宋 Song · 词 Ci lyric
浣溪沙·簌簌衣巾落枣花
Huanxisha: Date Blossoms Fall on My Clothes
簌簌衣巾落枣花，村南村北响缲车。
牛衣古柳卖黄瓜。
酒困路长惟欲睡，日高人渴漫思茶。
敲门试问野人家。
Wine-drowsy and the road long, I only want to sleep; the sun high, my throat dry, I vaguely long for tea. I knock at the gate and ask the country folk for some.
Meaning
The lyric records a country walk in early summer—rustling date blossoms, humming reeling wheels, a cucumber seller—and closes with the poet, wine-drowsy and thirsty, knocking at a farmhouse for tea, showing his easy, approachable bond with rural folk.
枣花簌簌地落在衣巾上，村南村北响起缫车的声音。披着牛衣的老汉在古柳下卖黄瓜。 酒意困人、路途漫长，只想要睡；日头高照、人口渴了，漫然想着茶。敲开柴门试问乡野人家讨杯茶。
Appreciation
Entirely plain description, blending sight and sound (the rustle, the hum, the selling). It brings ordinary village sights into lyric, its language homely yet full of delight—Su Shi's fresh, pastoral strain of village lyrics. The closing 'I knock and ask' catches his humility and ease among the people, the most lovable moment of the piece.
【白话串讲】 苏轼下乡看农事：“簌簌衣巾落枣花，村南村北响缲车”——枣花落满衣巾，到处是缫丝声。“牛衣古柳卖黄瓜”——“酒困路长惟欲睡，日高人渴漫思茶。敲门试问野人家”——他渴了，敲门向农家讨茶喝。最亲切的苏轼。 【意象与手法】 全用白描，视听结合（簌簌、响、卖）。以寻常乡村风物入词，语言质俚而意趣盎然，是苏轼农村词清新一路。 【情感与主旨】 展现词人谪居乡野时随遇而安、亲近农人的洒脱襟怀。不写忧愤而写闲适，于平淡中见坡仙真趣。 【名句点睛】 敲门试问野人家——以一'试'字写尽与民同乐的谦和，是全篇最可亲处。
Background
This lyric was written in 1078 during Su Shi's tenure as prefect of Xuzhou, on a journey giving thanks for rain; the set of five 'Huanxisha' all write of village scenes, this being the first, recording what he saw in the fields in early summer.
《浣溪沙·簌簌衣巾落枣花》为宋代苏轼所作，是写徐州乡村之景、闲适之情的词。苏轼（1037—1101），字子瞻，号东坡居士，眉山人，宋代文学家。此词：簌簌衣巾落枣花，村南村北响缲车。牛衣古柳卖黄瓜。酒困路长惟欲睡，日高人渴漫思茶。敲门试问野人家。全词写徐州乡村之景、闲适之情，是苏轼词的名篇。
Art
It brings colloquial speech into lyric, plain as a painting; upper part scene, lower part feeling, moving from motion (falling, humming, selling) to stillness (drowsy, thirsty, knocking), its structure loose yet sufficient.
《浣溪沙·簌簌衣巾落枣花》艺术上以乡村之景的描摹与闲适之情的自然见长。全词分两片：上片写乡村之景——“簌簌衣巾落枣花，村南村北响缲车”写簌簌枣花、村南村北缲车，“牛衣古柳卖黄瓜”写牛衣古柳卖黄瓜；下片写闲适之情——“酒困路长惟欲睡，日高人渴漫思茶”写酒困路长、日高思茶，“敲门试问野人家”写敲门试问野人家。全词以乡村之景写闲适之情，正是苏轼词自然的笔法。
Allusions
'Reeling wheel' (sao che): the silk-reeling frame; 'straw coat' (niu yi): a hemp winter garment, here coarse clothing; 'country folk' (ye ren jia): rural households.
《浣溪沙·簌簌衣巾落枣花》用典在“缲车”“牛衣”“野人”。“缲车”写缫丝之车；“牛衣”写牛衣（粗布衣，典出《汉书》王章牛衣对泣）；“野人”写乡野之人。全词以这些意象写徐州乡村之景、闲适之情，用典自然而平实自见，正是苏轼词的笔法。
Commentary
The Master's (Su's) village lyrics sweep away the late-Tang Five-Dynasties ornateness and open the Song lyric's turn toward the lives of the people; read together with 'Xijiang Yue: Night Walk on the Yellow Sand Road' one sees the same vein.
《浣溪沙·簌簌衣巾落枣花》是苏轼词的名篇，也是宋词中写乡村之景的代表作。此词写徐州乡村之景、闲适之情，向为论者称道。论者多赏其乡村之景的描摹与闲适之情的自然——“簌簌衣巾落枣花，村南村北响缲车”写簌簌枣花、缲车响，自然之极；“牛衣古柳卖黄瓜”写牛衣古柳、卖黄瓜，更见其朴；“酒困路长惟欲睡，日高人渴漫思茶”写酒困日高、漫思茶，尤见其闲；“敲门试问野人家”写敲门试问野人家，尤见其真。此词作于苏轼知徐州时，写谢雨道中，正是其代表——以乡村之景写闲适之情，正是其词风。
Prosody
Line by line
簌簌衣巾落枣花，村南村北响缲车。牛衣古柳卖黄瓜。
Date blossoms fall with a rustle on my clothes and kerchief; south and north of the village the reeling wheels hum. An old man in straw coat sells cucumbers beneath the ancient willow.
簌簌衣巾落枣花，村南村北响缲车。牛衣古柳卖黄瓜。
Date blossoms patter onto my robe and headcloth; south and north of the village the silk-reeling wheels hum; under the ancient willow, a man in a straw coat sells cucumbers.
上片写乡村之景，是全词写徐州之景的起点。“簌簌衣巾落枣花”写簌簌枣花落衣巾——“簌簌衣巾落枣花”写枣花簌簌落在衣巾上——簌簌衣巾落枣花；“村南村北响缲车”写村南村北响缲车——“村南村北响缲车”写村南村北响起缫车之声——村南村北响缲车；“牛衣古柳卖黄瓜”写牛衣古柳卖黄瓜——“牛衣古柳卖黄瓜”用牛衣之典写牛衣老翁在古柳下卖黄瓜——牛衣古柳卖黄瓜。三句写乡村之景：簌簌衣巾落枣花，村南村北响缲车。牛衣古柳卖黄瓜。以“簌簌衣巾落枣花”写枣花簌簌、落满衣巾，以“村南村北响缲车”写缫车之声、村南村北，以“牛衣古柳卖黄瓜”写牛衣古柳、卖瓜之景，正是苏轼词写徐州之景的起点——枣花缲车，古柳卖瓜。
The first stanza writes the village scene, the starting point of the ci's portrait of Xuzhou. Date blossoms patter onto my robe and headcloth writes the blossoms falling on the clothes; south and north of the village the silk-reeling wheels hum writes the reeling wheels sounding through the village; under the ancient willow, a man in a straw coat sells cucumbers uses the straw-coat allusion for the old willow and the cucumber seller. Three lines: the pattering blossoms on the clothes, the humming wheels south and north, the ancient willow and the cucumbers — precisely the starting point of Su Shi's Xuzhou scene: date blossoms, reeling wheels, willow and melons.
酒困路长惟欲睡，日高人渴漫思茶。
Wine-drowsed, the road long, I only want to sleep; the sun high, my throat dry, I vaguely think of tea.
酒困路长惟欲睡，日高人渴漫思茶。
Wine weighs on me, the road is long, I want nothing but sleep; the sun stands high, I am thirsty, and I vaguely think of tea.
此二句写酒困欲睡、日高思茶，是全词写闲适之情的深化。“酒困路长惟欲睡”写酒困欲睡——“酒困路长惟欲睡”写酒意困人、路途漫长只想睡——酒困路长惟欲睡；“日高人渴漫思茶”写日高思茶——“日高人渴漫思茶”写日头高照、人渴漫然思茶——日高人渴漫思茶。二句写酒困欲睡、日高思茶：酒困路长惟欲睡，日高人渴漫思茶。以“酒困路长惟欲睡”写酒困路长、倦极欲睡，以“日高人渴漫思茶”写日高口渴、漫然思茶，正是苏轼词写闲适之情的深化——酒困欲睡，日渴思茶。
These two lines write the drowsiness and the thirst, the deepening of the ci's leisure. Wine weighs on me, the road is long, I want nothing but sleep writes the wine's weight and the road's length and the craving for sleep; the sun stands high, I am thirsty, and I vaguely think of tea writes the high sun and the vague longing for tea. Two lines: the drowsy road and the thirst at high noon — precisely the deepening of Su's leisure: wine-drowsed and road-weary, sun-high and tea-hungry.
敲门试问野人家。
I knock at the door and ask, as one might, at a countryman's house.
敲门试问野人家。
I knock at the door and make bold to ask a country house.
末写敲门试问野人家，是全词写闲适之情的归结。“敲门试问野人家”写敲门试问野人家——“敲门试问野人家”用野人之称写敲门试问乡野人家——敲门试问野人家。一句写敲门试问野人家：敲门试问野人家。以“敲门试问野人家”写途渴叩门、试问乡野人家（讨茶），正是苏轼词写闲适之情的归结——叩门问茶，野人之家。
The close writes the knock at the door, the gathering of the ci's leisure. I knock at the door and make bold to ask a country house uses the word rustic for the country house, writing the knocking and the asking for tea. One line: the thirsty traveler knocking to ask a country house for tea — precisely the gathering of Su's leisure: the knock, the asking, the rustic home.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
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浣溪沙·细雨斜风 Tune: Silk-Washing Stream — Fine Rain and Slanting Wind 苏轼 · 与本首相关联的同类或同作者作品，供对比阅读 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
此处关联苏轼《浣溪沙·细雨斜风》，与本首在主题、体裁或作者上相关联，可对比阅读以见其同异。