宋 Song · 词 Ci lyric
秦观·八六子·倚危亭
To the Tune 'Ba Liu Zi' — Leaning on the High Pavilion
八六子·倚危亭倚危亭。
恨如芳草，萋萋刬尽还生。
念柳外青骢别后，水边红袂分时，怆然暗惊。
无端天与娉婷。
夜月一帘幽梦，春风十里柔情。
怎奈向、欢娱渐随流水，素弦声断，翠绡香减，那堪片片飞花弄晚，蒙蒙残雨笼晴。
正销凝。
黄鹂又啼数声。
Parting grief like sweet grass, lush, cut away yet springing again.
I think of the dappled horse beyond the willows, the red sleeve by the water at our parting—my heart starts in quiet shock.
Heaven gave you, unasked, such grace.
A curtain of night-moon, a dream so faint; ten li of spring breeze, tender feeling.
Yet joy drifts with the flowing water; the plain strings fall silent, the green silk's scent thins—how bear the fluttering petals playing at dusk, the misty leftover rain wrapping the clear?
I am dissolving in reverie.
The oriole cries a few more notes.
Meaning
Leaning on a pavilion, the lover sees spring grass and remembers a parting; past joy contrasts with present loss, ending in quiet reverie as an oriole sings.
我倚着高高的亭子凭栏远望。离恨就像那萋萋的芳草，铲尽之后又蓬勃地生长回来。想起柳外青骢马载着离人远去之后，水边红袖佳人含泪分手之时，不禁怆然心惊。无端地，上天赐予她娉婷美好的姿容，于是才有了夜月之下帘幕之中的幽幽梦境，春风之中绵延十里的柔情。怎奈那欢娱渐渐随流水消逝，素弦的清音已然断绝，翠绡的香气逐渐减褪，更哪堪片片飞花在暮色中嬉弄，蒙蒙残雨笼罩着雨后的晴空。我正黯然凝神出神之际，黄鹂又啼叫了几声，更添无尽愁绪。
Appreciation
The line 'parting grief like sweet grass, cut away yet springing' is the hinge: grief made a thing that grows back, turning the formless into form. Typical Qin Guan refinement.
【白话串讲】 “恨如芳草，萋萋刬尽还生”——秦观倚在高亭上，离恨像芳草，割了又长。“夜月一帘幽梦，春风十里柔情”——这段回忆，美得让人不敢读第二遍。 【意象与手法】 全词以恨字立骨、以忆字为纬，章法在虚实今昔之间往复腾挪。起拍倚危亭写登高怅望之景，随即以恨如芳草、萋萋刬尽还生设喻，把无形离恨化为具体可感的春草，化虚为实、化静为动，开篇即奇。中段以念字领起追忆，柳外青骢、水边红袂再现分别场面，又以夜月一帘幽梦、春风十里柔情回写昔日欢情，以乐景衬哀情，愈美愈伤。下片以怎奈向陡转，欢娱随流水、素弦断、翠绡减，层层写欢情之逝；那堪二字再推一层，片片飞花弄晚、蒙蒙残雨笼晴，以景写愁，情景交融。结拍正销凝，黄鹂又啼数声，以声结情、以动衬静，余韵悠长。全词一放一收、一扬一抑，今与昔、乐与哀、景与情反复交叠，极尽慢词铺叙转折之能事，是秦观婉约词艺术成熟的标志。 【情感与主旨】 此词写别后重登旧亭、触景生情的离愁别恨。词人借芳草之刈而复生，写离恨之斩除不尽；借夜月幽梦、春风柔情的昔日欢娱，反衬今日的孤寂凄凉；借欢娱随流水、弦断香减，写美好时光的一去不返；更借飞花弄晚、残雨笼晴的迷蒙暮景，写愁绪的纷乱无端。全篇的情感由恨而忆、由忆而伤、由伤而怅，层层推进，最终落在黄鹂数声的余响之中，含蓄不尽。主旨既是对一位扬州佳人的深沉思念，也寄寓着对青春欢情、美好时光的追挽，以及个体在时间流逝面前的无奈与怅惘。此词把个人的离愁与普世的时光之叹融为一体，哀而不伤、婉而多讽，体现了秦观词以情韵见长、以深婉取胜的典型风貌。 【名句点睛】 恨如芳草，萋萋刬尽还生是千古喻愁名句。其妙有三：一曰取喻之切，芳草一望无际、刈而复生，恰与离恨之无边、难断相合；二曰炼字之奇，刬尽还生四字以具体的刀铲动作写抽象的离恨，化无形为有形，一除一生之间，离恨的顽强扑面而来；三曰化用之工，此句脱胎于李煜离恨恰如春草、更行更远还生，而反其道行之，由空间的蔓延改为时间的反复，更进一层。此句一出，遂为后世写恨典范，亦全词情感的总纲与枢纽。
Background
From Qin Guan's early years roaming Yangzhou, when he mixed with singing girls. 'Beyond the willows, dappled horse; by the water, red sleeve' marks a bordello parting. Though amorous, 'quiet shock' and 'dissolving' already hint his later plaintive manner.
《八六子·倚危亭》是秦观早年游历扬州期间创作的怀人伤别词。秦观（1049—1100），字少游，号淮海居士，扬州高邮人，北宋中后期婉约词的代表作家，与黄庭坚、晁补之、张耒并称苏门四学士。他早年屡试不第，漫游江淮，与歌妓乐工往还密切，词中柳外青骢、水边红袂正类狭邪离别之境，学界一般认为此词即为一位扬州歌妓而作，写的是别后重登旧亭、触景生情的怅惘。此词当属他前期词风尚未定型时的作品，虽写艳情，却已透出后期凄婉缠绵的底色：恨如芳草、怆然暗惊、正销凝等语，都预示着少游由艳入愁、由浅入深的词风走向。北宋慢词自柳永大盛，秦观继起而能化俗为雅，把柳永的市井情调提炼为文士的深婉情思，此词正是这一转变过程中的代表作，为后来周邦彦的浑厚词风导夫先路。词学史上对此词的编年虽有分歧，或主元丰年间客居扬州时作，或主绍圣之后贬谪途中的追忆，然就词中春风十里、柳外青骢等明丽意象与轻快笔调看，当以早年扬州之说为近是。秦观与苏轼交往甚密，苏轼曾称其有屈宋之才，而此词以八十八字的长调容量写一段缠绵悱恻的旧情，正见其将小令之深婉引入慢词的努力。
Art
The grass metaphor is the hinge; the middle recalls 'night-moon dream, spring breeze' as contrast; the lower stanza turns sharply—joy drifts with water, petals and rain wrap the clear, the finer the scene the deeper the grief. It ends on oriole notes, sound writing stillness, lingering.
此词的艺术匠心集中在章法的腾挪与情景的转换上。全词以倚亭起兴，以恨字立骨，先以芳草比喻离恨，确立全篇的情感基调；接着用念字领起，追忆柳外青骢、水边红袂的分别场景，由眼前之景陡转入往昔之事；继而以无端二字宕开，回写昔日夜月幽梦、春风柔情的欢愉，以乐景衬哀情；下片以怎奈向三字急转，欢娱随流水、弦断香减，今昔对照，欢情愈美而失落愈深；结尾那堪二字再推一层，飞花弄晚、残雨笼晴，以景写愁；最后以正销凝顿住，忽接黄鹂又啼数声，以声结情、以动衬静，余韵袅袅。全词一抑一扬、一放一收，虚实相生，情与景、今与昔在短短八十八字中反复交叠，极尽腾挪变化之能事，充分体现了慢词铺叙与转折兼备的章法之美。尤为可注意的是词中时间的多重折叠：眼前之景、昔日之别、更早之欢、此刻之愁四重时间在八十八字中反复闪回，如电影蒙太奇般层层叠印，使有限的篇幅容纳了极丰富的情感容量，这正是慢词相较小令在时间处理上的优越性所在。
Allusions
'Parting grief like grass' transforms Li Yu's 'parting grief exactly like spring grass, farther you go, still it grows' into 'cut away yet springs.' 'Ten li spring breeze' hides Du Mu's 'ten li of Yangzhou road in spring breeze.' 'Plain strings, green silk' are music and sleeves—all fitting parting, seamless.
此词用典数处而浑然无迹。最著者为恨如芳草，萋萋刬尽还生一句，化用南唐李煜《清平乐》离恨恰如春草，更行更远还生之意，却反其道而用之：李煜写恨随人行而愈远愈生，秦观写恨如草被刬而愈除愈生，一写空间的蔓延，一写时间的顽强，更进一层，突出离恨的斩除不尽。春风十里暗用杜牧《赠别》春风十里扬州路的诗句，点明扬州旧游之地，既写往昔繁华，又暗含物是人非之感。素弦翠绡则取弦歌罗袖之典，以琴弦断绝、香罗褪色象征欢情的消逝与佳人的远隔。此外，柳外青骢、水边红袂以杨柳、流水、骏马、红袖等传统离别意象构境，深得古典诗词以物传情的韵致；结尾黄鹂啼声，又暗合唐人金昌绪打起黄莺儿、莫教枝上啼的闺怨诗境，以鸟声惊破凝望，更添愁恨。数典皆贴合离愁主题，融化无痕，正见少游用典的浑成功力。此外，夜月一帘、幽梦等语亦近于唐人张泌寄人中的倚栏无端又忆君之句与李商隐昨夜星辰昨夜风的月夜怀人传统，秦观熔铸众家而归于本色，其用典之妙不在炫博，而在使典实成为情感的自然载体，读者不觉其为用典而自能会心。
Commentary
Zhang Yan (Song) said Qin's ci 'light in form, bones not faded'; Feng Xu (Qing) praised 'plain words all flavor, shallow words all grace.' The four words 'cut away yet springs' are said to exhaust parting grief beyond reason.
历代词话对秦观此词评价极高。南宋张炎《词源》论秦观词体制淡雅、气骨不衰，谓其能兼得清丽与风骨；清人冯煦《蒿庵论词》更称少游词淡语皆有味、浅语皆有致，此篇正是显例——恨如芳草不过是眼前常见之物，经少游点化便成为千古喻恨名句。近人王国维《人间词话》虽讥少游词格调稍逊，气象不及东坡，却也承认其词以情韵见长；周济《宋四家词选》则把秦观列为学词者必经之门径，以为其词精微要渺，最宜入门。就词史而言，此词的意义在于：它以八十八字的双调慢词，把柳永以来流行的离别相思题材提升为高度文人化的深婉抒情，上承晏欧的含蓄，下启周邦彦的缜密，是北宋婉约词由小令向长调、由疏朗向浑成过渡的枢纽之作。今人读此词，尤赏刬尽还生四字，以为道尽了离恨的不可理遣与情感的执著顽强，这正是此词跨越时代而依然动人的根本所在。
Prosody
Line by line
倚危亭。恨如芳草，萋萋刬尽还生。
I lean on the high pavilion. The parting grief is like the fragrant grass: though shaved clean, it grows back again.
倚着高高的亭子凭栏远望，离恨就像那萋萋的芳草，铲尽之后又蓬勃地生长回来。
Leaning on the high pavilion and gazing far, the parting grief is like the lush fragrant grass: though shaved clean, it grows back luxuriantly.
起拍三句是全词的情感总纲，字字精警。倚危亭三字破空而来，写登高凭栏的此刻情境，为全篇立定一个怅望的视角；紧接着以恨如芳草、萋萋刬尽还生设喻，把抽象无形的离恨化为具体可感的芳草，取喻既新且切——芳草一望无际，恰似离恨之无边；芳草刈而复生，恰似离恨之难断。其中刬尽还生四字尤为生新：刬字写恨之欲除，还生二字写恨之顽生，一个简单的动作对比，就把离恨的纠缠不休、斩除不尽写得惊心动魄。此句明显化用李煜离恨恰如春草、更行更远还生，却把更行更远的空间蔓延改为刬尽还生的时间反复，由远生改为复生，笔力更进一层。以景起、以喻承，全词的愁绪由此喷薄而出，以下种种追忆与怅惘皆由此恨字生发，故称全篇枢纽，诚非虚语。
The opening three lines are the whole ci's emotional outline, every word a warning. The three words leaning on the high pavilion come breaking through the air, writing the climb-and-railing-leaning present moment, setting the whole piece's wistful-gazing view; immediately using the grief is like the fragrant grass: though shaved clean, it grows back again for the metaphor, turning the abstract invisible parting grief into the concrete palpable fragrant grass, the metaphor at once novel and apt — the fragrant grass boundless, precisely like the parting grief's boundlessness; the fragrant grass's cut-and-regrow, precisely like the grief's hard-to-cut. The four words shaved-clean-and-regrown especially fresh: the shave writing the grief's wishing-to-be-removed, the regrown writing the grief's stubborn growth, one simple action contrast, writing the parting grief's tangle and the not-cleaving-out in the heart-stirring. This line clearly borrowing Li Yu's the parting grief is just like the spring grass, the farther you walk the more it grows, and yet changing the farther-walk space spread into the shaved-clean-and-regrown time repetition, from the far-growing to the regrowth, the brush power one layer further. Rising on scene and inheriting through metaphor, the whole ci's grief hence bursting forth, the below's various memory and wistfulness all grown from this grief word, hence called the whole piece's hinge, truly no empty words.
念柳外青骢别后，水边红袂分时，怆然暗惊。
I think of the green horse gone beyond the willows, the red sleeves at the parting by the water's edge — and I start, grieved, in the dark.
想起柳外青骢马载着离人远去之后，水边红袖佳人含泪分手之时，不禁怆然心惊。
I think of the green horse carrying the traveler away beyond the willows, the red-sleeved beauty's tearful parting by the water's edge, and I start with hidden grief.
此拍以念字领起，由眼前之景陡转入对往昔分别场面的追忆，是词中今昔转换的枢纽。柳外青骢、水边红袂，一写送行人的离去，一写被送者的伫望，柳、水、青骢、红袂四个意象以鲜明的色彩与动静构成一幅清丽的送别图景：柳丝拂拂是离别传统意象，青骢马是远行的载体，水边是分手之地，红袂则是佳人衣着的特写，以色点人，宛然在目。别后与分时两个时间词对举，把分别的瞬间拉长为漫长的告别过程。最妙在怆然暗惊四字收束：怆然写此刻重忆时的悲怆，暗惊则写这悲怆来得毫无防备——原以为旧事已淡，谁知一念及此，仍如惊雷骤至。一个惊字，把离恨的潜伏与迸发写得层次分明，与起拍的恨如芳草遥相呼应，可见少游抒情之细腻入微。
This stanza led by the word I think, from the present scene's sudden turn into the past parting scene's memory, the ci's present-past turn hinge. The green horse beyond the willows, the red sleeves by the water, one writing the sender's going, one writing the seen-off's standing gaze, the willow, water, green horse, red sleeves four images with the bright color and the motion-and-stillness forming a clear farewell picture: the willow's swaying the parting tradition image, the green horse the far-travel vehicle, the water's edge the parting place, the red sleeves the beauty's sleeve close-up, the color naming the person, as if before the eyes. The after-parting and the at-the-parting two time words set against, stretching the parting instant into the long farewell process. The greatest wonder in the four words grieved, hidden-start closing: the grieved writing the present re-memory's grief, the hidden-start writing this grief's coming unprepared — the old affair thought faded, and yet one thought of this, still like the sudden thunder. The one word start, writing the parting grief's lurking and eruption layer by layer, echoing the opening's grief-like-fragrant-grass, showing Qin Guan's lyrical fineness.
夜月一帘幽梦，春风十里柔情
A curtain of night-moon, a dream so faint; ten li of spring breeze, tender feeling.
夜月之下帘幕之中曾共度幽幽梦境，春风之中曾享有绵延十里的柔情。
Beneath the night moon and the curtain, we shared the hidden dream; in the spring breeze, the ten-li stretch of tender feeling.
此二句是全词追忆欢情最浓处，以乐景写哀情，笔致极美。夜月一帘幽梦，写月夜帘内的私语幽会，一帘二字把月光、帘幕与梦境绾合在一起，幽梦既指梦境的幽微，也暗含情事的隐秘与美好；春风十里柔情，化用杜牧春风十里扬州路的诗句，以十里写柔情之绵长广阔，仿佛春风过处，柔情随之铺展无尽。两句一内一外、一静一动，夜月与春风、幽梦与柔情两两对举，工整而流动，把昔日的欢愉写得如诗如画。然而愈是把旧情写得美好，愈反衬出今日的孤寂：欢情越是旖旎，失去后的怅惘越是深重。此二句纯用赋笔直写昔日，不着一个愁字，而愁已暗伏其间，正合乐景衬哀、以喜写悲之法，为下片怎奈向三字的陡然转折蓄足了势，是词中情感由热转冷的关捩所在。
These two lines are the ci's memory joy's richest place, writing grief through delighted scene, the brush beauty extreme. Beneath the night moon and the curtain, we shared the hidden dream writes the moon-night curtain's private tryst, the two words curtain gathering the moonlight, the drape, and the dream together, the hidden dream at once the dream's secrecy and the love affair's secrecy and beauty; in the spring breeze, the ten-li stretch of tender feeling, borrowing Du Mu's the spring breeze ten-li Yangzhou road line, using the ten-li for the tender feeling's length and breadth, as if the spring breeze's passing and the tender feeling's endless spreading. Two lines, one inner one outer, one still one motion, the night moon and the spring breeze, the hidden dream and the tender feeling set together, crafted and flowing, writing the old joy picturesque. And yet the more the old feeling's beauty, the more it sets off today's solitude: the joy the more romantic, the after-loss wistfulness the deeper. These two lines pure narrative of the past, not one word of grief, and the grief already secretly stored, precisely matching the delighted-scene-sets-off-grief, writing-grief-through-joy method, storing the full force for the second stanza's however the three-word sudden turn, the ci's emotional hot-to-cold hinge.
怎奈向、欢娱渐随流水，素弦声断，翠绡香减，那堪片片飞花弄晚，蒙蒙残雨笼晴。
Yet, the joys gradually flow away with the water; the plain strings' sound is broken, the green silk's fragrance fades. How can I bear the flying petals sporting in the dusk, the dim remnant rain veiling the clear sky?
怎奈那欢娱渐渐随流水消逝，素弦的清音已然断绝，翠绡的香气逐渐减褪，更哪堪片片飞花在暮色中嬉弄，蒙蒙残雨笼罩着雨后的晴空。
Yet the joys gradually pass with the flowing water; the plain strings' sound is broken, the green silk's fragrance fades. How can I bear the flying petals toying in the dusk, the dim remnant rain veiling the clear sky?
下片首句怎奈向三字，是全词由回忆跌回现实的急转枢纽，一个无可奈何的感叹，把上片的旖旎欢情一举击碎。欢娱渐随流水，以流水喻欢情之逝，一去不返；素弦声断写琴音断绝，暗喻知音离散、欢会难再；翠绡香减写香罗褪色，暗喻红颜渐远、情味日薄。三句层层递进，由事到物、由声到香，把欢情的消逝写得具体可感。那堪二字再推一层，转入眼前景：片片飞花弄晚，写飞花在暮色中嬉弄飘坠，一个弄字以拟人笔法写落花之无情，反衬人之有情；蒙蒙残雨笼晴，写雨后残云、迷蒙细雨笼罩着初晴的天空，残雨与笼晴构成明暗交织的朦胧之境，正是词人愁绪纷乱、欲理还乱的物化写照。四字句与六字句的参差错落，使声情随文情跌宕，至那堪处更显凄楚，是全词情景交融最深的段落。
The second stanza's opening however the three words, the ci's memory's sudden fall back to reality's urgent turn hinge, one helpless sigh, smashing the first stanza's romantic joy at once. The joys gradually flow away with the water, figuring the joy's passing through the flowing water, gone and not returning; the plain strings' sound is broken writes the qin sound's severance, secretly figuring the soulmate's dispersion and the joy's non-recurrence; the green silk's fragrance fades writes the silk's fading color, secretly figuring the beauty's distance and the feeling's daily thinness. Three lines advancing layer on layer, from the affair to the thing, from the sound to the fragrance, writing the joy's vanishing concretely. The how-can-I-bear two words pushing one layer further, turning to the present scene: the flying petals sporting in the dusk writes the flying petals' sportive falling in the dusk, the one word sporting personifying the fallen flowers' heartlessness, setting off the man's feeling; the dim remnant rain veiling the clear sky writes the post-rain remnant clouds and the dim fine rain's veiling of the newly clear sky, the remnant rain and the veiled-clear forming the light-and-dark interwoven dim realm, precisely the poet's tangled grief and the untied materialized portrait. The four-character lines and six-character lines' uneven spacing, making the voice and feeling rise and fall with the text, to the how-can-I-bear the more bleak, the ci's scene-and-feeling-fused deepest passage.
正销凝。黄鹂又啼数声。
Lost in sorrow and trance, the oriole sings a few more notes.
正黯然凝神、怅然出神之际，黄鹂又啼叫了几声，更添无尽愁绪。
Just as I am lost in sorrow and trance, the oriole sings a few more notes.
结尾二句以景结情，是词家所谓结句尤难于起句的典范。正销凝三字，销写魂销、凝写凝伫，把词人怔怔出神、百感交集的痴态凝于二字，与起拍的倚危亭遥遥呼应，形成首尾环合之势。正当此时，黄鹂又啼数声，以鸟声划破静寂：又字点出鸟声并非初闻，而是再度入耳，暗示词人沉浸于愁思已非片刻，而鸟声不解人愁，依旧自啼，更见其孤独；数声以声写寂，愈显环境的空寂与心境的寥落。此结笔法含蓄蕴藉，不说愁而愁在言外，与李煜帘外雨潺潺的以景收情异曲同工，而更见空灵。少游以黄鹂啼声收束全篇，使愁绪不随词尽而尽，反如余音绕梁、袅袅不绝，深得词以不尽为妙的传统，历来为词论家所称赏。
The closing two lines close feeling in scene, the ci writers' so-called the close harder than the opening model. The three words lost in sorrow and trance, the trance writing the soul's trance, the stillness writing the standing trance, gathering the poet's stupefied gazing and the hundred feelings' crazed pose in three words, echoing the opening's leaning on the high pavilion, forming the head-tail ring. Just at this moment, the oriole sings a few more notes, using the bird sound to cut the stillness: the one word again pointing out the bird sound's not the first hearing, but the second earful, hinting the poet's sunk in the grief not for a moment, and the bird sound's not knowing the man's grief, still singing of itself, the more showing the loneliness; the few notes writing the stillness through sound, the environment's vacancy and the mood's desolation the clearer. This close's brush restrained and pregnant, not saying the grief and the grief beyond the words, with Li Yu's the curtained rain's patter closing-feeling-in-scene by a different path, and yet the more ethereal. Qin Guan closing the whole piece in the oriole's chirp, making the grief not end with the ci's end, but like the lingering sound around the beam, curling on, deeply gaining the ci's the-incomplete-is-the-wonder tradition, through the ages praised by the ci critics.
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Both Qin Guan refinement; one figures grief by grass, one by curtain and cold—plain words all flavor.
《浣溪沙·漠漠轻寒上小楼》与《八六子》同出少游之手，同写闺中春愁与离思，却代表了秦观小令与长调两副不同的笔墨。小令以漠漠轻寒、淡烟流水的白描起笔，全篇含蓄空灵，结句自在飞花轻似梦，无边丝雨细如愁以梦喻花、以愁喻雨，虚处传神；《八六子》则以恨如芳草的奇喻开篇，追忆欢情、铺叙今愁，章法跌宕，实处着力。前者如淡墨山水，后者如工笔重彩；前者重意境之空濛，后者重情感之绵密。合观二词，可见少游既能以最省的笔墨营造隽永的小令意境，又能以繁复的铺叙写尽长调的缠绵，其婉约词风的多样面貌于此毕现，也可见宋词中小令与长调在抒情方式上的根本差异。
秦观·江城子·西城杨柳弄春柔 Jiang Cheng Zi — West City Willows Soften Spring 秦观 · 同作者同写离别之恨，两首名篇的喻愁异同 Same poet, partingBoth write parting grief; compare 'cut away yet springs' with 'let the spring river all be tears' as ways to figure sorrow.
《江城子·西城杨柳弄春柔》与《八六子》同为秦观离别名篇，皆以春景起兴、以情收结，可作对读。喻愁之法同中有异：西城杨柳弄春柔以杨柳弄春起兴，结句便做春江都是泪，流不尽，许多愁以春江之泪喻愁之无边，取象宏大，愁如江水滚滚而来；《八六子》则以芳草喻恨，取象绵密，恨如春草生生不息。一以江水写愁之深广，一以芳草写恨之顽强，皆化无形为有形，而气象有别：江城子近于放，八六子近于敛。章法上，江城子上下片一气流转，情感直泻；八六子则今昔交叠、一放一收，更见慢词回环吞吐之致。两词并读，恰可见少游写愁既善用明喻直陈，又善用今昔对照曲尽其情，其艺术手段之丰富，于此可窥全豹。
王维·送元二使安西 Wang Wei — Seeing Yuan Er Off to Anxi 王维 · 同为送别题材，诗与词两种体裁的对照 Same theme, partingBoth parting; Qin lingering and long, Wang restrained and deep—read together.
《送元二使安西》（又名《渭城曲》）与《八六子》同属送别主题，而体裁一诗一词、时代一唐一宋，正可见古典送别文学由诗入词的演变。王维诗以渭城朝雨、客舍青青的清晨送别场景起笔，劝君更尽一杯酒，西出阳关无故人以一杯酒寄托千言万语，含蓄凝练，是盛唐送别诗的典范，重在临别一刻的深情叮咛；秦观词则以倚亭望草写别后追忆，今昔对照、铺叙曲折，重在别后的绵绵余恨。王诗是当下场面的白描，时间定格在送别瞬间；秦词是别后心境的回放，时间在今日与昔日之间往复流转。一简一繁、一瞬一长，恰如诗之凝练与词之婉曲的分野，合观二作，可直观感受中国古典送别题材从短章到慢词、从即景到回忆的审美演进。