宋 Song · 词 Ci lyric
黄庭坚·念奴娇·断虹霁雨
Charm of a Maiden Singer: Rainbow Breaks After Rain
念奴娇·断虹霁雨（八月十七日，与诸生步自永安城楼，过张宽夫园待月。
偶有名酒，因以金荷酌众客。
客有孙彦立，善吹笛。
援笔作乐府长短句，文不加点）断虹霁雨，净秋空，山染修眉新绿。
桂影扶疏，谁便道，今夕清辉不足？
万里青天，姮娥何处，驾此一轮玉。
寒光零乱，为谁偏照醽醁？
年少从我追游，晚凉幽径，绕张园森木。
共倒金荷，家万里，难得尊前相属。
老子平生，江南江北，最爱临风曲。
孙郎微笑，坐来声喷霜竹。
Hills like brows painted fresh green.
Cassia shadows sparse, who says tonight's light is less?
In the vast blue sky, where is Chang'e driving this jade wheel?
Cold light scattered, for whom shines on the fine wine?
Youths follow me roaming, in cool evening along quiet paths,
Around Zhang's garden thick woods.
We pour golden cups, home is ten thousand li away,
Hard to meet before wine cups.
Old as I am, south and north of Yangtze, I love most songs in the wind.
Sun Yanli smiles, soon his reed flute bursts out like frost bamboo.
Meaning
The poem describes a moonlit gathering after rain, with grand scenery and joyful drinking, expressing the poet's open-mindedness despite distant exile.
一场秋雨过后，残虹挂在天边，天空像洗过一般澄净，远山如同美人的修眉，染上了一层新绿。桂树的影子疏疏落落，谁又能说今夜月光的清辉不够明亮？万里青天之上，嫦娥在哪里，驾驭着这一轮白玉般的明月？清冷的月光零零乱乱地洒落下来，它偏偏照着樽中美酒，是要为谁而照呢？年轻的学子们跟随着我出游，傍晚的凉意中走过幽静的小径，绕着张家园中茂密的林木。大家一同倾倒金荷杯中的美酒，离家万里，难得在酒樽之前相聚相劝。老夫我平生走遍江南江北，最爱的就是临风听曲。孙郎微微含笑，坐下来笛声便如霜竹般喷薄而出。
Appreciation
The first stanza depicts the rain-washed autumn sky, hills in fresh green, cassia shadows and the moon, creating a vast and open atmosphere. The second stanza portrays youths roaming, drinking from golden cups, and listening to the flute in the wind, full of heroic spirit. Colloquial phrases like 'Old as I am' and 'Sun Yanli smiles' bring natural freshness, showing the poet's broad-mindedness beyond the Su Shi school.
【白话串讲】 雨过天晴，断虹挂在天空，黄庭坚和学生们赏月喝酒。“老子平生，江南江北，最爱临风笛”——他一生走遍江南江北，最爱临风听笛。被贬之人的豪迈。 【意象与手法】 全词以雨霁秋空、明月美酒、临风笛声三大意象群层层展开：起笔「断虹霁雨，净秋空，山染修眉新绿」以虹、空、山三重景物开境，色彩明丽、气象开阔；「姮娥何处，驾此一轮玉」以神话飞想写月，思致飘举；下片转写人事，「共倒金荷」「老子平生」以口语议论入词，打破婉约窠臼；结拍「孙郎微笑，坐来声喷霜竹」以通感写笛声，将听觉化为视觉之「喷」，豪气逼人。上片写景、下片写人，景为宾、人为主，情、景、事、乐浑融一气，正是山谷「以诗为词、以文为词」的典型手法。 【情感与主旨】 此词作于黄庭坚贬居戎州（今四川宜宾）时，时年五十三岁。身陷贬所、离家万里，而词中毫无逐客的凄苦，反见「老子平生，江南江北，最爱临风曲」的豪宕潇洒。作者以明丽之景写清欢，以豪语掩悲慨，于「难得尊前相属」一句中暗藏乡愁，又随即以平生行迹消解之，正是其处逆境而胸襟超旷的夫子自道，堪与东坡贬谪词并观，是宋代贬谪文学中少见的豪健之篇。 【名句点睛】 命题常取：一、上片景物描写的特点与作用，须答出雨霁秋空之明丽开阔、以乐景衬豪情；二、「老子平生，江南江北，最爱临风曲」的赏析，须答出口语入词之疏狂与贬谪中的旷达本色；三、「坐来声喷霜竹」的通感手法，须点出以视觉写听觉、豪气喷薄而出之妙。
Background
The preface records the occasion: On the 17th day of the 8th month in 1098, Huang Tingjian, exiled to Rongzhou (now Yibin, Sichuan), walked with his students from Yong'an city tower to Zhang Kuanfu's garden to await the moon. Having fine wine, they used golden lotus cups. A guest, Sun Yanli, was good at flute. Huang improvised this ci without revision. Over fifty and far from home, yet the poem shows no decline but heroic ease, revealing his broad-mindedness in adversity. Lines like 'home ten thousand li away' and 'old as I am, south and north of Yangtze' reflect his travels and character.
此词小序详记本事：北宋哲宗元符元年（1098）八月十七日，黄庭坚贬居戎州（今四川宜宾）时，与诸生自永安城楼步出，过张宽夫园待月，偶得名酒，遂以金荷杯酌客，座中孙彦立善吹笛，山谷援笔立就、文不加点。时山谷年五十三岁，因《神宗实录》文字之祸，先贬黔州，再移戎州，身处西南蛮荒之地，衣食多艰，然此词毫无衰飒之音，反见豪宕潇洒，正是其处逆境而胸襟超旷的夫子自道。山谷为苏门四学士之首，与苏轼亦师亦友，其生平仕途屡起屡蹶：早年任国子监教授、校书郎，参与修撰《神宗实录》；绍圣年间因实录获罪，坐贬涪州别驾；徽宗朝虽复起为吏部员外郎，旋又遭贬宜州，最终卒于贬所。这一生大起大落、久困谪途的经历，养成他以佛老之学自遣、以诗酒自娱的处世态度，所谓「老子平生，江南江北」，正是其行迹与性格的写真。此词即写于戎州贬所，然通篇写景明丽、用情疏放，看不到一丝逐客的凄苦，唯见雨霁秋空下的清欢与豪兴，堪与东坡贬黄州时的旷达之作并观，是宋代贬谪文学中少见的豪健之篇，也是山谷「点铁成金」诗学主张在词体中的实践。
Art
First, the wide realm: opening lines depict rainbow, rain, clear sky, and hills like brows, bright and spacious. 'In the vast blue sky, where is Chang'e driving this jade wheel' soars. Second, using prose in ci: colloquial phrases like 'Old as I am' and 'Sun Yanli smiles' naturally enter, breaking the graceful style. Third, unity of feeling and scene: the first stanza writes of moon and wine, the second of people and flute. 'Songs in the wind' and 'reed flute bursts out' turn hearing into sight, full of heroic vigor.
此词艺术，首在境界之阔大与色彩之明丽。起三句「断虹霁雨，净秋空，山染修眉新绿」以雨霁、虹断、秋空、远山四重景物迭出，一句一境：虹断而雨止，秋空如洗，远山如美人修眉染上新绿，青碧之色与雨后清光相映，气象开阔而鲜洁，立定全词明快之基调。次写明月，「桂影扶疏，谁便道，今夕清辉不足」，以反问自问自答，欲扬先抑；「万里青天，姮娥何处，驾此一轮玉」则以神话飞想，思致飘举，「驾」字赋予明月以乘风之势。上片末「寒光零乱，为谁偏照醽醁」由月及酒，景中见人，为下片宴饮预作牵引。下片转写人事：「年少从我追游」以下，写晚凉幽径、张园森木，人与景会；「共倒金荷，家万里，难得尊前相属」于欢会中点出谪居万里之悲，然一转即入「老子平生，江南江北，最爱临风曲」的豁达自道，以豪语掩悲慨，是山谷「以诗为词、以文为词」的典型手法——口语、对话、议论自然入词，打破婉约词以景结情的窠臼。结拍「孙郎微笑，坐来声喷霜竹」以笛声收束，将听觉之曲化为视觉之「喷」，豪气逼人，余响不绝。全词上片写景、下片写人，景为宾而人为主，情、景、事、乐浑融一气，章法流转自然，豪放中见法度，正是苏门词风的最佳注脚。
Allusions
Two allusions used naturally. 'Chang'e' (originally Heng'e, changed to avoid taboo) from the myth of the moon. Here, a question introduces the moon, adding mythic color. 'Linglu' is a famous ancient wine named in Zuo Si's 'Wu Capital Rhapsody'. The line 'shines on the fine wine' shows moonlight on the cup. 'Brows' compares hills to a beauty's eyebrows, inspired by Zhuo Wenjun's 'brows like distant hills' and Song dynasty personification. Allusions enrich without clutter.
此词用典多处而皆能化用无痕。其一「姮娥」即嫦娥，本作「恒娥」，因避汉文帝刘恒讳改「恒」为「姮」，典出《淮南子·览冥训》所载羿妻窃药奔月事；词中以「姮娥何处，驾此一轮玉」设问，将明月想象为嫦娥驾驭的玉轮，为清冷的月色添上神话的光彩，一问而境界全出。其二「桂影扶疏」，扶疏为枝叶繁茂纷披之貌，桂影暗用月中有桂树、吴刚伐桂的传说（段成式《酉阳杂俎》载月桂高五百丈），以桂影写月辉之朦胧婆娑，与「清辉不足」的设问相映成趣。其三「醽醁」（音灵禄）为古代美酒名，亦称醽酒，左思《吴都赋》有「飞轻轩而酌醽醁」之句，此处以名酒入词，与金荷杯相配，见出宴饮之雅。其四「修眉」以美人长眉喻远山，渊源甚古：卓文君「眉色如望远山」以山拟眉，此处反以眉拟山，「染」字更将新绿点上山峦，化静为动，是山谷「夺胎换骨」诗学主张在词中的实践——取前人意象而重铸新境。其五「临风曲」暗含《世说新语》王子猷闻清歌辄唤奈何的赏乐风流，以及晋人临风舒啸的旷达姿态。诸典熔神话、博物、乐府于一炉，用事不着痕迹，增色而不堆垛，正是山谷作词以才学为底蕴、以自然为归宿的体现。
Commentary
Wei Qingzhi's 'Jade Splinters of Poets' records this poem, saying it 'can rival Su Shi'. Xia Chengtao praised Huang's ci as 'unrestrained, close to Su Shi'. Tang Guizhang's 'Simplified Explanation of Tang-Song Ci' comments that the ending line 'uses the flute sound to conclude, heroic spirit overflowing', best showing Huang's open-mindedness in exile, comparable to Su Shi's heroism.
此词在宋代即获好评，宋人魏庆之《诗人玉屑》载之，谓「或以为可摩坡仙之垒」，将其置于苏轼（坡仙）之侧，可见时人已认其词足与东坡争衡。黄庭坚以诗名世，为江西诗派宗主，其词初不为人重，然此阕以豪放之姿、文士之趣独标一格。近人夏承焘评山谷词「疏宕处近东坡」，正指此类作品；刘永济《唐五代两宋词简析》亦拈出「老子平生」诸语，谓其「语虽俚而气甚豪」。唐圭璋《唐宋词简释》称「孙郎微笑，坐来声喷霜竹」二句「以笛声收束，豪气溢于言外」，最能见山谷贬谪中旷达本色。文学史意义上，此词是宋词由婉约主潮中开出豪放一脉的重要环节：东坡以诗为词，山谷以文为词、以口语入词，两人同气相求，共同奠定豪放词「无意不可入、无事不可言」的格局；而山谷身在贬所，却能以如此明丽之景、豪宕之情出之，更见其「不以物喜、不以己悲」的胸次，与东坡「一蓑烟雨任平生」的精神遥遥相接，足为宋代士大夫贬谪心态的标本，亦是山谷词中流传最广、评价最高的名篇之一。
Prosody
Line by line
断虹霁雨，净秋空，山染修眉新绿
Rain stops, rainbow ends, autumn sky clear, hills like brows dyed new green. The opening is broad and bright, personifying hills as brows, fresh and clear.
一场秋雨过后，残虹消散，天空像洗过一般澄净，远山如同美人的修眉，染上了一层新绿。
The broken rainbow after the rain has cleared; the autumn sky is washed pure; the distant hills, like a lady's fine brows, are dyed a fresh green.
起笔三句即拓开全词明丽的境界，三句一气流注、一句一境。首句「断虹霁雨」四字写雨止虹现，残虹与初霁同时入画，「断」字见虹之将收，时间与光线俱活；「净秋空」以「净」字写雨后长空如洗，一洗千里，气象澄明；「山染修眉新绿」更以美人之修眉喻远山，将静山之形写得妩媚有致，「染」字点出雨后山色由苍翠转新绿的过程，化静为动、以人拟物。三句由天及山、由近及远，虹、空、山三重意象层层铺开，色彩上青（虹）、碧（空）、绿（山）交映，明丽之中已见秋高气爽的宜人之境，为全词的豪兴定下明快的基调。开篇即以大开大合之笔写景，正是豪放词「气象恢弘」的典型起法。
The opening three phrases at once open the ci's bright realm, flowing in one breath, each phrase a realm. The broken rainbow after the rain has cleared writes the rain stopped and the rainbow out, the broken rainbow and the just clearing at once in the picture, the word broken showing the rainbow's fading, the time and the light alive; the autumn sky is washed pure writes the post-rain sky washed clean, the word pure washing the vast sky, the realm clear; the distant hills, like a lady's fine brows, are dyed a fresh green compares the far hills to the beauty's fine brows, writing the still hills' form with charm, the word dye naming the process of the hills' green turning fresh after rain, turning stillness to motion, the human figure for the thing. Three phrases from sky to hills, from near to far, the rainbow, the sky, the hills layered, the colors — the rainbow's red, the sky's blue, the hills' green — interwoven, the bright realm of the clear autumn air already within, fixing the ci's light tone. The opening's grand brush writes the scenery, the typical opening of the bold ci's vast atmosphere.
万里青天，姮娥何处，驾此一轮玉
Vast blue sky, where is Chang'e driving this jade wheel? Thought soars, myth adds color, question adds charm.
万里青天之上，嫦娥在哪里，驾驭着这一轮白玉般的明月？
Ten thousand li of blue sky; where is Chang'e, driving this round of jade?
此三句由实景转入神话飞想，是全词由景生情的枢纽。「万里青天」承上句「净秋空」而更拓其广，以天宇之浩渺衬明月之孤悬；「姮娥何处」一问，将明月的存在系于神话中人，仿佛这轮玉盘是嫦娥驾来的仙驾，一问而月色带上了人的温度与仙的气韵；「驾此一轮玉」以「玉」状月之温润皎洁，「驾」字更赋明月以乘风行驶的动态，化静为动，思致飘举，大有李白「欲上青天揽明月」的飞动之势。三句由万里而孤月、由青天而姮娥，空间层层收拢而想象层层展开，将秋夜明月写得既清绝又灵动。上片至此，景已备足，故下文「寒光零乱」自然转出酒与人的相逢，章法上如舟行水到，水到渠成。
The three phrases move from the real scene to the mythic flight, the hinge of the ci's scene begetting feeling. Ten thousand li of blue sky continues the pure autumn sky and expands its breadth, the vast heavens set against the lone moon; where is Chang'e, the question tying the moon's being to the mythic person, as if this jade disk were the immortal carriage Chang'e drives, one question and the moon's light carries human warmth and immortal air; driving this round of jade uses the word jade for the moon's moist whiteness, the word drive endowing the moon with the motion of riding the wind, turning stillness to motion, the thought soaring, the dash of Li Bai's I would climb the blue sky and grasp the moon. Three phrases, from ten thousand li to the lone moon, from the blue sky to Chang'e, the space closing in layers and the imagination opening in layers, writing the autumn moon both pure and lively. The first stanza's scene is now complete, and the cold light below naturally turns to the meeting of wine and man, the structure as natural as the boat's reaching the water's course.
寒光零乱，为谁偏照醽醁
The cold moonlight is scattered — for whom does it shine, so fondly, on the wine?
清冷的月光零零乱乱地洒落，偏偏照着樽中美酒，是要为谁而照呢？
The cold moonlight falls in broken flecks; for whom does it shine, so fondly, on the wine cup?
「寒光零乱」写月色透过扶疏桂影洒落，光点斑驳、参差明灭，「零乱」二字既写光之破碎，又暗透夜风轻拂的动感，与「桂影扶疏」呼应；「为谁偏照醽醁」一问，将月光引向樽中美酒，景中开始见人——月不为别的，偏偏照着这一杯酒，仿佛天地有情，专为今夜的清欢而设。这一问承上片的姮娥之问而来，一问月、一问酒，实则是问人生之欢会为何如此难得；问句的口气轻快洒脱，不见惆怅，反见豪情，为下片「共倒金荷」「难得尊前相属」的宴饮场面张本。上片以月写酒、以酒待客，景、情、事至此已浑然一体，而「偏照」二字尤见匠心——月偏照酒，正是主人偏重客情，物我相得的深意全在这一「偏」字之中。
The cold moonlight is scattered writes the moonlight falling through the sparse cassia shadows, the light flecks broken, now bright now dim, the word scattered writing the light's breaking, and hinting the night wind's light stirring, answering the cassia shadows' spreading; for whom does it shine, so fondly, on the wine cup? the question turning the moonlight toward the wine in the cup, the scene beginning to show the person — the moon for nothing else, and yet fondly shining on this one cup, as if heaven and earth had feeling and set it for tonight's pure joy. The question follows the Chang'e question of the first stanza, one question of the moon, one of the wine, in truth asking why the joy of human meeting is so rare; the question's tone light and free, no melancholy, rather boldness, storing force for the second stanza's pouring the golden lotus and the rare meeting over the cup. The first stanza writes wine through the moon and treats the guest through the wine, scene, feeling, and event now fused, and the word fondly most shows the craft — the moon fondly shining on the wine is precisely the host's fondness for the guest, the depth of the thing and self at one all in this one word fond.
老子平生，江南江北，最爱临风曲
Old as I am, south and north of Yangtze, I love best songs in the wind. Colloquial language, self-expressive, showing open-mindedness.
老夫我平生走遍江南江北，最爱的就是临风听曲的豪兴。
All my life, from south of the river to north of it, this old man loved best the tune played in the wind.
此三句是全词的词眼与情感核心，以第一人称直抒胸臆，豪气扑面。「老子」是宋人自称的俚语，带有放诞不羁、倚老卖老的口吻，以口语入词，正见山谷「以文为词」的胆魄；「平生」二字拉开一生的时间跨度，「江南江北」以地写广，一生行迹、万水千山尽括其中，而「最爱临风曲」一收，将一生豪情归之于临风听曲的清欢——曲声可临风而闻，兴致因风而畅，人、风、曲三者相合，一种洒落超旷的风神跃然纸上。此句由「家万里，难得尊前相属」的乡愁中陡然翻出，以豪语掩悲慨，愈豪愈见其胸襟之阔，是山谷贬谪词中最为人传诵的名句，亦是其「不以迁谪介意」人格的直接写照，后人读此，每觉一股磊落之气扑面而来。
The three phrases are the eye and the emotional core of the ci, the first person's direct utterance, the boldness striking the face. The old man is Song colloquial self-address, carrying the reckless, leaning-on-age tone, the colloquial in the ci showing the valley master's daring of writing the ci with prose; the whole life draws out the time of a lifetime, from south of the river to north of it writing the breadth through place, a life's path, a thousand waters and mountains all within, and this old man loved best the tune played in the wind gathers, turning a lifetime of boldness into the pure joy of the wind-borne tune — the tune heard in the wind, the zest unbound by the wind, man, wind, and tune fused, an ethereal, detached grace leaping onto the page. The line turns sharply from the home ten thousand li, the rare meeting over the cup's homesickness, covering the grief with bold words, the bolder the vaster the breast, the valley master's most recited line of exile ci, and the direct portrait of his personality of not minding the exile; later readers feel a loose, upright breath striking the face.
孙郎微笑，坐来声喷霜竹
Sun Yanli smiles, soon reed flute bursts like frost bamboo. Flute sound writes heroic joy, indirect depiction of the feast's pleasure.
孙郎微微含笑，坐下来笛声便如霜竹喷薄而出。
Sun Lang smiles faintly; in a moment, the music spurts from the frost-bitten bamboo.
结拍以笛声收束全词，将宴饮之乐推向高潮后戛然而止，余韵悠长。「孙郎微笑」先写吹笛人之神态，一个「笑」字点出宾主相得、兴致正浓；「坐来」是宋人习语，犹言即刻、登时，写出笛声来得猝然痛快；「声喷霜竹」是全词最奇崛之笔——霜竹即竹笛，因笛身常覆霜色或经霜之竹音色清冽而得名，「喷」字以视觉动作写听觉之声，笛音仿佛从竹管中喷薄而出，如霜雪迸溅、金石激响，通感之妙直逼「大珠小珠落玉盘」。全词以笛声作结，不写众人如何陶醉，而笛声自足传情，所谓无声胜有声，豪兴与清音俱在纸上喷薄，为全词画上一个响亮的句号，也照应了开头「过张宽夫园待月」的从容，首尾相衔，神完气足。
The closing gathers the ci in the flute music, pushing the feast's joy to the peak and ending abruptly, the aftertone long. Sun Lang smiles faintly first writes the flutist's bearing, the one word smile naming the host and guest at one, the zest at its height; in a moment is Song idiom, meaning at once, instantly, writing the flute's coming, sudden and exhilarating; the music spurts from the frost-bitten bamboo is the ci's strangest stroke — the frost bamboo the bamboo flute, named for the flute body's frost color or the frost-season bamboo's clear tone, the word spurts writing the sound through the visual motion, the flute's music as if spurting from the bamboo tube, like frost and snow bursting, like metal and stone striking, the synesthesia's magic standing with the great pearls and small pearls falling on the jade plate. The ci closes on the flute, not writing how the guests are enchanted, and the music of itself transmits the feeling, the so-called silence better than sound, the bold zest and the clear note both spurting on the page, a loud full stop for the ci, answering the opening's waiting for the moon at Zhang Kuanfu's garden, head and tail joined, the spirit complete.
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苏轼《水调歌头·明月几时有》与山谷此词同写秋夜明月与樽前清欢，且同在贬谪（苏轼贬密州、黄庭坚贬戎州）背景下写出，是苏门「月下豪放词」的一双典范。东坡词上片问月：「明月几时有，把酒问青天」，由月思仙、由仙思归，终以「起舞弄清影，何似在人间」自解，超旷中带孤寂；山谷词亦问：「姮娥何处，驾此一轮玉」，然问罢即归入「共倒金荷」「最爱临风曲」的宴饮之乐，豪兴更直、悲感更隐。东坡以「阴晴圆缺」的哲理开解悲欢，山谷以「平生江南江北」的行迹消解乡愁，一哲一豪、一理一情，恰见苏门师生词风同中有异，而「以诗为词」的开拓之功则一脉相承。
苏轼·念奴娇·赤壁怀古 Remembering the Red Cliff: To the Tune of Niannujiao 苏轼 · 同用《念奴娇》词牌、同属豪放一脉，师门同调 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
《念奴娇·赤壁怀古》与山谷此词同用《念奴娇》词牌、同押入声韵，是豪放词史上两首名作。东坡词写大江东去、周郎赤壁，以历史之浩荡对照自身之华发，豪放中见深沉的历史感与人生悲慨，是「大江东去」式的壮阔；山谷词写雨霁秋空、尊前笛声，以当下之清欢消解谪居之愁，豪放中见旷达的当下感与生活情趣，是「断虹霁雨」式的明快。同属苏门，一纵览古今、一横揽当下，一雄浑苍凉、一疏宕明丽，恰可见《念奴娇》一词牌被苏门师生各取一境而皆成绝唱；且两词皆作于贬谪之中，更见苏门士大夫以豪放之词自振于逆境的精神传统。
雨中登岳阳楼望君山 Huang Tingjian: Ascending Yueyang Tower in Rain, Gazing at Jun Mountain 黄庭坚 · 同出山谷贬谪山水之作，可并观其豁达诗心 Same authorBoth describe landscape during exile travel, share open-mindedness.
《雨中登岳阳楼望君山》是山谷崇宁元年（1102）遇赦东归途中经岳阳所作，与此词同出贬谪生涯，而一诗一词、一雨一月，正可对看山谷处逆境的心境变化。诗中「未到江南先一笑，岳阳楼上对君山」，以「先一笑」写赦归之喜，豁达中有欣慰；词中「老子平生，江南江北，最爱临风曲」，以平生行迹写谪居之旷，豪放中有自嘲。二者皆以开阔之境写超旷之怀，不着一字悲苦，而风雨江湖、贬谪万里尽在笑谈之间，可见山谷无论处顺处逆，其胸襟始终是不以物喜、不以己悲的，诗心词心，一以贯之，是研究山谷贬谪文学心态的两块重要拼图。
清平乐·春归何处 Huang Tingjian: Pure Serene Music · Where Does Spring Go? 黄庭坚 · 同出山谷而一豪放一婉约，可见其词风两面 Same authorBoth by Huang Tingjian, one heroic, one graceful, showing two sides of his style.
《清平乐·春归何处》是山谷婉约词的代表：「春归何处？寂寞无行路」，以问句寻春、以拟人写春，情致缠绵深婉，与「若有人知春去处，唤取归来同住」的痴语相映，是典型的婉约笔法；而《断虹霁雨》则通篇豪宕，以口语、议论、笛声入词，雄放直快。两阕对照，可见山谷词风的两副面孔：婉约时情深意密、柔肠百转，豪放时天马行空、气吞万里，而无论何体，都贯穿着「以诗为词、以文为词」的个性——或用比兴之痴语，或用议论之快语，均能打破花间以来的陈规。一婉一豪，正说明山谷兼擅众体，是苏门词人中艺术面貌最丰富的一位。