PoemBridge
Sign in Browse poems
All poems

宋 Song · 词 Ci lyric

眉妩

To the Tune 'Meiwu' (Charm of Moth Eyebrows)

王沂孙

Wang Yisung

渐新痕悬柳，澹彩穿花，依约破初暝。
便有团圆意，深深拜，相逢谁在香径。
画眉未稳，料素娥、犹带离恨。
最堪爱、一曲银钩小，宝帘挂秋冷。
千古盈亏休问。
叹慢磨玉斧，难补金镜。
太液池犹在，凄凉处、何人重赋清景。
故山夜永。
试待他、窥户端正。
看云外山河，还老尽、桂花影。

Gradually a fresh crescent hangs among the willows,
Its pale sheen threads through the blossoms,
Faintly piercing the first dusk.
A wish for fullness is born at once, and I bow deeply —
On the fragrant path, who is there to meet me?
Her painted brows are not yet set;
I imagine the Moon Goddess still bears the sorrow of parting.
What I love most is the small silver hook of her arc,
And the jeweled curtain hung with the cold of autumn.
Ask nothing of fullness and waning through the ages —
I sigh that even slowly grinding the jade axe cannot mend the golden mirror.
The Taiye Pool still stands,
But in its desolation, who will again sing of its clear splendor?
Nights in my old mountains are long.
Wait until she peers in, full and round, at the window —
Then look at the mountains and rivers beyond the clouds:
Even the cassia's shadow has grown old.
Listen

Meaning

Bowing to a new moon, the poet longs for fullness; but the wish curdles into grief — the moon, like the fallen dynasty, cannot be made whole again. Written after the Mongol conquest, the lyric uses the moon's phases to mourn a broken realm: the imperial pools stand deserted, and the old mountains' moon now shines on a homeland grown old.

渐新痕悬柳，澹彩穿花，依约破初暝。便有团圆意，深深拜，相逢谁在香径。画眉未稳，料素娥、犹带离恨。最堪爱、一曲银钩小，宝帘挂秋冷。千古盈亏休问。叹慢磨玉斧，难补金镜。太液池犹在，凄凉处、何人重赋清景。故山夜永。试待他、窥户端正。看云外山河，还老尽、桂花影。

Appreciation

[Plain Paraphrase] A thin crescent rises among the willows, its pale light threading the flowers through the early dusk. Moved, the poet bows to it as to a returning friend; but the goddess of the moon is imagined still disordered with the sorrow of parting, and the small silver hook hangs against autumn cold. The second stanza abandons the cosmic question of waxing and waning: no jade axe can mend the golden mirror of the full moon. The imperial Taiye Pool survives, but who will sing its splendor now? Waiting for the moon to fill the window, he looks out at the land beyond the clouds and finds even the cassia shadow in the moon grown old. [Structure] Stanza one chants the crescent from its rising to its hook-like arc; stanza two turns from the moon's phases to the ruined imperial park and the endless night of the old mountains, closing on a single devastating image. [Theme] Every image doubles: crescent and dynasty, golden mirror and lost realm. The lyric's method is mourning disguised as a moon poem — grief never stated, only accumulated.

【白话串讲】 王沂孙写《眉妩》：“渐新痕悬柳，澹彩穿花，依约破初暝”——“便有团圆意，深深拜，相逢谁在香径”——“最堪爱、一曲银钩小，宝帘挂秋冷”——“千古盈亏休问。叹慢磨玉斧，难补金镜”——他写新月——千古盈亏休问。 【意象与手法】 “渐新痕悬柳，澹彩穿花，依约破初暝”写新月初升；“便有团圆意，深深拜，相逢谁在香径”以深深拜写拜月；“最堪爱、一曲银钩小，宝帘挂秋冷”以银钩写新月；“千古盈亏休问。叹慢磨玉斧，难补金镜”以磨玉斧补金镜写山河难补；结以“看云外山河，还老尽、桂花影”以桂花影写沧桑。咏新月而寄故国之思。 【情感与主旨】 王沂孙咏新月之作，以新月之盈亏写山河残缺、金镜难补的亡国之痛，是南宋遗民咏物词中托物寄恨的代表。 【名句点睛】 常考“千古盈亏休问。叹慢磨玉斧，难补金镜”以玉斧金镜写山河难补；“看云外山河，还老尽、桂花影”以桂花影写沧桑。

Background

Wang Yisung (c. 1230-c. 1291), styled Shengyu and known by his sobriquet Bishan, came from Kuaiji (present-day Shaoxing, Zhejiang). A late-Song poet who lived on as a loyalist after the Mongol conquest of 1279, he specialized in yongwu ci — odes to objects — whose surfaces (cicadas, plums, moss, moons) conceal elegies for the lost dynasty. This lyric to the tune Meiwu chants the new moon, and in the moon's inability to become full again mourns a past that cannot be recovered.

《眉妩》为宋末元初词人王沂孙所作词。王沂孙（约1230—约1291），字圣与，号碧山，会稽（今浙江绍兴）人，宋末词人，词善咏物，寄托遥深。此词咏新月，为咏物之作。词中「渐新痕悬柳，澹彩穿花，依约破初暝」写渐新痕悬柳；「便有团圆意，深深拜，相逢谁在香径」写深深拜；「画眉未稳，料素娥、犹带离恨」写素娥离恨；「最堪爱、一曲银钩小，宝帘挂秋冷」写一曲银钩；「千古盈亏休问。叹慢磨玉斧，难补金镜」写难补金镜；「太液池犹在，凄凉处、何人重赋清景」写太液池犹在；「故山夜永。试待他、窥户端正」写故山夜永；「看云外山河，还老尽、桂花影」写老尽桂花影。王沂孙此词以咏新月、老尽桂花影写其咏物之情，含蓄深婉，是王沂孙词中的名篇。此篇《眉妩》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The lyric's power lies in double voicing: every image works as moon and as dynasty. The crescent is a 'fresh scar' hanging on the willow; the moon goddess is 'unsteady', as if not yet recovered from separation; the full moon is a 'golden mirror' no jade axe can repair; the Taiye Pool — the Han and Tang imperial preserve — stands as a relic. The diction is hushed and reserved (hanxu): grief is never named but accumulates through cold images until the final cassia shadow is found 'grown old'. Long and short lines let the melody fall and falter in step with the feeling.

此词艺术上以「含蓄深婉、以典咏物」见长。全词上片写渐新痕悬柳与深深拜，下片写难补金镜与老尽桂花影。上片「渐新痕悬柳，澹彩穿花，依约破初暝」写渐新痕悬柳：渐新痕悬柳，澹彩穿花，依约破初暝；「便有团圆意，深深拜，相逢谁在香径」写深深拜：便有团圆意，深深拜，相逢谁在香径；「画眉未稳，料素娥、犹带离恨」写素娥离恨：画眉未稳，料素娥、犹带离恨；「最堪爱、一曲银钩小，宝帘挂秋冷」写一曲银钩：最堪爱、一曲银钩小，宝帘挂秋冷。下片「千古盈亏休问。叹慢磨玉斧，难补金镜」写难补金镜：千古盈亏休问，叹慢磨玉斧，难补金镜；「太液池犹在，凄凉处、何人重赋清景」写太液池犹在：太液池犹在，凄凉处、何人重赋清景；「故山夜永。试待他、窥户端正」写故山夜永：故山夜永，试待他、窥户端正；「看云外山河，还老尽、桂花影」写老尽桂花影：看云外山河，还老尽、桂花影。全词含蓄深婉，以典咏物，是王沂孙词中的名篇。

Allusions

'Slowly grinding the jade axe to mend the golden mirror' cites the Tang tale (in Duan Chengshi's Youyang Zazu) of a man who beheld craftsmen grinding a jade axe to repair the moon — here the repair fails. 'Su E' is Chang'e, the moon goddess; her 'unset painted brows' pun on the crescent as an eyebrow, since the tune title Meiwu itself means 'charm of eyebrows'. The Taiye Pool was the imperial lake of the Han capital, standing here for the vanished Song court, and 'who will again sing of its clear splendor' mourns its lost poets. The cassia grows in the moon; its shadow 'grown old' figures a realm aged beyond repair.

词中「渐新痕悬柳」「澹彩穿花」「依约破初暝」「便有团圆意」「深深拜相逢谁在香径」「画眉未稳」「料素娥犹带离恨」「一曲银钩小」「宝帘挂秋冷」「千古盈亏休问」「叹慢磨玉斧难补金镜」「太液池犹在」「凄凉处何人重赋清景」「故山夜永」「试待他窥户端正」「看云外山河还老尽桂花影」等语，皆含典故故实。「渐新痕悬柳」写渐新痕悬柳（新痕为新月如钩之痕）；「澹彩穿花」写澹彩穿花；「依约破初暝」写依约破初暝；「便有团圆意」写便有团圆意；「深深拜相逢谁在香径」写深深拜相逢谁在香径（拜月之俗）；「画眉未稳」写画眉未稳（以眉喻月）；「料素娥犹带离恨」写料素娥犹带离恨（素娥为月中嫦娥）；「一曲银钩小」写一曲银钩小（银钩喻新月）；「宝帘挂秋冷」写宝帘挂秋冷；「千古盈亏休问」写千古盈亏休问（用月有阴晴圆缺之意）；「叹慢磨玉斧难补金镜」用玉斧修月之典（段成式《酉阳杂俎》玉斧修月），写难补金镜；「太液池犹在」写太液池犹在（太液池为汉唐宫苑池，写故国）；「凄凉处何人重赋清景」写凄凉处何人重赋清景；「故山夜永」写故山夜永；「试待他窥户端正」写试待他窥户端正（写月满当窗）；「看云外山河还老尽桂花影」写看云外山河还老尽桂花影。词人以拜月、嫦娥、玉斧修月、太液池等典入词，不着痕迹，而把咏新月之情写得真切可感，是善于熔铸典故的体现。

Commentary

Regarded as Wang Yisung's masterpiece of allegorical yongwu, the lyric was read by Qing and modern commentators as an elegy for the Song: the mending of the golden mirror was taken as the impossible restoration of the dynasty. It is frequently set beside his odes to the cicada and the dragon as the summit of late-Song ci. Its restraint — never once naming the fallen dynasty — is held up as the model of the 'deep and obscure' (weiwan) style that distinguishes the loyalist poets of the Yuan transition.

这首《眉妩》，是王沂孙写咏物咏新月之作，写渐新痕悬柳、深深拜、老尽桂花影之情，含蓄深婉。上片写渐新痕悬柳与深深拜：「渐新痕悬柳，澹彩穿花，依约破初暝」——渐新痕悬柳，澹彩穿花，依约破初暝。写渐新痕悬柳：渐新痕悬柳、澹彩穿花，依约破初暝——新痕悬柳、澹彩穿花、依约破初暝；「便有团圆意，深深拜，相逢谁在香径」——便有团圆意，深深拜，相逢谁在香径。写深深拜：便有团圆意、深深拜，相逢谁在香径——团圆之意、深深拜月、相逢谁在香径；「画眉未稳，料素娥、犹带离恨」——画眉未稳，料素娥（写嫦娥）、犹带离恨。写素娥离恨：画眉未稳、料素娥犹带离恨——画眉未稳、素娥犹带离恨；「最堪爱、一曲银钩小，宝帘挂秋冷」——最堪爱、一曲银钩小，宝帘挂秋冷。写一曲银钩：最堪爱一曲银钩小、宝帘挂秋冷——银钩一小曲、宝帘挂秋冷。下片写难补金镜与老尽桂花影：「千古盈亏休问。叹慢磨玉斧，难补金镜」——千古盈亏休问，叹慢磨玉斧（用玉斧修月之典），难补金镜。写难补金镜：千古盈亏休问、叹慢磨玉斧难补金镜——盈亏休问、玉斧难补金镜；「太液池犹在，凄凉处、何人重赋清景」——太液池犹在，凄凉处、何人重赋清景。写太液池犹在：太液池犹在、凄凉处何人重赋清景——太液池在、何人重赋清景；「故山夜永。试待他、窥户端正」——故山夜永，试待他、窥户端正。写故山夜永：故山夜永、试待他窥户端正——故山夜永、待他窥户端正；「看云外山河，还老尽、桂花影」——看云外山河，还老尽、桂花影。写老尽桂花影：看云外山河、还老尽桂花影——云外山河、老尽桂花影。这「看云外山河，还老尽、桂花影」，是全词之结：以老尽桂花影写其咏月。全词含蓄深婉，以典咏物，正是王沂孙词中的名篇。

Prosody

Form Ci (lyric) to the tune Meiwu, long form (chang diao): 103 characters, nine lines in each of the two stanzas词（眉妩，长调）
Rhyme Oblique-tone rhyme group geng-jing (ming, jing, hen, leng, wen, jing, jing, yong, zheng, ying); the short checked and falling rhymes give the lyric its hushed, chill color.此词为《眉妩》调，长调一百零三字，上片下片各九句。押仄声韵：「暝」「径」「恨」「冷」「问」「镜」「景」「永」「正」「影」押梗径部韵。词体依词谱而定，长调铺叙，句式长短错落，音节随情起伏，正与写咏物咏新月的含蓄深婉相称，也见其以长调写咏物的自然。
Tone pattern Long and short lines alternate; the melody moves from delicate clarity (the crescent, the bowing) through low, lingering turns (the goddess's sorrow, the jeweled curtain in autumn cold) to weighted sighs (the unrepairable mirror, the deserted pool) and a long fade (the cassia shadow grown old).句式上，上片「渐新痕悬柳，澹彩穿花，依约破初暝」写渐新痕悬柳，音节清丽；「便有团圆意，深深拜，相逢谁在香径」写深深拜，音节委婉；「画眉未稳，料素娥、犹带离恨」写素娥离恨，音节低回；「最堪爱、一曲银钩小，宝帘挂秋冷」写一曲银钩，音节清冷；下片「千古盈亏休问。叹慢磨玉斧，难补金镜」写难补金镜，音节感慨；「太液池犹在，凄凉处、何人重赋清景」写太液池犹在，音节沉郁；「故山夜永。试待他、窥户端正」写故山夜永，音节低回；「看云外山河，还老尽、桂花影」写老尽桂花影，音节绵长。全词音节随情起伏，由清丽而低回、由感慨而绵长，正合长调「铺叙」之妙，读来如咏新月、老尽桂花影之音，含蓄而动人。
Reading note A changdiao built for layered narration: stanza one chants the new moon from its rising to its hook-like arc; stanza two turns from the moon's phases to the ruin of the imperial park and the old mountains' endless night. The oblique rhymes and halting cadence suit the reserved grief of a loyalist singing a lost realm under cover of a moon poem.此词为《眉妩》调，是王沂孙写咏物咏新月之作，也是其词中的名篇。全词的艺术特色在于「含蓄深婉、以典咏物」：上片「渐新痕悬柳，澹彩穿花，依约破初暝」写渐新痕悬柳、「便有团圆意，深深拜，相逢谁在香径」写深深拜、「画眉未稳，料素娥、犹带离恨」写素娥离恨、「最堪爱、一曲银钩小，宝帘挂秋冷」写一曲银钩；下片「千古盈亏休问。叹慢磨玉斧，难补金镜」写难补金镜、「太液池犹在，凄凉处、何人重赋清景」写太液池犹在、「故山夜永。试待他、窥户端正」写故山夜永、「看云外山河，还老尽、桂花影」写老尽桂花影。全词含蓄深婉，以典咏物。尤为精妙者，是「叹慢磨玉斧，难补金镜」用玉斧修月之典；而「看云外山河，还老尽、桂花影」以桂影写月，正是王沂孙词「以典咏物」的典范，为历代词选所常收。

Line by line

渐新痕悬柳，澹彩穿花，依约破初暝。

Gradually a fresh crescent hangs among the willows, its pale sheen threading through the blossoms, faintly piercing the first dusk.

渐新痕悬柳，澹彩穿花，依约破初暝。

Gradually the new crescent hangs on the willow; its pale light threads the flowers, faintly breaking the early dusk.

首三句写渐新痕悬柳，起笔即见其月。「渐新痕悬柳」写渐新痕悬柳，「渐」写渐渐、「新痕悬柳」写新月如痕悬于柳；「澹彩穿花」写澹彩穿花，「澹彩」写清淡之色、「穿花」写穿花；「依约破初暝」写依约破初暝，「依约」写隐约、「破初暝」写破初暝。三句一写渐新痕悬柳、一写澹彩穿花、一写依约破初暝，以新痕悬柳写月初升、以澹彩穿花写月之色、以依约破初暝写月破暝，写尽新痕悬柳、澹彩穿花、依约破初暝之情。以月起兴，含蓄而清丽，是「以月起兴」的妙笔。

The opening three lines write the new crescent on the willow, the moon present at the first stroke. Gradually the new crescent hangs on the willow writes the gradual, the new crescent on the willow; its pale light threads the flowers writes the pale color and the threading; faintly breaking the early dusk writes the faint, the dusk's breaking. Three lines, one the crescent on the willow, one the light through flowers, one the breaking dusk, writing the moon's rise, the moon's color, the moon's dusk-breaking, exhausting the new moon. Rising on the moon, restrained and fair, precisely the wondrous brush of rising on the moon.

便有团圆意，深深拜，相逢谁在香径。

A wish for the full moon is born at once; I bow deeply — on the fragrant path, who is there to meet me?

便有团圆意，深深拜，相逢谁在香径。

Already there is the wish for the full moon; I bow deeply — whom do I meet on the fragrant path?

此三句写深深拜，是全词写拜月之俗的关键。「便有团圆意」写便有团圆意，「便有」写便有、「团圆意」写团圆之意；「深深拜」写深深拜，「深深」写深深、「拜」写拜月；「相逢谁在香径」写相逢谁在香径，「相逢」写相逢、「谁在香径」写谁在香径。三句一写便有团圆意、一写深深拜、一写相逢谁在香径，以团圆意写盼团圆、以深深拜写拜月、以相逢谁在香径写相逢无人，写尽团圆之意、深深拜月、相逢谁在香径之情。以拜写盼，含蓄而深婉，是「以拜写盼」的点睛之笔。

These three lines write the deep bow, the key of the ci's moon-bowing custom. Already there is the wish for the full moon writes the full-moon wish; I bow deeply writes the deep bow to the moon; whom do I meet on the fragrant path? writes the meeting's absence. Three lines, one the wish, one the bow, one the absent meeting, writing the full-moon longing, the moon bow, the unmet fragrant path, exhausting the wish. Writing longing through the bow, restrained and deep, precisely the telling stroke of writing longing through the bow.

画眉未稳，料素娥、犹带离恨。

Her painted brows are not yet set; I imagine the Moon Goddess still bears the sorrow of parting.

画眉未稳，料素娥、犹带离恨。

The eyebrow painting not yet set; I fancy the moon goddess still carries the parting grief.

此二句写素娥离恨，是全词以娥写月的关键。「画眉未稳」写画眉未稳，「画眉」写画眉（以眉喻月）、「未稳」写未稳；「料素娥、犹带离恨」写料素娥犹带离恨，「料素娥」写料想嫦娥、「犹带离恨」写犹带离恨。两句一写画眉未稳、一写料素娥犹带离恨，以画眉未稳写月初开如眉、以素娥犹带离恨写嫦娥含恨，写尽画眉未稳、素娥犹带离恨之情。以娥写月，含蓄而深婉，是「以娥写月」的点睛之笔。

These two lines write the goddess's parting grief, the key of the ci's writing the moon through the goddess. The eyebrow painting not yet set writes the eyebrow (the eyebrow for the moon) and the unset; I fancy the moon goddess still carries the parting grief writes the guessed goddess and the grief. Two lines, one the unset eyebrow, one the goddess's grief, writing the crescent's first opening as eyebrow, the goddess's hidden grief, exhausting the moon. Writing the moon through the goddess, restrained and deep, precisely the telling stroke of writing the moon through the goddess.

叹慢磨玉斧，难补金镜。

I sigh that even slowly grinding the jade axe cannot mend the golden mirror.

叹慢磨玉斧，难补金镜。

I sigh: slowly grinding the jade axe, hard to mend the golden mirror.

此二句写难补金镜，是全词以典写月的关键。「叹慢磨玉斧」写叹慢磨玉斧，用玉斧修月之典写慢磨玉斧；「难补金镜」写难补金镜，「难补」写难以修补、「金镜」写金镜之月。两句一写叹慢磨玉斧、一写难补金镜，以玉斧磨月写修月、以难补金镜写金镜难补，写尽叹慢磨玉斧、难补金镜之情。以典写月，含蓄而深婉，是「以典写月」的点睛之笔。

These two lines write the hard-to-mend golden mirror, the key of the ci's writing the moon through allusion. I sigh: slowly grinding the jade axe writes the slow grinding of the jade axe, using the jade-axe-mends-the-moon allusion; hard to mend the golden mirror writes the hard mending, the golden mirror the moon. Two lines, one the grinding axe, one the mirror, writing the moon-mending through the axe, the hard mending through the mirror, exhausting the sigh. Writing the moon through allusion, restrained and deep, precisely the telling stroke of writing the moon through allusion.

看云外山河，还老尽、桂花影。

Look at the mountains and rivers beyond the clouds — even the cassia's shadow has grown old.

看云外山河，还老尽、桂花影。

Gazing at the mountains and rivers beyond the clouds, they have aged away in the cassia's shadow.

尾三句写老尽桂花影，是全词立意的落点。「看云外山河」写看云外山河，「看」写看、「云外山河」写云外之山河；「还老尽、桂花影」写还老尽桂花影，「还老尽」写还老尽、「桂花影」写月中桂花之影。三句一写看云外山河、一写还老尽桂花影，以云外山河写山河之远、以老尽桂花影写桂影之老，写尽看云外山河、老尽桂花影之情。以影写月，含蓄而深挚，是全词最动人处，也是「以影写月」的点睛之笔。

The last three lines write the aged cassia shadow, the landing of the ci's theme. Gazing at the mountains and rivers beyond the clouds writes the gaze and the distant mountains; they have aged away in the cassia's shadow writes the aged and the lunar cassia shadow. Three lines, one the gaze at the distant mountains, one the aged cassia shadow, writing the realm's distance through the beyond-the-clouds, the shadow's age through the aged, exhausting the gaze. Writing the moon through the shadow, restrained and deep, the ci's most moving place, and the telling stroke of writing the moon through the shadow.

Study

Word focus

新痕 Fresh scar or trace — the thin new crescent, like a fresh wound hanging on the willow tips; the word makes the newborn moon a mark of hurt, foreshadowing the poem's grief. 「新痕」写渐新痕悬柳，是写新月如痕的关键。「渐新痕悬柳」着一「新痕」，写新月如痕——着一「新痕」，写新月如痕悬于柳，见其月之新。两字写尽新痕之月，是「以词写月」的妙笔。「新痕」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
银钩 Silver hook — the conventional image for a thin crescent; 'one small silver hook' delights in the moon's delicate curve, hung like an ornament against the autumn cold. 「银钩」写一曲银钩小，是写新月如钩的关键。「最堪爱、一曲银钩小」着一「银钩」，写银钩——着一「银钩」，写一曲银钩小，见其月如钩。两字写尽银钩之月，是「以词写月」的点睛之词。「银钩」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
盈亏 Waxing and waning, fullness and lack — the moon's phases; 'ask nothing of fullness and waning through the ages' dismisses cosmic cycles, because for the poet the loss is irreparable. 「盈亏」写千古盈亏休问，是写月之圆缺的关键。「千古盈亏休问」着一「盈亏」，写圆缺——着一「盈亏」，写千古盈亏休问，见其月之圆缺。两字写尽盈亏之变，是「以词写月」的点睛之词。「盈亏」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
老尽 Grown old, exhausted — even the cassia shade in the moon has aged; the word turns cosmic scenery into an image of a realm and a poet worn out by loss. 「老尽」写还老尽桂花影，是写桂影老尽的关键。「还老尽、桂花影」着一「老尽」，写老尽——着一「老尽」，写还老尽桂花影，见其时光之逝。两字写尽老尽之影，是「以词写慨」的点睛之词。「老尽」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

晏殊·蝶恋花·槛菊愁烟兰泣露 Die Lian Hua (Butterflies Love Flowers): The Chrysanthemums Sigh in Mist, the Orchids Weep with Dew 晏殊 · 同写明月离恨、独自凝愁，一写明月不谙离恨苦、一写料素娥犹带离恨，皆于明月之中见离恨 Both on the bright moon and the sorrow of parting: one writes that the moon knows not the bitterness of parting, the other that the moon goddess still bears it

Yan Shu's 'The bright moon knows not the bitterness of parting; its slanting light enters the painted casement till dawn' uses the moon as an indifferent witness to private grief, in his warm, polished style; Wang Yisung makes the goddess herself a mourner. Both find the sorrow of parting in the moon — one restrained and gentle, the other deep and chilling.

晏殊《蝶恋花·槛菊愁烟兰泣露》「明月不谙离恨苦，斜光到晓穿朱户」，写明月离恨、独自凝愁，是宋词写愁的名篇；王沂孙《眉妩》则以「画眉未稳，料素娥、犹带离恨」「千古盈亏休问。叹慢磨玉斧，难补金镜」写素娥离恨、难补金镜。两词同写明月离恨、独自凝愁：一写明月不谙离恨苦、以明月写愁，一写料素娥犹带离恨、以素娥写恨；一为晏殊之温润、一为王沂孙之深婉，并读正可见宋词写「明月离恨」的两种笔法，皆于明月之中见离恨。

 虞美人·春花秋月何时了 Yu Mei Ren (Beautiful Lady Yu): When Will the Spring Flowers and Autumn Moon End 李煜 · 同写故国山河、明月盈亏，一写故国不堪回首月明中、一写看云外山河还老尽桂花影，皆于山河月影之中见故国之思 Both on the lost homeland beneath the moon: one cannot bear to look back at his kingdom in the moonlight, the other sees the land beyond the clouds with the cassia shade grown old

Li Yu's 'Last night the east wind blew again in my little tower; my lost kingdom is unbearable to look back at in the moonlight' is the blood-and-tears cry of a captive emperor; Wang Yisung's 'mountains and rivers beyond the clouds, even the cassia shade grown old' is the muffled lament of a surviving loyalist. Both read dynastic ruin through the moon — one direct and raw, the other veiled and desolate.

李煜《虞美人·春花秋月何时了》「小楼昨夜又东风，故国不堪回首月明中」，写故国之思、月明盈亏，是写愁的千古名篇；王沂孙《眉妩》则以「太液池犹在，凄凉处、何人重赋清景」「看云外山河，还老尽、桂花影」写太液池犹在、老尽桂花影。两词同写故国山河、明月盈亏：一写故国不堪回首月明中、以明月写故国之思，一写看云外山河还老尽桂花影、以山河写故国之念；一为帝王之血泪、一为王沂孙之深婉，并读正可见词写「故国月明」的两种情致，皆于山河月影之中见故国之思。