宋 Song · 词 Ci lyric
解连环·怨怀无托
Jie Lianhuan: A Grievance with Nowhere to Rest
怨怀无托。
嗟情人断绝，信音辽邈。
信妙手、能解连环，似风散雨收，雾轻云薄。
燕子楼空，暗尘锁、一床弦索。
想移根换叶。
尽是旧时，手种红药。
汀洲渐生杜若。
料舟依岸曲，人在天角。
谩记得、当日音书，把闲语闲言，待总烧却。
水驿春回，望寄我、江南梅萼。
拚今生，对花对酒，为伊落泪。
Alas — my lover is cut off from me, her letters distant and faint.
Suppose a clever hand could untie the linked jade rings —
it is like wind scattering and rain ending, like light mist and thin cloud.
The Swallow Tower is empty; dark dust locks away a bed of strings.
I think of roots moved and leaves changed —
all of it the red peonies once planted by hand.
On the islet the pollia slowly grows.
I imagine the boat moored at the shore's bend while its passenger is at the sky's corner.
In vain I remember the letters of those days —
all that idle talk, soon to be burned away.
Spring returns to the waterside post;
I hope you will send me a plum bud from Jiangnan.
I would wager this whole life — facing flowers, facing wine,
shedding tears for you.
Meaning
The poet grieves for a severed love: the letters are faint, the tower empty, its strings locked in dust, the peonies she planted by hand changed root and leaf. Even untying jade rings could not undo this knot. He resolves to burn her letters yet hopes for a plum bud from Jiangnan, and ends by wagering his whole life on shedding tears for her — grievance carried to the pitch of devotion.
满怀幽怨，却无处可以寄托。可叹情人与我断绝往来，音信渺茫遥远。纵有妙手能解开玉连环，（这情结）也似风散雨收、雾轻云薄一般无可挽回。燕子楼已空寂，暗暗的灰尘封锁了一床的琴弦乐器。想那当年的花草移根换叶，尽是旧时亲手栽种的红芍药。汀洲上渐渐生出杜若香草。料想归舟依着弯曲的岸边，人却远在天涯海角。空记得当日往来的书信，要把那些闲言碎语，待一起烧掉。水边驿站春又回来，盼望你寄我一枝江南的梅花。拼却这一生，对着花、对着酒，为那个人落下相思之泪。
Appreciation
[Plain Paraphrase] The grievance has nowhere to rest; the lover is cut off, her letters faint. Even a clever hand untying jade rings could not undo this knot — it is wind scattering, rain ending, mist thinning. The Swallow Tower stands empty, dust locked over the silent strings; the peonies she planted by hand have changed roots and leaves. Spring returns to the post station, and he hopes — absurdly, hopelessly — for a plum bud from Jiangnan, then stakes his whole life on shedding tears for her. [Structure] Grievance is the warp and time the weft: the poem circles through grievance, memory, hesitation, hope and obsession — a ring answering a ring, as the tune demands. [Imagery] Nothing is stated outright: the grievance hides in the locked strings, in the letters to be burned but never burned, in the plum bud hoped for but never sent. [Feeling] The closing wager turns lament into devotion.
【白话串讲】 周邦彦写解连环：“怨怀无托。嗟情人断绝，信音辽邈”。“信妙手、能解连环”——“燕子楼空，暗尘锁、一床弦索”——“想移根换叶。尽是旧时，手种红药”——他写旧情。 【意象与手法】 全词以「怨怀」为经、以「时间」为纬，章法回环如连环相扣：起句「怨怀无托」开门见山；继以解连环之典写怨之难解；燕子楼空、弦索蒙尘写人去楼空；移根换叶、汀洲杜若写时光流转；「谩记得、当日音书，把闲语闲言，待总烧却」写欲断还休；水驿春回、望寄梅萼由怨转盼；结句「拚今生，对花对酒，为伊落泪」以痴语收束。今昔交错、虚实相生，一怨一盼、一忆一望，回环往复，正合词牌「解连环」之意。 【情感与主旨】 此词写情人断绝后的怨怀：怨中有时光的追忆（手种红药）、有物在人亡的怅惘（燕子楼空）、有欲断还休的挣扎（待总烧却）、有怨极而生的痴愿（望寄梅萼、为伊落泪）。历来有寄托之说：或谓为怀旧日情人而作，或谓借闺怨寄身世之感。全词以「解连环」为词牌兼词题，首句用典照应题目，通篇如环相扣，是「词题合一」的绝佳范例。 【名句点睛】 常考「怨怀无托」的起句立骨、「燕子楼空，暗尘锁、一床弦索」以物写情的钩勒笔法，以及结句「拚今生，对花对酒，为伊落泪」的痴语深情；「解连环」用《战国策》齐君王后事，亦为常考点。
Background
Zhou Bangyan (1056-1121), styled Meicheng and known as Qingzhen Jushi, came from Qiantang (Hangzhou) and was the great synthesizer of late Northern Song ci, honored as the Du Fu of ci. A master of music, he once directed the imperial Music Bureau (Dashengfu) and devised many new tunes; his diction is refined, dense and harmonious, opening the way for the metrical school of the Southern Song. Jie Lianhuan is one of his long tunes on a wronged heart. The tune name itself comes from the Stratagems of Qi, where the queen of Qi smashed a pair of linked jade rings sent by Qin; Zhou Bangyan made the tune his title, and the poem's opening uses the same story, so that tune, title and meaning form a single ring.
《解连环·怨怀无托》是周邦彦的一首怀人间怨的长调慢词。周邦彦（1056—1121），字美成，号清真居士，钱塘（今浙江杭州）人，北宋末期词坛集大成者，被尊为「词中老杜」。他精通音律，曾提举大晟府，创调甚多，词风典雅精工、浑厚和婉，开南宋格律词派之先。此词写情人断绝后的怨怀：起笔「怨怀无托」直揭题旨，继以「解连环」之典暗喻情丝难解，复以燕子楼空、弦索蒙尘写人去楼空之况，再以移根换叶、汀洲杜若写时光流转，末以「拚今生，对花对酒，为伊落泪」的痴语收束，深情绵邈。关于本事，历来有寄托之说：或谓为怀旧日情人而作，或谓借闺怨寄身世之感，清真词多写艳情而寄意深远，此词亦然。「解连环」本为词牌名，取自《战国策》齐君王后解玉连环之典，周邦彦以词牌为词题，首句「信妙手、能解连环」正用此典，词题与词意巧妙合一，是其「以调为题」的创举之一。值得注意的是，周邦彦生于北宋中期，一生多在州县与大晟府之间辗转，仕途亦非得意；此词虽写男女之情，然「怨怀无托」的郁结、音信辽邈的怅惘，未尝不是其宦海生涯中知音难觅、身世浮沉的心影。宋代词论家常谓「美成词多有寄托」，此词可作一证。此词通篇以入声仄韵写怨情，声情沉咽，与其《兰陵王》《六丑》等长调同为清真「思力为词」的典范，历来为词家所重。
Art
The poem is built like the rings of its tune: grievance is the warp, time the weft. The opening four words state the theme — my grievance has nowhere to rest, a place with no place to put it; my lover is cut off, her letters faint doubles the severance. The jade-ring allusion converts the emotional knot into an object that can be untied or broken, then denies even that release. The Swallow Tower is empty is pure scene carrying pure feeling: the empty tower, the dust locked over the strings — one verb lock seals the instruments of conjugal harmony. Memory (the peonies planted by hand), the passage of time (pollia on the islet), the other's imagined whereabouts, the letters to be burned but never burned, the plum bud hoped for but never sent — each layer circles back to the opening grievance. The closing wager, I would wager this whole life, turns lament into devotion. Nothing is stated outright; the grief is distributed among objects and actions, hammered into a seamless whole.
此词艺术上以「思力深至、章法回环」著称，最能体现周邦彦「钩勒浑成」的词风。章法上，全词以「怨怀」为经、以「时间」为纬：起句「怨怀无托」开门见山，总揽全篇；「嗟情人断绝，信音辽邈」写怨之由来——情断音杳；「信妙手、能解连环」用典翻进，写怨之难解；「燕子楼空，暗尘锁、一床弦索」写人去楼空的现状，以物写情；「想移根换叶。尽是旧时，手种红药」由今追昔，回忆旧日亲手种花的欢爱；「汀洲渐生杜若」以香草意象写时光流转与思念滋生；「料舟依岸曲，人在天角」由己推人，悬想对方行踪；「谩记得、当日音书，把闲语闲言，待总烧却」写欲断还休的矛盾；「水驿春回，望寄我、江南梅萼」由怨转盼，希冀春信；结句「拚今生，对花对酒，为伊落泪」以痴语收束，怨极而爱愈深。全词今昔交错、虚实相生，一怨一盼、一忆一望，回环往复，如连环相扣，正合词牌「解连环」之意，章法之精密，清真独步。尤可注意者，此词虽为怀人怨情之作，而无一字直露，怨情皆借物象与动作出之：怨在「暗尘锁」的弦索里，怨在「待总烧却」的书信中，怨在「望寄我」的梅萼里，怨在「为伊落泪」的痴语里。以物写怨、以事写怨、以痴写怨，层层钩勒而不着痕迹，正是周济所谓「钩勒浑成」的妙处，也是清真词之所以高出流辈之处。
Allusions
Two allusions carry the poem. Untying the linked rings is from the Stratagems of Qi: the king of Qin sent the queen of Qi a chain of interlocked jade rings, saying Qi was full of clever men — let them untie it; none of the ministers could, and the queen smashed it with a hammer, answering the envoy that it was untied. Zhou Bangyan reverses the point: the rings could be broken, but the knot of the heart has no clever hand to untie it. The Swallow Tower belongs to Guan Panpan, the beloved of the Tang general Zhang Jian, who kept her chamber there for fifteen years after his death; Zhang Zhongsu and Bai Juyi both wrote on it, and Su Shi's the Swallow Tower is empty, where is the beauty? only swallows locked in the tower hovers behind the line. The red peony is the peony of the Book of Songs given at parting, the pollia is the fragrant herb of the Li Sao (I gather pollia on the fragrant islet) for the one who is longed for, and the Jiangnan plum is Lu Kai's spray of spring sent by courier — now hoped for from the beloved herself. The allusions melt seamlessly into the feeling.
此词用典精切而自然，尤以「解连环」与「燕子楼」二典最为关键。其一，「解连环」出《战国策·齐策》：秦昭王遣使遗齐君王后玉连环，曰「齐多知，而解此环不」？群臣莫能解，王后椎破之，谢秦使曰「谨以解矣」。周邦彦反用其意：玉连环尚可椎破而解，而情丝之结却无妙手能解——「信妙手、能解连环，似风散雨收，雾轻云薄」，纵有妙手能解连环，情之聚散亦如风散雨收、雾轻云薄，倏忽无凭，怨情之难解，比玉环更难。其二，「燕子楼」用唐张愔爱妾关盼盼事：盼盼居燕子楼十五年不嫁，张仲素、白居易皆有诗咏之；「燕子楼空」写人去楼空，暗用苏轼《永遇乐》「燕子楼空，佳人何在，空锁楼中燕」之意，以名楼之空写旧情之逝。其三，「手种红药」「汀洲渐生杜若」皆用香草意象：红药（芍药）为《诗经》「赠之以勺药」的赠别之花，杜若为《九歌·湘君》「采芳洲兮杜若」的怀人之草，香草年年生长而人已远隔，物候之变暗写相思之长。其四，「江南梅萼」用陆凯赠范晔「折梅逢驿使，寄与陇头人」之典，盼对方寄梅相慰，是怨极之后的温柔希冀。诸典皆化于无痕，与词情水乳交融。
Commentary
Jie Lianhuan is Zhou Bangyan's representative poem of longing, prized by critics for the density of its construction and the depth of its feeling. Zhou Ji, in his Song Four Masters' Selection of Ci, praises Qingzhen's ci as hammered into a seamless whole, and this poem is the model: it opens on my grievance has nowhere to rest, closes on shedding tears for you, and between them moves through present and past, real and imagined, in one breath with no seam showing. Chen Tingzhuo, in the Baiyuzhai Talks on Ci, says that Meicheng's poems, amid their rolling depth, have method in every word — the hammered verbs (lock, imagine, expect, in vain, wager), the exact allusions (the rings, the Swallow Tower, the pollia, the plum bud) and the circling structure all show that method. Its value is threefold: in ci history, it helped establish the architecture of the long tune that Jiang Kui and Wu Wenying later took as law; in feeling, its wager this whole life carries grievance to the pitch of devotion, comparable to Liu Yong's my belt grows loose, I do not regret; and in artistry, tune, title and meaning are fused into one ring — the finest example of the tune-as-title device.
《解连环·怨怀无托》是周邦彦怀人词的代表作，历代词评家多赏其章法之密、言情之深。清代周济《宋四家词选》称清真词「钩勒浑成」，此词正是典范：全篇以「怨怀无托」起、以「为伊落泪」结，中间今昔虚实、纵横开阖，而一气贯注，不见针线之迹。陈廷焯《白雨斋词话》谓「美成词于浑灏流转中，下字用意，皆有法度」，此词炼字之精（锁、想、料、谩、拚）、用典之切（连环、燕子楼、杜若、梅萼）、章法之回环，皆见其「下字用意」的法度。其价值有三：一在词史地位，周邦彦以思力为词，将词由自然的抒情引向自觉的经营，此词与《六丑》《兰陵王》等长调共同确立了慢词的章法典范，南宋姜夔、吴文英皆奉为圭臬；二在情感深度，词写怨情而不流于浅薄，怨中有忆、忆中有盼、盼中有痴，最后「拚今生，对花对酒，为伊落泪」的痴语，将怨极而爱深的情感写到极致，其深情绵邈，足与柳永「衣带渐宽终不悔」并峙；三在艺术完整性，此词以「解连环」为词牌兼词题，首句用典照应题目，通篇如环相扣，是「词题合一」的绝佳范例，亦可见清真创调之匠心。
Prosody
Line by line
怨怀无托。
My grievance has nowhere to rest.
满怀幽怨，却无处可以寄托。
A heart full of grievance, with nowhere to rest.
起句三字，开门见山，是全词的总纲，也是全词情感的引爆点。「怨怀」指满怀的幽怨之情，「无托」写这怨情无处可寄——无人可说、无物可遣、无处可放，怨到极处，竟成了一种悬置的、空转的苦闷。三字短句起调，如一声长叹，音节短促而沉重，为全词定下沉郁的基调。此句的妙处在于「无托」二字：若是怨有所归（如怨人、怨命），尚有宣泄之途；偏偏「无托」，怨便只能在心里发酵、郁积、回旋，这正是全词反复盘旋而终不得解的根由。词人开篇即把最痛的状态和最深的绝望并置，下文的情断音杳、人去楼空、欲焚旧书，皆是这「怨怀无托」的层层展开。三字立骨，起笔即不凡，是清真「以起句定全篇」的典型笔法。
The opening three words, straight to the point, the general outline of the ci, and the fuse of its emotion. The grieving heart means the breast of sorrow; nowhere to rest writes this grievance with nowhere to lodge — no one to tell, no thing to discharge, no place to lay it, grief at the extremity turned into a suspended, idling misery. The three short words open the tune, like a long sigh, the syllables short and heavy, laying the ci's melancholy tone. The line's beauty lies in the two words nowhere to rest: if the grief had an object (grief at a person, grief at fate), there would still be a road of discharge; precisely nowhere to rest, the grief can only ferment, fester, and circle in the heart, precisely the root of the ci's repeated circling without resolution. The poet opens by setting the sorest state and the deepest despair side by side, and the broken chord and the silent news, the empty tower and the burning of the old letters below are all the layer-on-layer unfolding of the grieving heart with nowhere to rest. Three words as the backbone, the opening already extraordinary, the typical craft of Zhou Bangyan's setting the whole piece in the opening line.
嗟情人断绝，信音辽邈。
Alas — my lover is cut off from me, her letters distant and faint.
可叹情人已经与我断绝往来，音信渺茫遥远。
I sigh that the beloved has broken off, that all news is far and dim.
此二句紧承「怨怀无托」，交代怨的由来。「嗟」字领起，一声叹息，先情后事——「情人断绝」写关系的中断，「信音辽邈」写音讯的断绝，双重的断绝使怨怀彻底失去了对象和凭依：情人既已断绝，怨给谁看？音信既已辽邈，盼从何来？「辽邈」二字写音信的渺茫遥远，既是空间之远，也是希望之渺，与《古诗十九首》「各在天一涯」同一心境，而更见绝望。此二句的语言极简，而情感的层次极深：一「嗟」写叹息，一「断绝」写决绝，一「辽邈」写无望，三词层层递进，把一段旧情的终结写得冷静而沉痛。值得注意的是「情人断绝」四字是陈述而非质问，平静的语气下压着翻涌的怨情，这正是周邦彦「含蓄蕴藉」的本色——怨而不怒，哀而不伤。
These two lines follow the grieving heart with nowhere to rest, telling the grief's source. The word sigh leads, one breath, feeling before fact — the beloved has broken off writes the relation's breaking; all news is far and dim writes the letters' cutting, the double breaking leaves the grievance without object and without hold: the beloved broken off, and to whom shall the grief be shown? The news far and dim, and from what shall the hope come? The two words far and dim write the letters' thin distance, at once the space's far and the hope's thin, the same mood as the Nineteen Old Poems each at the edge of the sky, and yet the more despairing. The two lines' language is simplest, and the emotional depth profound: one sigh writes the breath, one breaking off the finality, one far and dim the hopelessness, the three words advancing layer on layer, writing the ending of an old love calmly and with grief. It is worth noting that the four words the beloved has broken off are statement not question, the calm tone pressing the surging grievance below, precisely Zhou Bangyan's reserve — grief without anger, sorrow without wounding.
燕子楼空，暗尘锁、一床弦索。
The Swallow Tower is empty; dark dust locks away a bed of strings.
燕子楼已经空寂，暗暗的灰尘封锁了一床的琴弦乐器。
The Swallow Tower is empty; the hidden dust locks up the whole bed of strings.
此三句写人去楼空的现状，是全词最富画面感、也最见锤炼功力的句子。「燕子楼空」用关盼盼燕子楼之典，暗写旧日欢爱之所已空无一人——一个「空」字，既是楼空，也是心空；「暗尘锁、一床弦索」写尘土封锁了满床的乐器——琴瑟本为夫妇和鸣之器（《诗经》「琴瑟在御，莫不静好」），如今弦索蒙尘，无人弹弄，「锁」字极炼：灰尘不是「积」在弦上，而是「锁」住了弦索，仿佛这一床琴瑟连同旧日的琴瑟之情，都被封存、被禁锢，再也发不出声响。以物写情、以尘写人，人去楼空、尘封弦索，物态的荒凉即是心境的荒凉。三句由楼而床、由床而弦，由空而尘、由尘而锁，层层收紧，把「人去」的后果写得触目惊心，是清真「钩勒」笔法的极致。
These three lines write the empty tower after the man's going, the most pictorial and the most crafted lines of the ci. The Swallow Tower is empty uses the Guan Panpan Swallow Tower allusion, secretly writing the old love's place now void of people — the one word empty, at once the tower empty and the heart empty; the hidden dust locks up the whole bed of strings writes the dust sealing the whole bed of instruments — the zither and lute by nature the instruments of married harmony (the Book of Songs, zither and lute in their place, all peace and quiet), and now the strings are dust-covered, no one to play, the word lock most crafted: the dust does not merely gather on the strings, but locks the strings, as if this bed of zithers, with the old zither love, were all sealed and forbidden, never again to sound. Writing feeling through the thing, writing the man through the dust, the man gone and the tower empty, the dust-covered strings, the object's desolation is the mind's desolation. Three lines from tower to bed, from bed to strings, from emptiness to dust, from dust to lock, tightening layer on layer, writing the consequences of the man's going until startling, the extreme of Zhou's outlining brush.
谩记得、当日音书，把闲语闲言，待总烧却。
In vain I remember the letters of those days — all that idle talk, soon to be burned away.
空记得当日往来的书信，要把那些闲言碎语，待一起烧掉。
Vainly I remember the letters of those days; I mean to burn all those idle words and phrases.
此三句写欲断还休的矛盾，是怨情最激烈处，也是全词的情感高潮之一。「谩记得」即「空记得、徒然记得」——「谩」字写记得的无用与徒然：当日书信纵然历历在目，如今情已断绝，记得又有什么用？于是生出「把闲语闲言，待总烧却」的决绝之想——把那些书信中的闲言碎语，统统烧掉，一了百了。然而细味「待」字，便知这决绝并未实行：只是「待」烧，并非已烧；闲语闲言既称「闲」，可见嘴上轻蔑而心里珍重——正因珍重，才要烧掉以求解脱，也正因珍重，才迟迟烧不掉。「把闲语闲言，待总烧却」九字，写尽怨极而情难断的挣扎：愈是说要烧，愈见其不舍；愈是称之闲语，愈见其字字在心。怨之深、情之痴，尽在言外。
These three lines write the contradiction of the wanting to break and the cannot, the most violent place of the grievance, one of the ci's emotional peaks. Vainly I remember means empty memory, idle memory — the word vain writes the memory's uselessness: the old letters though vivid before the eyes, and the feeling now broken, what use to remember? Hence arises the resolve to burn all those idle words and phrases — to burn the idle phrases in the letters, all at once, ending everything. And yet savor the word waiting, and one knows the resolve was never carried out: only meaning to burn, not already burned; the idle words called idle shows the lip's contempt and the heart's treasuring — precisely because treasured, one would burn to be free; precisely because treasured, one cannot bring oneself to burn. The nine words burn all those idle words and phrases exhaust the struggle of grief at the extremity and the feeling's unbreaking: the more one says to burn, the more the reluctance shows; the more one calls them idle, the more each word lives in the heart. The grief's depth, the feeling's folly, all beyond the words.
水驿春回，望寄我、江南梅萼。
Spring returns to the waterside post; I hope you will send me a plum bud from Jiangnan.
水边的驿站春又回来，盼望你寄我一枝江南的梅花。
At the river post station spring returns; I hope she will send me a plum calyx from the south of the Yangtze.
此三句由怨转盼，是全词情感的转折点，也是怨极而爱愈深的明证。「水驿春回」写时序流转——春又回来了，驿路依旧，而人未归，点出年复一年的等待；「望寄我、江南梅萼」用陆凯寄梅之典：陆凯《赠范晔》「折梅逢驿使，寄与陇头人。江南无所有，聊赠一枝春」，本写友人寄梅相慰；词人反用其意，盼对方寄来江南的梅花——前面刚说「待总烧却」的决绝，此处却仍盼一枝梅信，一烧一寄、一断一盼，情感的反复正见其深。更妙的是「望」字与「待」字相映：待烧书信是愤激的悬想，望寄梅萼是温柔的悬盼，同是悬想，一决绝一缱绻，怨与爱在一词之内翻转回环。春回而人渺，梅萼可寄而音信辽邈，这盼望注定落空，唯其落空而更见痴绝——明知无望而仍盼，正是深情人的宿命。
These three lines turn from grief to hope, the emotional turning point of the ci, and the proof that grief at the deepest breeds the deeper love. At the river post station spring returns writes the season's turn — spring come again, the post road the same, and the man not returned, naming the year-after-year waiting; I hope she will send me a plum calyx from the south of the Yangtze borrows the Lu Kai plum-sending allusion: Lu Kai's to Fan Ye, breaking the plum at the courier, sent to the man beyond the pass, nothing in the south, I send a sprig of spring, by nature the friend's comfort through the sent plum; the poet reverses it, hoping the other will send the south-of-the-river plum — just now the resolve to burn all, and here still hoping for one plum letter, one burning one sending, one breaking one hoping, the emotion's turning and returning showing its depth. The deeper beauty: the hope answers the waiting to burn — the waiting to burn the letters the angry fantasy, the hoping for the plum the tender longing, both fantasies, one resolute one lingering, grief and love turning back within one ci. Spring returned and the man dim, the plum to send and the news far, this hope is doomed to fail, and precisely because doomed the more foolish — knowing the hopeless and still hoping, precisely the devoted man's fate.
拚今生，对花对酒，为伊落泪。
I would wager this whole life — facing flowers, facing wine, shedding tears for you.
拼却这一生，对着花、对着酒，为那个人落下相思之泪。
I stake this whole life, facing flowers and wine, on shedding tears for her.
结句以痴语收束，是全词情感的总爆发，也是千古传诵的深情名句。「拚」字（同「判」）是「豁出去、甘愿」之意——一个「拚」字，写尽不计代价的痴心：明知情已断绝、信已辽邈，仍愿拼却整个今生，对花对酒，为伊落泪。「对花对酒」四字极妙：花是当年手种的红药、春回的梅萼，酒是独酌浇愁之酒——对花而忆旧，对酒而自遣，花酒之间，全是那一个人的影子；「为伊落泪」四字直白如话，却因前面的层层铺垫而具有千钧之力——怨了这许多，忆了这许多，盼了这许多，最终都归于「为伊落泪」这四个字，怨极而爱深，至此和盘托出。此句以痴语写深情，与柳永「衣带渐宽终不悔，为伊消得人憔悴」异曲同工，而清真以「拚」字领起，更见决绝与甘愿，遂为千古写痴情的名句。
The close ends in the foolish words, the total outbreak of the ci's emotion, the deeply felt line recited through the ages. The word stake (same as judge) means to risk all, to willingly accept — the one word stake exhausts the devotion beyond price: knowing the feeling broken and the news far, and yet willing to stake the whole this life, facing flowers and wine, shedding tears for her. The four words facing flowers and wine are exquisite: the flower the red peony once planted by hand, the spring-returned plum calyx, the wine the solitary cup poured to drown the grief — facing the flower and recalling the old, facing the wine and self-comforting, between flower and wine, all the shadow of that one person; the four words shedding tears for her plain as speech, and yet through the layering above carrying the weight of a thousand jun — the grief of all this, the memory of all this, the hope of all this, gathering at last into the four words shedding tears for her, grief at the deepest and love the deepest, poured out at last. The line writes deep feeling through foolish words, the same craft as Liu Yong's the belt grows loose and yet I do not regret, for her I waste away, and yet Zhou leads with the word stake, the more decisive and willing, hence the famous line of devotion through the ages.
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Liu Chou sings the rose's decline to write the passing of spring and of love through layers of asking the flower and mourning the flower; Jie Lianhuan speaks the grievance directly through the unbreakable rings. One hides feeling behind a thing, one displays feeling as feeling — two brushes of Zhou Bangyan's long tunes, both hammered and complete.
周邦彦《六丑·蔷薇谢后作》「愿春暂留，春归如过翼，一去无迹」「长条故惹行客，似牵衣待话，别情无极」与其《解连环·怨怀无托》同出自清真手笔，同是思力型长调，同为借物（花、弦索）写情之深沉之作。差异在于：六丑咏蔷薇之谢，以花的凋零写春之逝、情之逝，托物言志，章法上以「问花」「谢花」层层转折；解连环直写怨怀，以连环难解写情丝难断，用典言怀，章法上以「怨—忆—盼—痴」层层盘旋。一借物而隐，一直情而显；一以物之盛衰写情之聚散，一以情之往复写心之郁结。两词对读，可见周邦彦长调的两副笔墨——咏物之工与言情之深，而其「钩勒浑成、下字用意皆有法度」的共同风格，则一以贯之。
苏幕遮·燎沉香 Su Mu Zhe · Nostalgia 周邦彦 · 同为清真怀人思乡词，一疏朗一绵密 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
周邦彦《苏幕遮·燎沉香》「叶上初阳干宿雨，水面清圆，一一风荷举」「小楫轻舟，梦入芙蓉浦」与其《解连环·怨怀无托》同写怀人之情，而风格迥异。苏幕遮写夏日荷塘之景以寄思乡之情，意象清丽疏朗，音节明快，是清真词中少见的清新之作；解连环写秋日怨怀之郁以寄怀人之思，意象沉暗（暗尘、弦索、杜若），音节沉咽，是清真词典型的重拙绵密之作。一以景胜，一以情胜；一明快一沉郁，一疏宕一钩勒。两词并读，可见周邦彦词风的多样性：他既能写「水面清圆，一一风荷举」的天然清丽，也能写「燕子楼空，暗尘锁、一床弦索」的沉郁顿挫，而怀人念远之情，则一以贯之。
八声甘州·对潇潇暮雨洒江天 Basheng Ganzhou: Facing the Evening Rain Spilling from the Sky 柳永 · 同为怀人念远长调，一疏朗直率、一深婉钩勒 Two long tunes of longing: one open and direct, one deep and wroughtLiu Yong opens on the vast evening rain over the river and speaks his longing outright, broad as a great river; Zhou Bangyan opens on a pent-up grievance and circles through grievance, memory, hope and obsession, winding as a nine-fold corridor. One wins by spread-out narration, one by wrought compression — the evolution of Northern Song man ci from Liu Yong's natural song to Zhou Bangyan's crafted design.
柳永《八声甘州》「不忍登高临远，望故乡渺邈，归思难收」「想佳人妆楼颙望，误几回、天际识归舟」与周邦彦《解连环·怨怀无托》同写怀人念远之情，同为长调慢词。差异在于：柳词以「对潇潇暮雨洒江天」的阔大景象起兴，感情直抒而坦率，「归思难收」直说无隐，是「屯田蹊径」的通俗深情；周词以「怨怀无托」的郁结情态起笔，感情盘旋而深婉，怨、忆、盼、痴层层钩勒，是清真思力型的精致深情。柳词疏朗，大开大阖，如长江大河；周词绵密，回环往复，如九曲回廊。一以铺叙胜，一以钩勒胜。两作并读，恰见北宋慢词由柳永的自然抒情到周邦彦的自觉经营的演进，而怀人之情的深挚则一脉相承。