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宋 Song · 词 Ci lyric

秋波媚·七月十六日晚登高兴亭望长安南山

Qiubomei: On the Evening of the Sixteenth of the Seventh Month, Ascending Gaoxing Pavilion to Gaze at the Southern Hills Toward Chang'an

陆游

Lu You

报国Patriotism 秋景Autumn Scenery

秋到边城角声哀，烽火照高台。
悲歌击筑，凭高酹酒，此兴悠哉。
多情谁似南山月，特地暮云开。
灞桥烟柳，曲江池馆，应待人来。

Autumn comes to the border city, the horn notes are mournful; beacon fires light the high terrace.
I sing a sad song and strike the zhu; leaning on the height I pour a libation of wine - this mood, how far and free!
Who is so full of feeling as the moon over the southern hills, that on purpose it parts the evening clouds?
The misty willows of Ba Bridge, the pools and pavilions of Qujiang - surely they wait for men to come.

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Meaning

Stationed at the front in Nanzheng, Lu You climbs Gaoxing Pavilion on an autumn evening and looks north toward Chang'an. The mournful horns and the beacon fires light the border city, yet instead of despair he sings, strikes the zhu and pours wine on the height. The moon over the southern hills seems to part the evening clouds so that he can see; and he imagines the willows of Ba Bridge and the pavilions of Qujiang waiting still for the men who will return. The lyric turns frontier sorrow into confidence that the lost capital will be recovered.

秋到边城角声哀，烽火照高台。悲歌击筑，凭高酹酒，此兴悠哉。多情谁似南山月，特地暮云开。灞桥烟柳，曲江池馆，应待人来。

Appreciation

[Plain Paraphrase] Lu You climbs a pavilion on an autumn evening and looks toward Chang'an. The horns sound mournful, beacon fires redden the terrace; he sings a sad song, strikes the zhu, pours a libation and finds his spirits strangely high. Then the moon over the southern hills parts the clouds for him, and he sees in imagination the willows and pavilions of the old capital waiting to be reclaimed. [Structure] The upper stanza is all present and actual - border city, horn, beacon, wine. The lower stanza moves into the imagined and distant - the moon that understands him, and the capital's landmarks awaiting their people. [Imagery] The mourning horn and the beacon fire establish danger; the personified moon establishes sympathy; the willows and pavilions establish hope. The striking thing is the emotional key: the word mournful governs the first line, yet the stanza ends on far and free, so sorrow and elation are held together rather than resolved.

【白话串讲】陆游写《秋波媚·七月十六日晚登高兴亭望长安南山》：“秋到边城角声哀，烽火照高台”——“悲歌击筑，凭高酹酒，此兴悠哉”——“多情谁似南山月，特地暮云开”——“灞桥烟柳，曲江池馆，应待人来”——他登高兴亭望长安——多情谁似南山月。【意象与手法】此词写登亭望长安，以登临写爱国，是陆游的名篇。上片写登高：「秋到边城角声哀，烽火照高台」写秋到边城角声哀、烽火照高台——写尽边城的烽火；「悲歌击筑，凭高酹酒，此兴悠哉」写悲歌击筑、凭高酹酒、此兴悠哉——写尽登高的豪兴；下片写望长安：「多情谁似南山月，特地暮云开」写多情谁似南山月、特地暮云开——写尽月开暮云；「灞桥烟柳，曲江池馆，应待人来」写灞桥烟柳、曲江池馆、应待人来——写尽望长安的期盼。全词以登临写爱国，写尽陆游望长安的豪兴与期盼，是陆游的代表作。【情感与主旨】此词写登亭望长安，以登临写爱国，是陆游的名篇。高兴亭在南郑（今陕西汉中）西北，正对南山。乾道八年（1172），陆游在南郑军幕任职，此词为登高兴亭望长安南山所作。此词写登高：秋到边城角声哀，烽火照高台——写秋到边城角声哀、烽火照高台，写尽边城的烽火；悲歌击筑，凭高酹酒，此兴悠哉——写悲歌击筑、凭高酹酒、此兴悠哉，写尽登高的豪兴；多情谁似南山月，特地暮云开——写多情谁似南山月、特地暮云开，写尽月开暮云；灞桥烟柳，曲江池馆，应待人来——写灞桥烟柳、曲江池馆、应待人来，写尽望长安的期盼。全词以登临写爱国——那「烽火照高台」写尽边城的烽火，「应待人来」写尽望长安的期盼，写尽陆游望长安的豪兴与期盼，是理解陆游词的重要篇章。【名句点睛】常考「秋到边城角声哀，烽火照高台」写边城的烽火；「悲歌击筑，凭高酹酒，此兴悠哉」写登高的豪兴；「灞桥烟柳，曲江池馆，应待人来」写望长安的期盼；以及全词以登临写爱国、以拟人写期盼的手法。

Background

Lu You (1125-1210), courtesy name Wuguan, styled Fangweng, was born in Shanyin in present-day Shaoxing, Zhejiang, and is the greatest patriotic poet of the Southern Song. Gaoxing Pavilion stood northwest of Nanzheng, in present-day Hanzhong, Shaanxi, facing the Zhongnan hills. In 1172, serving on the staff of the Sichuan pacification commissioner Wang Yan, Lu You was stationed at Nanzheng and for the first time found himself at the actual front, burning to recover the lost territories. Chang'an, capital of the Han and Tang, had by then fallen to the Jin. This lyric was written on an evening ascent of the pavilion. The frontier experience lasted less than a year, but it coloured everything Lu You wrote for the rest of his long life; this is one of the very few pieces written in the presence of the enemy rather than in memory of it.

此词写登亭望长安，以登临写爱国，是陆游的名篇。陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋伟大的爱国诗人。高兴亭在南郑（今陕西汉中）西北，正对终南山。乾道八年（1172），陆游入四川宣抚使王炎幕府，驻南郑，亲临前线，满怀收复失地之志。此词为登高兴亭望长安南山所作。长安为汉唐故都，南宋时已陷于金。「秋到边城角声哀，烽火照高台」写秋到边城角声哀、烽火照高台——写尽边城的烽火（秋到边城角声哀，烽火照高台）；「悲歌击筑，凭高酹酒，此兴悠哉」写悲歌击筑、凭高酹酒、此兴悠哉——写尽登高的豪兴（悲歌击筑，凭高酹酒，此兴悠哉）；「多情谁似南山月，特地暮云开」写多情谁似南山月、特地暮云开——写尽月开暮云（多情谁似南山月，特地拨开暮云）；「灞桥烟柳，曲江池馆，应待人来」写灞桥烟柳、曲江池馆、应待人来——写尽望长安的期盼（灞桥烟柳、曲江池馆，应等待人归来）。全词以登临写爱国，写尽陆游望长安的豪兴与期盼，是理解陆游词的重要篇章。

Art

Four techniques carry the lyric. First, scene-setting establishes the frontier: the mournful horn and the beacon fire on the high terrace give danger and season in a single couplet. Second, action conveys elation: striking the zhu and pouring a libation on the height are physical gestures, and it is through them that the poet's high spirits are shown rather than stated. Third, personification works on the moon: nothing is more full of feeling, and it deliberately parts the evening clouds to let him see the north. Fourth, expectation carries the patriotism: the willows of Ba Bridge and the pools of Qujiang are said to be waiting for men to come. Two points deserve special attention. The allusion to striking the zhu recalls Gao Jianli playing for Jing Ke at the Yi River, a gesture of desperate resolve; to follow such a dire reference with far and free is deliberately surprising, and the surprise is the poem's emotional signature - grief that does not collapse. Likewise the word mournful in the first line is the poet's own hearing projected on the horns: the bugles have no grief in them, but a man whose capital is unredeemed hears grief everywhere.

此词的艺术特色可从四个方面解析。其一，以写景写边城。「秋到边城角声哀，烽火照高台」以写景写边城——那「角声哀」「烽火照高台」写尽边城的角声与烽火，以写景写尽边塞的秋色。其二，以动作写豪兴。「悲歌击筑，凭高酹酒」以动作写豪兴——那「击筑」「酹酒」写尽悲歌酹酒的动作，以动作写尽登高的豪兴。其三，以拟人写月。「多情谁似南山月，特地暮云开」以拟人写月——那「多情」「特地暮云开」写尽月的多情，以拟人写尽月开暮云。其四，以期盼写爱国。「应待人来」以期盼写爱国——那「应待人来」写尽长安的期待，以期盼写尽收复失地的壮志。此外，此词上片写边城的烽火与登高的豪兴，下片写望长安的期盼，由实入虚，正是豪放词「即景抒怀」的写法。四重手法，使此词以登临写爱国，写尽陆游望长安的豪兴与期盼，是陆游的代表作。此词尤可注意「悲歌击筑」的用典与「此兴悠哉」的对照：击筑用荆轲易水悲歌之典，本是慷慨悲壮之事，而接以「此兴悠哉」的悠然自得——悲而能悠，正是陆游于悲愤中见豪兴的独特心境：边城烽火正燃，而诗人凭高酹酒，悲歌之中自有收复故地的豪情，悲而不颓、悲而愈壮。

Allusions

The diction is steeped in patriotic convention. The horn note belongs to frontier poetry from Li He onward; mourning bugles are the standard sound of an exposed border. Striking thezhu recalls Gao Jianli striking the zither while Jing Ke sang that the wind was cold on the Yi River - the type of a hopeless, heroic farewell. The southern hills are the Zhongnan range south of Chang'an, the range that made the capital's backdrop. The misty willows of Ba Bridge invoke the bridge east of Chang'an where parting travellers broke willow branches, remembered from Li Bai's lines on the willow-colour year after year and heartbreak at Baling. The pools and pavilions of Qujiang were the pleasure grounds of Tang Chang'an, whose locked gates Du Fu lamented. By naming these two places Lu You summons the whole vanished capital, and by saying that they wait he turns nostalgia into a claim.

此词的用语深植于爱国与典故的传统。「角声」令人想到「角声」写号角的意象——「秋到边城角声哀」正是陆游的名句，也令人想到「角声满天秋色里」（李贺）的角声意象；「悲歌击筑」令人想到「击筑」写击筑的典故——荆轲入秦，高渐离击筑，荆轲和歌「风萧萧兮易水寒」，也令人想到「易水悲歌」的典故；「南山月」令人想到「南山」写终南山的意象——「多情谁似南山月」正是陆游的名句，也令人想到「终南」写长安之南的意象；「灞桥烟柳」令人想到「灞桥」写灞桥的意象——灞桥为长安送别之地，也令人想到「年年柳色，灞陵伤别」（李白）的灞桥意象；「曲江池馆」令人想到「曲江」写曲江的意象——曲江为唐长安名胜，也令人想到「江头宫殿锁千门」（杜甫）的曲江意象。全词化用击筑、灞桥、曲江的典故，以登临写爱国，正是陆游「雄浑悲壮」而善用典、承爱国传统写豪兴的本领。又「秋到边城角声哀」之「哀」字可深味：角声本无哀乐，而诗人听之为哀，正是「以我观物」——边城秋到，角声四起，而长安未复，故角声入耳皆哀。然「哀」而不「悲」，下接「此兴悠哉」之豪兴，一哀一悠，正是陆游于悲秋之中见壮怀的本色，可见其豪放词并非一味激昂，而是哀乐交织、悲壮兼胜。

Commentary

The lyric is universally ranked among Lu You's finest and is a standard example of the Southern Song heroic manner. Qing critics praised it as patriotic feeling written through an ascent, at once heroic and mournful; modern readers single out the moon that parts the clouds as its signature. Its special value in the history of the form is that it achieves in ten short lines what Lu You usually needed a long poem for: the frontier, the grief, and the confidence of recovery. Set beside his later lyric on the same theme - the one that ends with the heart in the Tianshan mountains and the body grown old at Cangzhou - it shows the same man at two ages: here confident, there defeated. It also belongs with Xin Qiji's gazing northwest toward Chang'an, so persistent is the Northern Song and Southern Song habit of looking toward the lost capital.

此词历来被推为陆游词的名篇，也是宋代豪放词的代表。历代论者对此词评价极高：清人评此词「以登临写爱国，豪放悲壮」；近人更指出「多情谁似南山月，特地暮云开」以拟人写月，是此词的名句。在词史上，此词的特殊价值在于：它以十句的中调写尽陆游望长安的豪兴与期盼——那哀角，那烽火，那高台，那击筑，那酹酒，那南山月，那灞桥烟柳，那曲江池馆，都写尽了陆游笔下的高兴亭；那「应待人来」更以期盼写尽收复失地的壮志。此词与陆游《诉衷情》（「当年万里觅封侯」）同为爱国词名篇，一写「心在天山，身老沧洲」的悲愤（诉衷情），一写「应待人来」的豪兴（秋波媚）；又与辛弃疾《水龙吟》「西北望长安」的爱国传统一脉相承，可见南宋词人望长安的情结。对于今日读者，此词是理解陆游词的窗口，也是中国词写爱国的经典——那多情的南山月，穿越千年，仍在诉说着望长安的期盼。

Prosody

Form Song lyric to the tune Qiubomei (also known as Yan'erme), four lines to each stanza词·秋波媚

Rhyme Level-tone rhyme in the hui group carried throughout: terrace, free, part, come. One rhyme from opening to close.词牌秋波媚，上下片各四句，押「台」「哉」「开」「来」韵（上平十灰），一韵到底，音节豪放

Tone pattern The tune rhymes in the level tone throughout, giving a broad and heroic music well suited to gazing toward Chang'an.此词为秋波媚词牌，押平声韵，一韵到底，音节豪放，正合望长安的豪放。

Reading note The upper stanza holds four lines on the frontier and the libation; the lower stanza holds four on the moon and the waiting capital. The line lengths are short and the rhyme frequent, so the music moves quickly despite the grave subject. In reading, the striking of the zhu and the pouring of wine should be delivered with force, while the closing line about waiting for men to come should be slowed and prolonged, so that the lyric ends on longing rather than on resolution. Lu You is famous as a poet, but his lyrics are equally heroic, and this is the representative example.此词为《秋波媚》（即《眼儿媚》）词牌，上片四句、下片四句——「秋到边城角声哀，烽火照高台。悲歌击筑，凭高酹酒，此兴悠哉。多情谁似南山月，特地暮云开。灞桥烟柳，曲江池馆，应待人来」，押「灰」韵（台、哉、开、来），一韵到底，音节豪放。全词以登临写爱国：上片写边城的烽火与登高的豪兴（秋到边城角声哀，烽火照高台；悲歌击筑，凭高酹酒，此兴悠哉），下片写望长安的期盼（多情谁似南山月，特地暮云开；灞桥烟柳，曲江池馆，应待人来）。上下片前写实景，后写期盼，以「应待人来」写尽收复失地的壮志，正见陆游「雄浑悲壮」的本色。诵读此词，宜以豪放的语调读「悲歌击筑，凭高酹酒」的豪兴，以深情的语调读「应待人来」的期盼，结句要读得悠远而有余韵，方能传达出陆游的豪放悲壮。陆游以诗名世而其词亦豪放，此词正是其词作的代表。

Line by line

灞桥烟柳，曲江池馆，应待人来

The misty willows of Ba Bridge, the pools and pavilions of Qujiang - surely they wait for men to come.

灞桥的烟柳、曲江的池馆，应该等待着人归来。

The misty willows of Ba Bridge, the pavilions of Qu River — they must be waiting for our return.

此三句是全词写期盼的核心，以灞桥烟柳写长安名胜，以应待人来写期盼，写尽望长安的期盼，是千古名句。「灞桥烟柳，曲江池馆」写灞桥的烟柳、曲江的池馆——那「灞桥烟柳」「曲江池馆」写尽长安的名胜，写尽故都的风物；「应待人来」写应该等待着人归来——那「应待」写应该等待，「人来」写人归来，写尽收复失地的期盼。这句的深意在于：它以「灞桥烟柳，曲江池馆」的故都与「应待人来」的期盼，写尽望长安的期盼——灞桥的烟柳、曲江的池馆，那「灞桥烟柳，曲江池馆」写尽长安的名胜——灞桥、曲江，正是长安送别游赏之地，那「烟柳」「池馆」写尽故都的风物；应该等待着人归来，那「应待人来」写尽收复失地的期盼——故都的名胜，应等待着南宋军民的归来，那「应待人来」写尽收复的期盼；那「灞桥烟柳，曲江池馆」写尽长安的名胜，那「应待人来」写尽收复失地的期盼，一写故都，一写期盼，写尽望长安的期盼——灞桥曲江应待人来，正是收复失地的壮志；此三句以故都、期盼写尽望长安的期盼，也让此三句成为全词写期盼的核心与千古名句。若换作直说「我很想收复长安」，则失其深婉；唯以「灞桥烟柳，曲江池馆」写故都、「应待人来」写期盼，写尽望长安的期盼，也让此三句成为全词写期盼的核心。

The three lines are the core of the ci's longing, writing the Chang'an sights through the misty willows of Ba Bridge, the pavilions of Qu River and the expectation through they must be waiting for our return, exhausting the longing for Chang'an. The misty willows of Ba Bridge, the pavilions of Qu River are precisely the famous sights of Chang'an, the scenery of the old capital; they must be waiting for our return precisely the picture of the expectation of recovery. The deep meaning: the sights of the old capital waiting for the return of the southern army and people. One writes the old capital, one the expectation, exhausting the longing. Were it said plainly I long greatly to recover Chang'an, the tact would be lost; only through the misty willows and the pavilions and the waiting is the longing exhausted, making the lines the core of the ci.

多情谁似南山月，特地暮云开

Who is so full of feeling as the moon over the southern hills, that on purpose it parts the evening clouds?

多情谁似南山月，特地拨开暮云。

Who, like the moon over the Southern Hills, is so affectionate as to part the evening clouds on purpose?

此二句是全词写月为核心，以多情谁似南山月写拟人，以特地暮云开写开云，写尽月开暮云的多情，是千古名句。「多情谁似南山月」写多情谁似南山月——那「多情」写多情，「谁似南山月」写谁似南山月，写尽月的多情；「特地暮云开」写特地拨开暮云——那「特地」写特地，「暮云开」写拨开暮云，写尽月开暮云的殷勤。这句的深意在于：它以「多情谁似南山月」的拟人与「特地暮云开」的开云，写尽月开暮云的多情——多情谁似南山月，那「多情谁似南山月」写尽月的多情——南山月多情，正是月解人意的写照，那「多情」写尽月的深情；特地拨开暮云，那「特地暮云开」写尽月开暮云的殷勤——南山月特地拨开暮云，好让诗人望见南山、望见长安，那「特地」写尽月的殷勤；那「多情谁似南山月」写尽月的多情，那「特地暮云开」写尽月开暮云的殷勤，一写多情，一写开云，写尽月开暮云的多情——月特地为诗人拨开暮云，正是月与诗人同心；此二句以拟人、开云写尽月开暮云的多情，也为后三句的望长安作铺垫，也让此二句成为全词写月的核心与千古名句。若换作直说「月亮很亮」，则失其深情；唯以「多情谁似南山月」写拟人、「特地暮云开」写开云，写尽月开暮云的多情，也让此二句成为全词写月的核心。

The two lines are the core of the ci's moon, writing the personification through who, like the moon over the Southern Hills, is so affectionate and the parting clouds through as to part the evening clouds on purpose?, exhausting the moon's parting of the clouds. Who, like the moon over the Southern Hills, is so affectionate? is precisely the picture of the moon understanding human feeling; as to part the evening clouds on purpose? precisely the picture of the moon's kindness. The deep meaning: the moon deliberately parts the clouds that the poet may see the Southern Hills and see Chang'an, precisely the picture of the moon and the poet at one. One writes the affection, one the parting cloud, exhausting the moon's tenderness. Were it said plainly the moon is very bright, the depth would be lost; only through the personification and the parted clouds is the moon's affection exhausted, preparing the three lines below gazing at Chang'an and making the lines the core of the ci.

Study

Word focus

特地 In the line about the moon parting the evening clouds, this phrase means on purpose, specially, for this very reason. It attributes deliberate intention to the moon, as though the moon understood the poet's longing and opened the clouds to serve it; the whole personification, and with it the sense of nature's sympathy, rests on these two words. 「特地暮云开」之「特地」是写月的关键词，一个「特地」写尽月的殷勤。特地者，特意、专为也。陆游以「特地暮云开」写月开暮云，这个「特地」至少有双重意味：其一，写月之殷勤——那「多情谁似南山月，特地暮云开」写南山月特地拨开暮云，那「特地」写尽月的殷勤——月特地为诗人拨开暮云，正是月解人意的写照，那「特地」写尽月的殷勤；其二，写情之契合——那「特地」更是写契合——月特地为诗人开云，正见月与诗人同心，那「特地」写尽人与月的契合。以「特地」写月，正是陆游写多情的枢纽——若换作「忽然」「特意」等词，则或失其与「多情谁似」的配合，或失其写特地的意味；唯「特地」二字，以特地暮云开写尽月的殷勤与人与月的契合，与「多情谁似南山月」的多情相合，写尽月开暮云的多情，也让「特地暮云开」成为全词写月的名句。

应待 In the closing line, this word means surely waits. It asserts rather than wishes: the landmarks of the old capital are not merely missed but expectant. The confidence of the assertion is what converts the lyric from a lament for a lost city into a claim that the city will be entered again. 「应待人来」之「应待」是写期盼的关键词，一个「应待」写尽收复失地的期盼。应待者，应当等待也。陆游以「应待人来」写长安，这个「应待」至少有双重意味：其一，写期盼之切——那「灞桥烟柳，曲江池馆，应待人来」写灞桥曲江应待人来，那「应待」写尽期盼的殷切——故都名胜，应当等待人归来，那「应待」写尽收复的期盼；其二，写信心之坚——那「应待」更是写信心——应待人来，正见收复的信心，那「应待」写尽收复失地的信心。以「应待」写期盼，正是陆游写爱国的枢纽——若换作「等候」「期望」等词，则或失其与「人来」的配合，或失其写应待的意味；唯「应待」二字，以应待人来写尽期盼的殷切与收复的信心，与「灞桥烟柳，曲江池馆」的故都相合，写尽望长安的期盼，也让「应待人来」成为全词写期盼的名句。