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宋 Song · 词 Ci lyric

柳永·定风波·自春来惨绿愁红

Ding Feng Bo · Since Spring Came, the Green Looks Wretched, the Red Looks Sad

柳永

Liu Yong

婉约graceful (wan-yue) 闺情boudoir feeling 愁思sorrow 爱情Love

定风波·自春来惨绿愁红自春来、惨绿愁红，芳心是事可可。
日上花梢，莺穿柳带，犹压香衾卧。
暖酥消，腻云亸，终日厌厌倦梳裹。
无那。
恨薄情一去，音书无个。
早知恁么，悔当初、不把雕鞍锁。
向鸡窗，只与鸾笺象管，拘束教吟课。
镇相随，莫抛躲，针线闲拈伴伊坐。
和我，免使年少，光阴虚过。

Since spring came, the green looks wretched, the red looks sad;
Her amorous heart finds everything dull.
Sun on the flower-tips, oriole through the willow belt,
Yet still she presses the fragrant quilt and lies.
Her warm cream fades, her cloudy hair droops;
All day weary, loath to dress.
Helpless! She hates the fickle one who left,
No letter at all.
Had I known thus, I'd regret not locking his carved saddle.
By the chicken-window, only with him and the love-paper and ivory brush,
I'd have kept him at his verse lessons.
Ever at his side, not shunning,
I'd take up needlework and sit with him.
With me, spare the young years
From passing in vain.

Listen

Meaning

Since spring came, the red and green all wear a woeful look; her amorous heart finds everything dull. Sun on the flower-tips, oriole through the willow belt, yet she still presses the fragrant quilt and lies abed. Her creamy skin fades, her cloudy hair droops; all day weary, loath to dress. Helpless! She hates the fickle one who left, no letter at all. Had I known thus, I'd regret not locking his carved saddle. Then by the window I'd only have him with love-paper and ivory brush, keeping him at his verse lessons. Ever at his side, not shunning, I'd take up needlework and sit with him. With me, spare the young years from passing in vain.

入春以来，红花绿叶在愁人眼中都显得惨淡愁苦，这一颗芳心对什么事都提不起兴致。太阳已经升上花梢，黄莺在柳条间穿飞啼啭，她却依然拥着香衾高卧不起。肌肤渐渐消瘦，乌云般的鬓发松散低垂，整日里恹恹懒懒，连梳妆打扮都懒得去弄。真是无可奈何啊！只恨那薄情郎一去不回，连一封书信也没有。早知会是这般光景，真后悔当初没有把他的马鞍锁住。那时就让他守在书窗之下，只给他彩笺和象管毛笔，拘束着他吟诗作课。天天相随相伴，不许抛闪躲开，我闲来拈起针线做做活计，陪他坐在一处。和我厮守在一起，免得把大好的青春年华白白虚度过去。

Appreciation

This lyric unfolds as a first-person monologue of the longing woman, its language vulgar and frank. 'The green looks wretched, the red looks sad' makes the flowers persons through transferred feeling, red and green both woeful; 'Her warm cream fades, her cloudy hair droops' writes the lazy figure, fine and sensual. The lower stanza 'Had I known thus, I'd regret not locking his carved saddle' is a startling supposition, direct and bold; 'I'd take up needlework and sit with him' writes the wish for plain companionship, true and moving. The whole reads like household talk, spreading and extending, fully showing Liu's gift for the slow lyric's exposition and his common, citizen air.

【白话串讲】柳永写一个女子：春天来了，“惨绿愁红”——她看什么都愁。“恨薄情一去，音书无个”——恨那个薄情郎，一去无音信。“早知恁么，悔当初、不把雕鞍锁”——早知道这样，当初就不放他走了。【意象与手法】全词以思妇第一人称独白出之，通篇如与人语，是柳永铺叙手法与俚俗语言结合的典范。上片先用移情写景：「惨绿愁红」把花叶的红绿都染上愁惨之色，以我观物，物皆著我之色彩；再以「日上花梢，莺穿柳带」的明媚春光反衬「犹压香衾卧」的慵懒，乐景写哀，一倍增其哀。继以「暖酥消，腻云亸」的工笔细描写姿容消瘦、鬓发蓬松，由景入人、由外入内；「终日厌厌倦梳裹」以口语直写情态，「无那」二字短句如叹如唤，顿挫有力。下片转入心理独白，以「早知恁么，悔当初」领起追悔，「不把雕鞍锁」「拘束教吟课」「镇相随，莫抛躲」一连串悬想假设，把抽象的悔与愿铺展成具体的日常画面；「针线闲拈伴伊坐」以最平凡的细节写最朴素的愿望，结以「免使年少，光阴虚过」点明题旨。全词不事典藻，全赖铺叙展衍与口语白描，层层推进，把怨、悔、愿三种心理写得一波三折。【情感与主旨】词写春日闺怨，主人公是一位独守空闺、思念薄情游子的年轻女子。她的情感经历了由怨到悔、由悔到愿的完整过程：怨春光恼人、怨情郎一去不归，悔当初不曾羁留住他，愿长相厮守、共度青春。这看似只是市民阶层的儿女私情，实则寄寓着柳永对真情实感的肯定——他一生漂泊，屡试不第，以「奉旨填词」自嘲，常借歌伎之口写自己多情自古伤离别的体验；此词中思妇怕虚度青春的焦虑，正是词人自己怕光阴空逝的投射。全词以俚俗之语写真切之情，把闺怨从文人的雅化哀愁中解放出来，还原为市井女子的肺腑之言，体现了北宋市民文化对词的渗透，也奠定了柳词「凡有井水饮处即能歌」的流行基础。【名句点睛】「惨绿愁红」四字最为警策，以移情之法将自然物色与人物心境打成一片，绿红本是无情之色，一著「惨」「愁」便满目萧然，开篇即定下全词基调；「芳心是事可可」连用两个口语「可可」，把什么事都懒得理会的百无聊赖写得活灵活现。「早知恁么，悔当初、不把雕鞍锁」是下片枢纽，设想奇绝而直白泼辣，把抽象的悔恨化为锁马鞍的具体动作；「针线闲拈伴伊坐」则是最见真情的句子，不求富贵、不慕荣华，只要闲拈针线、相守而坐，这份平凡而执着的相守之愿，正是全词最动人处。晏殊曾以「彩线慵拈伴伊坐」讥柳词之俗，然正因俗得真切，此词才能越过千年，依然打动人心。

Background

This lyric is a representative of Liu Yong's vulgar lyrics, likely written in his period of haunting the pleasure quarters, written in a woman's voice on spring resentment. The upper stanza 'Since spring came, the green looks wretched, the red looks sad' sums up the hurt of spring; 'She hates the fickle one who left, no letter at all.' The lower supposes 'had I not locked his carved saddle,' wanting to keep the husband and avoid wasted years. The whole uses market slang, plainly and boldly pouring out the woman's resentment and regret, embodying Liu's 'wherever there is a well, the song can be sung' common character.

柳永（约987—约1053），原名三变，字耆卿，排行第七，世称柳七，崇安（今属福建）人。早年出入秦楼楚馆，流连于汴京歌楼酒肆，屡试不第，晚年方中进士，官至屯田员外郎，故世称柳屯田。他以毕生心力创作慢词，是北宋词坛第一位大力创作长调的词人，也是词从士大夫雅席走向市井勾栏的关键人物，当时即有「凡有井水饮处，即能歌柳词」之说。此词以思妇口吻写春闺怨情，是柳永俚俗词风的典型作品，约作于他流连坊曲、依红偎翠的青年时期，大致在仁宗朝前期。词中「恁么」「可可」「无那」「些些」等市井口语叠见，说明其创作面向的是市民听众与歌伎，追求明白如话、入耳即化的效果。也有人认为这类闺怨词实为柳永代歌伎立言，同时自伤身世——他一生飘零落魄，以「奉旨填词」自嘲，思妇之怨与才士之愤本可相通。此词还见证着词体演进：慢词在柳永手中完成体制上的定型，铺叙展衍、层层写透的写法，正是由他开启并影响周邦彦、李清照等人的。

Art

此词艺术上最突出的是铺叙展衍与口语白描的结合。全词以第一人称独白贯穿，上片写眼前情状，下片写心中悬想，层次分明而一气流转。开篇「自春来、惨绿愁红」以移情写景，把花叶的红绿皆染上愁惨之色，物我交融；「日上花梢，莺穿柳带」本是明媚春光，却以乐景衬哀情，反照出「犹压香衾卧」的慵懒倦怠。「暖酥消，腻云亸」用工笔细写姿容之消瘦、鬓发之松散，由景入人；「终日厌厌倦梳裹」以口语直写百无聊赖之态；「无那」二字独立成句，如一声长叹，顿挫有力。下片「早知恁么，悔当初、不把雕鞍锁」陡转，以追悔领起一连串悬想：「向鸡窗，只与鸾笺象管，拘束教吟课」「镇相随，莫抛躲」「针线闲拈伴伊坐」，把抽象的悔与愿铺展成一幅幅具体的日常生活图景，最后以「免使年少，光阴虚过」点破题旨。这种层层铺叙、以虚写实的手法，正是柳永慢词敷陈其事而直言之的本色；而「恁么」「可可」等俚语入词，更使全词如闻市井女子的当面倾诉，亲切直率，别有一种泼辣真挚的美感。

Allusions

The lyric uses no recondite allusion, mostly everyday imagery. 'The green looks wretched, the red looks sad' inherits Li He's 'wretched green, sad red' and earlier spring-lament phrasing, not a specific fact; 'carved saddle' means a fine saddle, standing for the lover's mount; 'chicken-window' uses the Song Chuzong chicken-window metaphysics-talk allusion from 'Yi Wen Lei Ju,' standing for the study window; 'love-paper and ivory brush' means colored paper and brush, common writing things. The whole writes boudoir feeling in market language, no piled allusions, winning by direct exposition and detail—just Liu Yong's vulgar-lyric nature.

此词几乎不用僻典，靠日常意象与口语取胜，这正是柳永与后来堆砌典故的雅词作家的分野。然细味仍有数处渊源可寻：其一，「惨绿愁红」前人多用以状暮春残景，唐人李贺笔下已有以「愁」染色的先例，柳永移以写闺中伤春之目，将绿红二色皆赋予愁惨之情，是最典型的移情炼字。其二，「雕鞍」代指游子所乘之马，锁雕鞍即留住行人，暗含前人闺怨中悔教夫婿觅封侯一类心理，而语更泼辣。其三，「鸡窗」用《艺文类聚》所引《幽明录》中宋处宗买长鸣鸡、畜之窗下、鸡作人语与之谈论的典故，后世遂以鸡窗代指书窗、书斋，此词借以设想把情郎拘束在书斋中吟诗课字。其四，「鸾笺象管」指彩笺与毛笔，为文房雅称，与「鸡窗」共同营构书斋意象。此外「香衾」「暖酥」「腻云」等语温香软玉，承花间词秾艳一脉，但柳永以俚俗口吻出之，化艳为真，使典故与艳语都服务于一个普通女子朴素的心愿，故不觉堆垛，反觉自然。

Commentary

Su Shi once jested that Liu's lyrics 'in the ornate parts seem like the court musician Lei's dancing,' yet could not but admire the exposition. The Qing critic Liu Xizai praised Liu Yong 'depicts the hard-to-depict scene, conveys the hard-to-convey feeling.' This lyric writes resentment in slang, true as if one heard her voice. Modern scholars say Liu's lyrics 'pleasing to both refined and common,' just relying on such plain-description. The singing girls could sing it, the literati also weighed his brush—showing Liu Qi's influence.

此词历来是柳永雅俗之争的焦点。张舜民《画墁录》载，柳永曾谒晏殊，晏殊以「彩线慵拈伴伊坐」一句讥其词风俚俗，柳永默然而退——这正说明当时士大夫对这类市井情词是鄙薄的。然而批评者也不得不承认其笔力：苏轼虽讥柳词，却赞《八声甘州》「霜风凄紧，关河冷落，残照当楼」数语不减唐人高处；刘熙载《艺概》评柳永「状难状之景，达难达之情，而出之以自然」，可谓知言。李清照《词论》谓柳词「虽协音律而词语尘下」，则道出其得失两面。从词史看，此词的价值恰在其「俗」：它把词从酒宴雅席拉回市井人家，用最直白的语言写出普通女子真实的怨悔与愿望，为宋词开辟了市民化、口语化的新路；其铺叙手法与心理描写，直接滋养了周邦彦的慢词与李清照的深情词。千年之后重读，「针线闲拈伴伊坐」的平凡愿望依然动人，可见真挚之情不分雅俗，这正是柳词不朽的生命力所在。

Prosody

Form Lyric, 'Ding Feng Bo' double-tune sixty-two characters (Liu Yong's form)词·定风波（柳永慢词体，双调约百字）

Rhyme Oblique rhyme, rising and departing voiced rhymes alternate (by ci-lin rhyme book)仄韵，通押词林正韵第九部歌哿个韵，上声与去声递押，一韵到底

Tone pattern Level-oblique by tune, many three-, four-, six-character lines in exposition句式长短错落，三、四、五、六、七字句相间，间以二字短句顿挫，仄声韵脚紧促，声情低回

Reading note Representative of Liu Yong's vulgar, expository slow lyric, a 'single-introduced-rhyme' form.此词为《定风波》慢词体，与欧阳炯六十二字的令词体不同，是柳永以长调铺叙之法改造旧曲牌的产物，双调约百字，上片以三字句领起，下片以四字句起头，句式长短错落。全词押仄声韵，归词林正韵第九部歌哿个韵，「可可」「卧」「裹」「个」「锁」「课」「坐」「过」等韵脚皆在上去二声之间递换，一韵到底，仄韵本身音短而促，声情低回顿挫，正与闺怨的幽怨悱恻相称，读来如怨如诉。句法上全词以三字短句领起（自春来、暖酥消、早知恁么、向鸡窗、镇相随），以四五六字句铺排展衍，至「无那」「和我」又收为二字短句，如长叹之声，形成舒缓与顿挫交替的节奏；上片由景入态、下片由悔入愿，章法上层层推进、一气呵成，正是柳永铺叙展衍、备足无余的典型。特别值得注意的是「恁么」「可可」「无那」等虚字口语的入词，使词的声情带上说话的语气，开慢词口语化之先声；后来苏轼、周邦彦的长调铺叙，皆可溯源于此。

Line by line

自春来、惨绿愁红，芳心是事可可

Since spring came, the green looks wretched, the red looks sad; her amorous heart finds everything dull.

入春以来，红花绿叶都显得惨淡愁苦，这一颗芳心对什么事都提不起兴致。

Since spring came, the green is grief-stricken and the red sorrowful; this tender heart is indifferent to everything.

开篇两句总摄全词情调，以移情之笔写伤春之目。「惨绿愁红」四字把本无感情的花叶之色染上愁惨：绿曰惨，红曰愁，颜色皆著人物之情，物我打成一片，是典型的以我观物、故物皆著我之色彩；「芳心是事可可」连用两个口语「可可」，极写万事无心、百无聊赖之态。「惨绿愁红」是触目所见，「芳心可可」是心底所感，一外一内，由景及情，把春闺独守的寂寞与倦怠写得入木三分。此二句还定下全词的俚俗基调：不事雕琢、不避口语，如市井女子当面自诉，正是柳永状难状之景、达难达之情的本色。可注意者，「可可」为当时市井方言，入词后使全句顿时鲜活，可见柳词与市民语言的血肉联系。

The opening two lines command the ci's mood, writing the spring-wounded eye through the transposed feeling. The four words grief-stricken green and sorrowful red dye the feelingless flower and leaf color with sorrow: the green called grief, the red called sorrow, the colors all taking on the person's feeling, thing and self fused, the typical gazing-at-the-object so the object takes my color; the tender heart is indifferent to everything uses the two colloquial indifferent, exhausting the listlessness of the heart at everything. The grief-stricken green and sorrowful red the sight before the eyes, the tender heart's indifference the feeling in the heart, one outer one inner, from scene to feeling, writing the chamber's solitude and weariness to the bone. These two lines also set the ci's vulgar tone: no carving, no shunning of the colloquial, like the market woman pleading her own case, precisely Liu Yong's quality of showing the hard-to-show scene and reaching the hard-to-reach feeling. It is worth noting that the indifferent was the then market dialect, entering the ci and making the line vivid at once, showing the blood-tie between the Liu ci and the citizen language.

日上花梢，莺穿柳带，犹压香衾卧

The sun has risen to the flower tips; orioles thread the willow bands — and still she lies crushed under the fragrant quilt.

太阳已经升上花梢，黄莺在柳条间穿飞啼啭，她却依然拥着香衾高卧不起。

The sun has climbed the flower tops, orioles dart through the willow bands; still she lies abed under the fragrant quilt.

此三句以乐景写哀，是最典型的反衬手法。日上花梢、莺穿柳带，写尽春光之明媚、生机之活跃，万物都在欢闹，唯独主人公犹压香衾卧——一个「犹」字点出久卧不起、慵懒至极，以春光的喧闹反衬内心的冷寂。「日上」「莺穿」的动态与「卧」的静止相对照，愈见其人与春光的隔膜；「香衾」之暖更反衬心境之凉。句法上三句由远及近、由外入内，从户外春光写到闺中衾卧，镜头层层推进，为下文的姿容描写与心理独白蓄势。此句还暗含时序推移：日上花梢已是清晨，而人犹高卧，一夜辗转、彻夜无眠的况味尽在不言中，可见柳永写情不着一「愁」字而愁态毕现的笔力。

These three lines write grief through delighted scene, the typical foil. The sun has risen to the flower tips; orioles thread the willow bands write the spring's brightness and the vivid life, all things rejoicing, and only the heroine still lies crushed under the fragrant quilt — the one word still pointing to the long lying and the extreme languor, the spring's bustle set against the heart's coldness. The risen sun and the threading oriole's motion set against the lying stillness, the more it shows the man's estrangement from the spring; the fragrant quilt's warmth further sets off the mood's chill. In syntax, three lines from far to near, from outer to inner, from the outdoor spring to the chamber's quilt, the camera advancing layer on layer, storing ground for the below bearing description and the inner monologue. This line also hides the season's turn: the sun risen to the flower tips is already morning, and the man still abed, the night's tossing and the sleepless night all within the unspoken, showing Liu Yong's power of writing grief without one word of grief and the grief's shape all present.

无那。恨薄情一去，音书无个

Helpless. I grieve that the faithless one, once gone, has not a single letter.

真是无可奈何啊！只恨那薄情郎一去不回，连一封书信也没有。

There is no help for it. Grief that the faithless one, once gone, has not a single letter.

「无那」二字独立成句，是上片情绪的爆发点，如一声无可奈何的叹息，顿挫有力，把前面铺写的慵懒倦怠一下子收拢为明确的情感指向——愁的根源在于薄情一去、音书无个。「恨」字直揭怨情，「薄情」二字骂得直白，正是市井女子的口吻，不遮不掩；「音书无个」以口语「无个」写音信全无，一个「个」字把连一封信也没有的失望写得具体而轻巧，愈轻愈见其怨之深。至此上片完成由景、态到怨的推进：先写伤春，再写慵懒，最后点破缘由，层层剥笋，正是柳永慢词铺叙展衍之妙。而「无那」这一短句的安排，也使上片句势在舒缓中陡起波澜，声情与辞情相合，堪称以句法传情的神来之笔。

The two words helpless stand as a line, the first stanza's emotional outbreak, like a helpless sigh, the holding-back forceful, gathering the languor written above at once into the clear emotional object — the grief's root is the faithless one gone and the not-a-single letter. The word grief directly reveals the resentment, the two words faithless scolded plainly, precisely the market woman's voice, unshielded; not a single letter uses the colloquial not-one for the total silence of news, the one colloquial word writing the disappointment of not even one letter concrete and light, the lighter the deeper the resentment. Here the first stanza completes the advance from scene and bearing to resentment: first the spring grief, then the languor, last the cause broken through, peeling the bamboo shoot layer on layer, precisely the wonder of Liu Yong's slow-ci expansion. And the arrangement of the short helpless line also makes the first stanza's sentence momentum rise in the calm suddenly to a wave, the voice and the feeling matched, the wondrous stroke of transmitting feeling through syntax.

针线闲拈伴伊坐

I'd take up needlework and sit with him.

我闲来拈起针线做做活计，陪他坐在一处。

Idly plying needle and thread, sitting at his side.

此句是全词最见真情的句子，也是历来争论的焦点。她不要富贵功名，不要封侯万里，只求闲拈针线、相伴而坐的寻常光景——「闲拈」写动作之从容，「伴伊坐」写愿望之朴素，七个字勾勒出一幅安宁温馨的日常画面，把抽象的相守之愿化为可触可感的细节。这份愿望越平凡，越见其情之真切：被晏殊讥为俗的，正是这种不慕虚荣的平民理想。句法上「镇相随，莫抛躲，针线闲拈伴伊坐」三句连用，一气贯注，铺展出下片悬想中的理想生活，与上片的孤寂形成强烈对照，愈显现实之可悲、愿望之可怜。柳永以最俗的语言写最真的情，正在此等处：他不写相思的雅化哀愁，而写陪伴的日常渴望，遂使千年之后的读者仍能为之动容。

This line is the ci's most genuine-feeling line, and the focus of the controversy through the ages. She wants no wealth and rank, no enfeoffment for ten thousand li, only the ordinary scene of idly plying the needle and thread, sitting at his side — the idly plying writes the unhurried action, sitting at his side writes the plain wish, seven characters sketching a peaceful, warm daily picture, turning the abstract wish of staying together into the touchable detail. The more ordinary this wish, the more genuine the feeling: what was mocked by Yan Shu as vulgar was precisely this commoner ideal that does not covet vanity. In syntax, the three lines of the ever-following, never-forsaking, idly plying needle and thread, sitting at his side run in one breath, unfolding the ideal life imagined in the second stanza, setting the sharp contrast against the first stanza's solitude, the more it shows the reality's grief and the wish's pathos. Liu Yong writes the truest feeling in the vulgarest language, precisely in such passages: he does not write the refined sorrow of longing, but the daily craving for companionship, hence the reader a thousand years later still moved.

Study

Word focus

惨绿愁红 The phrase 'wretched green, sad red' (canlüchouhong) transfers feeling onto the flowers, making red and green both wear a woeful look—the poem's opening blot of spring resentment, bold and immediate. 「惨绿愁红」四字是全词开篇的诗眼，也是移情手法的典范。绿与红本是春日的鲜活之色，诗人却以「惨」「愁」二字冠之，使花叶之色皆著人物愁惨之情，正所谓以我观物，故物皆著我之色彩。其妙有三：一是化实为虚，把视觉的颜色化为心理的感受，绿不再是绿，红不再是红，而是愁人眼中的惨绿愁红；二是以少总多，四字写尽整个春天在愁人眼中的黯淡，胜过千言万语的伤春铺写；三是开篇定调，从第一字起就把全词的愁惨基调确立下来。前人写伤春多直说愁恨，柳永却让颜色本身带上情感，这种移情炼字的手法，直接启发了后来李清照「绿肥红瘦」一类的名句，在词史上影响深远。

可可 The word 'dull' (keke) is a plain, spoken stroke that empties the heroine's whole heart of interest, the candid keynote of her languid, listless air. 「芳心是事可可」之「可可」，是典型的市井方言入词，意为不在意、无所谓、懒洋洋，是柳词口语化风格的标志性字眼。「是事可可」即什么事都无可无不可、提不起兴致，连用两个「可可」，以叠词写出百无聊赖、万事无心的心理状态，语感轻俏而意蕴沉痛——越是用轻巧的口语说不介意，越见其内心被愁绪占据到对一切都失去兴致的程度。在词史上，「可可」这类俚语入词此前极少见，柳永大量使用，使词的语言从典雅走向通俗，从士大夫的书斋走向市井的街巷，是词体市民化的关键一步。一字之微，可见柳词凡有井水饮处即能歌的语言秘密：不用何事关心而用是事可可，正是为了让最普通的听众一听便懂、一听便觉亲切。

亸 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「腻云亸」之「亸」字，写鬓发松散低垂之态，是柳永以一字传神的好例。「亸」本义为下垂、低垂，此处写女子无心梳理而云鬓慵堕，一个动词就把晨起慵懒、不事妆饰的形态写得如在目前；「腻云」以云喻发、以腻状其油亮柔滑，本是秾艳之语，而「亸」字一出，艳中带倦，恰是心事重重、无心打扮的写照。此字与「暖酥消」的「消」字对举，一写肌肤之消瘦，一写鬓发之低垂，由面到发，层层细写相思对人容貌的销蚀，比直说为伊消得人憔悴更见含蓄。柳词长于用动词写情态，「亸」「消」「压」等字皆精当入微，故刘熙载许其状难状之景、达难达之情，此一字正是明证。

恁么 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「早知恁么」之「恁么」，即如此、这样，是当时市井口语，亦是柳词俚俗本色的又一标志。「早知恁么，悔当初」七字纯用白话，却把追悔之情写得斩截有力：一个「早」字写悔之晚矣，一个「恁么」以口语指代前文全部苦况，不待细说而读者自明，语气如当面自叹，直率泼辣。此词之妙在于以最俗的字眼表达最深的心理——「恁么」二字看似不经意，实则把早知今日、何必当初的万千懊悔浓缩于一词，比任何文雅的悔不当初都更见市井女子口吻的真切。从词史看，恁么、可可、些些一类口语的密集使用，正是柳词区别于温韦雅词、开后来元曲白话抒情之先声的关键，晏殊讥其俗，而俗正是柳永独创的生机所在。