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宋 Song · 词 Ci lyric

水龙吟

Water Dragon's Chant

陈亮

Chen Liang

闹花深处层楼，画帘半卷东风软。
春归翠陌，平莎茸嫩，垂杨金浅。
迟日催花，淡云阁雨，轻寒轻暖。
恨芳菲世界，游人未赏，都付与、莺和燕。
寂寞凭高念远。
向南楼、一声归雁。
金钗斗草，青丝勒马，风流云散。
罗绶分香，翠绡封泪，几多幽怨。
正销魂，又是疏烟淡月，子规声断。

In the depths of the noisy flowers, the storied tower —
The painted curtain half-rolled, the east wind soft.
I grieve that the world of the fragrant blossoms,
Not yet admired by the wanderers,
Is all given over to the orioles and the swallows.
In solitude I lean high, thinking of the distant —
Toward the southern tower, a single homing swan.
I am undone, and again the sparse mist and the pale moon,
And the cuckoo's cry cut off.
Listen

Meaning

A lyric of the grief of the unappreciated spring, written by Chen Liang, the radical patriot of the Southern Song. In the depths of the noisy flowers, the storied tower; the painted curtain half-rolled, the east wind soft — the scene of the spring. But he grieves that the world of the fragrant blossoms, not yet admired by the wanderers, is all given over to the orioles and the swallows — the beauty of the spring unseen, given to the birds. In solitude he leans high, thinking of the distant — toward the southern tower, a single homing swan. And the close: he is undone, and again the sparse mist and the pale moon, and the cuckoo's cry cut off. The lyric is the grief of the patriot: the spring's beauty unappreciated, the longing for the distant, and the cuckoo's cry cut off — the sorrow of the unappreciated and the unfulfilled.

闹花深处层楼，画帘半卷东风软。春归翠陌，平莎茸嫩，垂杨金浅。迟日催花，淡云阁雨，轻寒轻暖。恨芳菲世界，游人未赏，都付与、莺和燕。寂寞凭高念远。向南楼、一声归雁。金钗斗草，青丝勒马，风流云散。罗绶分香，翠绡封泪，几多幽怨。正销魂，又是疏烟淡月，子规声断。

Appreciation

[Plain Paraphrase] In the depths of the noisy flowers, the storied tower — the painted curtain half-rolled, the east wind soft. I grieve that the world of the fragrant blossoms, not yet admired by the wanderers, is all given over to the orioles and the swallows. In solitude I lean high, thinking of the distant — toward the southern tower, a single homing swan. I am undone, and again the sparse mist and the pale moon, and the cuckoo's cry cut off. [Structure and Thought] The lyric moves from the scene of the spring through the grief of the unappreciated blossoms and the solitude of the leaning, to the close's undoing with the cuckoo's cry cut off. [Key Technique] The poem's art is the veiling of the patriotic grief: the spring's beauty given to the birds, the lone leaning and the homing swan, and the cuckoo's cry — the grief of the unappreciated and the unfulfilled veiled in the scene. [Emotional Tone] Tender, grieving, and veiled: the lyric is the grief of the patriot in the spring, the blossoms unappreciated and the cuckoo's cry cut off.

【白话串讲】 陈亮写《水龙吟》：“闹花深处层楼，画帘半卷东风软”——“春归翠陌，平莎茸嫩，垂杨金浅”——“恨芳菲世界，游人未赏，都付与、莺和燕”——“寂寞凭高念远。向南楼、一声归雁”——他写春景——寂寞凭高念远。 【意象与手法】 “闹花深处层楼，画帘半卷东风软”写闹花层楼；“春归翠陌，平莎茸嫩，垂杨金浅”写春归翠陌；“恨芳菲世界，游人未赏，都付与、莺和燕”写芳菲世界；“寂寞凭高念远。向南楼、一声归雁”写凭高念远；结以“正销魂，又是疏烟淡月，子规声断”写子规声断。含蓄深婉。 【情感与主旨】 陈亮写伤春怀人之作，写春景之美而恨无人共赏，以“寂寞凭高念远”写怀人之情，体现陈亮词中柔婉与雄放兼备的风格。 【名句点睛】 常考“恨芳菲世界，游人未赏，都付与、莺和燕”以芳菲付莺燕写春恨；“寂寞凭高念远。向南楼、一声归雁”以一声归雁写怀远。

Background

Chen Liang (1143–1194) was the most radical of the Southern Song patriots. This 'Water Dragon's Chant' is usually read as the veiling of the patriotic grief: the world of the fragrant blossoms — the beauty of the south — unappreciated and given over to the orioles and the swallows, the grief of the unappreciated; and the cuckoo's cry cut off — the cry of the bird that calls the return, cut off in the close. The lyric is among the most delicate of the patriotic songs, the grief veiled in the scene of the spring.

《水龙吟》为南宋词人陈亮所作词。陈亮（1143—1194），字同甫，号龙川，婺州永康（今浙江永康）人，南宋思想家、词人，词风豪放而兼深婉。此词写伤春怀人。词中「闹花深处层楼，画帘半卷东风软」写闹花层楼；「春归翠陌，平莎茸嫩，垂杨金浅」写春归翠陌；「迟日催花，淡云阁雨，轻寒轻暖」写迟日催花；「恨芳菲世界，游人未赏，都付与、莺和燕」写芳菲世界；「寂寞凭高念远。向南楼、一声归雁」写凭高念远；「金钗斗草，青丝勒马，风流云散」写风流云散；「罗绶分香，翠绡封泪，几多幽怨」写罗绶分香；「正销魂，又是疏烟淡月，子规声断」写子规声断。陈亮此词以伤春怀人、子规声断写其怀人之情，含蓄深婉，是陈亮词中的名篇。此篇《水龙吟》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 art is the art of the veiled grief. The scene of the spring is given first — the depths of the noisy flowers, the storied tower, the painted curtain half-rolled, the east wind soft — the beauty of the spring. The grief follows: the world of the fragrant blossoms, not yet admired by the wanderers, is all given over to the orioles and the swallows — the beauty unseen, given to the birds. The solitude: he leans high, thinking of the distant — toward the southern tower, a single homing swan — the longing carried by the swan. And the close: he is undone, and again the sparse mist and the pale moon, and the cuckoo's cry cut off — the cry of the return cut off, the grief veiled in the falling scene. The whole is the grief of the patriot, veiled in the spring: the unappreciated beauty and the cut-off cry.

此词艺术上以「含蓄深婉、以景写情」见长。全词上片写闹花层楼与芳菲世界，下片写凭高念远与子规声断。上片「闹花深处层楼，画帘半卷东风软」写闹花层楼：闹花深处层楼，画帘半卷东风软；「春归翠陌，平莎茸嫩，垂杨金浅」写春归翠陌：春归翠陌，平莎茸嫩，垂杨金浅；「迟日催花，淡云阁雨，轻寒轻暖」写迟日催花：迟日催花，淡云阁雨，轻寒轻暖；「恨芳菲世界，游人未赏，都付与、莺和燕」写芳菲世界：恨芳菲世界，游人未赏，都付与、莺和燕。下片「寂寞凭高念远。向南楼、一声归雁」写凭高念远：寂寞凭高念远，向南楼、一声归雁；「金钗斗草，青丝勒马，风流云散」写风流云散：金钗斗草，青丝勒马，风流云散；「罗绶分香，翠绡封泪，几多幽怨」写罗绶分香：罗绶分香，翠绡封泪，几多幽怨；「正销魂，又是疏烟淡月，子规声断」写子规声断：正销魂，又是疏烟淡月，子规声断。全词含蓄深婉，以景写情，是陈亮词中的名篇。

Allusions

'The noisy flowers' (nao hua) alludes to Song Qi's 'the spring's intention is noisy in the red apricot branches' — the image of the flowers' abundance. 'The homing swan' (guiyan) is the swan returning south, the carrier of the longing; 'the cuckoo's cry' (zigui) is the cry of the cuckoo that calls 'return,' the bird of the homesickness — here cut off, the cry of the return cut off in the close. The 'world of the fragrant blossoms' (fangfei shijie) is the world of the spring's beauty, given over to the orioles and the swallows.

词中「闹花深处」「层楼」「画帘半卷」「东风软」「翠陌」「平莎茸嫩」「垂杨金浅」「迟日催花」「淡云阁雨」「轻寒轻暖」「芳菲世界」「游人未赏」「莺和燕」「凭高念远」「归雁」「金钗斗草」「青丝勒马」「风流云散」「罗绶分香」「翠绡封泪」「幽怨」「销魂」「疏烟淡月」「子规声断」等语，皆含典故故实。「闹花深处」写繁花深处；「层楼」写高楼；「画帘半卷」写画帘半卷；「东风软」写东风柔和；「翠陌」写青翠之阡陌；「平莎茸嫩」写平莎茸嫩；「垂杨金浅」写垂杨金浅；「迟日催花」写春日迟迟催花（用《诗经》「春日迟迟」之意）；「淡云阁雨」写淡云阁住雨；「轻寒轻暖」写乍寒乍暖；「芳菲世界」写花木繁盛之境；「游人未赏」写游人未及赏；「莺和燕」写莺与燕；「凭高念远」写登高念远；「归雁」写归雁；「金钗斗草」写少女斗草（斗草为春日游戏）；「青丝勒马」写青丝勒马（写少年驰马）；「风流云散」用王粲《赠蔡子笃》「风流云散，一别如雨」之语，写离散；「罗绶分香」写罗带分香（分香写赠别，用魏武分香卖履之意）；「翠绡封泪」写翠绡封泪；「幽怨」写幽怨；「销魂」用江淹《别赋》「黯然销魂者，唯别而已矣」之意；「疏烟淡月」写疏烟淡月；「子规声断」写子规（杜鹃）啼声断续，用蜀王望帝化鹃之典。词人以迟日催花、风流云散、罗绶分香、销魂、子规声断等语入词，不着痕迹，而把伤春怀人之情写得真切可感，是善于熔铸典故的体现。

Commentary

This lyric is one of the most delicate of the Southern Song patriotic songs, quoted for the veiling of the grief. The world of the fragrant blossoms given to the birds and the cuckoo's cry cut off are among the most admired images of the veiled patriotism. Critics praise the lyric's delicacy: the grief of the unappreciated veiled in the spring, and the cry of the return cut off.

这首《水龙吟》，是陈亮写伤春怀人之作，写闹花深处、芳菲世界、子规声断之情，含蓄深婉。上片写闹花层楼与芳菲世界：「闹花深处层楼，画帘半卷东风软」——闹花深处层楼，画帘半卷东风软。写闹花层楼：闹花深处层楼、画帘半卷东风软——繁花深处之高楼、画帘半卷东风软；「春归翠陌，平莎茸嫩，垂杨金浅」——春归翠陌，平莎茸嫩，垂杨金浅。写春归翠陌：春归翠陌、平莎茸嫩、垂杨金浅——春归翠陌、平莎垂杨；「迟日催花，淡云阁雨，轻寒轻暖」——迟日催花，淡云阁雨，轻寒轻暖。写迟日催花：迟日催花、淡云阁雨，轻寒轻暖——春日催花、淡云阁雨；「恨芳菲世界，游人未赏，都付与、莺和燕」——恨芳菲世界，游人未赏，都付与、莺和燕。写芳菲世界：恨芳菲世界、游人未赏，都付与莺和燕——芳菲世界未赏，都付与莺燕。下片写凭高念远与子规声断：「寂寞凭高念远。向南楼、一声归雁」——寂寞凭高念远，向南楼、一声归雁。写凭高念远：寂寞凭高念远，向南楼一声归雁——凭高念远、南楼归雁；「金钗斗草，青丝勒马，风流云散」——金钗斗草，青丝勒马，风流云散。写风流云散：金钗斗草、青丝勒马，风流云散——昔年斗草勒马、今风流云散；「罗绶分香，翠绡封泪，几多幽怨」——罗绶分香，翠绡封泪，几多幽怨。写罗绶分香：罗绶分香、翠绡封泪，几多幽怨——罗带分香、翠绡封泪；「正销魂，又是疏烟淡月，子规声断」——正销魂，又是疏烟淡月，子规声断。写子规声断：正销魂、又是疏烟淡月，子规声断——销魂之际、疏烟淡月、子规声断。这「正销魂，又是疏烟淡月，子规声断」，是全词之结：以子规声断写其销魂。全词含蓄深婉，以景写情，正是陈亮词中的名篇。

Prosody

Form Shuilongyin (Water Dragon's Chant), a long lyric词（水龙吟，长调）
Rhyme The lyric rhymes on the oblique-tone words ruan, yan, yuan, yan and duan — the dense, short oblique rhyme that carries the veiled grief.此词为《水龙吟》调，长调一百零二字，上片下片各十一句。押仄声韵：「软」「浅」「暖」「燕」「远」「雁」「散」「怨」「断」押铣霰部韵。词体依词谱而定，长调铺叙，句式长短错落，音节随情起伏，正与写伤春怀人的铺叙深婉相称，也见其以长调写怀人的自然。
Tone pattern The cadence is that of the veiled grief: the level opening with the scene of the spring, the turning with the grief and the solitude, and the close's falling with the cuckoo's cry cut off.句式上，上片「闹花深处层楼，画帘半卷东风软」写闹花层楼，音节明丽；「春归翠陌，平莎茸嫩，垂杨金浅」写春归翠陌，音节轻快；「恨芳菲世界，游人未赏，都付与、莺和燕」写芳菲世界，音节顿挫；下片「寂寞凭高念远。向南楼、一声归雁」写凭高念远，音节低回；「金钗斗草，青丝勒马，风流云散」写风流云散，音节感慨；「正销魂，又是疏烟淡月，子规声断」写子规声断，音节凄清。全词音节随情起伏，由明丽而轻快、由低回而凄清，正合长调「铺叙」之妙，读来如伤春怀人、子规声断之音，含蓄而动人。
Reading note The lyric's sound matches its delicacy: the short oblique rhymes of the rhyme group carry the cadence of the veiled grief, and the close — 'zheng xiaohun, you shi shu yan dan yue, zigui sheng duan' — falls with the cry cut off, the sound of the grief veiled and the return uncompleted.此词为《水龙吟》调，是陈亮写伤春怀人之作，也是其词中的名篇。全词的艺术特色在于「含蓄深婉、以景写情」：上片「闹花深处层楼，画帘半卷东风软」写闹花层楼、「春归翠陌，平莎茸嫩，垂杨金浅」写春归翠陌、「恨芳菲世界，游人未赏，都付与、莺和燕」写芳菲世界；下片「寂寞凭高念远。向南楼、一声归雁」写凭高念远、「金钗斗草，青丝勒马，风流云散」写风流云散、「罗绶分香，翠绡封泪，几多幽怨」写罗绶分香、「正销魂，又是疏烟淡月，子规声断」写子规声断。全词含蓄深婉，以景写情。尤为精妙者，是「恨芳菲世界，游人未赏，都付与、莺和燕」以芳菲无人赏写其憾；而「正销魂，又是疏烟淡月，子规声断」以子规声断写其销魂，正是陈亮词「含蓄深婉」的典范，为历代词选所常收。

Line by line

闹花深处层楼，画帘半卷东风软。

In the depths of the noisy flowers, the storied tower — the painted curtain half-rolled, the east wind soft.

闹花深处层楼，画帘半卷东风软。

Deep in the riot of blossoms stands a storied tower; the painted curtain half-rolled, the east wind soft.

首二句写闹花层楼，起笔即见其境。「闹花深处层楼」写闹花深处层楼，「闹花深处」写繁花深处、「层楼」写高楼；「画帘半卷东风软」写画帘半卷东风软，「画帘半卷」写画帘半卷、「东风软」写东风柔和。两句一写闹花深处层楼、一写画帘半卷东风软，以闹花深处写花之盛、以层楼写楼之高、以东风软写春之和，写尽闹花深处层楼、画帘半卷东风软之景。以景起兴，含蓄而明丽，是「以景起兴」的妙笔。

The opening two lines writing the riot-of-blossoms'-storied-tower, the realm present at the first stroke. Deep-in-the-riot-of-blossoms-stands-a-storied-tower writes the lush flowers' depth and the high tower; the-painted-curtain-half-rolled-the-east-wind-soft writes the half-rolled painted curtain and the soft east wind. Two lines, the flowers' lushness through the riot of blossoms, the tower's height through the storied tower, the spring's warmth through the soft east wind, exhausting the riot-of-blossoms tower and the half-rolled-curtain soft-east-wind scene. Rising on scene, restrained and bright, a wondrous brush of rising-on-scene.

恨芳菲世界，游人未赏，都付与、莺和燕。

I grieve that the world of the fragrant blossoms, not yet admired by the wanderers, is all given over to the orioles and the swallows.

恨芳菲世界，游人未赏，都付与、莺和燕。

I grieve for this fragrant world, unwatched by any wanderer, all surrendered to the orioles and swallows.

此三句写芳菲世界，是全词写其恨的关键。「恨芳菲世界」写恨芳菲世界，「恨」写怨恨、「芳菲世界」写花木繁盛之境；「游人未赏」写游人未赏，「游人」写游春之人、「未赏」写未及观赏；「都付与、莺和燕」写都付与莺和燕，「都付与」写都交付、「莺和燕」写莺与燕。三句一写恨芳菲世界、一写游人未赏、一写都付与莺和燕，以恨写其憾、以游人未赏写无人赏、以付与莺燕写其虚度，写尽芳菲世界无人赏、都付与莺燕之情。以恨写情，含蓄而深挚，是「以恨写情」的点睛之笔。

These three lines writing the fragrant-world, the ci's grief key. I-grieve-for-this-fragrant-world writes the grief and the lush-flowers realm; unwatched-by-any-wanderer writes the spring-roaming person's no-watching; all-surrendered-to-the-orioles-and-swallows writes the all-delivered and the oriole-and-swallow. Three lines, the regret through the grief, the no-one-watches through the unwatched wanderer, the idleness through the surrendered orioles-and-swallows, exhausting the fragrant world's no-one-watching and the surrendered orioles-and-swallows. Writing feeling through grief, restrained and deep, a telling stroke of feeling-through-grief.

寂寞凭高念远。

In solitude I lean high, thinking of the distant —

寂寞凭高念远。

Lonely, I lean on the height and think of the distant.

此句写凭高念远，是全词由景写人的关键。「寂寞凭高念远」写寂寞凭高念远，「寂寞」写寂寞、「凭高念远」写登高而思念远方之人。一句以「寂寞」写其孤寂、以「凭高念远」写其登高思念，写尽寂寞登高、念远怀人之情。以情写意，含蓄而深沉，是「以情写意」的点睛之笔，也是全词由写景转入怀人的枢纽。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

This line writing the height-leaning's distant-thinking, the ci's scene-to-person key. Lonely-I-lean-on-the-height-and-think-of-the-distant writes the loneliness and the height-climbing's distant-person-thinking. One line, the solitude through the lonely, the climb-and-think through the height-leaning-and-distant-thinking, exhausting the lonely height-climbing and the distant-yearning. Writing the meaning through feeling, restrained and deep, a telling stroke of meaning-through-feeling, and the whole ci's scene-writing-to-person-yearning hinge. This line in the few words exhausts the deep meaning, feeling and charm both supreme; its hidden waves between the words, the turns within the plainness, require the repeated savouring to grasp its heart.

正销魂，又是疏烟淡月，子规声断。

I am undone, and again the sparse mist and the pale moon, and the cuckoo's cry cut off.

正销魂，又是疏烟淡月，子规声断。

Just as my soul dissolves, again the thin mist, the pale moon, and the cuckoo's broken call.

尾三句写子规声断，是全词立意的落点。「正销魂」写正销魂，用江淹黯然销魂之意写其销魂；「又是疏烟淡月」写又是疏烟淡月，「又是」写又是、「疏烟淡月」写疏烟与淡月；「子规声断」写子规声断，用望帝化鹃之典写杜鹃啼声。三句一写正销魂、一写又是疏烟淡月、一写子规声断，以销魂写其黯然、以疏烟淡月写其境、以子规声断写其声，写尽销魂之际、疏烟淡月、子规声断之情。以景写情，含蓄而深挚，是全词最动人处，也是「以景写情」的点睛之笔。

The closing three lines writing the cuckoo's-broken-call, the landing of the ci's theme. Just-as-my-soul-dissolves uses Jiang Yan's soul-dissolving meaning for the soul's dissolution; again-the-thin-mist-the-pale-moon writes the again and the thin mist and pale moon; and-the-cuckoo's-broken-call uses the Prince-Wang-turned-cuckoo allusion for the cuckoo's cry. Three lines, the heart-break through the soul-dissolving, the realm through the thin mist and pale moon, the sound through the cuckoo's broken call, exhausting the soul's dissolving moment, the thin mist and pale moon, and the cuckoo's broken call. Writing feeling through scene, restrained and deep, the ci's most moving place.

Study

Word focus

闹 'Noisy' — the noisy flowers, the abundance of the spring's blossoms, the scene of the beauty. 「闹」字写闹花深处，是写花之盛的关键。「闹花深处」着一「闹」，写热闹——着一「闹」字，写繁花热闹，见花之盛（用宋祁红杏枝头春意闹之意）。一字写尽花之盛，是「以一字写景」的妙笔。「闹」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。
软 'Soft' — the east wind soft, the gentleness of the spring, the scene half-rolled. 「软」字写东风软，是写春风之和的关键。「画帘半卷东风软」着一「软」，写柔和——着一「软」字，写东风之柔和，见春之和煦。一字写尽东风之软，是「以一字写景」的点睛之词。「软」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。
恨 'To grieve, to regret' — the grief that the world of the fragrant blossoms is unappreciated, the veiled sorrow. 「恨」字写恨芳菲世界，是写其憾的关键。「恨芳菲世界」着一「恨」，写怨恨——着一「恨」字，写恨芳菲世界无人赏，见其憾之深。一字写尽其憾，是「以一字写情」的点睛之词。「恨」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。
销魂 'Undone, the soul dissolved' — the undoing of the close, the grief dissolving the soul. 「销魂」写正销魂，是写其黯然的关键。「正销魂」着一「销魂」，用江淹黯然销魂之意——着一「销魂」，写其黯然销魂，见其情之深。两字写尽其销魂，是「以词写情」的点睛之词。「销魂」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

八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: Facing the Evening Rain That Spatters the Long River 柳永 · 同写登高念远、倚栏凝愁，一写不忍登高临远望故乡渺邈、一写寂寞凭高念远向南楼一声归雁，皆于登高之中见念远之情 Both are the lyrics of the high leaning and the distant longing — Liu Yong's unwillingness to climb and gaze, Chen Liang's solitude of the leaning — the two longings of the tower.

Liu Yong's 'Eight Beats of Ganzhou' — 'unwilling to climb high and gaze far, gazing at the homeland dim and distant' — is the longing of the wanderer at the tower; Chen Liang's lyric — 'in solitude I lean high, thinking of the distant, toward the southern tower, a single homing swan' — is the longing of the patriot, the same leaning and the same distant, the two longings of the tower.

柳永《八声甘州·对潇潇暮雨洒江天》「不忍登高临远，望故乡渺邈，归思难收」「争知我，倚栏杆处，正恁凝愁」，写登高临远、倚栏凝愁，是宋词写羁旅的名篇；陈亮《水龙吟》则以「寂寞凭高念远。向南楼、一声归雁」「正销魂，又是疏烟淡月，子规声断」写凭高念远、子规声断。两词同写登高念远、倚栏凝愁：一写不忍登高临远望故乡渺邈、以登高写思，一写寂寞凭高念远向南楼一声归雁、以凭高写念；一为柳永之婉约、一为陈亮之深婉，并读正可见宋词写「登高念远」的两种笔法，皆于登高之中见念远之情。

 雨霖铃·寒蝉凄切 Bells of the Rain: The Cicadas Are Grieving 柳永 · 同写离别销魂、别后难遣，一写执手相看泪眼竟无语凝噎、一写罗绶分香翠绡封泪几多幽怨，皆于泪眼封泪之中见离怨 Both are the lyrics of the departure and the cry of the birds — Liu Yong's willows and the dawn wind, Chen Liang's cuckoo cut off.

Liu Yong's 'Bells of the Rain' — 'where will I wake from the wine tonight? The willows by the bank, the dawn wind, the waning moon' — is the departure of the wanderer; Chen Liang's lyric is the departure of the spring — the cuckoo's cry cut off in the close, the veiled grief of the patriot, the same departure shown in the two modes.

柳永《雨霖铃·寒蝉凄切》「执手相看泪眼，竟无语凝噎」，写离别之凄切，是宋词写离别的名篇；陈亮《水龙吟》则以「金钗斗草，青丝勒马，风流云散」「罗绶分香，翠绡封泪，几多幽怨」写风流云散、罗绶封泪。两词同写离别销魂、别后难遣：一写执手相看泪眼竟无语凝噎、以无语写别，一写罗绶分香翠绡封泪几多幽怨、以封泪写怨；一为柳永之婉约、一为陈亮之深婉，并读正可见宋词写「离怨」的两种笔法，皆于泪眼封泪之中见离怨。