All poems

清 Qing · 词 Ci lyric

梦江南·江南好

Dream of the South · Jiangnan Is Good

纳兰性德

Nalan Xingde

山水landscape 隐逸reclusion

梦江南·江南好江南好，建业旧长安。
紫盖忽临双鹢渡，翠华争拥六龙看。
雄丽却高寒。
江南好，城阙尚嵯峨。
故物陵前惟石马，遗踪陌上有铜驼。
玉树夜深歌。
江南好，怀古意谁传。
燕子矶头红蓼月，乌衣巷口绿杨烟。
风景忆当年。
江南好，虎阜晚秋天。
山水总归诗格秀，笙萧恰称语音圆。
谁在木兰船。
江南好，真个到梁溪。
一幅云林高士画，数行泉石故人题。
还似梦游非。
江南好，水是二泉清。
味永出山那得浊，名高有锡更谁争。
何必让中泠。
江南好，佳丽数维扬。
自是琼花偏得月，那应金粉不兼香。
谁与话清凉。
江南好，铁瓮古南徐。
立马江山千里目，射蛟风雨百灵趋。
北顾更踌躇。
江南好，一片妙高云。
砚北峰峦米外史，屏间楼阁李将军。
金碧矗斜曛。
江南好，何处异京华。
香散翠帘多在水，绿残红叶胜于花。
无事避风沙。

Jiangnan is good—Jianye, the old Chang'an.
Purple canopy suddenly comes to the double-bird ferry; emerald pennants vie to surround the six dragons' view. Majestic yet cold on high.
Jiangnan is good—the city towers still lofty.
Before the tomb, only stone horses remain; on the lane, the old trace of the bronze camel. At deep night the Jade Tree song.
Jiangnan is good—who carries the nostalgic thought?
At Swallow Cliff, red smartweed and moon; at Crow Garment Lane, green willow smoke. The scene recalls those years.
Jiangnan is good—Tiger Hill, late autumn sky.
Water and hills all return to a poet's fine grace; flutes just suit the rounded local speech. Who is in the magnolia boat?
Jiangnan is good—truly I reach Liang Creek.
A Yunlin recluse's painting, a few lines of an old friend's inscription by spring-stone. Is it not a dream-wander?
Jiangnan is good—the water is the Two Springs clear.
Its taste lasts; how can it cloud leaving the hill? Famous, with tin, who contends? Why yield to Zhongling?
Jiangnan is good—beauty counts Yangzhou.
Naturally the jade flower gets the moon; how should the gold powder lack fragrance? Who speaks of the cool?
Jiangnan is good—the iron urn, old Nanxu.
Mounted, a thousand-li view of river and hill; in wind-rain, shooting the flood-dragon, a hundred spirits attend. Looking north, more hesitation.
Jiangnan is good—a patch of Miaogao cloud.
North of the inkstone, peaks like Mi's outsider-historian; in the screen, pavilions like General Li's. Gold and azure stand in the slanting dusk.
Jiangnan is good—where differs from the capital?
Incense scattered, green curtains mostly on the water; faded red leaves better than flowers. Nothing to avoid the wind-sand.

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Meaning

Ten linked lyrics all opening 'Jiangnan is good', praising Jiangnan's cities, waters, hills and relics, written when Nalan accompanied the Kangxi Emperor's first southern tour. Though majestic, they often reveal a faint chill and hesitation—his deep life-feeling beneath the praise.

江南好啊，建业本是旧日长安。帝王云气忽然降临双船渡口，翠羽华旗争着簇拥六龙御驾观看，雄壮华丽却透着高处的清寒。江南好啊，城阙依然高耸。皇陵前只剩石马这般故物，街陌上犹存铜驼的旧踪，夜深里仿佛还响起《玉树后庭花》的歌声。江南好啊，怀古幽意有谁相传？燕子矶头红蓼映月，乌衣巷口绿杨含烟，风景依旧令人忆起当年。江南好啊，虎丘的晚秋天气。山水处处都归入如诗般的清秀格调，笙箫正与柔润的吴语相称，是谁在那木兰船中？江南好啊，真个到了梁溪。一幅云林高士的画，几行泉石间故人的题字，竟教人疑心是否还在梦中游历。江南好啊，水便是那二泉般清。滋味悠长，出山怎会浑浊；名满天下，有锡更与谁争，何必输给中泠。江南好啊，佳丽要数维扬。本是琼花偏得月色，哪应金粉不兼香气，谁与我共话这清凉？江南好啊，铁瓮般的古南徐。立马远望江山千里，风雨中射蛟百灵趋附，北顾之际更添踌躇。江南好啊，一片妙高台的云。砚北峰峦如米芾之画，屏间楼阁似李将军之笔，金碧楼台矗立在斜阳中。江南好啊，何处与京城相异？翠帘香气多散在水上，残红绿叶胜过繁花，无须躲避风沙。

Appreciation

Nalan Xingde (1655–1685), courtesy Rongruo, a Manchu of the Bordered Yellow Banner and the crown of Qing lyric, wrote these ten linked pieces on the Kangxi emperor's first southern tour, all opening with the refrain 'Jiangnan is good' after Ouyang Xiu's 'Song of Picking Mulberries' linked form — strict yet each excelling. Jianye stands like the old Chang'an; before a tomb only stone horses remain, on a lane the bronze camel's old trace, while water and hills return to a poet's fine grace and flutes suit the rounded Wu speech. The linked structure and the repeated refrain lend rhetorical unity, yet amid the praise a contrast of happy scene and sad feeling surfaces — 'majestic yet cold on high', 'looking north, more hesitation' — the poet's deep life-feeling beneath the grand tour.

【白话串讲】纳兰性德随康熙南巡，写江南：“江南好，建业旧长安”——南京是旧日帝都。“燕子矶头红蓼”——他站在长江边，把江南的繁华与苍凉一起看了。【意象与手法】十首同以“江南好”领起，仿欧阳修《采桑子》联章之法，章法严整而各擅其胜【情感与主旨】纳兰性德（1655—1685）字容若，满洲正黄旗人，清词冠冕【名句点睛】考点：①联章体的结构与“江南好”复沓的修辞效果；②“雄丽却高寒”“北顾更踌躇”中乐景哀情的反差

Background

Nalan Xingde (1655–1685), courtesy Rongruo, Manchu Bordered Yellow Banner, the crown of Qing lyric. In the twenty-third year of Kangxi he accompanied the emperor's first southern tour, three months back and forth, traversing Jiangnan's famous cities, and wrote the ten linked 'Dream of the South', in Drinking Water Lyrics. This set, from a guard's eye, writes the emperor's tour and Jiangnan sights—his style turning clear and grand.

此组《梦江南·江南好》共十首，为纳兰性德联章咏江南之作。纳兰性德（1655—1685），字容若，号楞伽山人，满洲正黄旗人，大学士明珠长子。关于这组词的创作时地，学界一般认为作于康熙二十三年（1684）前后纳兰随驾南巡、行经江南之时，其以「江南好」领起十章，分咏建业（南京）、虎丘、梁溪（无锡）、维扬（扬州）、南徐（镇江）诸地的胜迹与怀古之情。纳兰生当康熙盛世，以贵胄身份扈从南巡，得以亲历江南山水，然其心性本近林泉、厌弃羁绁，故词中于「江南好」的赞叹之下，往往暗藏「雄丽却高寒」「北顾更踌躇」的冷峻与怅惘，乐景中见哀情，正其「哀感顽艳」本色的流露。十首依次写来：其一咏建业之帝王气象，其二怀六朝之遗迹，其三写燕子矶、乌衣巷之怀古，其四写虎丘之吴中风物，其五写梁溪云林画境，其六咏惠山二泉，其七写维扬琼花金粉，其八写镇江铁瓮、北固之形胜，其九写金山妙高台之金碧楼阁，其十总收以「何处异京华」。章法严整而各擅其胜，是清词联章体中的名作。十首所咏，自建业而虎丘、梁溪、维扬、南徐，几乎遍历江南名都，其地理之序、怀古之绪，皆井然有致，可见纳兰于南巡途中遍览江山的行程线索与心绪流动。就体制言，十首一调、一调十咏，既见其才思之富，亦见其章法之严，是清词联章体中「以组为篇」的成熟样本。

Art

Ten pieces all open with 'Jiangnan is good', imitating Ouyang Xiu's 'Song of Picking Mulberries' linked form, strict yet each excels. The scene may be grand (purple canopy, six dragons), clear (water-hill poet's grace), or nostalgic (stone horse, bronze camel); the language round and bright. It fuses record, antiquity, feeling in one furnace, often showing a faint 'cold on high' 'hesitation' amid the praise of Jiangnan.

这组词的艺术，首先在联章体的结构经营。十首同以「江南好」三字领起，仿欧阳修《采桑子·西湖好》联章之法，而变换所咏之地、所取之景，使十阕既成一有机整体，又各自独立成篇。每一阕皆以「江南好」起兴，接以地名或景物，再以七言对句铺陈胜景，末以五言一句收束，或叹或问，余韵悠长。其章法可概括为「赞起—铺景—咏怀」三段式，十首循环，复沓而不板滞。炼字上，「雄丽却高寒」五字最见功力，以「雄」「丽」极写建业帝都气象，复以「却」字陡转、「高寒」二字收煞，一扬一抑之间，盛衰之感、身世之慨尽出。意象经营上，纳兰善将江南之温婉与怀古之苍凉并置：紫盖、翠华、六龙是帝王之盛，石马、铜驼、玉树是兴亡之迹，红蓼、绿杨、琼花、金粉是风物之媚，数者交相映衬，构成「华丽中的悲凉」这一独特词境。其以「谁在木兰船」「谁与话清凉」等问句收束诸章，更于流丽之中注入一缕无着落的怅惘。后世论纳兰词，多称其「以真胜」「以自然胜」，此组词正以其组织之工而归于自然，是其联章体创作成熟的标志。以「江南好」之轻快复沓，写「雄丽高寒」之沉郁，声与情、乐与哀之间的张力，正是此组词最耐咀嚼处，也为后世联章咏地之词提供了一个「以复调写深情」的范本。其写江南，亦真亦幻、亦赞亦叹，赞美与怅惘始终相随，遂使这组本易流于流连光景的联章词，因这「赞中之叹」而有了思想的厚度。

Allusions

'Jianye old Chang'an' uses Chang'an for the capital; 'purple canopy' 'six dragons' use the Son of Heaven's procession allusion (San Guo Zhi purple canopy yellow flag, Du Mu 'six dragons' tour); 'bronze camel' from Lu Ji's Luoyang bronze-camel lane, meaning prosperity faded; 'shooting the flood-dragon' uses Han Wudi's river dragon-shoot; 'Mi outsider-historian' refers to Mi Fu, 'General Li' to Li Sixun, both for painting. Allusions dense yet natural.

此组词用典繁密而精当，多为六朝与江南故实。其一「紫盖」「六龙」用帝王仪仗之典，紫盖谓帝王车驾之伞盖，六龙谓天子车驾之六马，暗指孙吴、东晋以下建康为帝王之都；「双鹢」指船头画鹢的御舟，古制舟首画鹢以压水。其二「石马」指陵墓前石兽，「铜驼」出《晋书·索靖传》「铜驼荆棘」之叹，喻繁华销歇、宫阙荒芜；「玉树夜深歌」用陈后主《玉树后庭花》典，指亡国之音。其八「射蛟」用《汉书·武帝纪》元封五年武帝「亲射蛟江中」之事，写镇江形胜之雄。其九「米外史」指北宋书画家米芾，其官至礼部员外郎，人称米南宫、外史，善画山水；「李将军」指唐代李思训、李昭道父子，人称大小李将军，擅金碧山水，词中以二人之画比金山楼台的金碧辉煌。意象源流上，「江南好」三字直承白居易《忆江南》「江南好，风景旧曾谙」，而纳兰将白词之闲适翻为怀古之深沉。燕子矶、乌衣巷、二泉、琼花诸语，皆前代诗词反复书写之地，纳兰一一撷取，叠入己作，遂使十阕成为一部微型的江南文化图志。其用典之密，在纳兰词中亦属少见，然纳兰能于密集的故实之间，始终保有一份亲历者的真感受，故用典而不堆砌、怀古而不枯槁，这正是其高于一般「掉书袋」词人处。而「米外史」「李将军」以画比景的用典，更开词中以画境写真境之一法，见出纳兰对书画传统的谙熟与化用，遂使十阕于怀古之外，又添一层「以画入词」的雅趣。

Commentary

A Qing critic said of Nalan 'since Northern Song, one man alone'. This 'Dream of the South' set opens a different grand side; critics say 'its manner far differs from the usual Drinking Water tone', showing life-feeling within the clear-grand. Moderns take the ten as a Jiangnan picture-scroll, readable with his later 'South Country Song · Jiangnan'.

纳兰词在清代即已享有盛誉，徐乾学《通志堂集序》谓其「天姿超逸，翛然尘外」，顾贞观序则叹其「出入南北两宋而自有其独立不倚之姿」。这组《梦江南》作为纳兰联章体与江南书写的代表作，历来为选家所重。王国维《人间词话》推纳兰为「北宋以来，一人而已」，谓其「以自然之眼观物，以自然之舌言情」，此评虽就纳兰词整体而言，亦可移观此组词——其写江南，不作堆垛典故的炫技，而是以亲历者的真感受组织故实，故能于秾丽中见清冷。况周颐《蕙风词话》论词重「重拙大」，纳兰此组词之「雄丽却高寒」「北顾更踌躇」，正有沉著厚重之致。在传播与接受层面，此组词因体制整饬、情韵兼胜，常被选入《近三百年名家词选》等总集，龙榆生编《近三百年名家词选》即录纳兰词多首。今人研究纳兰，多以这组词作为其「随驾南巡」创作与「怀古咏史」题材的重要标本，借以考察满洲贵胄词人眼中的江南意象及其文化认同。其「雄丽却高寒」一句，更被视为纳兰以帝王气象写自我孤寂的典型笔法，屡为论者称引。此组词在纳兰全部词作中的独特，还在于它难得地展现了纳兰「历史视野」与「地理意识」的一面，与其多为小令、多写私情的常态形成互补，遂使后世对纳兰的认识，因这十首《梦江南》而更见完整。

Prosody

Form Lyric, 'Dream of the South' (Yi Jiang Nan) linked ten pieces, single-tune 27 characters词（《梦江南》，单调二十七字，联章十首）

Rhyme Ci Lin Zheng Yun each piece separate rhyme (an, cold; lofty, camel, song; carry, smoke, year; sky, round, boat; creek, inscription, not; clear, contend, ling; Yangzhou, fragrance, cool; Xu, attend, hesitate; cloud, army, dusk; capital, flower, sand)每阕押平声韵，如首阕「安」「看」「寒」相叶，他阕如「峨」「驼」「歌」、「传」「烟」「年」等皆三平韵相协，一阕一韵，韵随景转

Tone pattern Level rhyme, seven-character three lines two level rhymes, short lyric《梦江南》格律为「江南好（平平仄），建业旧长安（仄仄仄平平）。紫盖忽临双鹢渡（仄仄平平平仄仄），翠华争拥六龙看（仄平平仄仄平平）。雄丽却高寒（平仄仄平平）」

Reading note Ten same-tune linked, imitating Ouyang Xiu's 'Song of Picking Mulberries', fit for local scenes.《梦江南》即《忆江南》《望江南》，单调二十七字，五句三平韵，平仄定格为「平中仄，中仄仄平平。中仄中平平仄仄，中平中仄仄平平。中仄仄平平」。纳兰此组十阕，格律严整，皆遵此谱。首句三字「江南好」为三言起调，轻快而起；次句五言点地，或「建业旧长安」、或「城阙尚嵯峨」，平实稳当；中二句为七言对偶，是全阕铺陈之所在，如「紫盖忽临双鹢渡，翠华争拥六龙看」「燕子矶头红蓼月，乌衣巷口绿杨烟」，对仗工稳而色泽秾丽，声调上平仄相间、抑扬有致；末句五言收束，或叹或问，如「雄丽却高寒」「谁在木兰船」，以平声韵脚收尾，余音袅袅。十首一阕一韵，随所咏之地而变换韵脚，使联章在回环复沓中又富流转变化。其「江南好」三字的反复重现，正得《诗经》重章与白居易《忆江南》起调之遗意，而平韵之悠扬，恰与江南水乡的柔媚情韵相称，声情与词境两相契合。

Line by line

江南好，建业旧长安

Jiangnan is good—Jianye, the old Chang'an.

江南好啊，建业本是旧日长安

Jiangnan is fair — Jianye, the old Chang'an,

此阕起笔以「建业」比「长安」，以一古都拟另一古都，实为六朝与汉唐两大帝都传统的并置。建业即今南京，为孙吴、东晋、宋、齐、梁、陈六朝故都，其地位之于江南，犹长安之于关陇。纳兰以「旧长安」三字，既点出建业的帝都身份，又暗含「旧」字的今昔之叹——长安已非汉唐之盛，建业亦早非六朝之旧，唯余地名供人追想。词人用比拟而非铺陈，以七个字写尽一座城市的千年兴废，语极省而意极丰，正是纳兰词以少总多的笔力所在。

The stanza opens by comparing Jianye to Chang'an, setting one ancient capital against another, in fact juxtaposing the two imperial traditions of the Six Dynasties and the Han-Tang. Jianye is today's Nanjing, the old capital of the Wu, Eastern Jin, Song, Qi, Liang, and Chen; its standing in the Jiangnan region is that of Chang'an in the Guandong-Gansu region. Nalan, with the three words old Chang'an, at once names Jianye's imperial standing and secretly lodges the sigh of the old: Chang'an is no longer in its Han-Tang splendor, and Jianye is long since no longer of the Six Dynasties, only the place name left for men to imagine. The poet uses comparison instead of elaboration, writing the thousand years of rise and fall of a city in seven characters, the diction extremely spare and the meaning extremely rich, precisely the craft of Nalan's ci, summing the many in the few.

故物陵前惟石马，遗踪陌上有铜驼

Before the tomb, only stone horses remain; on the lane, the old trace of the bronze camel.

皇陵前只剩石马这般故物，街陌上犹存铜驼的旧踪

Before the tombs, of the old objects only stone horses remain; on the roads, the traces still show the bronze camel.

此联以「石马」「铜驼」两个意象，写尽六朝遗迹的荒芜。石马是陵墓前的石兽，本为镇墓而设，今则与荒陵同朽，「惟」字写其孤存，见出当年的仪卫早已零落无余；铜驼是洛阳宫门的装饰，借《晋书·索靖传》「铜驼荆棘」之典，喻繁华销为丘墟，「有」字似写其尚存，实则以「犹存」反衬「已亡」。一「惟」一「有」，皆以残存之物写已逝之世，是怀古诗「以有写无」的典型笔法。纳兰以工整的对仗，把六朝的兴亡浓缩于两个无声的物象之中，苍凉之意不言自明。

The couplet writes the desolation of the Six Dynasties ruins in the two images of stone horses and bronze camels. The stone horses are the stone beasts before the tombs, set to guard the grave; today they rot with the desolate mounds, the word only writing their lone survival, showing the honor guards of old all scattered and gone. The bronze camel was the adornment of the Luoyang palace gate, borrowing the allusion of bronze camels in brambles from the Book of Jin's biography of Su Jing, figuring splendor turned to ruins; the word have seems to write their survival, yet in fact sets the still surviving against the long lost. One only, one have: all writing the vanished age through the things that remain, the typical brush of the historical poem that writes the absent through the present. Nalan, in the tightness of the couplet, condenses the rise and fall of the Six Dynasties into two silent objects, the desolation self-evident.

燕子矶头红蓼月，乌衣巷口绿杨烟

On Swallow Head Crag, red smartweed in the moon; at the mouth of Black Swallow Lane, green willows in the mist.

燕子矶头红蓼映月，乌衣巷口绿杨含烟

At Swallow Head Crag, the red smartweed is lit by the moon; at Black Swallow Lane's mouth, green willows are veiled in mist.

此联写景极工，而怀古之意隐于景中。燕子矶为南京江边矶石，红蓼是秋日水边之花，明月照之，红蓼如血；乌衣巷为东晋王谢诸族所居，绿杨是春日之树，烟雾笼之，绿杨如梦。红与绿、月与烟、矶与巷，色泽浓丽而气韵凄迷。然而燕子矶之得名本由「燕子」，乌衣巷之著名本由「王谢」，纳兰写矶头花月、巷口杨烟，偏不着一字于历史，只以自然景物之依旧，反衬人事之代谢，正是刘禹锡「旧时王谢堂前燕」的隔代回响，而更添一层烟水迷离的怅惘。

The couplet writes scene with the utmost craft, the feeling for the past hidden within the scene. Swallow Head Crag is the rock by the Nanjing river; the red smartweed is the autumn waterside flower, the moon on it, and the smartweed is red as blood. Black Swallow Lane was the dwelling of the Eastern Jin Wang and Xie clans; the green willow is the spring tree, mist-veiled, the willow like a dream. Red and green, moon and mist, crag and lane, the colors lush and the air drear. Yet Swallow Head Crag was named from the swallows, and Black Swallow Lane was famed for the Wang and Xie; Nalan writes the crag's flowers and moon, the lane's willows and mist, yet lets fall not a word of history, setting the unchanged natural scene against the change of human affairs — precisely the distant echo of Liu Yuxi's swallows of old, in the halls of the Wang and Xie, with an added layer of the wistfulness of misty water.

谁在木兰船

Who is it, in the magnolia boat?

是谁在那木兰船中

Who is there, in the magnolia boat?

此句以问句收束虎丘一阕，是全组词中最富情韵的一笔。上文「山水总归诗格秀，笙萧恰称语音圆」已写尽虎丘山水之清、吴语之柔，末了却以「谁在木兰船」一问作结，把读者的视线从山水笙箫引向烟波中一叶画船。木兰船本为华美之舟，典出《楚辞》「朝搴阰之木兰兮」及后世木兰舟之制，此处既实写江南画舫，又虚写一段不可名状的期待——船中之人是谁？或为歌女，或为故人，或为词人自己想象的幻影。此问不待作答，而空灵摇曳之致尽出，正是纳兰以问句收束、留白生韵的惯用手法。

The line closes the stanza on Tiger Hill with a question, the most feeling-laden stroke of the cycle. The lines above, the hills and waters are all lovely in poetic form, the flutes and strings just suit the rounded speech of Wu, have written to the full the cleanness of the Tiger Hill scenery and the softness of the Wu speech; yet the close ends with the question who is it, in the magnolia boat? drawing the reader's eye from hills, waters, flutes and strings to a single painted boat on the misty waves. The magnolia boat is properly a splendid craft, the allusion from the Songs of Chu, plucking magnolia at dawn on the hill of Pi, and the later construction of magnolia boats; here it writes at once the real painted barges of the Jiangnan, and a vague expectation beyond naming — who is the person in the boat? Perhaps a singing girl, perhaps an old friend, perhaps the poet's own imagined phantom. The question needs no answer, and the empty, swaying charm is complete; precisely Nalan's habitual manner of closing on a question, leaving blank space for the aftertone.

Study

Word focus

高寒 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「高寒」二字是「雄丽却高寒」的收束，也是全组词情感的题眼。纳兰写建业之盛，用「雄丽」二字铺足帝王气象，复以「却」字一转，落到「高寒」二字。高，是帝都之高、气象之崇；寒，是居高之孤、凌虚之冷。此二字合写，表面是写帝王居处的高峻清冷，内里却是词人自道——纳兰虽居贵胄之门、随驾南巡，其精神深处却常有一种「高处不胜寒」的孤寂，苏轼「又恐琼楼玉宇，高处不胜寒」的遗韵宛然在焉。以「高寒」收束建业之咏，遂使全词于盛景中透出萧瑟，正是纳兰「乐景哀情」的炼字典范。

踌躇 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「踌躇」出于「北顾更踌躇」一句，写词人立马北固、北望中原时的心绪。北固山在镇江，古称北顾，登临可以北望长江与中原故土。纳兰以「立马江山千里目」写其形胜之雄、视野之阔，复以「射蛟风雨百灵趋」写其气势之壮，末了却以「北顾更踌躇」五字收束，一个「更」字见出情感的层层加深。踌躇，是欲行又止、欲言又默的徘徊，是面对历史兴亡、山河依旧时的无言之悲。此词以「踌躇」二字，把全阕的雄壮之气化为一声低回的叹息，见出纳兰于形胜登临中深藏的今昔之感与身世之思。

金粉 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「金粉」出于「那应金粉不兼香」一句，写扬州之繁华。金粉，本指妇女妆饰用的铅粉，后引申为繁华绮丽的生活，六朝以来常以「金粉」指代江南的声色之盛，如「六朝金粉」。纳兰咏维扬，先写「琼花偏得月」，以琼花之清雅称扬扬州，复以「金粉」二字点出其富贵风流的一面，「那应金粉不兼香」一问，既写琼花与金粉相兼、清与艳并存的扬州风致，又暗含对繁华易散的隐忧。此词以「金粉」缀入「清凉」的对举之中，遂使扬州之盛与词人之清冷的自我观照形成微妙的张力。