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宋 Song · 词 Ci lyric

木兰花慢

Mulanhua Man (Magnolia Blossom, Slow Tune)

周密

Zhou Mi

觅梅花信息，拥吟袖、暮鞭寒。
自放鹤人归，月香水影，诗冷孤山。
等闲。
冸寒𪾢暖，看融城、御水到人间。
瓦陇竹根更好，柳边小驻游鞍。
琅玕。
半倚云湾。
孤棹晚、载诗还。
是醉魂醒处，画桥第二，奁月初三。
东阑。
有人步玉，怪冰泥、沁湿锦鹓斑。
还见晴波涨绿，谢池梦草相关。

Seeking news of the plum blossoms, I clutch my chanting sleeves and ride at dusk through the chill.
Ever since the crane-releasing man departed, only moonlit fragrance and shadowed waters remain, and the poems of Lonely Hill grow cold.
Before long,
the chill thaws into warmth: watch the melting waters of the city flow with the imperial canal into the world of men.
The tiled ridges and bamboo roots are lovelier still; I rein my horse a while beneath the willows.
Green bamboo,
leaning half over the cloudy bay.
Alone in a lone boat at dusk, I return laden with poems.
Where my drunken soul awakens — at the second painted bridge, the crescent moon in its third day.
By the eastern railing
someone treads with a jade-light step, and marvels that the icy mud has stained the brocade-phoenix pattern.
Again I see the clear waves swell with green, where the dreamt grass of Xie's pond is bound to my own heart.

Listen

Meaning

This lyric records a late-Song scholar's elegant excursion in search of plum blossoms at dusk, interweaving the outing with homage to the recluse Lin Bu of Lonely Hill. The search for plum news becomes a search for the lost tradition of purity and poetry that Lin Bu embodied. Beneath the graceful surface runs a current of solitude: the poet alone in his boat, the poems grown cold, and a lone moon closing the night.

为寻觅梅花的消息，我拥着吟袖，暮色中鞭马而行，寒风料峭。自从那放鹤的林逋归去之后，只有月香水影、诗冷孤山。等闲之间，寒气消融、暖意渐生，看那融城的御水流入人间。瓦陇竹根之处更佳，便在这柳边暂且驻下游鞍。琅玕翠竹，半倚在云湾。我独自划着归舟，暮色里载诗而还。正是醉魂醒处，画桥第二座，奁月恰逢初三。东边阑干处，有人步玉而来，只怪那冰泥沁湿了锦鹓的斑纹。还见晴波涨绿，那谢池梦草正与我相关。

Appreciation

[Plain Paraphrase] Riding at dusk through the cold, the poet goes to seek news of the plum blossoms, sleeves full of verse. Ever since Lin Bu — the crane-raising recluse of Lonely Hill — departed, the moonlit fragrance and shadowed waters remain, but the great plum poems have grown cold. As the thaw comes he drifts through melting streams, willows, and bamboo, then returns alone at dusk, his boat laden with poems. The night closes with the crescent moon, a footstep at the railing, and waves swelling green, touched by the famous dreamt grass of Xie Lingyun's pond. [Structure] The lyric moves from seeking (plum news) through remembering (Lin Bu), roaming (the thawing landscape), and returning (the poem-laden boat) to a moonlit close — an arc of excursion that is really an inward journey. [Imagery] Two phrases carry the poem: poems grown cold — the cold is at once the chill of Lin Bu's pure style and the loneliness of a world that no longer produces such verse; and laden with poems — the boat carries not wine or flowers but poetry itself, the scholar's gentlest self-portrait. The dreamt grass of Xie's pond allusion fuses spring's renewal with poetic inspiration, ending the night on a note of luminous consolation.

【白话串讲】周密写《木兰花慢》：“觅梅花信息，拥吟袖、暮鞭寒”——“自放鹤人归，月香水影，诗冷孤山”——“瓦陇竹根更好，柳边小驻游鞍”——“孤棹晚、载诗还”——他寻梅——诗冷孤山。【意象与手法】上阕以“觅梅花信息”起笔，由拥袖暮鞭的寻梅之态转入“月香水影，诗冷孤山”的林逋追怀，词境清冷；下阕以“孤棹晚、载诗还”写归途，以“画桥第二，奁月初三”写夜景之清；终以“晴波涨绿，谢池梦草相关”的春意作结。清丽雅致。【情感与主旨】周密咏梅游湖之作，写暮色中寻觅梅花、追怀林逋的雅致情怀，于咏梅怀人中见宋末雅士的孤高情怀。【名句点睛】常考“月香水影，诗冷孤山”以月香水影写梅之清冷；“孤棹晚、载诗还”以载诗还写归途雅趣。

Background

Zhou Mi (1232–1298), courtesy name Gongjin, was a native of Jinan who settled in Wuxing and Hangzhou. A scion of a distinguished family and a leading poet of the late Southern Song, he was paired with Wu Wenying as the two windows (Zhou was Grass Window, Wu Dream Window). After the dynasty's fall he lived in retirement, devoting himself to poetry, painting, and his memoir of Hangzhou, Old Affairs of Wulin. Written amid the final years of the Song, this plum-seeking lyric looks back to Lin Bu, the Northern Song recluse of West Lake's Lonely Hill who planted plum trees and raised cranes and never took office — a byword for hermit purity. In an age of dynastic collapse, Zhou's elegant pursuit of plum blossoms becomes a quiet act of remembrance and spiritual allegiance.

此词为南宋后期词人周密的咏梅游湖之作。周密（1232—1298），字公谨，号草窗，又号弁阳啸翁，济南人，后寓居吴兴、杭州，是南宋末年的词坛领袖之一，与吴文英并称「二窗」（周密号草窗，吴文英号梦窗）。他出身世家，工诗词、善书画，词以清丽雅致著称，晚年入元后不仕，寄情山水词章，有《草窗词》《武林旧事》等传世。此词写暮色中寻觅梅花、追怀林逋的雅致情怀。「放鹤人」指北宋隐士林逋，他隐居西湖孤山，梅妻鹤子，不仕不娶，是西湖文化的精神象征；「月香水影」化用林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」之名句，「诗冷孤山」则以「冷」字写林逋诗格的清冷孤高。全词以寻梅起兴，以孤山怀古，把宋末雅士对林逋式隐逸人格的追慕与西湖春景的游赏交织在一起。南宋末年，国势日蹙，士人普遍怀有避世归隐之心，周密此词正是这一时代心态的写照——在「觅梅花信息」「载诗还」的雅游中，寄托着对林逋式隐逸生活的向往，也暗含着对现实政治的疏离。

Art

The lyric's art is its weave of elegance and chill. The opening verb seek establishes an expectant haste, and the posture of clutching chanting sleeves while riding at dusk through the cold frames the poet as both romantic and ascetic. The pivot couplet — ever since the crane-releasing man departed, the poems of Lonely Hill grow cold — compresses history, landscape, and literary judgment into one breath, the word cold doing triple duty. Two-character lines (Before long, Green bamboo, By the eastern railing) act like musical interludes, breaking the flow into measured pauses. The close turns on small, perfect details: the crescent moon in its third day, icy mud staining a brocade pattern, clear waves swelling green — observations so precise that the outer journey feels renewed inside the poem-laden boat.

此词艺术上以「清冷」与「雅致」为特色，在寻梅游湖的叙事中织入追怀与感慨。上阕由「觅梅花信息」的起句领起全词，一个「觅」字写尽寻梅的殷勤与期待；「拥吟袖、暮鞭寒」，以「拥吟袖」写诗人的姿态，「暮鞭寒」写暮色寒风中策马而行，画面清冷而风雅。「自放鹤人归，月香水影，诗冷孤山」，是全词怀古的枢纽——自从林逋归去，西湖的月香水影依旧，而孤山之诗已冷，一个「冷」字，既写诗格的清冷，也暗含对林逋身后无人继其风雅的感慨。「等闲」二字顿挫，转入春景：「冸寒𪾢暖，看融城、御水到人间」，写寒气消融、暖意渐生，融城的御水流入人间，春意悄然；「瓦陇竹根更好，柳边小驻游鞍」，写游历中见瓦陇竹根之趣，遂在柳边驻鞍小憩，行止萧散。下阕以「琅玕」起兴，写翠竹半倚云湾的幽景；「孤棹晚、载诗还」，写独自划舟载诗而归，一个「载」字，把诗情与归舟融为一体，风雅之至。「是醉魂醒处，画桥第二，奂月初三」，写归途所见——醉魂醒处，画桥第二，奁月初三，奁月即新月，初三之月正如妆奁，意象清丽而工巧。「东阑。有人步玉，怪冰泥、沁湿锦鹓斑」，写东边阑干处有人步玉而来，冰泥沁湿锦鹓斑纹，细节生动；「还见晴波涨绿，谢池梦草相关」，以晴波涨绿、谢池梦草收束，化用谢灵运「池塘生春草」之典，把春意与诗情融合在一起，结得空灵而雅致。全词由寻梅而入怀古、由怀古而入春景、由春景而入归途，层层转折而气韵流动，是周密词清丽雅致风格的代表。

Allusions

The lyric is densely woven with literary memory. The crane-releasing man is Lin Bu (967–1028), the hermit of Lonely Hill who lived by his plum trees and cranes and refused office and marriage alike — plum for wife, crane for children. Moonlit fragrance and shadowed waters distills his famous plum poem: dappled shadows slant across the clear shallow water, hidden fragrance drifts in the twilight moon. Xie's pond and the dreamt grass alludes to Xie Lingyun, who, according to the History of the Southern Dynasties, dreamed the line in the pond spring grass grows and credited divine aid — hence dreamt grass became a byword for poetic inspiration. Green bamboo (langan, beautiful jade) is the classical poetic name for bamboo, going back to Du Fu. Crescent moon (lianyue) compares the new moon to a woman's mirror-case. Each allusion is folded so naturally into the outing that the poem reads as scholarship worn lightly.

此词用典雅切，皆围绕梅、西湖、隐逸展开。「放鹤人」指北宋隐士林逋，他隐居西湖孤山，植梅养鹤，终身不仕不娶，世称「梅妻鹤子」，是西湖文化的精神象征；「月香水影」化用林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」之名句，以「月香」「水影」约略点出，不露痕迹而意境全出。「谢池梦草」用谢灵运「池塘生春草，园柳变鸣禽」之典——《南史》载谢灵运梦中得「池塘生春草」之句，以为神助，后以「梦草」喻诗思的灵感，此词以「谢池梦草相关」写春意与诗情的相契。「琅玕」本指美玉，古人常以之称翠竹，杜甫《郑驸马宅宴洞中》有「留客夏簟清琅玕」之句，此词以「琅玕」代竹，清雅而古。「奁月」指新月如妆奁，初三之月纤如弯眉，古人以「眉月」「奁月」喻之，意象工巧。「御水」指皇宫御沟之水，流入人间，暗含春意自禁中而至的意味。这些典故，或写林逋之隐逸、或写谢灵运之诗思、或写翠竹之美、或写新月之清，皆织入寻梅游湖的叙事之中，典雅而不晦涩，正是周密词「用典雅切、辞采清丽」的特点。

Commentary

Critics of the late Song and later have singled out the poems of Lonely Hill grow cold as the soul of the piece. On the surface it is an excursion of refinement; underneath, readers have long heard a note of desolation — Lin Bu is gone, and with him the age that could write such poems. In the final years of the Southern Song, Zhou Mi's elegiac attachment to Lin Bu's hermit ideal is often read as the scholar's answer to a collapsing world: unable to serve a fallen dynasty, he seeks in plum blossoms and poetry a fidelity of his own. Modern criticism values the lyric for exactly this doubleness — its polished surface and its cold undertow — and places it among the finest late-Song elegant lyrics, where artifice becomes the vehicle of genuine mourning.

读此词，最值得注意的是「自放鹤人归，月香水影，诗冷孤山」所写出的追怀与寂寞。林逋已经归去了，然而他种下的梅还在，他吟过的「疏影横斜水清浅，暗香浮动月黄昏」还在，西湖的月香水影也还和当年一样；但是「诗冷孤山」——孤山上的诗已经冷了，再没有那样的诗了。一个「冷」字，写尽了林逋身后无人继其风雅的寂寞，也写尽了宋末雅士面对传统隐逸精神衰微的惆怅。周密此词，表面上是写寻梅游湖的雅兴，骨子里却透着一股「前不见古人」的苍凉：他寻梅，其实是在寻林逋的遗风；他载诗而还，其实是在接续那已冷的孤山之诗。这种追慕与寂寞交织的心情，正是南宋末年士人的普遍心态——国势日蹙，现实不堪，于是纷纷回望林逋式的隐逸传统，在西湖的梅花与诗酒之间寻求心灵的安顿。然而林逋已经回不来了，「诗冷孤山」的「冷」，终究是无法消融的。周密以清丽的笔调写这种深沉的感慨，不着一悲字而悲意自见，正是其词的过人之处，也是此词超越一般咏物词的地方。

Prosody

Form Ci (lyric) on the Mulanhua Man tune — a slow form in double stanzas, among the longest of lyric patterns, suited to leisurely narrative.词（木兰花慢·双调慢词）

Rhyme The lyric keeps a single level-tone rhyme group throughout: han, shan, jian, an, wan, huan, san, ban and guan all belong to the level-tone han-shan-xian group, giving the slow form its required long, unbroken resonance — one rhyme to the end, as the tune's convention demands.此词为《木兰花慢》双调慢词，上下阕各押平韵，「寒」「山」「间」「鞍」「湾」「还」「三」「斑」「关」等字皆属平声寒删先韵，韵脚整齐而绵长，正合慢词「一韵到底、情思绵长」的声情。词中「觅梅花信息，拥吟袖、暮鞭寒」「自放鹤人归，月香水影，诗冷孤山」等句，句式长短错落而整饬流丽；「等闲」「琅玕」「东阑」等二字短句独立成韵，顿挫有致。整体声调由寻梅的轻快，到怀古的清冷，再到归途的低回，起伏有致，正合咏梅怀古的词情。

Tone pattern The form alternates long lines with abrupt two-character pauses (dengxian, langan, donglan), which act like musical rests and give the slow form its walking rhythm; long opening units build a stately pace, while the three four-character parallels (moonlit fragrance, shadowed waters, poems grown cold) create a hanging, retrospective cadence. The sound travels from the bright haste of plum-seeking to the hush of the moonlit return.句式上，此词善用二字短句独立成顿：「等闲」「琅玕」「东阑」，各以二字句领起一段，如乐章中的过门，顿挫而见章法；「觅梅花信息，拥吟袖、暮鞭寒」以「上三下四」的句式写顿挫，「自放鹤人归，月香水影，诗冷孤山」以三组四字对排写怀古，句法多变。全词由寻梅而入怀古、由怀古而入春景、由春景而入归途，句式随之由短促转舒缓、由清冷转温润，正是周密词「于疏朗中见浑成」的节奏美学。

Reading note Mulanhua Man is a slow lyric, designed for sustained narrative, and Zhou Mi exploits exactly that capacity: the single level-tone rhyme carries an entire evening — the ride, the homage to Lin Bu, the thawing city, the boat ride home, the moonrise — without hurry. The two-character interludes punctuate the long lines like verses of a song, so the form's spaciousness becomes the audible shape of the poet's unhurried, elegant mind.作为南宋慢词，《木兰花慢》的声律之美，在于以绵长的平韵与顿挫的短句，写出寻梅怀古的雅致情思。全词上阕由「觅梅花信息」的寻梅起笔，经「月香水影，诗冷孤山」的怀古，到「瓦陇竹根更好」的春景，声调由轻快转清冷再转温润；下阕以「琅玕」起兴，经「孤棹载诗」的归途，到「奁月初三」的夜景，再到「谢池梦草」的春意，声调由低回转清丽。词中「等闲」「琅玕」「东阑」等二字短句的顿挫，与长句的绵长相间，正合周密词「清丽雅致」的风格。就全词而言，此词以清丽的意象、雅致的用典、顿挫的声调，写尽寻梅怀古的雅兴与寂寞，是周密词中咏物怀古的代表作，也可见南宋末年雅词在声律与情感两方面的成熟。

Line by line

觅梅花信息，拥吟袖、暮鞭寒。

Seeking news of the plum blossoms, I clutch my chanting sleeves and ride at dusk through the chill.

为寻觅梅花的消息，我拥着吟袖，暮色中策马而行，寒风料峭。

Seeking news of the plum blossoms, I hug my chanting sleeves, my whip cold in the dusk.

这一句是全词的开篇，也是寻梅雅兴的起点。「觅梅花信息」，一个「觅」字写尽寻梅的殷勤与期待——梅花尚未开，或开而未可见，词人便已踏雪而寻、问讯梅花，这种「觅」的兴致，正是中国文人咏梅传统中「探梅」「寻梅」的雅趣；「拥吟袖」写诗人的姿态，抱着吟诗之袖，风度闲雅；「暮鞭寒」写暮色寒风中策马而行，一个「寒」字，既写天气之料峭，也衬出寻梅之痴情——不为风雅所苦，反以寒夜寻梅为乐。此句起笔，把寻梅的雅兴与暮寒的清冷同时写出，画面清冷而风雅，为全词「月香水影，诗冷孤山」的怀古与「载诗还」的归途奠定了清冷的基调。

This line is the ci's opening, and the starting point of the plum-seeking elegance. Seeking news of the plum blossoms: the one word seek exhausting the seeking's eagerness and expectation — the plum not yet open, or open and yet not visible, the poet already treading the snow and asking after the blossoms, this seeking zest precisely the elegance of the traditional plum-seeking in the Chinese scholar's plum-ode tradition; I hug my chanting sleeves writes the poet's pose, holding the chanting sleeves, the bearing elegant; my whip cold in the dusk writes the whip in the dusk wind, the one word cold at once the weather's bite, and the foil for the plum-seeking craziness — not suffering for elegance, but taking the cold-night seeking as joy. This opening writes at once the plum-seeking elegance and the dusk cold, the picture cold and yet elegant, setting the whole ci's moon fragrance and flower shadow, the poetry cold on Lonely Mountain nostalgia and the carrying-the-poem-return's cold tone.

自放鹤人归，月香水影，诗冷孤山。

Ever since the crane-releasing man departed, only moonlit fragrance and shadowed waters remain, and the poems of Lonely Hill grow cold.

自从那放鹤的林逋归去之后，只有月香水影依旧，孤山之诗却已经冷了。

Since the crane-flyer departed, only the moon's fragrance and the flower's shadow remain; the poetry on Lonely Mountain has grown cold.

这一句是全词怀古的枢纽，也是「追慕林逋」情感的核心。「放鹤人」指隐居孤山、梅妻鹤子的林逋；「自……归」写林逋已归，即已逝去，一个「自」字，写尽时间流逝与人事已非。「月香水影」化用林逋「疏影横斜水清浅，暗香浮动月黄昏」之名句，以约略的点染写西湖的月色与梅影依旧如故——景物未变，而人已不在；「诗冷孤山」以「冷」字写孤山之诗的清冷与沉寂——林逋之后，再没有那样的诗了。一个「冷」字，是全句的魂：既写林逋诗格的清冷孤高，也写其身后无人继其风雅的寂寞，更暗含宋末雅士面对传统隐逸精神衰微的惆怅。以此怀古，清冷而深沉，是此词最见匠心的句子。

This line is the ci's nostalgia hinge, and the core of the Lin Bu admiration. The crane-flyer means the hermit of Lonely Mountain, the plum-wife and crane-son Lin Bu; the since ... returned writes Lin Bu's gone, i.e. deceased, the one word since exhausting the time's passage and the thing's non-sameness. The moon's fragrance and the flower's shadow borrows Lin Bu's sparse shadows slanting across the clear shallow water, the faint fragrance drifting in the moonlit dusk famous lines, writing in the approximate touch the West Lake's moon and plum shadow as of old — the scene unchanged, and the person gone; the poetry on Lonely Mountain has grown cold writes the coldness and silence of the Lonely Mountain verse in the word cold. The one word cold is the line's soul: at once Lin Bu's poetry's cold purity and loftiness, and the loneliness of no successor to his elegance, and secretly the late-Song scholar's wistfulness before the reclusive spirit's decline. Nostalgia thus, cold and deep, the most ingenious line of this ci.

孤棹晚、载诗还。

Alone in a lone boat at dusk, I return laden with poems.

我独自划着归舟，在暮色中载诗而还。

My lone boat in the dusk, carrying the poem home.

这一句写归途，是全词雅兴的归结与升华。「孤棹晚」写暮色中独自划舟，一个「孤」字，既有独处之清，也暗含前文「诗冷孤山」的寂寞余韵；「载诗还」写载诗而归，一个「载」字是全句的点睛——归舟载的不是酒、不是花，而是「诗」，把这一日的寻梅、怀古、游湖，都凝作了一船的诗情。以「载诗」写归途，既是周密「词客」身份的自觉，也是其雅致情怀的写照——满载诗情而归，孤而不寂，清而不苦。这一句与前文「觅梅花信息」遥相呼应：乘兴而出，载诗而还，正是中国文人「兴尽而返」的雅趣。以「孤棹载诗」写归途，风雅之至，是此词清丽雅致风格的代表句。

This line writes the return road, the ci's gathering and elevation of the zest. My lone boat in the dusk writes the lone rowing in the dusk, the one word lone at once the solitude's cleanness, and the aftertone of the above poetry-cold-on-Lonely-Mountain loneliness; carrying the poem home writes the return with the poem, the one word carry the line's telling stroke — the return boat carrying not wine, not flowers, but the poem, gathering the day's plum seeking, nostalgia, and lake roaming into one boat's poetic feeling. Writing the return through the carried poem, at once the self-consciousness of Zhou Mi's ci-poet identity, and the portrait of his elegant temper — returning laden with poetic feeling, alone and yet not lonely, clear and yet not bitter. This line echoes the above seeking-news-of-the-plum: setting out on the zest, returning carrying the poem, precisely the Chinese scholar's zest-ended-and-returned elegance. Writing the return through the lone boat carrying the poem, elegance to the extreme, the representative line of this ci's clear, elegant style.

Study

Word focus

诗冷 Poems grown cold is the lyric's most celebrated phrase: the cold marks both the chill purity of Lin Bu's style and the silence after his death — the poetry still exists, but the warmth of its maker is gone, and no heir has appeared; a single temperature-word that turns homage into elegy. 「诗冷孤山」之「诗冷」，是此词炼字的精妙处，以「冷」字写诗格与心情。「诗冷」者，孤山之诗已冷也——林逋的咏梅诗格清冷孤高，如今其诗虽在，而斯人已逝，诗情随人而冷。一个「冷」字，既写林逋「疏影横斜」的清冷意境，也写林逋身后无人继其风雅的寂寞，还暗含词人面对传统隐逸精神衰微的惆怅。以「冷」写诗，比「清」「寂」更见温度之失：诗是有温度的，是诗人的心血所凝；如今诗冷了，是因为诗人的心已经不在。此词以「诗冷孤山」怀古，不用一个「哀」字、一个「叹」字，而惆怅自见，正是炼字以简驭繁、以冷写深的典范。

载诗 Laden with poems moves the weight-word carry from cargo to verse: the returning boat carries not wine, not flowers, but the day's accumulated song — making the abstract harvest of an excursion tangible, and revealing the poet's scholar-elegant self-image. 「孤棹晚、载诗还」之「载诗」，是此词最见风雅的造语，写归舟满载诗情。「载」本用于装载货物，词人移以写诗——孤棹之上，载的不是酒、不是花，而是「诗」，把这一日寻梅怀古、游湖访景的所得，都凝作了一船的诗情。以「载诗」写归途，既见周密词客身份的自觉，也见其雅致情怀的流露：不是空手而归，而是满载诗情而归，一天的游历因「载诗」而获得了意义。这一造语，把抽象的「诗情」写得具体可感，仿佛真能用舟来装载，正是周密词「辞采清丽、构思工巧」的体现。以「载诗还」收束归途，风雅之至，令人神往。

谢池 Xie's pond refers to the pond in Xie Lingyun's famous dreamed line in the pond spring grass grows; by later convention Xie's pond and dreamt grass stand for poetic inspiration itself, so the closing waves swelling green fuse the season's renewal with the stirring of the poet's own verse. 「谢池梦草相关」之「谢池」，用谢灵运「池塘生春草」之典，是此词以典写春意与诗情的佳例。「谢池」指谢灵运诗中所咏的池塘，典出《南史》所载谢灵运梦中得「池塘生春草，园柳变鸣禽」之句，以为神助，后以「谢池」「梦草」喻诗思的灵感与春意的勃发。此词以「谢池梦草相关」作结，写晴波涨绿之际，那谢池的春草正与我的诗情相关——春意与诗思相契，眼前之景与古人诗境相合，正是「触景生情、古今相映」的写法。以「谢池」收束全词，既写了春意的勃发，也写了诗情的涌动，把游湖寻梅的雅兴归结于诗思的因缘，典雅而空灵，是周密词以典写情、以古证今的妙笔。