满江红

Meaning

This is a lyric on spring water, but it is really a lyric on memory. Opening on the warm rippling water of the Su causeway at dawn, it follows the water's life — fish, petals, a ruined bridge, a small boat from the willow shade, a pond green as dream-grass — until the water flows out of the empty hills carrying the clouds, washing clean the flowers' fragrance year after year. The poet recalls coming along the lonely village road when the fresh green water first rose, mourns the silent grove where friends once drank and chanted, and ends with the question: since the former Liu went home, how many green peaches are left by the stream? Beneath the clear spring surface runs a current of loss — for friends, for a dynasty, for a self that passed this way before.

波暖绿粼粼，燕飞来、好是苏堤才晓。鱼没浪痕圆，流红去、翻笑东风难扫。荒桥断浦，柳阴撑出扁舟小。回首池塘青欲遍，绝似梦中芳草。和云流出空山，甚年年净洗，花香不了。新渌乍生时，孤村路、犹忆那回曾到。馀情渺渺。茂林觞咏如今悄。前度刘郎归去后，溪上碧桃多少。

Appreciation

[Plain Paraphrase] The lyric opens on warm, green, rippling water at dawn on the Su causeway, swallows flying in; fish dive leaving round ripples, petals drift away laughing that the east wind cannot sweep them. A ruined bridge, a broken landing, a small boat pushing out of the willow shade; the pond ahead is green to its edge like the fragrant grass of a dream. The water flows out of the empty hills with the clouds, washing clean year after year, yet the flowers' fragrance never ends. When the fresh green water first rises, the poet remembers coming along the lonely village road; the lingering feeling stretches far; the grove where friends drank and chanted is silent now. He ends with a question: since the former Liu went home, how many green peaches remain by the stream? [Structure] The lyric follows the stream from dawn on the Su causeway, out of the empty hills, down to the stream's peach blossoms — a single movement of water that is also a movement of memory, from scene, to recollection, to elegy. [Imagery] The images are 'clear and vast' — rippling green waves, round fish-ripples, drifting petals, willow-shade boat, dream-green pond — and beneath them run two memories: Xie Lingyun's 'the pond grows spring grass' and Liu Yuxi's return to the abbey.

【白话串讲】 张炎写《满江红》：“波暖绿粼粼，燕飞来、好是苏堤才晓”——“鱼没浪痕圆，流红去、翻笑东风难扫”——“荒桥断浦，柳阴撑出扁舟小”——“回首池塘青欲遍，绝似梦中芳草”——他写苏堤春晓。 【意象与手法】 “波暖绿粼粼，燕飞来、好是苏堤才晓”写苏堤春晓；“鱼没浪痕圆，流红去、翻笑东风难扫”以鱼没浪痕写春水；“荒桥断浦，柳阴撑出扁舟小”写扁舟；“回首池塘青欲遍，绝似梦中芳草”以梦中芳草写春色。咏春水而写春色，含蓄空灵。 【情感与主旨】 张炎写咏春水之作，以细腻笔触写苏堤春晓、春水之景，寄寓对春光的留恋，是张炎词中清空自然的代表。 【名句点睛】 常考“鱼没浪痕圆，流红去、翻笑东风难扫”以鱼没浪痕写春水；“回首池塘青欲遍，绝似梦中芳草”以梦中芳草写春色。

Allusions

The lyric is woven from three famous memories. 'The Su causeway' (Su di) is the causeway Su Shi built across West Lake while governing Hangzhou — the landmark of the city Zhang Yan lost. 'The pond green to its edge — exactly like the fragrant grass in a dream' alludes to Xie Lingyun's 'the pond grows spring grass,' a line the poet famously completed in a dream of his cousin Xie Huilian, so that 'dream grass' itself is a dream of a dream. 'The drinking and chanting in the thick grove is silent now' recalls the Orchid Pavilion gathering of Wang Xizhi and his friends, drifting cups along the winding stream in the thick grove — the archetype of literary companionship, now fallen silent. And 'the former Liu' is Liu Yuxi, who, returning to the Xuandu Abbey after his exiles, found its peach trees gone and wrote of 'the former Liu Lang coming back again'; here Zhang Yan asks of his own vanished world — since the last one who came this way has gone home, how many green peaches are left by the stream?

词中「波暖绿粼粼燕飞来好是苏堤才晓」「鱼没浪痕圆流红去翻笑东风难扫」「荒桥断浦柳阴撑出扁舟小」「回首池塘青欲遍绝似梦中芳草」「和云流出空山甚年年净洗花香不了」「新渌乍生时孤村路犹忆那回曾到」「馀情渺渺茂林觞咏如今悄」「前度刘郎归去后溪上碧桃多少」等语，皆含典故故实。「波暖绿粼粼燕飞来好是苏堤才晓」写波暖绿粼粼燕飞来好是苏堤才晓；「鱼没浪痕圆流红去翻笑东风难扫」写鱼没浪痕圆流红去翻笑东风难扫；「荒桥断浦柳阴撑出扁舟小」写荒桥断浦柳阴撑出扁舟小；「回首池塘青欲遍绝似梦中芳草」用谢灵运池塘生春草之典，写回首池塘青欲遍绝似梦中芳草；「和云流出空山甚年年净洗花香不了」写和云流出空山甚年年净洗花香不了；「新渌乍生时孤村路犹忆那回曾到」写新渌乍生时孤村路犹忆那回曾到；「馀情渺渺茂林觞咏如今悄」用兰亭之典（兰亭集序流觞曲水茂林修竹），写馀情渺渺茂林觞咏如今悄；「前度刘郎归去后溪上碧桃多少」用刘郎桃花之典（刘禹锡玄都观桃花），写前度刘郎归去后溪上碧桃多少。词人以谢灵运池塘春草、兰亭觞咏、刘郎桃花等典入词，不着痕迹，而把咏春水之情写得真切可感，是善于熔铸典故的体现。

Commentary

Zhang Yan's 'Man Jiang Hong' on spring water has been celebrated since the Yuan as a supreme example of the 'clear-and-vast' manner — a landscape lyric in which nothing is pressed and yet everything mourns. Later anthologists place it at the head of his poems on objects, praising 'washing clean year after year, yet the flowers' fragrance never ends' as the purest line of his late style: the lost world's fragrance, unfaded, carried by the water. Written after the fall of Hangzhou, the poem's spring water has often been read as an elegy for the Southern Song capital — the Su causeway, the Orchid Pavilion grove, the abbey's peach blossoms are all places of memory for a refugee poet. Its closing question, 'since the former Liu went home, how many green peaches remain by the stream?' has become a standard emblem of return-to-a-lost-place poetry, and the lyric stands alongside his famous 'Gaoyang Terrace' (on West Lake's spring) and 'Flute under the Moon' as one of his noblest late works.

这首《满江红》，是张炎写咏物咏春水之作，写波暖绿粼粼、和云流出空山、溪上碧桃多少之情，含蓄深婉。上片写波暖绿粼粼与柳阴撑出扁舟：「波暖绿粼粼，燕飞来、好是苏堤才晓」——波暖绿粼粼，燕飞来、好是苏堤才晓。写波暖绿粼粼：波暖绿粼粼、燕飞来好是苏堤才晓——波暖绿粼粼、燕来苏堤晓；「鱼没浪痕圆，流红去、翻笑东风难扫」——鱼没浪痕圆，流红去、翻笑东风难扫。写鱼没浪痕圆：鱼没浪痕圆、流红去翻笑东风难扫——鱼没浪痕圆、流红去东风难扫；「荒桥断浦，柳阴撑出扁舟小」——荒桥断浦，柳阴撑出扁舟小。写柳阴撑出扁舟：荒桥断浦、柳阴撑出扁舟小——荒桥断浦、柳阴扁舟小；「回首池塘青欲遍，绝似梦中芳草」——回首池塘青欲遍（用谢灵运池塘生春草之典），绝似梦中芳草。写池塘青欲遍：回首池塘青欲遍、绝似梦中芳草——池塘青欲遍、绝似梦中芳草。下片写和云流出空山与溪上碧桃多少：「和云流出空山，甚年年净洗，花香不了」——和云流出空山，甚年年净洗，花香不了。写和云流出空山：和云流出空山、甚年年净洗，花香不了——和云流出空山、年年净洗花香不了；「新渌乍生时，孤村路、犹忆那回曾到」——新渌乍生时，孤村路、犹忆那回曾到。写犹忆那回曾到：新渌乍生时、孤村路犹忆那回曾到——新渌乍生、犹忆那回曾到；「馀情渺渺。茂林觞咏如今悄」——馀情渺渺，茂林觞咏（用兰亭觞咏之典）如今悄。写茂林觞咏：馀情渺渺、茂林觞咏如今悄——馀情渺渺、觞咏如今悄；「前度刘郎归去后，溪上碧桃多少」——前度刘郎归去后（用刘郎桃花之典），溪上碧桃多少。写溪上碧桃多少：前度刘郎归去后、溪上碧桃多少——刘郎归去后、溪上碧桃多少。这「前度刘郎归去后，溪上碧桃多少」，是全词之结：以溪上碧桃多少写其咏水。全词含蓄深婉，清空以情，正是张炎词中的名篇。

Prosody

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