All poems

宋 Song · 词 Ci lyric

王观·庆清朝慢·踏青

Celebrate the Pure Morning Slow · Treading the Green

王观

Wang Guan

婉约graceful 节令seasonal

庆清朝慢·踏青调雨为酥，催冰做水，东君分付春还。
何人便将轻暖，点破残寒？
结伴踏青去好，平头鞋子小双鸾。
烟郊外，望中秀色，如有无间。
晴则个，淡则个，春意向中间。
蜂儿蝶子，尽教颤颤轻轻。
乍雨乍晴也似，罗衣特地轻寒。
帘户卷，卷些儿，斑驳堪看。

Blend the rain into cream; urge the ice to make water—
The Lord of the East bids the spring return.
Who brings the light warmth to break the lingering cold?
Come, companion, to tread the green—well met:
Flat-headed shoes, a small paired phoenix at the toe.
Beyond the misty suburb, the view's fair colour
Hangs between having and not having.

Now clear a while, now pale a while—spring meaning lies between.
Bees and butterflies, let them tremble, light and soft.
Now rain, now shine, yet so it is:
The thin robe feels a special light cold.
Roll up the curtain and door—roll up a little—
The dappled light is worth a look.

Listen

Meaning

Blend the rain into cream, urge the ice to make spring water; the Lord of the East bids the spring return. Who brings this light warmth to break the lingering cold? It is good to go tread the green in company, in flat-headed shoes embroidered with a small paired phoenix. Beyond the misty suburb, the fair colour in view hangs between having and not having. Now clear a while, now pale a while—the spring meaning lies between. Bees and butterflies, let them tremble, light and soft. Now rain now shine, yet so it is: the thin robe feels a special light cold. Roll up the curtain and door—roll up a little—the dappled light is worth a look.

把春雨调成酥润，把寒冰催作春水，春神东君吩咐春天归来。是谁带来这轻轻暖意，点破了残余的寒意？正宜结伴踏青出游，脚穿平头绣鞋，鞋头绣着一对小双鸾。烟笼的郊野之外，望去一片秀色，似有若无之间。晴一阵，淡一阵，春意正蕴涵其间。蜂儿蝶子，任凭它们颤颤巍巍、轻轻款款地飞舞。乍雨乍晴的天气也罢，罗衣更觉分外轻寒。帘儿门户卷起来，再卷起些儿，那斑驳的光影正堪赏看。

Appreciation

This lyric is by the Song writer Wang Guan, its fine appreciation in the deep analysis below. The first three lines 'blend the rain into cream, urge the ice to make water, the Lord of the East bids the spring return' write the spring's return with personification and strange fancy, the verbs 'blend' and 'urge' making natural change like a craftsman's work, novel and playful. 'Who brings the light warmth to break the lingering cold' asks in rhetorical question the subtlety of warm and cold alternating. The lower part's 'now clear a while, now pale a while' uses the spoken particle 'a while' twice, vividly painting spring's flitting; 'bees and butterflies, let them tremble, light and soft' with reduplicative words writes the insect wings' faint tremble, tender to the point of dripping. It closes 'roll up the curtain and door—roll up a little—the dappled light is worth a look' ending on motion, leaving space to seek. The whole is like a fine brush small-picture, delicate yet not frail.

【白话串讲】王观写踏青：调雨为酥，催冰做水，春天来了。姑娘们结伴踏青，“平头鞋子小双鸾”。蜂儿蝶子颤颤的——北宋的春天，热闹得能听见声音。【意象与手法】此词艺术在巧与活。起三句「调雨为酥，催冰做水，东君分付春还」以拟人兼奇想写春回，「调」「催」二动词将自然变化写得如匠人运作；「何人便将轻暖，点破残寒」以设问写冷暖交替之微妙，「点破」二字精警。下片「晴则个，淡则个」连用口语衬字，「蜂儿蝶子，尽教颤颤轻轻」以叠词写虫翅微颤，娇嫩欲滴。全词如工笔小品，纤巧而不纤弱。【情感与主旨】王观（字通叟）为北宋词人，曾因应制词《清平乐·黄金殿里》忤太后而被贬，自号逐客。此词写早春结伴踏青之乐，以纤巧笔触写活早春如有无间的朦胧秀色，体现北宋慢词铺写节令风物、追求清丽的审美趣味。【名句点睛】中高考考点：「调雨为酥，催冰做水」的奇想与动词锤炼；「如有无间」如何写出早春朦胧秀色；「则个」口语入词之妙。

Background

Wang Guan (style Tongshou) was a Northern Song lyricist, once demoted for offending the empress dowager with his occasional lyric 'Pure Peace Joy · In the Golden Hall', and so styled himself 'the Banished Guest'. This 'Qing Chao Qing Man · Treading the Green' writes an early-spring outing in company, likely written in his retirement or travel. In the poem the 'Lord of the East' (spring god) bids spring return and 'breaks the lingering cold', exactly writing the sensitive season of winter turning to spring; 'flat-headed shoes, a small paired phoenix' writes the women's treading-green dress of the time. Song treading-green was an important seasonal custom (especially around Qingming); the poet writes the hazy, tender early-spring colour with a fine, clever brush, embodying the Northern Song slow-lyric taste for 'clear and beautiful' scene-writing and his own 'new and fair' style.

王观（生卒年不详），字通叟，如皋（今属江苏）人，北宋词人。嘉祐二年（1057）进士，官至翰林学士。相传他曾作应制词《清平乐·黄金殿里》歌咏宫廷，因语涉轻佻、有失庄重，忤逆太后而被贬，自号逐客，此后流落江湖，词名却因之愈著，时人有王逐客之目。此《庆清朝慢·踏青》写早春结伴出游之乐，约作于其游赏或闲居时。词中「东君」分付春还、「点破残寒」，正写冬春交替的敏感时节；「平头鞋子小双鸾」写当时女子踏青的妆束——宋代妇女春游多着平头鞋，鞋面绣双鸾纹样。宋人踏青为重要节俗，尤以清明前后为盛，《东京梦华录》载汴京士庶四野如市的踏青盛况。词人以纤巧笔触写活早春如有无间的朦胧秀色，体现北宋慢词铺写节令风物、追求清丽的审美趣味，与王观新丽词风相合，也是宋代节俗词中的别致之作。尤可注意者，王观虽以逐客自嘲，其词却少怨愤而多欢愉，此词写踏青之乐，兴致盎然，正见其放达不羁、随遇而安的性情；北宋士大夫于失意之后往往寄情山水节物，王观此词正是此种风气的缩影，其以词写节俗、以口语入词的努力，也为后来的通俗词风导夫先路。

Art

This lyric's art lies in its 'clever' and 'living'. The opening three lines 'blend the rain into cream, urge the ice to make water, the Lord of the East bids the spring return' write the spring's return with personification and strange fancy; the verbs 'blend' and 'urge' make the natural change like a craftsman's working, novel and playful. 'Who brings the light warmth to break the lingering cold' asks in rhetorical question the subtlety of warm and cold alternating. The lower part's 'now clear a while, now pale a while' uses the colloquial particle 'a while' twice, vividly painting spring meaning flitting; 'bees and butterflies, let them tremble, light and soft' with reduplicative words writes the insect wings' faint tremble, tender to dripping. It closes 'roll up the curtain and door—roll up a little—the dappled light is worth a look' ending on motion, leaving blank to ponder. The whole is like a fine-brush small picture, delicate yet not weak.

此词艺术在巧与活二字。起三句「调雨为酥，催冰做水，东君分付春还」以拟人兼奇想写春回——「调」「催」二动词将自然变化写得如匠人运作，雨可为酥、冰可为水，春之归来如受神命调度，新颖俏皮，破空而来。接着「何人便将轻暖，点破残寒」以设问写冷暖交替之微妙，「点破」二字精警，如画龙点睛，将春来的消息写得轻巧而确凿。「结伴踏青去好」转入人事，「平头鞋子小双鸾」以细节写人物妆束，由景及人，画面顿生活气。过片「晴则个，淡则个，春意向中间」连用口语衬字则个，活画出春意飘忽不定之态；「蜂儿蝶子，尽教颤颤轻轻」以叠词写虫翅微颤，声色并见，娇嫩欲滴。结拍「帘户卷，卷些儿，斑驳堪看」以动作收束，卷帘看光影，留白耐寻。全词如工笔小品，纤巧而不纤弱，下字造句处处见匠心，是北宋慢词中写节令风物的上品。尤其结拍「帘户卷，卷些儿，斑驳堪看」，以卷帘的动作收束全篇，将满目春光收拢于帘栊之间一片斑驳的光影，由室外之景转入室内之趣，一收一放，余味袅袅；「卷些儿」的口语化处理，更使全词在结尾处归于家常的亲切，纤巧之中见真趣，此正是王观高出一般咏物写景词处。

Allusions

'The Lord of the East' originally meant the sun god, later broadly the spring god (see Chu Ci · Nine Songs · Lord of the East and later poetry), here personified as the god governing spring, 'bids the spring return' giving him charge of the seasons. 'Paired phoenix' means the phoenix pattern embroidered on the shoe-tip; Song women's boots and shoes often bore phoenix pairs, 'small paired phoenix' marking the treader's identity and dress. 'A while' is a Song colloquial particle showing mild tone (as 'eat a while'), and Wang Guan's putting marketplace speech into lyric is his attempt at 'making the common elegant'. The allusions are very light, mostly writing the present scene in present speech, in keeping with his banished-guest free-and-easy temper.

「东君」本指日神，屈原《楚辞·九歌》有《东君》篇祭祀日神，后世诗词或借指春神，如唐人王初《立春后作》「东君珂佩响珊珊」即以东君为春神，此处拟人为主春之神，「分付春还」赋予其调度节候的权威，奇想中带神话色彩。「双鸾」指鞋头绣的鸾凤纹样——鸾为凤凰之属，古称鸾凤和鸣，为吉祥之鸟，宋人靴履常绣鸾凤，「小双鸾」三字点出踏青女子的身份、妆束与爱美之心，细节传神。「则个」为宋时口语助词，表委婉或祈使语气，如且吃则个、看则个，市井气息浓厚，王观以口语入词，是其以俗为雅的尝试，亦见北宋词吸收口语的潮流。全词用典极淡，多以当下语写当下景，而东君、双鸾等语又承传统意象，雅俗交融，与其被贬逐客后放达不羁的性情相表里。还须一提的是，词中「平头鞋子小双鸾」一语，写足下之物而见全人之态，正是宋词以细节传神的长技，与李清照「袜刬金钗溜」写归家之态异曲同工；鸾凤纹样本为吉祥喜庆之饰，用于踏青之鞋，正合春日出游的欢快气氛，亦暗寓对美好生活的期许，小物之中自有深意，读词者不可轻轻放过。

Commentary

Song critic Wang Zhuo, in Bi Ji Man Zhi, rated Wang Guan's lyrics 'new and fair', and this poem's 'blend the rain into cream' lines best show that newness. The modern Xue Lifang, in A General History of Song Lyrics, says Wang Guan 'writes passion and season with a delicate brush, forming a style of his own'. Tang Guizhang, in A Brief Explication, reads the four words 'hangs between having and not having' as 'writing the early-spring misty scene most truly'. Yu Pingbo too said the colloquial 'a while' 'rare in Song lyrics, Wang Guan uses it to show special charm'. Though some critics fault a slight over-cleverness, all must admire his lively brush catching spring's subtle senses.

宋人王灼《碧鸡漫志》评王观词「新丽」，此词「调雨为酥」诸句最见其新。近人薛砺若《宋词通论》谓王观「以纤巧之笔写艳情与节物，别成一格」。唐圭璋《唐宋词简释》析其「如有无间」四字「写早春烟景极真」，谓读之如见郊野烟霭中若有若无的绿意。俞平伯亦言「则个」等口语「宋人词中偶见，王观用之特显娇俏」。诸家虽或讥其稍流于巧、稍近于俗，亦不能不赏其捕捉春天微妙感官的灵动笔触。此词写节令风物而纤巧清新，在北宋慢词中以庆清朝慢这一较少见的词牌画出踏青风俗长卷，上承晏欧小令的婉约，下启周邦彦、吴文英等铺写物候的慢词传统，为研究宋代节俗词提供了鲜活样本，亦见北宋词雅俗交融、体物入微的时代风气。综而言之，此词以奇想写春回、以口语写春意、以叠字写春物、以细节写春人，四者相济，遂成北宋节令词中的妙品；其纤巧一路，虽不及柳永之俚俗、秦观之婉约，然自有一种市井的清新与活泼，为词史保存了雅俗之间的另一种声音，弥足珍贵。

Prosody

Form Lyric, 'Qing Chao Qing Man' (Celebrate the Pure Morning Slow), double-tune 97 characters词·庆清朝慢（双调九十七字，上片十句四平韵，下片十一句五平韵，王观体）

Rhyme Ping-shui rhyme, upper-level fifteen shan / one xian mixed (return, cold, phoenix, between, single, leisure, cold, look, etc.)词林正韵第七部，寒删先通押：还、寒、鸾、间（上片），间、寒、看（下片），平声一韵到底

Tone pattern Level and oblique mixed, soft measure平仄依谱，音节轻柔婉转，多用三字短句与叠字、口语衬字，句式长短错落

Reading note This tune fits seasonal scene-writing; Wang Guan uses it for treading the green, delicate and clear.《庆清朝慢》词牌，双调九十七字，句式长短错落，多为三、四、五、七言相间，音节轻柔婉转，宜于写景抒情、铺写节令风物。王观此词全押平声韵，词林正韵第七部寒删先通押，一韵到底：上片还、寒、鸾、间，下片间、寒、看，皆属舒缓悠长的阳声韵，收音绵远，正合早春绵软柔和的物候特征，声情与辞情相谐。句式上，三字句与长句交错，如晴则个、淡则个之三字短句连用，节奏轻快跳跃，恰写春意之飘忽；蜂儿蝶子、尽教颤颤轻轻则以叠字入律，音节缠绵，摹写虫翅之态。此调为较少见的慢词词牌，王观以此写踏青节俗，句式之巧、用韵之谐、叠字口语之活，皆见其驾驭长调的能力，纤巧清丽，在北宋慢词中自成一体，为节令词开拓了新的体式空间。

Line by line

调雨为酥，催冰做水，东君分付春还

Blend the rain into cream; urge the ice to make water— The Lord of the East bids the spring return.

把春雨调成酥润，把寒冰催作春水，春神东君吩咐春天归来。

Rain is blended into cream, ice is urged into water; the Spring Lord bids spring return.

起三句破空而来，是全词最见奇想处。「调」「催」二字以匠人调配、催促的动作写自然，仿佛春神是一位大匠：雨被他调成酥润，冰被他催作春水，物候的变化如受其指使。「调雨为酥」尤奇，酥指酥油，古人用以形容春雨之润泽细腻，雨可调为酥，将早春微雨那种酥软绵密的感觉写得可触可感；「催冰做水」则以催促写冰雪消融的进行时态，动态如在目前。「东君分付春还」点出这一切的支配者，分付二字写春神发号施令，权威而亲切。三句以奇想拟人写春回，起笔即定下全词纤巧活泼的基调，是王观新丽词风的招牌笔法。

The opening three lines arrive from nowhere, the whole ci's most fanciful place. The blend and urge two words using the craftsman's mixing-and-urging action for nature, as if the spring god were a great artisan: the rain's blended into cream, the ice's urged into spring water, the season's change as if at his bidding. The rain-blended-into-cream's especially wondrous, the su meaning the butter, the ancients' using it for the spring-rain's moist-and-fine, the rain's blendable-into-cream, turning the early-spring-drizzle's soft-dense feeling into the touchable; the urge-ice-into-water's using the urging for the ice-and-snow thaw's ongoing tense, the motion as in present eye. The Spring-Lord-bids-spring-return pointing out all this's dispatcher, the dispatching two words writing the spring god's issuing orders, authoritative and yet kind. Three lines using the fanciful personification for the spring's return, the opening at once establishing the whole ci's delicate-lively tone, Wang Guan's fresh-pretty ci style's signature brush.

何人便将轻暖，点破残寒

Who brings the light warmth to break the lingering cold?

是谁带来这轻轻暖意，点破了残余的寒意。

Who has brought this faint warmth, breaking through the lingering chill?

此句以设问写冬春交替的微妙时刻。「何人」一问，问得轻巧俏皮，仿佛春来的消息不可究诘；「轻暖」二字极有分寸——不是大暖，而是若有若无的轻暖，正写早春乍暖还寒的特征；「点破」二字是全句诗眼，将暖意写成一滴墨、一点火，轻轻一点便化开残余的寒，动作轻灵而效果确凿，仿佛可见残寒应声而破。「残寒」与「轻暖」对举，一消一长，节候的推移被写得像一场精细的博弈。此句在章法上承上启下：上承东君分付春还，下启结伴踏青，一个设问使全词由写春之归来转入人之出游，过渡自然，情趣盎然。

This line using the rhetorical question for the winter-spring alternation's subtle moment. The who question, the asking's light-and-playful, as if the spring's-arrival news's unsearchable; the faint-warmth two words' measure — not the great warmth, and yet the as-if-there-and-yet-not light warmth, precisely writing the early-spring's just-warm-and-yet-cold feature; the break-through two words the whole line's poetic eye, turning the warmth into a drop of ink and a spark, one light touch's dissolving the lingering chill, the action light-and-yet-the-effect's certain, as if visible the lingering chill's at-the-word's breaking. The lingering-chill and faint-warmth's parallel, one-vanishing-one-growing, the season's turning's written like a fine game. This line in the craft's above-below connector: above inheriting the spring-Lord's spring-bidding, below opening the spring-outing, one rhetorical question turning the whole ci from the spring's-return writing to the person's outing, the transition natural, the delight abundant.

烟郊外，望中秀色，如有无间

Beyond the misty suburb, the view's fair colour Hangs between having and not having.

烟笼的郊野之外，望去一片秀色，似有若无之间。

In the misty countryside, the beauty I see hangs between being and not being.

「如有无间」四字是写早春烟景的神来之笔，唐圭璋谓其写早春烟景极真。早春的草色初萌、柳眼初开，远望一片若有若无的绿意，近看却似无痕，正如韩愈草色遥看近却无所写；王观以「如有无间」四字概括这种介于有与无之间的朦胧秀色，不落实、不坐实，正得早春物候的精髓。「烟郊外」点明地点与氛围，郊野笼烟，秀色在烟霭中更添迷离；「望中」二字写眺望之态，由近及远，目光与烟色一同延展。此句以虚写胜，不着色而春色自现，是北宋词人写早春的典范句法，与后文蜂蝶颤颤的实写相映成趣。

The between-being-and-not-being four words the early-spring-mist-scene's inspired stroke, Tang Guizhang's saying its early-spring-mist-scene's extreme truth. The early-spring grass's just sprouted and the willow-eye's just opened, the far gaze's one as-if-there-and-yet-not green, the near look's as if no trace, precisely like Han Yu's grass-color-far-seen-and-near-gone writing; Wang Guan's using the between-being-and-not-being four words for this between-the-hazy beauty, the not-landing and not-settling, precisely getting the early-spring-season's essence. The misty-countryside pointing out the place and atmosphere, the countryside's mist-wreathed, the beauty's within the mist's the more blurred; the in-sight two words writing the gazing pose, from near to far, the sight and the mist's color's together extending. This line using the void-writing's triumph, not landing the color and yet the spring beauty's self-seen, the Northern-Song ci poet's early-spring model syntax, with the below's bees-and-butterflies's real-writing's mirror.

晴则个，淡则个，春意向中间

Now clear a while, now pale a while—spring meaning lies between.

晴一阵，淡一阵，春意正蕴涵其间。

Now clear, now pale; the spring intention lies in between.

「则个」是宋时口语助词，此处连用两次，活画出早春天色晴阴不定、忽明忽暗的飘忽之态——晴则个，淡则个，仿佛春意也在犹豫试探，将乍暖还寒的节气写得娇俏灵动。俞平伯谓「则个」等口语宋人词中偶见，王观用之特显娇俏，正是此意。「春意向中间」点出主旨：无论晴淡，春意都已蕴含其间，将前面的飘忽不定收拢于一个肯定的判断。此句以口语入词，打破慢词的典雅板滞，别开生面，是王观以俗为雅的成功尝试，也见北宋词吸纳市井语言、雅俗交融的时代风气，读来亲切活泼，如闻其声。

The zege the Song colloquial particle, here twice-used, vividly drawing the early-spring-sky's clear-cloudy-unsettled and the now-bright-now-dim drifting pose — now-clear-zege and now-pale-zege, as if the spring intention's also hesitating-and-testing, writing the just-warm-and-yet-cold season's coy-and-lively. Yu Pingbo's saying the zege's etc. colloquial's Song ci's occasional, Wang Guan's using it's especially coy, precisely this meaning. The spring-intention-lies-in-between pointing out the main theme: whatever the clear-or-pale, the spring intention's already stored between, gathering the above's drifting uncertainty into one affirmative judgment. This line using the colloquial for the ci, breaking the slow-verse's elegant stiffness, the new face, Wang Guan's vulgar-as-elegant successful attempt, and seeing the Northern-Song ci's absorbing-the-marketplace-language and elegant-vulgar-fusion era air, reading it's friendly-and-lively, as if hearing the voice.

蜂儿蝶子，尽教颤颤轻轻

Bees and butterflies, let them tremble, light and soft.

蜂儿蝶子，任凭它们颤颤巍巍、轻轻款款地飞舞。

Bees and butterflies, let them all tremble, light and fragile.

「蜂儿蝶子」以儿、子两字缀于蜂蝶之后，亲昵如呼小儿女，市井气息扑面而来；「颤颤轻轻」两组叠字写蜂蝶振翅之态，颤颤写翅翼微颤的娇弱，轻轻写飞舞轻柔的款款，声色并见，仿佛可见早春蜂蝶在微寒中瑟缩试飞的娇憨情态。早春的蜂蝶尚不胜寒，故飞得颤颤轻轻，正与乍雨乍晴、罗衣特地轻寒的节气相应。「尽教」二字写任凭、由它们，透出词人闲适放任的心情——春意已至，且任蜂蝶自在飞舞。此句以叠字摹态，观察入微，造句天然，是北宋词人体物精工的佳例，读来娇嫩欲滴，春意盎然。

The bees-and-butterflies using the er-and-zi two suffixes on the bee-and-butterfly, intimate like calling the little sons-and-daughters, the marketplace air's rushing the face; the tremble-lightly's doubled words' two pairs for the bee-and-butterfly's wing-vibration pose, the tremble writing the wings' fine tremble's fragility, the light writing the flying's gentle ease, the sound-and-color's together-seen, as if visible the early-spring-bees-and-butterflies's faint-cold's shrinking-and-test-flight's coy pose. The early-spring bees-and-butterflies's yet not-bearing-the-cold, hence the flying's tremble-lightly, precisely matching the just-rain-and-just-clear and the gauze-robe's-extra-faint-cold season. The let-them two words writing the letting-be and the letting-them, revealing the poet's leisure-and-abandonment feeling — the spring intention's arrived, and yet the bees-and-butterflies's free flying. This line using the doubled words for the pose-imitation, the observation's fineness, the sentence's natural, the Northern-Song poet's object-depiction's fine craft example, reading it's tender-to-the-drop, the spring intention abundant.

Study

Word focus

调、催 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「调雨为酥，催冰做水」之「调」「催」二字，是全词奇想的总机关。调本指调配、调和，如调羹、调色，诗人移以写雨，仿佛春雨是春神精心调制的酥油，取其润泽细腻之质；催本指催促、催逼，诗人移以写冰，仿佛冰雪之融是受春神催促的进行时，动态毕现。二字皆以匠人、主人的动作写自然，将客观的物候变化写成有意志的运作，拟人之中含奇想，俏皮之中见精思。若用融、化、滋等常字，则失其神采；独取调、催，则春之归来如受指使，节候之变如在目前。此二字确立了全词纤巧活泼的基调，也是王观新丽词风最鲜明的标记，后世论者每举此句为其代表。

点破 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「何人便将轻暖，点破残寒」之「点破」二字，精警如画龙点睛。点本指以笔触点染、以指轻触，破本指破裂、破除，二字连用，写轻暖如一滴墨落入寒潭，轻轻一点，残寒应声而破——动作轻灵，效果确凿，把冬春交替的微妙写得可感可触。点破二字妙在分寸：不用冲破、打破等重语，因为早春之暖本属轻暖，只能点破而非冲决；又妙在主动与被动之间，仿佛残寒是薄薄一层窗纸，轻暖一来便应手而破。此句以设问点破，既写节候，亦写词人对春来的敏锐感知，一字之炼，全句生色，正见北宋词人体物之精。

则个 A Song colloquial particle. Put into lyric it shows charm and liveliness, embodying Wang Guan's attempt at 'making the common elegant'. 「晴则个，淡则个」之「则个」为宋时口语助词，表委婉、祈使或商量的语气，如且吃则个、看则个，本多见于话本、语录，市井气息浓厚。王观将这一口语衬字引入慢词，连用两次，活画出早春天色晴晴淡淡、飘忽不定的娇俏之态——仿佛春天也在犹豫，晴一会儿，淡一会儿，春意就在这晴淡之间酝酿。以俗语入词，本为柳永一路，王观用之而不失雅致，反添生动，是其以俗为雅的自觉尝试。此二字虽小，却见北宋词打破雅俗界限的时代风气，亦见王观词亲切活脱的个性，俞平伯谓其特显娇俏，正指此类口语的妙用。