宋 Song · 词 Ci lyric
声声慢
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，如今有谁忺摘。
守著窗儿，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。
Cold, cold, clear, clear —
Grieving, grieving, miserable, miserable, sad, sad.
In the moment when it turns warm and then cold again,
It is hardest to take one's rest.
Two or three cups of weak wine —
How can they withstand the evening wind's haste?
The wild geese pass overhead —
It is the very moment of grief,
And yet they are the acquaintances of former times.
The ground is piled with yellow chrysanthemums.
Withered and ruined,
Now who would pluck them?
Keeping guard by the window,
Alone, how can one get through to the dark?
The wutong tree, together with the fine rain,
To the dusk — drop by drop, point by point.
This state of things —
How can one word, one 'sorrow,' suffice for it?
Meaning
The most famous lyric of Li Qingzhao's late years, the supreme expression of her desolation after the loss of her husband and the ruin of the north. Seeking, seeking, searching, searching — cold, cold, clear, clear — grieving, grieving, miserable, miserable, sad, sad: the fourteen characters of the opening are the whole state of the widowed poet. In the moment when it turns warm and then cold again, it is hardest to take rest; two or three cups of weak wine cannot withstand the evening wind's haste. The wild geese pass overhead — the acquaintances of former times, the birds of the old letters. The ground is piled with the yellow chrysanthemums, withered and ruined, that no one will pluck. Keeping guard by the window, alone, how can she get through to the dark? The wutong tree, together with the fine rain, to the dusk — drop by drop, point by point. And the close: this state of things — how can one word, one 'sorrow,' suffice for it?
我苦苦地寻寻觅觅，却只觉得冷冷清清，凄凄惨惨戚戚。乍暖还寒的时候，最难调养休息。喝下三杯两盏淡酒，又怎能抵挡那晚来的急风。大雁飞过，正自伤心，却是旧时相识。满地菊花堆积，凋零憔悴，如今有谁忍心采摘。守着窗儿，独自一人怎挨到天黑。梧桐叶上更兼着细雨，到黄昏时分，点点滴滴。这光景，怎一个愁字能够说尽！
Appreciation
[Plain Paraphrase] Seeking, seeking, searching, searching — cold, cold, clear, clear — grieving, grieving, miserable, miserable, sad, sad. In the moment when it turns warm and then cold again, it is hardest to take one's rest. Two or three cups of weak wine — how can they withstand the evening wind's haste? The wild geese pass overhead — it is the very moment of grief, and yet they are the acquaintances of former times. The ground is piled with yellow chrysanthemums. Withered and ruined, now who would pluck them? Keeping guard by the window, alone, how can one get through to the dark? The wutong tree, together with the fine rain, to the dusk — drop by drop, point by point. This state of things — how can one word, one 'sorrow,' suffice for it? [Structure and Thought] The lyric moves through the single day and night of the desolation: the seeking of the opening, the wine that cannot withstand the wind, the familiar geese, the withered chrysanthemums, the lonely guard at the window to the dark, the wutong and the rain to the dusk, and the close's question on the word that cannot suffice. [Key Technique] The poem's art is the accumulation of the details, each one a small defeat: the weak wine against the wind, the familiar geese, the withered flowers, the long guard at the window, the rain on the wutong — until the close asks how one word can hold them all. [Emotional Tone] Desolate, precise, and overwhelming: the lyric is the record of the widowed poet's day and night, the fourteen characters of the opening and the accumulating details carrying the whole of her grief.
【白话串讲】 李清照写《声声慢》：“寻寻觅觅，冷冷清清，凄凄惨惨戚戚”——起笔十四个叠字。“三杯两盏淡酒，怎敌他、晚来风急”——“梧桐更兼细雨，到黄昏、点点滴滴。这次第，怎一个愁字了得”——她写晚年的愁。 【意象与手法】 开篇十四叠字创词史奇观，声情并茂；淡酒、急风、过雁、黄花、梧桐细雨，意象层层堆积，愁由外景而内心，步步加深；以「怎一个愁字了得」的反诘收束，愁不可名状。 【情感与主旨】 此词作于南渡之后，夫亡国破、流离孤苦，写尽了晚景的凄凉。由「寻寻觅觅」的焦灼到「独自怎生得黑」的熬煎，是国破家亡之后个体生命最沉痛的悲歌。 【名句点睛】 常考十四叠字「寻寻觅觅，冷冷清清，凄凄惨惨戚戚」的声情艺术，以及「怎一个愁字了得」对愁的极致表达。
Background
Li Qingzhao (1084–c. 1155) wrote this lyric in her late years, after the death of her husband Zhao Mingcheng and the fall of the north — the ruin of her life and her home. The 'Slow Slow Song' is the supreme expression of her desolation, famous for the fourteen-character opening of the reduplicated words and the final question on the word 'sorrow.' It is among the most studied and most admired lyrics in the Chinese language, the classic statement of the widow's autumn.
《声声慢》是李清照晚年流寓江南时的代表作，约作于建炎三年（1129）赵明诚病逝之后。靖康二年（1127）金兵南下，北宋灭亡，李清照随夫南渡，仓皇中金石书画散失大半；建炎三年，赵明诚在赴湖州任所途中染疾而亡，李清照自此孤身漂泊于江南，晚境凄凉。《声声慢》即写这种国破、家亡、夫逝之后的深哀剧痛。全词没有一处明写亡国之痛、丧夫之悲，却字字是愁：寻寻觅觅的焦灼、淡酒不敌的晚风、旧时相识的过雁、无人共摘的黄花、独自怎生得黑的窗儿、点点滴滴的梧桐雨，种种愁景皆从心底流出。此词是李清照由婉约清丽转入沉郁凄怆的转折点——前期的《一剪梅》《醉花阴》写的是闺中离愁，尚有甜蜜的底色；后期的《声声慢》写的是身世之悲，已是彻骨的寒凉。《声声慢》调名本于蒋捷（一说源于唐教坊），又名《胜胜慢》，上下片各五句，句句押韵，声情绵密；此词上下片异文颇多（如「晚来风急」或作「晓来风急」），然皆无碍全词之意。李清照主张「词别是一家」，此词以寻常口语度入严整音律，正是其词学主张的实践。词史论者多以此词为李清照南渡后词风的巅峰，也是宋词写愁的极致之作。
Art
The lyric's art is the art of the accumulating detail. The opening — the fourteen reduplicated characters of the seeking and the cold and the grieving — states the whole state in a single burst. Then the details accumulate through the day and night: the weak wine that cannot withstand the evening wind, the familiar wild geese, the withered chrysanthemums no one will pluck, the lonely guard at the window to the dark, the wutong and the fine rain to the dusk, drop by drop. Each detail is a small defeat, and the defeats accumulate until the close asks the question that gathers them all: this state of things — how can one word, one 'sorrow,' suffice for it?
此词艺术上最夺目处，是开篇十四个叠字：「寻寻觅觅，冷冷清清，凄凄惨惨戚戚」。寻寻觅觅写动作——若有所失、四顾寻找，是精神恍惚的外化；冷冷清清写环境——寻而不得，四围只有冷清；凄凄惨惨戚戚写心境——冷清之中，凄惨之情层层加深。十四个字由动作而环境而心境，层层递进，无一字写愁而愁已满纸。叠字之外，全词又以淡酒、急风、过雁、黄花、梧桐、细雨六组意象层层堆积，愁随景转、景随愁深：淡酒本为驱寒，却「怎敌他晚来风急」——酒力敌不过风，更敌不过愁；过雁本是寻常，却「却是旧时相识」——北来的雁曾是旧友，如今人雁俱飘零，今昔对比，愁上加愁；黄花本是可赏，却「憔悴损，如今有谁忺摘」——花人俱憔悴，无人共赏；守窗独坐，「独自怎生得黑」——白昼都熬不过去；梧桐更兼细雨，点点滴滴——愁如雨声，无休无止。词的结构以愁为经、以景为纬：上片由动作而环境而心境，先立愁之基调；下片由黄花而窗儿而梧桐雨，愁之实景愈积愈厚；末以「这次第，怎一个愁字了得」反诘收束——这光景，岂是一个愁字说得尽的！反诘之中，愁被推到不可名状的极致。全词以口语入词（怎敌他、守着窗儿、怎生得黑、了得），直白如话而情深如海，正是李清照「以寻常语度入音律」的本色。
Allusions
'The wild geese' (yan) are the geese of the old letters — the birds that were to carry the husband's letters in the past, now the acquaintances of former times passing over the widowed poet. 'The wutong tree, together with the fine rain' (wutong geng jian xiyu) is the classic image of the autumn sorrow — the wutong and the rain heard to the dusk. 'The yellow chrysanthemums' (huang ju) are the flowers that she once loved, now withered and ruined, that no one will pluck.
此词不着一典，而意象皆承传统，深得比兴之旨。其一是过雁的意象：鸿雁传书自《汉书·苏武传》始，李清照《一剪梅》「云中谁寄锦书来，雁字回时，月满西楼」即以雁写对赵明诚的思念；此处「雁过也，正伤心，却是旧时相识」——雁还是旧时之雁，而寄书之人已逝，传书之事已不可能，旧识二字写尽今昔之痛，是比兴而反用其意。其二是黄花的意象：陶渊明采菊东篱，菊花本为隐逸高洁之象；李清照《醉花阴》「人比黄花瘦」以黄花写相思之瘦，此处「满地黄花堆积，憔悴损，如今有谁忺摘」——黄花满地堆积而无人采摘，写尽孤身之寂，且由昔日的相思之瘦进为今日的无人可依，菊花的意象由闺怨转入身世之悲。其三是梧桐夜雨的意象：温庭筠《更漏子》「梧桐树，三更雨，不道离情正苦」、白居易《长恨歌》「秋雨梧桐叶落时」，皆以梧桐夜雨写愁苦；此词「梧桐更兼细雨，到黄昏点点滴滴」，直承此传统而更其细密，雨声滴在梧桐叶上，也滴在词人心上。其四是淡酒的意象：酒本为浇愁之物，李白「举杯销愁愁更愁」，此词却连淡酒也敌不过晚风，写愁之深重已非酒力所能及。全词意象皆眼前实景，而无一不承载千古传统，正是李清照用事于无形的功夫。
Commentary
This lyric is among the most famous in the Chinese language, quoted for the fourteen-character opening and the final question. The weak wine, the familiar geese, the withered chrysanthemums, the wutong and the rain — the accumulating details of the widowed autumn are among the most beloved in the tradition. Critics praise the lyric's art: the desolation performed by the reduplicated words and measured by the details, and the close's question on the word that cannot suffice.
《声声慢》是宋词写愁的极致之作，也是李清照晚年词风的巅峰。开篇十四个叠字，前无古人、后无来者——张端义《贵耳集》谓「此乃公孙大娘舞剑手」，评其笔力之奇；后人虽屡有效颦，终无一能及。这十四个字不只是文字的游戏，而是以声传情：寻、清、凄、惨、戚诸字多为齿音、舌音，读来如寒蝉呜咽、如冷雨敲窗，声调本身即是愁的化身，声情与辞情高度合一。从词史看，此词以口语入词而格律精严（全词用入声韵，无一字越律），是李清照「词别是一家」主张的实践；其以叠字开篇、以反诘收束的章法，亦开后世词人经营声情的法门。从内容看，此词由「寻寻觅觅」的个人焦灼，写到「怎一个愁字了得」的不可名状，把国破家亡、夫逝身孤的万端愁绪压缩在一首小词中，是中国文学中个体悲剧意识最沉痛的表达之一。梁启超评此词「最得凄惨之致」，实为的评。此词与《武陵春》《永遇乐》等晚期作品共同构成李清照的晚年悲歌，也是宋代南渡词人群体共同苦难的缩影。
Prosody
Line by line
寻寻觅觅，冷冷清清，凄凄惨惨戚戚。
Seeking, seeking, searching, searching — cold, cold, clear, clear — grieving, grieving, miserable, miserable, sad, sad.
我苦苦地寻找着、寻觅着，却只觉四周冷冷清清，心情凄凄惨惨、悲悲戚戚。
I seek and search in vain; around me all is cold and still, and my heart is desolate, sorrowful, and distressed.
开篇十四个字，七组叠字，是词史上空前绝后的奇笔。寻寻觅觅写动作：词人若有所失，恍恍惚惚地寻找着、寻觅着——找什么？也许找旧日的欢愉、找逝去的亲人、找失散的故物，找而不得；于是四顾惘然，只觉得冷冷清清——寻而不得，环境便只剩冷清；冷清之中，心境便凄凄惨惨戚戚——凄、惨、戚三层递进，愁苦层层加深。十四个字由动作而环境而心境，由外而内，一字一层，无一字写愁而愁已铺天盖地。更妙在声情：寻、清、凄、惨、戚等字多属齿音，读来如齿牙相叩、如寒蝉悲鸣，声音本身便凄楚不堪；叠字的重复又模拟了寻觅的往复与愁绪的循环，仿佛词人在这冷清之中一遍遍地徘徊、一遍遍地咀嚼痛苦。这十四个字，是中国文学中以声写情的极致。
The opening fourteen characters, seven groups of reduplication, the ci history's unprecedented wondrous brush. Seeking, seeking writes the action: the poet's as-if-lost, in a trance's seeking and searching — seeking what? Perhaps seeking the old joy, seeking the departed kin, seeking the scattered old things, the seeking and the no-finding; hence the glance-around blankness, only feeling the cold and still — the seeking's no-finding, the environment hence only the cold; within the cold, the mood hence desolate, sorrowful, distressed — the desolate, sorrowful, and distressed three layers advancing, the grief layer on layer deepening. Fourteen characters, from action to environment to mood, from without to within, one character one layer, not one word writing grief and yet the grief already sky-filling. The further wonder in the voice-feeling: the seek, cold, desolate, sorrowful, and distressed words mostly the dental sounds, reading them as if the teeth knocking, as if the cold cicada's mournful cry, the sound itself already unbearable; the reduplication's repetition also mimicking the seeking's going-and-coming and the grief's circulation, as if the poet within this coldness pacing round and round, chewing the pain round and round. These fourteen characters, Chinese literature's sound-writes-feeling extreme.
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 evening wind's haste?
喝下三杯两盏淡酒，又怎能抵挡那晚来的急风呢？
Two or three cups of thin wine — how can they withstand the urgent evening wind?
此二句写借酒御寒而寒不可御，愁因酒而更见深重。三杯两盏是数量之少，淡酒是酒力之薄——既是实写晚年清贫、无酒可饮，也是虚写愁重酒轻、无酒可消。怎敌他是反诘：淡酒本为驱寒，却敌不过晚来风急——风是急的、晚的，正是一天将尽、寒意最浓之时；酒敌不过风，人便敌不过愁。这里的风不只是自然之风，更是人生的风雨——国破的风、丧夫的风、流离的风，淡酒如何能敌！唐人写酒，多写酒能浇愁（李白「五花马，千金裘，呼儿将出换美酒」）；李清照却反其道而行，写酒之不敌，愁之愈深。三杯两盏与风急形成数量与力度的悬殊对比，淡字更见无奈——不是没有酒，而是什么样的酒都无济于事了。
These two lines writing the wine-for-cold and yet the cold's no-withstanding, the grief through the wine the deeper seen. Two or three cups the quantity's smallness, thin wine the wine's thinness — at once the late years' poverty and the no-drink real writing, and the grief-heavy-and-wine-thin's no-grief-to-dispel void writing. How can they withstand? the rhetorical question: the thin wine by nature the cold's dispeller, and yet the un-withstanding of the urgent evening wind — the wind the urgent and the evening, precisely the day's about-to-end and the cold's thickest time; the wine's un-withstanding the wind, and the person hence the grief's un-withstanding. Here's the wind not only the natural wind, and yet the life's wind — the nation's ruin wind, the husband's death wind, the wandering wind, how can the thin wine withstand! The Tang writers writing the wine, mostly the wine's ability to quench grief (Li Bai's the five-flower horses, the thousand-jin furs, call the lad out to trade for the fine wine); Li Qingzhao turning against the current, writing the wine's un-withstanding, the grief's the deeper. Two-or-three-cups and the urgent-wind forming the quantity-and-force's disparity contrast, the thin word the more the helplessness — not the no-wine, and yet the what-kind-of-wine's all the avail-less.
雁过也，正伤心，却是旧时相识。
The wild geese pass overhead — it is the very moment of grief, and yet they are the acquaintances of former times.
大雁飞过，我正自伤心，却发现它竟是旧时相识的雁。
The wild geese pass, and in my grief I see they are old acquaintances.
此三句写见雁而伤情，是全词今昔对比最沉痛处。雁过也——抬头见雁南飞，本是寻常秋景；正伤心——词人正在伤心之际，见雁更添一层愁；却是旧时相识——这雁竟是旧相识！旧时相识四字，是全词的泪点：雁是北来的，李清照也是北人；雁飞过的是她南渡前熟悉的天宇，如今人雁俱在江南。更重要的是，旧时的雁曾为她传书——李清照《一剪梅》「云中谁寄锦书来，雁字回时，月满西楼」，那时的雁是甜蜜的信使；如今雁还是旧雁，而收信的人已长眠地下，传书已成绝响。雁是旧相识，人却已不是旧时人；故国、故人、故情，都随这旧雁的一声长唳而粉碎。三句由景及人、由人及忆，无一字言悲而悲彻骨髓，是借物写情的绝唱。
These three lines writing the goose-seen-and-grief-aroused, the whole ci's present-past contrast's most grief-stricken place. The wild geese pass — the raised head sees the south-flying geese, by nature the ordinary autumn scene; just as I grieve — the poet in the grief's moment, the goose's seeing one layer more of grief; I see they are old acquaintances — this goose, actually the old acquaintance! The old-acquaintance four characters, the whole ci's tear point: the goose the north-arrived, Li Qingzhao also the northern person; the goose's flying over is the southern-flight-before's familiar sky, now the person and goose both in Jiangnan. The more important, the old geese once carried letters for her — Li Qingzhao's A Branch of the Plum: who sends the brocade letter from the clouds? when the goose formation returns, the moon fills the west tower; that time's goose the sweet messenger; now the goose still the old goose, and yet the letter's receiver already resting underground, the letter-carrying already the severed sound. The goose the old acquaintance, the person yet no longer the old person; the old country, the old friend, and the old feeling, all with this old goose's one long cry's crushing. Three lines, from scene to person and from person to memory, not one word of grief and yet the grief to the bone, the thing-writes-feeling swan song.
梧桐更兼细雨，到黄昏、点点滴滴。
The wutong tree, together with the fine rain, to the dusk — drop by drop, point by point.
梧桐叶上更兼着细雨，一直到黄昏，雨声点点滴滴，没完没了。
The paulownia and the fine rain, until dusk, drop after drop.
此三句写黄昏听雨，是全词愁境的极点。梧桐更兼细雨——梧桐本是愁树（「梧桐树，三更雨，不道离情正苦」），细雨本是愁雨，梧桐加细雨，愁上加愁；到黄昏——黄昏是一天中最易生愁的时刻，黄昏而雨，更是愁城；点点滴滴——雨声落在梧桐叶上，一声一声，连绵不断，直到黄昏，没有尽头。这雨声不只是自然之声，更是愁之声：点点滴滴的雨，正是点点滴滴的愁，一声声敲在词人心上，从白天敲到黄昏，无休无止。更妙在声情的配合：点点、滴滴俱为入声叠字，读来短促而细密，正模拟雨声的连绵与愁绪的纠缠。守著窗儿的词人，独自听着这永无止息的雨声——怎生得黑，是熬煎白昼；点点滴滴，是熬煎黄昏；黄昏之后又是长夜，这愁何时是个尽头？三句以景写愁，愁之深重已不可复加。
These three lines writing the dusk rain-hearing, the whole ci's grief-realm's pole. The paulownia and the fine rain as well — the paulownia by nature the grief tree (the paulownia tree, the midnight rain, unspoken the parting grief's bitterness), the fine rain by nature the grief rain, the paulownia plus the fine rain, the grief on the grief; until dusk — the dusk the day's grief-most-easily-born moment, the dusk-and-rain the grief city the more; drop after drop — the rain sound falling on the paulownia leaves, note by note, the continuous, until the dusk, no end. This rain sound not only the natural sound, and yet the grief sound: the drop-after-drop rain, precisely the drop-after-drop grief, note by note knocking on the poet's heart, from the daytime knocking to the dusk, unceasing. The further wonder in the voice-feeling's matching: the dot and drip both the entering-tone reduplicated words, reading them short and dense, precisely mimicking the rain's continuity and the grief's entanglement. The window-guarding poet, alone hearing this endless rain sound — the how-to-endure-until-dark the daytime's suffering; the drop after drop the dusk's suffering; after the dusk yet the long night, this grief when the end? Three lines writing grief through scene, the grief's depth already the non-addable.
这次第，怎一个、愁字了得。
This state of things — how can one word, one 'sorrow,' suffice for it?
这样的光景，岂是一个愁字能够说得尽的！
Such a scene — how can one word, grief, ever suffice?
末三句以反诘收束全词，是愁的最终定型。这次第——这光景、这境况，指代上文寻寻觅觅、淡酒急风、过雁黄花、梧桐细雨的一切；怎一个愁字了得——一个愁字，怎能说得尽这许多愁！此句妙处有三：一是收束，把前面层层堆叠的愁景愁情总收于一笔；二是反诘，以问句作结，愁不是被说尽，而是不可说尽，留给读者无尽的想象；三是克制，全词至此只用了一个愁字，且是说它不够——真正的深悲，往往说不出、说不得，正如「欲说还休，却道天凉好个秋」。李清照写愁，不用泪、不用血，只用这轻轻一句反诘，便把国破家亡、夫逝身孤的万端愁绪尽收其中。唐人写愁尚有名目（白发三千丈、一江春水），宋人写愁已入骨髓；此句之后，愁在中国文学中便有了一个不可名状的极致。
The last three lines closing the whole ci on the rhetorical question, the grief's final shaping. Such a scene — this state, this plight, referring to the above's seeking-and-searching, thin wine and urgent wind, passing geese and yellow flowers, paulownia and fine rain all; How can one word, grief, ever suffice? — one grief word, how can it exhaust this much grief! This line's wonder threefold: one, the gathering, the above's layer-on-layer piled grief-scene and grief-feeling all gathered in one stroke; two, the rhetorical question, closing on the question, the grief not said-to-the-end, and yet the un-sayable-to-the-end, leaving the reader's endless imagination; three, the restraint, the whole ci to this point only using one grief word, and yet saying its insufficiency — the true deep grief, often the un-speakable and the un-darable, precisely the would-speak-and-yet-stop, and instead the autumn-cool-the-fine saying. Li Qingzhao writing grief, not using tears, not using blood, only this one light rhetorical question, hence gathering the nation's ruin and the home's loss, the husband's death and the self's loneliness's myriad grief. The Tang writers' grief writing yet with names (the white hair's three-thousand zhang, the a river of spring water), the Song writers' grief writing already into the bone; after this line, grief in Chinese literature hence having an unspeakable extreme.
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Li Yu's 'Fair Yu' — 'the sorrow, like the spring water, flows eastward' — is the last emperor's measure of the ruined life; Li Qingzhao's 'Slow Slow Song' is the widowed poet's measure — the accumulating details of the autumn and the final question on the word that cannot hold the state of things. The two are the greatest lyrics of the desolation in the tradition.
李煜《虞美人》「问君能有几多愁？恰似一江春水向东流」与《声声慢》同是词史写愁的极致，而愁的质地迥异。李煜之愁是一江春水的愁：浩荡、奔流、可视可量，以水的无穷写愁的无尽，是亡国之君的家国之痛；李清照之愁是点点滴滴的愁：细密、琐碎、无处不在地渗入日常生活，以雨声的连绵写愁的无休，是亡国孀妇的身世之悲。一宏大一细微，一奔放一沉郁，正见由五代入宋，词写愁由外向转向内敛的轨迹。二词又同以声情写愁：虞美人以平仄交替的复沓写愁的浩荡，声声慢以入声韵脚写愁的呜咽。合观二词，可见中国文学写愁艺术的最高境界。
武陵春·风住尘香花已尽 Spring in Wuling: Late Spring 李清照 · 李清照晚年愁词的姊妹篇 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
《武陵春》「物是人非事事休，欲语泪先流……只恐双溪舴艋舟，载不动许多愁」与《声声慢》同是李清照晚年的悲歌，同写国破家亡之愁，而笔法互补。《武陵春》以舟载愁，把愁写成有重量的实物——船都载不动，是夸张的、可见的愁；《声声慢》以景积愁，把愁写成无处不在的氛围——酒风雁花雨，无处不是愁，是写实的、弥漫的愁。一以虚写实，一以实写虚；一含蓄（欲语泪先流），一沉痛（怎一个愁字了得）。二词合观，可见李清照晚年写愁的两种路数，也可见其词风在南渡后由清丽转沉郁、由婉约转凄怆的完整轨迹。