宋 Song · 词 Ci lyric
声声慢·寻寻觅觅
Slow Slow Song
寻寻觅觅，冷冷清清，凄凄惨惨戚戚。
乍暖还寒时候，最难将息。
三杯两盏淡酒，怎敌他、晚来风急？
雁过也，正伤心，却是旧时相识。
满地黄花堆积。
憔悴损，如今有谁堪摘？
守着窗儿，独自怎生得黑？
梧桐更兼细雨，到黄昏、点点滴滴。
这次第，怎一个愁字了得！
Chilly and quiet,
Desolate, painful, and miserable.
When it’s warm yet cold,
It is the hardest to rest.
Two or three cups of weak wine,
How can they withstand the urgent evening wind?
Geese pass by, I am grieved,
They are my old acquaintances.
Yellow flowers pile on the ground,
Withered and damaged,
Who can pick them now?
I sit by the window,
How can I alone wait until dark?
Fine rain drizzles on the wutong leaves,
Drip, drop, at dusk.
At this moment,
How can one word “sorrow” express it all?
Meaning
The poetess, late in life and lonely after losing her husband and nation, describes her restless search for solace, only to find desolation. She uses images like weak wine, cold wind, geese, withered chrysanthemums, and rain on wutong leaves to convey her profound sorrow, concluding that no single word can capture it.
寻寻觅觅，冷冷清清，凄凄惨惨戚戚。在这乍暖还寒的时节，最是难以将养身心。三两杯淡酒，又怎敌得过傍晚袭来的急风？大雁飞过，正叫我伤心，它却原是旧日相识。满地菊花堆积，都已憔悴凋零，如今还有谁值得去采摘？独自守着窗儿，怎样才能挨到天黑？梧桐树上又添细雨，到黄昏时分，点点滴滴落个不停。这般光景，岂是一个“愁”字能够说尽的！
Appreciation
The poem opens with fourteen叠字 (reduplicated words) in three groups, moving from action (seeking) to environment (coldness) to feelings (misery), a unique technique in song lyric. The climate of sudden warmth and cold mirrors her unsettled mood. Weak wine fails to counter the wind, geese remind her of lost letters, and chrysanthemums symbolize her own faded beauty. The rain dripping on wutong leaves at dusk builds a crescendo of sorrow, culminating in a rhetorical question that leaves the emotion boundless.
【白话串讲】 “寻寻觅觅，冷冷清清，凄凄惨惨戚戚”——七组叠字开场，李清照把国破家亡的痛写得让人不敢读第二遍。这不是愁，这是一个人把日子过成了黄昏。 【意象与手法】 以叠字开篇，由“寻寻觅觅”的动作写到“凄凄惨惨戚戚”的心境，如泣如诉，创格空前 【情感与主旨】 靖康之变（1127）后北宋灭亡，李清照南渡，不久丈夫赵明诚病故，她携金石书画辗转流离，晚景孤苦无依 【名句点睛】 常考开篇“寻寻觅觅，冷冷清清，凄凄惨惨戚戚”十四叠字之妙（动作—环境—心理三层递转），及“乍暖还寒时候，最难将息”的
Background
After the Jingkang Incident (1127) when the Northern Song fell, Li Qingzhao fled south. Soon after, her husband Zhao Mingcheng died. She wandered alone, losing most of their collection. This poem was likely written during her later years in Hangzhou, embodying her grief over national ruin, widowhood, and displacement.
此词为李清照南渡以后的晚年之作，具体年月虽无确证，而其所写境况与词人晚岁的遭遇密合无间。靖康二年（1127）金兵破汴京，北宋覆亡，李清照与夫赵明诚仓皇南奔，所藏金石书画屡经播迁而散失殆尽。建炎三年（1129）八月，赵明诚病故于建康，李清照自此孤身一人，携残余书册辗转越州、台州、温州、杭州之间，兵火盗窃之下家藏几尽，晚年寓居临安，境遇孤苦。其所作《金石录后序》历述这一段颠沛，字字沉痛，可与此词互为印证。故此词所写之愁，非闺阁中的寻常离思，而是家国倾覆、丈夫亡故、身世飘零、故物尽失数重打击层层叠压之后的结果，其重量与她早年《如梦令》《醉花阴》一类作品截然不同。就词调而论，《声声慢》本为慢词长调，前人所作多押平声韵，声情舒缓；李清照此篇独用入声韵，且通篇多用舌齿之音，字面凄紧，声情迫塞，是对旧调的一次大胆改造，词史上称为创格。版本方面，此词文字大体稳定，惟满地黄花堆积一句之黄花，历来有指菊花与指黄色落花二说，以词中重阳前后的秋景与堪摘之语观之，当以菊花为长；又乍暖还寒时候之乍暖还寒，或以为写春，或以为写秋，就雁过、黄花、梧桐细雨诸象合观，则秋日气候忽暖忽冷之说于全篇最为贯通。
Art
The opening seven pairs of reduplicated words are unprecedented in the history of ci poetry, creating a sobbing rhythm. Diction like 'cold' and 'weak' is intensified by the use of dental consonants, producing a melancholy tone. Images are densely layered: cold wind, wild geese, yellow flowers, rain, and wutong leaves, all blending scene with emotion. The ending question leaves the grief beyond words.
全词以愁为骨，而通篇不肯直说其愁，直至末句才让一个愁字破口而出，章法之隐忍在宋词中极为罕见。上片起处连下十四叠字：寻寻觅觅、冷冷清清、凄凄惨惨戚戚，三组九字层层递入，第一组写动作，是若有所失、四顾求索的身体状态；第二组写环境，是所求不得之后眼中的空寂；第三组写心理，六字连叠，由凄而惨而戚，一路加深。由动作而环境而心境，三层递转，如镜头由手足移向四壁再沉入胸中，愁之所以为愁的过程被完整呈现，而全无一句解说。乍暖还寒时候、最难将息二句转入身体感受，以气候之无常写调养之难，愁遂由心而及身。三杯两盏淡酒、怎敌他、晚来风急，以酒之淡薄对风之急厉，一弱一强，抵挡不住的意思不言而喻；一个他字口语天然，风遂有了咄咄逼人的面目。雁过也、正伤心、却是旧时相识，以三个短句写一惊一转，愁由眼前之景牵出旧日之事，词境陡然深了一层。下片转写庭院与长昼。满地黄花堆积、憔悴损、如今有谁堪摘，以花之憔悴自况，堪摘二字含有无人可赏、亦无心自赏的双重萧索。守着窗儿、独自怎生得黑，是全词最朴拙也最惊心的一句，白日之长竟成难以熬过之事，其寂寞至于以天黑为期盼。梧桐更兼细雨、到黄昏、点点滴滴，复用叠字回应开篇，然此处叠字写声，滴滴之音不绝，愁遂由视觉转为听觉，无从回避。末以这次第、怎一个愁字了得作结，忽以口语反问收束，前面积压的一切至此并未化解，只是承认了它无从命名。全篇由早至晚、由内而外、由动作而声音，脉络井然而情绪一路下沉，是慢词铺叙之法的极致。
Allusions
The passing geese allude to the legend of wild geese carrying letters, but here they are 'old acquaintances' yet bring no news, deepening the loneliness. 'Wutong and fine rain' echoes Wen Tingyun’s line 'Wutong tree, midnight rain, not parting from bitter love'. The 'yellow flowers' (chrysanthemums) symbolize herself—once beautiful, now withered.
此词几乎不用故实，而所取意象皆有深厚的文学积累。雁之意象最可玩味：雁足传书之说本于《汉书》所记苏武事，后世遂以雁为寄书之信使；李清照早年《一剪梅》有云中谁寄锦书来之句，正用此意，其时丈夫在外而书信可通。此篇却说雁过也、正伤心、却是旧时相识，同是旧相识的雁，而今再无人可寄书、亦无书可待，物是人非之感于此最切；不读其早年之作，便读不出这一句的痛处。黄花即菊，古来与重阳、隐逸、晚节相联，陶渊明以下菊几成高洁的象征，李清照早年《醉花阴》尚以人比黄花瘦，那时黄花虽瘦而香在袖，此处则堆积憔悴而无人堪摘，同一物象在其笔下前后判若两世。梧桐兼雨的组合，唐宋以来久为写秋愁的定式：白居易《长恨歌》有秋雨梧桐叶落时之句，温庭筠《更漏子》有梧桐树、三更雨、不道离情正苦之语，李清照取此熟境而以点点滴滴四字翻新，全在声音上落笔。将息为宋人口语，谓调养身体；怎生谓怎样、如何；次第谓光景、情形；了得谓说得尽、了结得。此数语皆是当时活的口头语，直入词中而不觉粗俗，正是李清照最为人推许的本色——以最寻常之语写最深细之情。
Commentary
Xu Qiu in 'Ciyuan Congtan' praised the opening as 'like large and small pearls falling on a jade plate'. Later critics call it 'an unparalleled creation in a thousand years'. The use of reduplicated words was revolutionary, making this poem a masterpiece of sorrow in the graceful and restrained style, influencing later poets.
此词自宋代即以叠字之创见称。南宋张端义《贵耳集》论此篇，谓其乃公孙大娘舞剑手，又称本朝非无能词之士，未曾有一下十四叠字者，且指出后叠梧桐更兼细雨、到黄昏点点滴滴又使叠字而俱无斧凿痕，是对此词艺术特点最早也最中肯的揭示。所谓无斧凿痕，正是叠字之难：叠字本易流于纤巧堆砌，而此篇十四字层层递进、各有分工，读来如泣如诉，全不见安排的痕迹。历代评家论此词，除叠字之外，尤重两处：一是守着窗儿、独自怎生得黑，以极朴之语写极深之寂，被认为是词中以俗为雅的典范；二是结句这次第、怎一个愁字了得，不作收束而作反问，把说不尽的意思留在纸外，与柳永以景结情之法各擅其妙。声律方面，后世论词者多注意到此篇改押入声韵，且多用舌齿音，指出其声情之凄紧一半得自音韵，非徒字面之功，故有以为此篇是词中声与情结合最紧密者之一。经典地位上，此词是李清照的代表作，也是宋代婉约词中写愁的顶点；开篇十四叠字更成为汉语文学中最著名的语言实验之一，屡被后人模拟而少有能及。近现代以来，此篇长期入选各级教材与选本，与其早年《如梦令》并读，一少一老、一乐一哀，恰构成一位女性词人一生的两端，其间横着的正是靖康之变与南渡的家国之痛。
Prosody
Line by line
寻寻觅觅，冷冷清清，凄凄惨惨戚戚。
Seeking, seeking, chilly and quiet, desolate, painful, and miserable. These seven pairs of reduplicated words move from action to environment to feelings, a groundbreaking technique.
寻寻觅觅，冷冷清清，凄凄惨惨戚戚。
Seeking, seeking, cold and still, desolate, sorrowful, distressed.
开篇十四叠字为词史创格，其妙不在字多而在层次分明。寻寻觅觅四字写动作，是若有所失、四顾求索之状，然究竟寻什么、觅什么，词人不说，正因所失者是丈夫、是故国、是半生所藏，无一件可以寻回；冷冷清清转写环境，是求索无获之后眼中的空寂；凄凄惨惨戚戚六字连叠写心境，由凄之寒凉而惨之痛楚而戚之忧伤，一路加深。三组九字由身而外而内，如镜头由手足移向四壁再沉入胸中，愁的生成过程被完整呈现，而通篇尚未着一愁字。
The opening fourteen reduplicated characters the ci history's invented form, its wonder not in the many characters and yet in the layers' clearness. Seeking, seeking four characters write the action, the as-if-lost and the glance-around seeking state, and yet precisely what sought, what searched, the poet not saying, precisely because the lost things are the husband, the old country, and the half-life's kept, not one can be sought back; cold and still turning to the environment, the seeking's no-gain and yet the eyes' vacancy; desolate, sorrowful, distressed six characters' continuous reduplication writing the mood, from the desolation's coldness to the sorrow's pain to the distress's grief, all the way deepening. Three groups of nine characters, from the body to without to within, like the camera from the hands-and-feet moving to the four walls and then sinking into the breast, the grief's generating process fully presented, and the whole piece not yet touching one grief word.
乍暖还寒时候，最难将息。
When it’s warm yet cold, it is the hardest to rest. The climate mirrors her unsettled mood.
在这乍暖还寒的时节，最是难以将养身心。
In this season of sudden warmth and returning cold, it is hardest to take care of oneself.
此二句由心境落到身体，愁遂有了生理的重量。乍暖还寒写秋日气候的忽冷忽热，暖未及安而寒已至，是身体最难适应之时；将息为宋人口语，谓调养，最难二字则含着久病难支的疲惫。妙在气候之无常与心境之无着恰相印证：外间既不肯给一个稳定的时节，内里也就无从安顿。词人不诉病苦而只说难以将息，语气平和，然一个年老孤居、无人照看的形象已在其中。以口语入词而不觉其俗，是李清照最见功力处。
These two lines from the mood to the body, the grief hence the physical weight. The sudden-warm-and-returning-cold writing the autumn climate's sudden cold and heat, the warmth not yet settled and the cold already arrived, the body's hardest adapting time; the take-care the Song colloquial, the nurturing, the hardest two words carrying the long-illness's hard-to-bear weariness. The wonder in the climate's inconstancy and the mood's no-lodging precisely the mutual proof: the outer world's un-willingness to give a settled season, and within hence the no-settle. The poet not uttering the illness's pain and only saying the hard-to-nurture, the tone plain, and yet the old age's lone dwelling and the no-ones-watching image already within. Using the colloquial in the ci and yet no vulgarity felt, Li Qingzhao's most craft-seen place.
三杯两盏淡酒，怎敌他、晚来风急？
Two or three cups of weak wine, how can they withstand the urgent evening wind? The wine is not weak, but her sorrow is too strong.
三两杯淡酒，又怎敌得过傍晚袭来的急风？
Two or three cups of thin wine — how can they withstand the urgent evening wind?
此二句以一弱一强相形，写抵挡不住的意思而不着一字。三杯两盏言其少，淡酒言其薄，两个虚词已把这点微弱的自救之具写得可怜；而晚来风急则急厉逼人，一个急字见其猛。怎敌他三字最妙：怎敌是反问，等于承认无从抵御；他字为宋人口语，指风，一经指称，风便有了咄咄逼人的面目，仿佛是有意来欺凌孤弱之人。酒本用以消愁，而此处酒且不能御寒，则愁之不可消更不待言。以日常之物写绝境，语淡而力沉。
These two lines in the one-weak-one-strong set-against, writing the un-against-able meaning and yet not one word. Two or three cups naming the few, thin wine naming the thinness, two empty words already writing this faint self-rescue's tools as pitiable; and the urgent evening wind's urgent and pressing, the one word urgent seeing its fierceness. How can they withstand? three characters the most wondrous: how-withstand the rhetorical question, equal to admitting the no-defense; the he word the Song colloquial, naming the wind, once the naming, the wind hence the aggressive face, as if intentionally coming to bully the lone weak. The wine by nature the grief's dispeller, and here the wine's even the cold's no-withstanding, then the grief's indispersability the more not to speak. Writing the extreme plight through the daily thing, the words plain and the force deep.
雁过也，正伤心，却是旧时相识。
Geese pass by, I am grieved, they are my old acquaintances. The allusion to letter-carrying geese is reversed, intensifying her loneliness.
大雁飞过，正叫我伤心，它却原是旧日相识。
The wild geese pass; just as I grieve, I see they are old acquaintances.
此三句以短句作一惊一转，是上片最深一层。雁自古为传书之信使，李清照早年词中曾有盼锦书自云中来的句子，其时雁过是可喜的；如今雁仍南来，而寄书之人已亡、可待之书已绝，故雁过便只余伤心。妙在却是旧时相识五字：明知雁非同一只，偏认作旧识，是孤绝之中把一切旧物都当作亲人的心理；而一认作旧识，物是人非之痛便立刻加倍。此句连用三个短读，气息断续，如哽咽不能成句，声情与心境全然一致。
These three lines in the short lines' one start and one turn, the first stanza's deepest layer. The wild goose by nature the letter messenger, Li Qingzhao's early ci once having the looking-forward-to-the-brocade-letter-from-the-cloud line, at that time the goose's passing the welcome; now the geese still southward, and yet the letter-sending person already dead, the awaitable letter already severed, hence the goose's passing only the grief's remaining. The wonder in the they-are-old-acquaintances five characters: the knowing-the-goose's non-same-one and yet the insisting-on-the-old-acquaintance, within the utter loneliness treating all the old things as relatives' psychology; and once recognized as the old acquaintance, the thing-is-there-and-person-is-not pain hence at once doubled. This line's three short readings in a row, the breath's broken cadence, like the choking's inability to form the sentence, the voice-feeling and the mood wholly one.
满地黄花堆积。憔悴损，如今有谁堪摘？
Yellow flowers pile on the ground, withered and damaged, who can pick them now? The chrysanthemums symbolize her faded beauty.
满地菊花堆积，都已憔悴凋零，如今还有谁值得去采摘？
Yellow flowers lie piled on the ground, withered and spent; now, who is there to gather them?
下片由天上之雁落到地上之花，境界由远收近。黄花即菊，本为重阳应景、可采可佩之物，而此处满地堆积，则无人采撷、任其零落可知。憔悴损三字既状花之枯败，又暗指自身：损为宋人语，谓极、甚，憔悴至极，人与花已难分说。如今有谁堪摘一问最沉：堪摘可解为值得采摘，亦可解为有谁来摘，前者是自弃，后者是无人，两义并存而皆凄凉。与其早年以人比黄花瘦相较，昔日尚有瘦而香之美可以自赏，今则并此一点自赏之心也无。
The second stanza from the sky's goose to the ground's flower, the realm from far gathered near. The yellow flower i.e. the chrysanthemum, by nature the Double Ninth season and the gatherable-wearable thing, and here the ground-piled, hence the no one's gathering and the letting-falling known. The withered-and-spent three characters at once shaping the flower's decay, and secretly pointing at the self: the spent the Song speech, naming the extreme, the withered-to-the-extreme, the person and the flower already the hard-to-separate. Now, who is there to gather them? the question the heaviest: the worthy-to-gather solvable as the worthy-to-pick, and also solvable as the who-comes-to-pick, the former the self-abandonment, the latter the no one, the two meanings coexisting and both bleak. Set against the early years' the-person-is-thinner-than-the-yellow-flower, the past yet the thin-and-fragrant beauty's self-admiration, and now even this one bit of self-admiration heart gone.
守着窗儿，独自怎生得黑？
I sit by the window, how can I alone wait until dark? A stark depiction of her restless waiting.
独自守着窗儿，怎样才能挨到天黑？
Guarding the window, all alone — how can I endure until dark?
此二句是全词最朴拙也最惊心之笔。守着窗儿四字全是口语，一个守字见其久坐不动、无事可为；窗儿是她与外界仅存的联系，而所见不过是不肯过去的白日。怎生得黑为宋人口头问语，谓怎样才能熬到天黑。常人盼天明，此人盼天黑，一句之内把日子的难过写到极处：白昼漫长而无所依托，唯有黑夜可以掩去这一切，故天黑竟成了盼望。全句不用一个雅字、不设一个比喻，然其寂寞之深，任何辞藻都难以及。以俗语写深情，此为宋词中的极品。
These two lines are the whole ci's plainest and yet most startling brush. Guarding-the-window four characters all colloquial, the one word guard seeing the long sitting's no-motion and the no-affair; the window the only remaining link with the outer world, and what is seen only the un-passing daytime. The how-can-I-endure-until-dark the Song colloquial question, naming the how-to-struggle-to-dark. The ordinary man looks forward to the dawn, this person looks forward to the dark, within one sentence writing the day's unendability to the extreme: the daytime long and the no-lodging, only the night able to cover all this, hence the dark's becoming the expectation. The whole sentence not one elegant word, not one metaphor, and yet the loneliness's depth, any rhetoric's hard to reach. Writing deep feeling through the vernacular, this the Song ci's top grade.
梧桐更兼细雨，到黄昏、点点滴滴。
Fine rain drizzles on the wutong leaves, drip, drop, at dusk. The sound of rain merges with sorrow, extending time.
梧桐树上又添细雨，到黄昏时分，点点滴滴落个不停。
The paulownia, and the fine rain as well, until dusk, drop after drop.
此二句以声音收束下片之景，愁遂无从回避。梧桐兼雨本是唐宋写秋愁的熟境，白居易、温庭筠皆用之，李清照的翻新全在点点滴滴四字：不写雨之形而写雨之声，一点一滴，绵密不绝，落在梧桐阔叶上声音清晰可辨。更兼二字见其叠加——已是黄花满地、独守空窗，又添一场夜雨。妙在与开篇叠字遥相呼应：起处叠字写心，此处叠字写声，一内一外，而所指为一。视觉尚可闭目，声音却无从躲避，故此二句之后，那个愁字已势必破口而出。
These two lines closing the second stanza's scene through sound, the grief hence the no-avoidance. The paulownia-plus-rain by nature the Tang-Song autumn-grief's familiar realm, Bai Juyi and Wen Tingyun both using it, Li Qingzhao's novelty all within the drop-after-drop four characters: not writing the rain's form and yet the rain's sound, one drop one drop, the dense unceasing, falling on the paulownia's broad leaves the sound's distinct. The and-fine-rain two words seeing the superposition — already the ground's yellow flowers and the lone window-guarding, and yet adding a night rain. The wonder in the opening reduplication's echoing: the opening's reduplication writing the heart, the here's reduplication writing the sound, one inner one outer, and the named the same. The sight's closable eyes, and the sound's un-dodgeable, hence after these two lines, that grief word's inevitable bursting.
这次第，怎一个愁字了得！
At this moment, how can one word 'sorrow' express it all? A rhetorical question leaves the grief boundless.
这般光景，岂是一个愁字能够说尽的！
Such a scene — how can one word, grief, ever suffice?
结句以口语反问收束，是全词唯一一次让愁字出口，也是最见分寸的一笔。次第为宋人语，谓光景、情形，这次第三字把上下片所铺陈的一切——冷清、淡酒、急风、旧雁、落菊、长昼、夜雨——尽行收拢，作为一个整体推到读者面前。怎一个愁字了得，则是自己推翻了这个名目：愁字太轻太笼统，容纳不下如此重的境况。妙在不作解释、不加铺陈，只以一句反问作结，说不出的意思遂全留在纸外。此结不同于以景结情，而是以承认语言之不足来收束，力量反因这份坦白而更大。
The close closing on the colloquial question, the whole ci's only once letting the grief word out, and the most measured stroke. The this-scene the Song speech, naming the state and situation, the this-two-words gathering the first and second stanzas' all laid-out — the coldness, the thin wine, the urgent wind, the old goose, the fallen chrysanthemum, the long day, the night rain — all as one whole pushed before the reader. How can one word, grief, ever suffice? then overthrowing this very name: the grief word too light and too vague, unable to hold such a heavy plight. The wonder in the no-explanation and no-laying-out, only closing on one rhetorical question, the un-speakable meaning hence all left beyond the paper. This close differs from closing-feeling-in-scene, and yet closing through admitting the language's insufficiency, the force the greater through this candor.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
《如梦令》写少女时代溪亭泛舟的一次意外，沉醉、误入、争渡、惊起鸥鹭，通篇是动作、是笑意、是无忧的热闹，用平声韵而句短音跳；此篇则是坐着不动、无所可为的寂静，用入声韵而字字如咽。二词字数相去不远，境界判若两世，其间所横者正是靖康之变、南渡流离与丧夫之痛。合读二词，最能见出时代如何改写一个人的语言：同一支笔，昔日写惊起一滩鸥鹭那样的鲜活，晚岁只能写独自怎生得黑那样的枯坐。
一剪梅·红藕香残玉簟秋 A Twig of Mume Blossoms: Red Lotus Fragrance Fades on the Jade Mat in Autumn 李清照 · 同用雁与愁的意象，可比较有所待之愁与无所待之愁的分别 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
《一剪梅》作于早年与赵明诚小别之时，词中云中谁寄锦书来一句用雁足传书之意，虽有相思而书信可通、归期可待，故末以此情无计可消除、才下眉头却上心头作结，愁虽绵密而其中含着甜意。此篇同写雁过，却说却是旧时相识——雁仍南来，而寄书之人已亡，可待之书已绝。前者是有所待的愁，愁中有盼；后者是无所待的愁，愁而无归。同一意象在同一词人笔下前后对照，物是人非之痛不待多言而自明，此亦读李清照必须前后并观的道理。
更漏子·玉炉香 Song of the Water Clock: Incense in the Jade Censer 温庭筠 · 同用梧桐夜雨写愁，可比较晚唐婉约与南宋沉痛的不同分量 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
温庭筠此词末以梧桐树、三更雨、不道离情正苦作结，同是梧桐兼雨的熟境，然其所写为闺中女子的相思之苦，情境精致而愁有边际，语气中犹有一种可供品玩的哀怨；李清照的点点滴滴则不作抱怨，只呈现声音本身，绵密不绝而无从回避，其后所压着的是家国倾覆与孤身无依，愁已无边际可言。温词之雨是渲染情绪的背景，李词之雨是压在人身上的实感。同一意象，一为装饰，一为重量，晚唐与南宋的分别正在这里。