辽东【名句点睛】常考羁旅思乡主题与"山一程，水一程""风一更，雪一更"的复沓叠唱（回环往复、声情并茂）

Background

In 1682, Nalan Xingde, as a first-class imperial guard, accompanied Emperor Kangxi beyond Shanhai Pass to Mukden (modern Shenyang) for a sacrificial tour. This poem was written during that journey on a snowy night. Though a Manchu noble, his sensitive nature led him to feel a deep sense of travel-weariness and homesickness amidst the grand military scene.

此词作于康熙二十一年（一六八二）春。上一年三藩之乱平定，次年二月康熙帝东巡，出山海关赴盛京告祭祖陵，并巡视辽东、吉林一带，纳兰性德以一等侍卫的身份随驾扈从。榆关即山海关的古称，因古有榆塞之名，故文人称之为榆关；那畔即那一边，是当时口语。词人自幼长于京师，此番出关，是他一生数度塞外之行中较早的一次，故思乡之感最切。纳兰词今存三百四十余首，其中塞上之作数十篇，皆以雄浑苍茫见长，与其悼亡、闺情诸作的哀婉一路并峙，此篇正是塞上词的代表。所用词调长相思本唐教坊曲，又名双红豆、忆多娇、吴山青，双调三十六字，上下片起处各用两个三字短句并叠字成韵，本为写儿女相思之调，其体式源头一般追至白居易的汴水流、泗水流一篇。纳兰以此本属柔婉的小令写关外行役，是有意的移用：调子越是软，越显出所写风雪之硬，两相激荡而别成一种境界。此词各本文字基本一致，无大异文，唯个别选本于聒碎乡心梦不成句下作断句处理稍异。词最初收在《饮水词》中，后并入《纳兰词》，是纳兰塞上词中流传最广的一篇。

Art

Concise and vivid, the poem uses repeated phrases 'one range after another' and 'one watch after another' to create a rhythmic cycle conveying the long journey and frequent snowstorms. The line 'at deep night a thousand tents light a star' uses a grand panorama to highlight the poet's solitude. The poem contains no explicit word for 'sorrow' yet is filled with it, exemplifying Nalan's natural and unadorned style.

全篇三十六字，几乎不用一个僻字，纯以白描成章，而气象开阔、声情沉厚，是小令中难得的大境界。章法上取两层对举：上片写行，下片写宿；上片写空间之远，下片写时间之长。山一程、水一程与风一更、雪一更四个短句遥相对应，构成全词的骨架。程是路程单位，更是夜时单位，一空间一时间，各自叠用两次，遂将无尽的跋涉与难尽的长夜同时铺展开来。这种复沓叠唱本是民歌与词调固有的手法，此处用得极自然：不说路远，只把一程说两遍，读者自觉其远；不说夜长，只把一更说两遍，读者自觉其长。上片第四句夜深千帐灯是全词的眼目，前三句都是铺垫，至此忽然推出一个极阔大的画面：茫茫夜色中千百座营帐灯火相连，笔力雄健而不着一字议论，是纳兰词中最负盛名的写景之句。下片则由外境转入内心，聒碎乡心梦不成先写风雪之声搅乱心绪，末句故园无此声轻轻一转，以对面之无写此处之有，以家园的静反衬塞上的喧，不作悲语而悲意自深。全词无一处用典，无一句雕琢，只以叠字、白描、反衬三法收摄全局，可谓以浅笔写深情的范本。

Allusions

'Yuguan' refers to Shanhai Pass, a strategic gateway often symbolizing military campaigns and farewells. The phrase 'one watch after another' follows the classical technique of marking time by watches, evoking travel poems listening to wind and snow. Images like 'a thousand tents' and 'homesick heart' inherit from Tang frontier poetry and Song travel poetry.

此词最可注意者恰在其几乎不用典。纳兰词素以善用旧事著称，而此篇通篇皆是眼前语，唯榆关一词略带古意。榆关为山海关旧称，其名与古代榆塞之称相关，《史记》《汉书》一系文献中已有以榆塞、榆关指北方边塞关隘者，故此词用榆关而不用山海关，一则合乎文人语，二则借古称唤起自汉以来的边塞传统，使一次和平年代的扈从之行隐隐带上戍边行役的历史回响。千帐一语亦可推源：帐指行军营帐，边塞诗中穹庐、毡帐之类为常见物象，然以千字统之而成壮观者，是纳兰的创造，故王国维特为拈出。字词训诂上有三处宜辨：一是程，本义为度量、路段，此处作路程之量词，山一程水一程即翻一程山又涉一程水，不可解作缓行。二是更，古代夜分五更，一更约两小时，风一更雪一更是说风雪各闹了一更次，写其交替不休，非谓风与雪各止一更即停。三是聒，音guō，本义为声音嘈杂扰人，《说文》训为欢语也，后专指喧扰之声；聒碎二字连用，将无形之声写作可以碎物之力，是通感式的强化用法，也是全词唯一带锋棱的字。此外那畔为当时白话，义同那边，词中夹用口语，正是纳兰不避俗语的一贯作风。

Commentary

Qing critic Gu Zhengguan praised Nalan's 'a kind of poignant beauty that makes one unable to finish reading.' Wang Guowei ranked Nalan as the only outstanding poet since the Northern Song, calling this poem 'clear and plaintive, revealing tenderness within grand scenes.' With just a few lines, wind, snow, and homesickness emerge, showing Nalan's natural poetic heart.

此词的经典地位，很大程度上由王国维一语确立。《人间词话》举明月照积雪、大江流日夜、中天悬明月、长河落日圆诸句，谓此中境界可称千古壮观，而求之于词，则唯纳兰容若塞上之作差近之，所举正是本篇的夜深千帐灯与《如梦令》的万帐穹庐人醉、星影摇摇欲坠。以壮观二字评一首写思乡的小令，看似不伦，实则道出此词最特别处：它把边塞诗的雄浑气象注入了长相思这一柔婉词调，遂在清词中别开一境。清人评纳兰词，顾贞观称其哀感顽艳，陈维崧谓其如鱼水相忘，皆着眼于情深；至王国维乃于情深之外更见其境阔，评价的重心由婉约转向雄浑，本篇因此成为论纳兰词绕不开的一篇。传播史上，此词在清代主要随《饮水词》《通志堂集》流传，读者多在词家范围之内；民国以后因《人间词话》的巨大影响而声名骤起；近数十年又因其字句浅显、意境鲜明而被大量选入普及读本与语文教材，成为家喻户晓之作。今人读此词，最易只赏夜深千帐灯一句之壮，而略过故园无此声一句之婉；其实前句之阔正为后句之细作势，壮与婉相济，方是此词的完整面目。

Prosody

Form ci form "Chang Xiang Si" (36 characters, two stanzas of 4 lines each, level tone rhyme, featuring repeated three-character phrases)词，长相思（一名双红豆、吴山青），双调三十六字，上下片各四句，句式为三三七五

Rhyme Upper stanza: 程 (chéng), 行 (xíng), 灯 (dēng) - rhyme on -ing/-eng; Lower stanza: 更 (gēng), 成 (chéng), 声 (shēng) - rhyme on -eng全篇押平声韵，韵脚为程、程、行、灯、更、更、成、声，同属词韵第十一部（庚青韵），一韵到底；上下片起处两个三字句用同字为韵，即所谓叠韵

Tone pattern The first two lines of each stanza are three-character repeated phrases creating a marching rhythm.上下片首二句为平平平或平仄平之三字短拍，第三句七言、第四句五言，皆平声收；整体依长相思调常格，节奏为短短长中，先促后舒

Reading note The short repetitive phrases depict the long journey and harsh weather, with grandeur conveying tenderness; a model of Nalan's frontier homesick xiaoling.长相思一调的特色全在起处两个三字句。其体式要求两句同韵，且历来惯以同字或近字相叠，如白居易之汴水流、泗水流，李煜之一重山、两重山，纳兰之山一程、水一程与风一更、雪一更，皆是此法。这种叠唱本自民歌，音节回环往复，最宜表现绵延不断的情绪，故此调本为写儿女相思而设。纳兰移之以写关外行役，遂使调之柔与境之刚相撞：三字短句促迫如足下步点、如更漏点滴，而第四句忽以五言收束，一放一收之间气脉顿开，夜深千帐灯与故园无此声两个五字句因此都获得了格外的重量，成为上下片各自的落点。押韵方面，全篇用庚青部平声，程、行、灯、成、声诸字皆开口而收鼻音，读来悠长不断，与风雪彻夜、思乡不已的内容极为相合；若改用仄韵，则声情峭折，断不能有此绵绵之致。可见此词看似全凭天然，其实调、韵、句法与情境处处相扣，是小令中格律与意境两得之作。

Line by line

山一程，水一程，

One stretch of mountains, another stretch of waters,

翻过一程山，又涉过一程水

Mountain pass after mountain pass, then river crossing after river crossing.

起处两个三字句，是全词最省力也最见功夫处。不说山高水长，不说跋涉艰难，只把一程二字重复一次，行程之远便自然浮现。程为路段之量词，本是极平常的计数语，叠用之后却生出绵延不尽之感：一程之后又一程，山尽是水，水尽复山，路始终没有终点。句式短促，节奏如足下步点，隐然有行走的顿挫在内。更妙的是两句只写路而不写人，人的疲惫、乡愁全含在这机械的重复里，此即以形式载情，不着一情语而情已在。

The two three-character openings are where the ci is at once most economical and most masterful. It says not how high the mountains, how long the waters, how hard the marching, but only repeats the word stretch once, and the distance of the journey emerges of itself. A stretch is the ordinary measure of a road, a most commonplace counting word; doubled, it grows a feeling of endless prolongation: one stretch after another, mountains end in waters, waters end in mountains, the road never reaching a term. The lines are short, the rhythm like the footfalls below, carrying the very punctuation of walking. The greater art is that the two lines write only the road, not the man: his weariness, his homesickness, are all contained in the mechanical repetition; this is form carrying feeling, not a word of feeling, yet feeling already there.

身向榆关那畔行，夜深千帐灯。

My body presses on toward the farther shore of the Elm Gate; as night deepens, a thousand camps are lit with lamps.

身子向山海关那一边迤逦前行，待到夜深时分，千百座军帐里灯火通明。

My body journeys on toward the far side of the Shanhai Pass; when night grows late, a thousand military tents are bright with lanterns.

身向二字点出行役之被动：不是心欲往，而是身不得不往，与下片乡心正成对照。榆关那畔用古称配口语，一雅一俗而不觉其杂，反显出边地语境的真切。末句忽然抽身而起，由行途所见推出一个鸟瞰式的巨幅画面：夜色苍茫，千百营帐灯火连缀，浩浩然如星野落地。此句只五字，无一形容词，全凭数量与景物本身取势，故王国维以千古壮观称之。而灯火之多恰见人之众，人之众恰见己之孤，壮观里已伏下悲凉，是全词转折的枢机。

The word body points out the passivity of the march: not that the heart would go, but that the body must, which sets off the homesickness of the second stanza. The farther shore of the Elm Gate pairs the old name with the colloquial, elegant and plain without clashing, giving the frontier setting its truth. The last line suddenly rises into the air, producing from the road below a bird's-eye picture: night vast and dark, a thousand camps strung with lamps, a starfield fallen to earth. The line is only five characters, not one adjective; it takes its force wholly from number and scene themselves, which is why Wang Guowei called it a grand sight through the ages. And the many lamps show the many men, and the many men show his loneliness; grandeur already harbors desolation, and the line is the pivot of the ci's turning.

风一更，雪一更，

Watch after watch of wind, watch after watch of snow,

风刮了一更，雪落了一更

The wind howls through one watch, the snow through another.

下片起句与上片起句形制全同，而所计者由空间之程改为时间之更，遂使远行与长夜两重苦楚彼此叠加。一更约当两小时，风闹一更、雪闹一更，交替不休，写尽塞外夜气之恶。字面上全无怨语，只客观记时，然记时正是失眠者的行为：唯睡不着的人，才会数着更次过夜。故这两句表面写天候，实际写人的清醒与煎熬。与上片对读，山水是白日所历，风雪是夜间所受，昼夜相接，行者无一刻得安，复沓之中层层加重，声情由平铺转入紧迫。

The opening of the second stanza is identical in form to the opening of the first, but what is counted has changed from the spatial stretch to the temporal watch, so that the two hardships of long journey and long night are piled upon each other. A watch is about two hours; the wind rages a watch, the snow rages a watch, alternating without end, writing the malice of the frontier night. On the surface not a word of complaint, only the objective noting of time; yet noting the watches is precisely the act of the sleepless: only one who cannot sleep counts the watches through the night. So the two lines, which seem to write the weather, really write human wakefulness and torment. Read against the first stanza, mountains and waters are the day's passage, wind and snow the night's suffering; day and night join, and the traveler has not one moment of rest; within the refrain, the weight mounts layer on layer, and the tone moves from plain narrative to urgency.

聒碎乡心梦不成，故园无此声。

The clamor shatters my homesick heart, and sleep will not come; in the old garden there is no such sound.

那凄厉的嘈杂声碎了思乡的心，教人连梦也做不成，可故乡的园子里，从来就没有这样的风雪之声。

The harsh clamor shatters my homesick heart so that I cannot even dream; in the old home garden, there is never such a sound.

聒碎二字最见力量：声本无形，却说它能把心碎，是把听觉之扰化作实体之击，通感之下痛感倍增。乡心承上而来，梦不成又与夜深相应——白日既不得归，夜里连梦中归乡也不可得，退路尽绝。末句陡然转笔，不写此地之苦，而写故园之无此声，看似平淡的一句陈述，实则把两地对照、今昔对照、身心分裂尽含其中。以彼处之无反照此处之有，是词家常法，而此句用得极轻极淡，怨而不怒，愁而不伤，全词遂在一个静字上收住，余味不尽。

The words shatter carry the most force: sound has no form, yet it is said to be able to shatter the heart, turning the disturbance of hearing into a physical blow, and the pain is doubled by synesthesia. Homesick heart follows from above, and sleep will not come answers the deep night: if by day he cannot return, by night even the dream of returning is denied, and every retreat is cut off. The last line turns abruptly: it writes not the hardship of this place, but that in the old home garden there is no such sound; a plain statement on the surface, yet containing the contrast of two places, of then and now, of body and heart. Reflecting this place's having through the other place's not-having is the usual method of the ci, but here it is used with the lightest, palest touch: resentful without anger, grieving without wounding; the ci closes on the word quiet, and the aftertaste is endless.

Study

Word focus

程 A key expression in the poem. Read it as an image, mood, or grammar point in context. 程本义为度量、法式，引申为路段、行程，此处用作量词。选用程而不用重、里、里程之类，有三重好处：一是程为行旅专用之语，一出口便有在途之感；二是程字声母清亮而收音短促，与水、山搭配读来有步履之节；三是程所计者并非固定长度，而是一日或一段可行之路，故山一程水一程既是空间，也隐含时日，使行程之长可以无限延伸。叠用两次而不加任何形容，是有意让语言变得单调——单调正是长途行役最真实的体感。以最不起眼的量词撑起全词的骨架，可见纳兰下字之朴而不俗。

更 A key expression in the poem. Read it as an image, mood, or grammar point in context. 更为古代夜间计时单位，一夜分五更。风一更雪一更与上片山一程水一程句法全同而字义大异：程属空间，更属时间，一横一纵，恰好把行役之苦的两个维度补齐。用更字计风雪，还暗含一个未曾说出的主体——只有整夜不眠的人才会分明知道风闹了一更、雪又闹了一更，故此字既写天候，又写人的清醒。更字读来沉而闷，与风雪之声相应，声情上亦助成塞夜之压抑。若换作阵、场之类，则只见天候而不见人；正因用了更，全句才由写景暗转为写心。

聒 A key expression in the poem. Read it as an image, mood, or grammar point in context. 聒音guō，本指声音嘈杂扰人，《说文》训为欢语也，后世专用于喧扰之义，如聒噪、聒耳。此字是全词唯一带锋棱的字眼：前面山水风雪皆平静叙来，至此忽然出一硬语，风雪之声便由背景跃为施暴者。更妙在其后接一碎字，声无形体而能碎心，是以听觉之扰写心理之伤，属通感式的强化。若易作扰乱、惊破，则力道尽失：扰乱太文，惊破太熟，唯聒碎既俗又狠，带着口语的生猛。一字之择而全词情绪的顶点由此确立，其后方能以故园无此声轻轻放下。