宋 Song · 词 Ci lyric
李清照·永遇乐·落日熔金
Joy of Eternal Union · Molten Gold at Sunset
落日熔金，暮云合璧，人在何处。
染柳烟浓，吹梅笛怨，春意知几许。
元宵佳节，融和天气，次第岂无风雨。
来相召、香车宝马，谢他酒朋诗侣。
中州盛日，闺门多暇，记得偏重三五。
铺翠冠儿，捻金雪柳，簇带争济楚。
如今憔悴，风鬟霜鬓，怕见夜间出去。
不如向、帘儿底下，听人笑语。
But where is my person?
The willows are dyed in thick mist; a flute plays the plaintive 'Plum-Falling'—
How much spring is there yet?
The Lantern Festival, a mild and gentle day—
But in succession, can there be no wind and rain?
They come to summon me with fragrant carts and fine horses;
I decline those drinking and poetry friends.
In the flourishing days of the Central Plain, a maiden's chamber had much leisure;
I best remember how we prized the fifteenth above all.
Feather-and-emerald coronets, gold-twisted snow-willows,
All dressed in rival brightness and trim.
Now I am wan and worn, wind-tossed hair and frost-white temples;
I dread to go out at night and be seen.
Better to stay beneath the little curtain
And listen to others' laughter.
Meaning
The setting sun is like molten gold, the evening clouds like joined jade disks, yet where am I, my heart unmoored? The willows are steeped in dense mist; a flute breathes the plaintive 'Plum-Falling' tune — how much spring can there be? The Lantern Festival, the weather mild and warm, yet in a moment can there be no wind and rain? Someone comes in a fragrant cart and precious horse to invite me; I thank and decline those wine and poetry friends. I recall the flourishing days of the Central Plain, when a girl's chamber had leisure aplenty, and we set greatest store by the fifteenth of the first month. We wore emerald-set coronets and gold-twisted snow-willows, vying in brightness and trim. Now I am haggard, my hair wind-blown and temples frosted; I fear to go out at night among people. Better to stay beneath the curtain and listen to the laughter of others.
落日如熔化的黄金，暮云似合拢的玉璧，而我人在何处、心神无主。柳色如烟渐浓，笛里吹出《落梅》怨曲，这春意又能有多少。元宵佳节，天气和暖，可转眼难道就没有风雨。有人用香车宝马来邀我，我谢绝了那些酒朋诗友。 想起中州繁华之日，闺中多有闲暇，最偏重那正月十五。戴着铺翠的冠儿，捻金的雪柳，打扮得争奇斗艳、整齐俊俏。如今形容憔悴，鬓发如风霜斑白，怕在夜间出去见人。倒不如在帘儿底下，听听别人的欢声笑语。
Appreciation
The whole lyric is organised around the great change between then and now. The first stanza writes the warm bustle of the Lantern Festival in Lin'an, yet with 'but where is my person' and 'can there be no wind and rain' leaks a rootless drifting and a hidden worry for the times. The second stanza suddenly turns to the emerald coronets and trim of 'the flourishing days of the Central Plain,' then with 'now I am wan and worn' plunges to today's loneliness. It writes sorrow in a happy scene — the gayer the splendour, the deeper the grief. The close 'better to stay beneath the little curtain and listen to others' laughter' ends the deepest pain in the plainest words; in cold detachment it shows blood and tears, implicit and rich — most the true colour of Yi'an.
【白话串讲】 “落日熔金，暮云合璧，人在何处”——李清照在异乡过元宵：落日像熔金。“来相召、香车宝马，谢他酒朋诗侣”——朋友来请她出去玩，她拒绝了。“如今憔悴，风鬟霜鬓，怕见夜间出去”——她老了，怕出门。 【意象与手法】 全词以今昔巨变为纲，上片写临安元宵之和暖喧闹，却以"人在何处""岂无风雨"透出飘零无依与对时局的隐忧 【情感与主旨】 此词约作于李清照晚年居杭州时，当在南宋高宗绍兴二十年（1150）前后 【名句点睛】 中高考常考：一、上片"人在何处""岂无风雨"的双重意蕴（身世与时局）；二、今昔对比的结构与情感效果
Background
This lyric was probably written when Li Qingzhao lived in Hangzhou in her late years, around 1150 (the twentieth year of Shaoxing). After the Jingkang catastrophe she fled south in hardship; her husband Zhao Mingcheng was dead, her collections scattered, and she lived on alone. At the Lantern Festival, though Lin'an was hung with lanterns, she found things changed and people gone, and the festival stirred her grief. The lyric writes the pain of family and state and the sorrow of her own fate through the then-now contrast — a representative of Yi'an's late exile lyrics, and a reflection of the general household-state grief of the southward-fleeing scholars and their deep longing for the peaceful past.
《永遇乐·落日熔金》为南宋李清照所作，是写元宵感怀、今昔之悲的词。李清照（1084—约1155），号易安居士，济南人，南宋女词人。此词：落日熔金，暮云合璧，人在何处。染柳烟浓，吹梅笛怨，春意知几许。元宵佳节，融和天气，次第岂无风雨。来相召、香车宝马，谢他酒朋诗侣。中州盛日，闺门多暇，记得偏重三五。铺翠冠儿，捻金雪柳，簇带争济楚。如今憔悴，风鬟霜鬓，怕见夜间出去。不如向、帘儿底下，听人笑语。全词写元宵感怀、今昔盛衰，是李清照词的名篇。
Art
The whole lyric is built on the great change between past and present. The first stanza writes the warm bustle of the Lantern Festival in Lin'an, yet with 'but where is my person' and 'can there be no wind and rain' leaks rootlessness and a hidden worry for the times; the second stanza plunges into the emerald coronets of 'the flourishing days of the Central Plain,' then with 'now I am wan and worn' whirls back to today's loneliness. It writes sorrow in a happy scene — the more splendid, the deeper the grief. The close 'better to stay beneath the little curtain and listen to others' laughter' ends the deepest pain in the plainest words; in cold detachment it shows blood and tears, implicit and rich — most the true mark of Yi'an.
《永遇乐·落日熔金》艺术上以今昔对比的深沉与身世之悲的深婉见长。全词十四句，层层写来：上片写元宵之景——“落日熔金，暮云合璧”写落日暮云，“染柳烟浓，吹梅笛怨”写柳烟梅笛，“元宵佳节，融和天气，次第岂无风雨”写元宵天气，“来相召、香车宝马，谢他酒朋诗侣”写谢酒朋诗侣；下片写今昔之悲——“中州盛日，闺门多暇，记得偏重三五”写中州盛日，“铺翠冠儿，捻金雪柳，簇带争济楚”写昔日元宵之盛，“如今憔悴，风鬟霜鬓，怕见夜间出去”写如今憔悴，“不如向、帘儿底下，听人笑语”写听人笑语。全词以今昔对比写身世之悲，正是李清照词深婉沉郁的笔法。
Allusions
In the first stanza 'a flute plays the plaintive Plum-Falling' uses the Han yuefu flute-song 'Plum Blossoms Fall,' whose old lyric often sings the plum's scattering and the sorrow of parting; here the flute voices spring-sorrow. 'The fifteenth' is the fifteenth of the lunar month, standing for the Lantern (Shangyuan) Festival; the ancients called the festival night 'the fifteenth.' 'Feather-and-emerald coronets, gold-twisted snow-willows' describes Northern-Song women's festive dress at the Lantern Festival — a real custom, not an obscure allusion. Overall the allusions are shallow and natural, melted into the season's sights, with no piling — exactly Yi'an's wonder of 'using allusion as if it were her own,' speaking the vicissitudes in ordinary language.
《永遇乐·落日熔金》用典在“落日熔金”“吹梅笛怨”“三五”。“落日熔金”用廖世美“落日熔金”之句意，写落日如熔金；“吹梅笛怨”用笛曲《梅花落》之典，写笛声之怨；“三五”用正月十五元宵之代称（《古诗十九首》“三五明月满”）。全词以这些典故写元宵感怀、今昔之悲，用典自然而深婉自见，正是李清照词的笔法。
Commentary
Liu Chenweng, in his Xuci, said he wept on reading this lyric and wrote a matching piece in its rhyme — showing how deeply it moved. The modern Shen Zufen praised it for 'writing deep pain in plain language.' Tang Guizhang said the then-now contrast is 'like the Constant Mountain snake, head and tail answering.' Later ages often read it against Su Shi's 'Joy of Eternal Union'; Yi'an's work writes the rise and fall of family and state in a woman's delicate brush — opening a new path, a timeless masterpiece among Lantern-Festival lyrics.
《永遇乐·落日熔金》是李清照词的名篇，也是南宋词中写今昔盛衰的代表作。此词写元宵感怀、今昔之悲，向为论者称道。论者多赏其今昔对比的深沉——“中州盛日，闺门多暇，记得偏重三五”写昔日元宵之盛，与“如今憔悴，风鬟霜鬓，怕见夜间出去”写如今之衰相对，今昔之悲尽在其中；“不如向、帘儿底下，听人笑语”写听人笑语，更见其悲。李清照为南宋女词人，其词以南渡后深婉沉郁著称，此词正是其代表——以今昔对比写身世之悲，正是其词风。
Prosody
Line by line
落日熔金，暮云合璧，人在何处。染柳烟浓，吹梅笛怨，春意知几许。
The setting sun melts gold, the evening clouds join like jade; where is the man? The willow is dyed deep in mist, the flute blows the plum in grief; how much spring feeling is there, I wonder.
落日如熔金，暮云如合璧，人在何处。柳色染烟正浓，笛声吹梅含怨，春意知有多少。
The setting sun melts like gold, the evening clouds close like joined jade; where is the man? The willow is dyed deep in mist, the flute blows the plum air in grief; how much spring feeling, who knows.
上片写元宵之景、兴亡之感，是全词身世之悲的起点。“落日熔金，暮云合璧，人在何处”写落日暮云——“落日熔金”写落日如熔金，“暮云合璧”写暮云如合璧，“人在何处”写人在何处——落日熔金，人在何处；“染柳烟浓，吹梅笛怨，春意知几许”写柳烟梅笛——“染柳烟浓”写柳色染烟正浓，“吹梅笛怨”用《梅花落》之典写笛声吹梅含怨，“春意知几许”写春意知有多少——柳烟梅笛，春意几许。六句写元宵之景：落日熔金、暮云合璧、人在何处，染柳烟浓、吹梅笛怨、春意知几许。以“落日熔金，暮云合璧”写元宵傍晚之美景，以“人在何处”写人事飘零之叹，以“染柳烟浓，吹梅笛怨”写春景与笛怨，正是李清照词写元宵感怀、身世飘零的起点——美景如昔，而人已飘零。
The first stanza writes the Lantern Festival scene and the rise-and-fall feeling, the starting point of the ci's fate grief. The setting sun melts gold, the evening clouds join like jade; where is the man? writes the setting sun and evening clouds — the melting gold the sun like molten gold, the joined jade the clouds like matched jade, where is the man the man's whereabouts; the willow is dyed deep in mist, the flute blows the plum in grief; how much spring feeling, I wonder writes the willow mist and the plum flute — the dyed willow the willow color deep in mist, the blowing plum's grief using the Falling Plum Blossoms allusion for the flute's grieving air, the how much spring feeling the spring's measure. Six lines: the melting gold, the joined jade, the where-is-the-man; the dyed willow, the grieving flute, the spring's measure. The melting gold and joined jade write the Lantern dusk's beauty; where is the man? writes the human drifting sigh; the dyed willow and grieving flute write the spring scene and the flute's grief — precisely Li Qingzhao's starting point for the Lantern Festival feeling and the drifting fate: the beauty as of old, and the man already adrift.
元宵佳节，融和天气，次第岂无风雨。来相召、香车宝马，谢他酒朋诗侣。
The Lantern Festival, the mild weather; in a moment, must there not be wind and rain? They come to summon me in scented carriages and jeweled horses; I decline the wine friends and poet companions.
元宵佳节，融和天气，转眼岂无风雨。有人来相召，香车宝马，我谢绝了酒朋诗侣。
The Lantern Festival, the mild soft weather; in a twinkling, can there be no wind and rain? They come to call with scented carriages and jeweled horses; I decline the wine friends and poet companions.
此六句写谢绝游赏，是全词深婉的深化。“元宵佳节，融和天气，次第岂无风雨”写元宵天气——“元宵佳节”写元宵佳节，“融和天气”写融和天气，“次第岂无风雨”写转眼岂无风雨——元宵融和，次第风雨；“来相召、香车宝马，谢他酒朋诗侣”写谢绝游赏——“来相召、香车宝马”写有人香车宝马来相召，“谢他酒朋诗侣”写谢绝了酒朋诗侣——香车相召，谢绝诗侣。六句写谢绝游赏：元宵佳节、融和天气、次第岂无风雨，来相召香车宝马、谢他酒朋诗侣。以“次第岂无风雨”写好景不长、风雨难料之虑，以“谢他酒朋诗侣”写无心游赏、谢绝相召，正是李清照词写深婉的笔法——佳节虽好，而心事已倦。
These six lines write the declining of the outing, the deepening of the ci's reserve. The Lantern Festival, the mild soft weather; in a twinkling, can there be no wind and rain? writes the festival weather — the festival the festival day, the mild weather the soft warmth, the in-a-twinkling must there not be wind and rain the soon-coming storm; they come to call with scented carriages and jeweled horses; I decline the wine friends and poet companions writes the declining — the scented carriages and jeweled horses coming to call, the declining the refusal of the poet companions. Six lines: the festival, the mild weather, the storm to come; the scented-carriage call, the refused companions. The in-a-twinkling can there be no wind and rain writes the fair scene's brevity and the storm's unpredictability; the declining of the companions writes the heart's weariness for the outing — precisely Li's brush of reserve: the festival fair, and the heart already tired.
中州盛日，闺门多暇，记得偏重三五。铺翠冠儿，捻金雪柳，簇带争济楚。
In the flourishing days of the central plain, with much leisure in the chambers, I remember the special pride in the fifteenth. The kingfisher-feathered caps, the gold-twisted snow willows, all decked out, competing in elegance.
中州盛日之时，闺门多暇，记得最看重元宵三五。铺翠的冠儿，捻金的雪柳，簇带争着齐整。
In the flourishing days of the central plain, the chambers leisured, I remember the special pride in the fifteenth night. The kingfisher caps, the gold-twisted snow willows, all adorned, competing in smartness.
此六句写昔日元宵之盛，是全词今昔对比之“昔”的展开。“中州盛日，闺门多暇，记得偏重三五”写中州盛日——“中州盛日”写中州（汴京）盛日，“闺门多暇”写闺门多暇，“记得偏重三五”写记得最看重元宵三五——中州盛日，偏重三五；“铺翠冠儿，捻金雪柳，簇带争济楚”写昔日元宵之盛——“铺翠冠儿”写铺翠的冠儿，“捻金雪柳”写捻金的雪柳，“簇带争济楚”写簇带争着齐整——冠儿雪柳，簇带济楚。六句写昔日元宵之盛：中州盛日、闺门多暇、记得偏重三五，铺翠冠儿、捻金雪柳、簇带争济楚。以“中州盛日，闺门多暇”写汴京盛世、闺中闲适，以“铺翠冠儿，捻金雪柳，簇带争济楚”写昔日元宵盛妆之丽，正是李清照词写今昔对比之“昔”的笔法——当年盛日，元宵繁华。
These six lines write the old Lantern Festival's splendor, the unfolding of the past in the ci's now-and-then contrast. In the flourishing days of the central plain, with much leisure in the chambers, I remember the special pride in the fifteenth writes the central plain's flourishing — the central plain (Bianjing) the flourishing days, the leisure the chamber's ease, the special pride in the fifteenth the Lantern Festival's special weight; the kingfisher-feathered caps, the gold-twisted snow willows, all decked out, competing in elegance writes the old splendor — the kingfisher caps the feathered headdress, the gold-twisted snow willows the gold-twisted ornaments, the all-decked-out competing in smartness. Six lines: the central plain's flourishing, the chamber's leisure, the fifteenth's pride; the feathered caps, the gold snow willows, the smart adornment. The central plain's flourishing and the chamber's ease write Bianjing's peaceful age and the chamber's leisure; the feathered caps and gold willows write the old festival's splendid dress — precisely Li's brush of the past in the now-and-then contrast: the flourishing days of old, the Lantern's splendor.
如今憔悴，风鬟霜鬓，怕见夜间出去。不如向、帘儿底下，听人笑语。
Now, haggard, wind-tousled hair and frost temples, I dread going out at night. Better to sit under the curtain and hear the others' laughter.
如今憔悴，风鬟霜鬓，怕在夜间出去。不如向着帘儿底下，听人笑语。
Now haggard, my hair wind-tousled, my temples frosted, I dread going out at night. Better to lean beneath the curtain and listen to the others' talk and laughter.
末四句写如今之衰，是全词今昔对比之“今”的归结。“如今憔悴，风鬟霜鬓，怕见夜间出去”写如今憔悴——“如今憔悴”写如今憔悴，“风鬟霜鬓”写风鬟霜鬓，“怕见夜间出去”写怕在夜间出去——如今憔悴，怕见夜出；“不如向、帘儿底下，听人笑语”写听人笑语——“不如向”写不如向着，“帘儿底下”写帘儿底下，“听人笑语”写听人笑语——帘儿底下，听人笑语。四句写如今之衰：如今憔悴、风鬟霜鬓、怕见夜间出去，不如向帘儿底下、听人笑语。以“如今憔悴，风鬟霜鬓”写南渡后之人老憔悴，以“怕见夜间出去”写无心游赏，以“不如向、帘儿底下，听人笑语”写独坐帘下、听人笑语之悲，正是李清照词写今昔之悲的归结——当年盛日争济楚，如今帘下听笑语。
The last four lines write the present decline, the gathering of the present in the now-and-then contrast. Now haggard, wind-tousled hair and frost temples, I dread going out at night writes the present haggardness — the now haggard, the wind-tousled hair and frost temples, the dread going out at night; better to sit under the curtain and hear the others' laughter writes the listening to the laughter — the better to lean toward, the beneath the curtain, the hear-the-laughter. Four lines: the haggardness, the wind-tousled hair, the dread of the night outing; beneath the curtain, the listening to the laughter. The now haggard and wind-tousled hair write the post-south-fleeance age and haggardness; the dread of the night outing the heart's weariness; the beneath the curtain and listening to laughter write the solitude of sitting alone under the curtain and hearing the others' joy — precisely Li's gathering of the now-and-then grief: the old days competing in elegance, and now under the curtain hearing the laughter.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
李清照《永遇乐·落日熔金》（另一传本）与本首同写元宵感怀，为同词之不同传本。差异在文字：此本“落日熔金，暮云合璧”；另一本文字略有出入。一写“今”之悲，一写“昔”之盛。两者并读，可见此词传本之异同。
声声慢·寻寻觅觅 Slow Slow Song 李清照 · 同为李清照词写身世之悲，一写元宵感怀一写秋日凄清，皆深婉沉郁 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
李清照《声声慢·寻寻觅觅》“寻寻觅觅，冷冷清清”写秋日凄清之悲，与本首同为李清照词写身世之悲。差异在情境：永遇乐写元宵感怀之今昔；声声慢写秋日凄清之孤寂。一写“节”之悲，一写“秋”之愁。两者并读，可见李清照词写身世之悲的两种情境。
醉花阴·薄雾浓云 Tipsy in Flowers’ Shadow · Thin Fog and Thick Clouds 李清照 · 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.
此处关联李清照《醉花阴·薄雾浓云》，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。