All poems

宋 Song · 词 Ci lyric

西江月·顷在黄州

West River Moon: Just at Huangzhou

苏轼

Su Shi

写景Scenery 行旅Theme

照野弥弥浅浪，横空暧暧微霄。
障泥未解玉骢骄。
我欲醉眠芳草。
可惜一溪明月，莫教踏破琼瑶。
解鞍敧枕绿杨桥。
杜宇一声春晓。

The shallow waves shine on the fields, full and full,
The fine clouds cross the sky, dim and dim.
My nature loves the horse's head, the wind of the fine dust,
Truly, it is the hair of the jade palace, the cold of the frost and the moon.
A pity for the creek of the bright moon,
Do not let the broken steps tread the jade,
I lift the oar and, with the yellow dusk, I return.
To return, I am not like the hermit of the drunken head,
The drunk, the thunder, the seven nights of the rain.
I recall, the night of the rain, the drunk,
The whole stream, the bright, the three or four of the stars.
The intimate with the horse's head, the wind of the fine dust,
Truly, it is the hair of the jade palace, the cold of the frost and the moon.
I lift the oar and, with the yellow dusk, I return.

Listen

Meaning

A lyric of the night ride and the return, written by Su Shi at Huangzhou. The shallow waves shine on the fields, full and full, the fine clouds cross the sky, dim and dim — the moonlit fields and the dim clouds of the night. My nature loves the horse's head, the wind of the fine dust — truly, it is the hair of the jade palace, the cold of the frost and the moon — the loved night ride, the frost and the moon. A pity for the creek of the bright moon, do not let the broken steps tread the jade — the pity for the moonlit creek, the jade of the moon. I lift the oar and, with the yellow dusk, I return — the return at the dusk. To return, I am not like the hermit of the drunken head, the drunk, the thunder, the seven nights of the rain — the not like the drunken hermit of the past. The lyric is the night ride and the return: the moonlit fields, the loved frost and the moon, and the return at the dusk.

月光照野，弥弥的浅浪；横空挂着，暧暧的微云。障泥未解，玉骢正骄。我想要醉眠于芳草。可惜一溪明月，莫教踏破那琼瑶。解鞍敧枕于绿杨桥。杜宇一声，春晓到来。

Appreciation

[Plain Paraphrase] The shallow waves shine on the fields, full and full, the fine clouds cross the sky, dim and dim. A pity for the creek of the bright moon, do not let the broken steps tread the jade. I lift the oar and, with the yellow dusk, I return. [Structure and Thought] The lyric moves from the moonlit fields and the dim clouds, through the loved night ride with the frost and the moon, to the pity for the creek and the return at the dusk. [Key Technique] The lyric's art is the moonlit night of the ride: the shallow waves and the fine clouds of the moon, the horse's head with the wind of the fine dust, and the pity for the creek with the return at the dusk — the night ride gathered in the moon, the ride, and the return. [Emotional Tone] Clear, free, and returning: the lyric is the night ride of the poet, the moonlit fields and the loved frost and the moon, the return at the dusk.

【白话串讲】苏轼写《西江月·顷在黄州》：“照野弥弥浅浪，横空暧暧微霄”——“障泥未解玉骢骄，我欲醉眠芳草”——“可惜一溪明月，莫教踏破琼瑶”——“解鞍欹枕绿杨桥，杜宇一声春晓”——他在溪边醉卧。【意象与手法】此词是苏轼写春夜溪景的名篇，写黄州春夜的月下溪行与醉眠，是苏轼词中「以景写闲」的名篇。上片写月下溪景：「照野弥弥浅浪，横空暧暧微霄」写月照野水、云横远空；「障泥未解玉骢骄，我欲醉眠芳草」写醉眠芳草的闲适。下片写醉眠：「可惜一溪明月，莫教踏破琼瑶」写怜惜溪中明月；「解鞍敧枕绿杨桥，杜宇一声春晓」写绿杨桥头醉眠、杜宇一声报春晓，是千古名句。全词以春夜溪景写醉眠闲适，是苏轼贬居黄州时「以景写闲」的名篇。【情感与主旨】此词约作于宋神宗元丰五年（1082）春，时苏轼贬居黄州。苏轼因「乌台诗案」被贬黄州，在黄州过着「放浪山水」的生活。此词前有小序：「顷在黄州，春夜行蕲水中，过酒家饮，酒醉，乘月至一溪桥上，解鞍曲肱，醉卧少休。及觉已晓，乱山攒拥，流水锵然，疑非尘世也。书此语桥柱上。」写其春夜行蕲水（黄州附近的水名）、过酒家痛饮、醉卧溪桥的经历。词中「照野弥弥浅浪，横空暧暧微霄」写月下溪景——月光照野，弥弥的浅浪（「弥弥」写水波连绵），横空挂着暧暧的微云（「暧暧」写云气隐约），写尽春夜溪上的清景；「障泥未解玉骢骄，我欲醉眠芳草」写醉眠芳草——障泥（马鞍下的垂障）未解，玉骢（白马）正骄，我欲醉眠于芳草；「可惜一溪明月，莫教踏破琼瑶」写怜惜溪中明月——可惜那满溪的明月（琼瑶喻明月，也喻水中月影如琼瑶），莫教马儿踏破；「解鞍敧枕绿杨桥，杜宇一声春晓」写醉眠绿杨桥——解鞍敧枕（斜靠着马鞍而眠）于绿杨桥头，杜宇（杜鹃）一声，春晓到来。全词以春夜溪景写醉眠闲适，那「我欲醉眠芳草」「莫教踏破琼瑶」的醉态与怜惜，那「杜宇一声春晓」的旷达，是苏轼贬居黄州时「以景写闲、以醉写达」的名篇。【名句点睛】常考“可惜一溪明月，莫教踏破琼瑶”写怜惜溪中明月的闲情；“解鞍欹枕绿杨桥，杜宇一声春晓”写绿杨桥头醉眠、杜宇报春晓的意境。

Background

Su Shi (1037–1101) wrote this 'West River Moon' during his exile at Huangzhou — the night ride of the poet and the return. The shallow waves shining on the fields and the fine clouds crossing the sky of the moonlit night, the loved horse's head with the wind of the fine dust, the pity for the creek of the bright moon with the jade of the waves, and the return at the dusk with the not like the drunken hermit of the past — the lyric gathers the freedom of the night ride, the moon and the ride and the return. The lyric is one of the famous works of the poet's Huangzhou period.

此词约作于宋神宗元丰五年（1082）春，是苏轼写春夜溪景的词。元丰二年（1079），苏轼因「乌台诗案」被贬黄州（今湖北黄冈），任黄州团练副使。在黄州，苏轼筑室东坡，躬耕自给，放浪山水。此词前有小序（此词有序，注明写作经过）：「顷在黄州，春夜行蕲水中，过酒家饮，酒醉，乘月至一溪桥上，解鞍曲肱，醉卧少休。及觉已晓，乱山攒拥，流水锵然，疑非尘世也。书此语桥柱上。」写其春夜行蕲水（黄州附近的水名），过酒家痛饮，醉卧溪桥的经历。词中「照野弥弥浅浪，横空暧暧微霄」写月下溪景——「照野」写月光照野，「弥弥」写水波连绵（「弥弥」写浅浪如绉纱般连绵），「浅浪」写溪水的浅浪（月光下溪水如浅浪），「横空」写云横远空，「暧暧」写云气隐约（「暧暧」令人想到「暧暧远人村」的隐约），「微霄」写微云的天霄，那月照浅浪、云横微霄，写尽春夜溪上的清景；「障泥未解玉骢骄，我欲醉眠芳草」写醉眠芳草——「障泥」写马鞍下的垂障（用以挡泥），「未解」写其未卸，「玉骢」写白马（青白色的马），「骄」写马儿骄傲（马儿欢腾），那障泥未解、玉骢正骄，写其乘醉而来，「我欲醉眠芳草」直写醉眠芳草的意愿；「可惜一溪明月，莫教踏破琼瑶」写怜惜溪中明月——「一溪明月」写满溪的月光，「琼瑶」本指美玉，此处喻水中月影（或溪水如琼瑶），「莫教踏破」写莫教马儿踏破那琼瑶，那「可惜」「莫教」写尽对月下溪景的怜惜；「解鞍敧枕绿杨桥，杜宇一声春晓」写醉眠绿杨桥——「解鞍」写卸下马鞍，「敧枕」写斜靠着（马鞍）而眠，「绿杨桥」写溪边的桥（绿杨掩映），那解鞍敧枕于绿杨桥头，正是醉卧少休，「杜宇一声春晓」写杜鹃一声、春晓到来（杜宇即杜鹃鸟，春晓时鸣叫）——那醉卧至晓，杜宇一声，惊觉已是春晓。此词是苏轼贬居黄州时「以景写闲、以醉写达」的名篇，写其在贬谪中「放浪山水、醉眠芳草」的自在生活，也是理解其旷达心境的关键作品。

Art

The lyric's art is the art of the moonlit ride. The night opens: the shallow waves shine on the fields, full and full — the waves of the moonlight, shining on the fields; the fine clouds cross the sky, dim and dim — the dim clouds of the night. The ride follows: my nature loves the horse's head, the wind of the fine dust — truly, it is the hair of the jade palace, the cold of the frost and the moon — the loved ride with the wind and the frost and the moon of the night. The pity: a pity for the creek of the bright moon, do not let the broken steps tread the jade — the pity for the moonlit creek, the jade of the waves not to be trodden. And the close gathers the return: I lift the oar and, with the yellow dusk, I return — the return at the dusk; to return, I am not like the hermit of the drunken head — the not like the drunken hermit of the past — the night ride, the moonlit fields and the loved frost and the moon, and the return at the dusk, gathered in the lyric.

此词的艺术特色可从四个层面解析。其一，由景入醉的构思。全词以月下溪景写醉眠闲适——那「照野弥弥浅浪」「横空暧暧微霄」的清景，正是醉眠的背景；那「我欲醉眠芳草」「解鞍敧枕绿杨桥」的醉眠，正是景中的自得，由景入醉、情景交融。其二，叠字与工对的运用。「照野弥弥浅浪，横空暧暧微霄」以「弥弥」「暧暧」的叠字写水波与云气的连绵隐约，以「照野」对「横空」、「浅浪」对「微霄」写工对，写尽春夜溪上的清景。其三，怜惜之情的拟人化。「可惜一溪明月，莫教踏破琼瑶」以「可惜」「莫教」写对月下溪景的怜惜——那满溪的明月如琼瑶，莫教马儿踏破，「可惜」「莫教」写尽对景物的珍惜，也写尽醉中的怜惜。其四，以杜宇写春晓的收束。「解鞍敧枕绿杨桥，杜宇一声春晓」以「杜宇一声」写春晓的到来——那醉卧至晓，杜鹃一声，惊觉已是春晓，「杜宇一声春晓」以鸟声收束，写尽醉眠的旷达与春晓的清新，余味悠长。四重手法层层推进，使此词成为苏轼词中「以景写闲、以醉写达」的名篇。

Allusions

'The horse's head' (ma tou) is the horse's head of the ride — the loved ride with the horse's head; 'the jade palace' (yu jing) is the palace of the jade — the hair of the jade palace, the palace of the moon, the frost and the moon of the night; 'the jade' (qiong yao) is the jade of the waves — the moonlit waves, the jade not to be trodden; 'the hermit of the drunken head' (zui tou yin) is the drunken hermit — the hermit of the past, the not like of the return.

此词的意象与用语深植于隐逸与醉眠传统。「照野弥弥浅浪，横空暧暧微霄」写月下溪景——「弥弥」写水波连绵（令人想到《诗经》「河水弥弥」的绵延意象），「浅浪」写溪水的浅浪（令人想到「月光如水水如天」的水月意象），「暧暧」写云气隐约（令人想到陶渊明「暧暧远人村，依依墟里烟」的隐约意象），「微霄」写微云的天霄，那月照浅浪、云横微霄，正是春夜溪上的清景。「障泥未解玉骢骄，我欲醉眠芳草」写醉眠芳草——「障泥」写马鞍垂障（晋人王济解障泥的典故，写豪士的乘马），「玉骢」写白马（令人想到「骢马」的意象），「醉眠芳草」写醉卧芳草（令人想到「醉卧沙场君莫笑」（王翰《凉州词》）的醉卧传统与李白「我醉欲眠卿且去」的放达）——那「我欲醉眠芳草」，正有陶渊明「醉眠」的隐士之风。「可惜一溪明月，莫教踏破琼瑶」写怜惜溪中明月——「一溪明月」写满溪的月光（令人想到「滟滟随波千万里」的水月意象），「琼瑶」本指美玉（《诗经》「报之以琼瑶」），此处喻水中月影（令人想到「月光如水水如天」与「烟笼寒水月笼沙」的水月意象），「莫教踏破」写怜惜（令人想到「踏破」的破坏感），那「可惜」「莫教」写尽对月下溪景的怜惜；「解鞍敧枕绿杨桥，杜宇一声春晓」写醉眠绿杨桥——「解鞍」写卸鞍（令人想到「解鞍少驻初程」（姜夔）的驻马意象），「敧枕」写斜靠而眠（「敧枕」写斜倚，令人想到「敧枕」的闲适意象），「绿杨桥」写溪边的桥（令人想到「绿杨阴里白沙堤」（白居易）的绿杨意象），「杜宇」写杜鹃（杜宇是古蜀帝名，化为杜鹃，令人想到「望帝春心托杜鹃」（李商隐）的典故与「子规啼血」的哀怨意象——但苏轼此处以「杜宇一声春晓」写春晓的清新，反用其哀怨），那「杜宇一声春晓」以鸟声收束，正是「春眠不觉晓，处处闻啼鸟」（孟浩然《春晓》）的春晓意境。全词化用《诗经》、陶渊明、李白、孟浩然的意象与传统，以景写闲、以醉写达，正是苏轼「以旷达写贬谪」的本领。

Commentary

This lyric is one of the famous works of Su Shi's Huangzhou period, quoted for the freedom of the night ride. The moonlit fields and the loved frost and the moon, and the return at the dusk, are among the admired passages of the poet's lyrics. Critics praise the lyric's freedom: the night ride gathered in the moon, the ride, and the return, the clear freedom of the exile.

此词历来被推为苏轼贬居黄州时「以景写闲、以醉写达」的名篇，也是「照野弥弥浅浪，横空暧暧微霄」「可惜一溪明月，莫教踏破琼瑶」「解鞍敧枕绿杨桥，杜宇一声春晓」等名句的出处。历代论者对此词评价极高：论者多指出此词以春夜溪景写醉眠的闲适，以「可惜一溪明月，莫教踏破琼瑶」写对月景的怜惜，以「杜宇一声春晓」写醉眠的旷达，是苏轼贬谪词中的佳作。在文学史上，此词的特殊价值在于：它以春夜溪景写出了贬谪中的旷达——那「照野弥弥浅浪」「横空暧暧微霄」的清景、「我欲醉眠芳草」的醉态、「解鞍敧枕绿杨桥」的闲眠，都写尽了一个被贬官员在山水间的自在生活；而那「可惜一溪明月，莫教踏破琼瑶」的怜惜、「杜宇一声春晓」的旷达，更是「随遇而安」的绝唱——即使贬居黄州，苏轼依然能在月下溪边找到醉眠的乐趣，以「醉眠芳草」自得其乐。词中「照野弥弥浅浪，横空暧暧微霄」以叠字与工对写月下清景，是千古名句；「可惜一溪明月，莫教踏破琼瑶」写怜惜月景，更是千古名句。此词与苏轼在黄州的《西江月·世事一场大梦》一样，都是写黄州生活的词，一写中秋的感慨，一写春夜的闲适。对于今日读者，此词是理解苏轼贬谪黄州心境的窗口，也是感受中国词「以景写闲、以醉写达」传统的典范——那弥弥的浅浪、一溪的明月、绿杨桥头的醉眠，穿越千年，仍在诉说着一个旷达者在逆境中「醉眠芳草」的自在。

Prosody

Form Xijiangyue (West River Moon), a short lyric词（西江月，双调五十字）

Rhyme The lyric rhymes on the level-tone words of the group — the even, level rhyme that carries the clear freedom.上片押平声萧韵与仄韵相间（浪、霄、骄、草），下片押平声萧韵与仄韵相间（月、瑶、晓），上下片各两平韵一仄韵，平仄相间，韵音婉转明快，正合其写景闲适的风格。

Tone pattern The cadence is that of the night ride: the level opening with the moonlit fields, the rising with the ride and the pity, and the close's fall with the return at the dusk.此词为「西江月」词牌，双调五十字，上下片各两平韵、一仄韵，以六言与七言的错落为抒情服务。全词按内容可分为两片：上片写月下溪景与醉意（照野弥弥浅浪、横空暧暧微霄、障泥未解玉骢骄、我欲醉眠芳草）；下片写醉眠绿杨桥（可惜一溪明月、莫教踏破琼瑶、解鞍敧枕绿杨桥、杜宇一声春晓）。声调上，全词以六言句（照野弥弥浅浪）的整齐与七言句（解鞍敧枕绿杨桥）的舒展错落，平仄相间，韵音婉转明快，正合其写景闲适的风格。

Reading note The lyric's sound matches its freedom: the short, level rhymes carry the cadence of the ride, and the close — 'jie an qizhen lü yang qiao' — falls with the resting of the ride, the sound of the return at the dusk.此词是「西江月」双调小令，以六言与七言的错落写春夜溪景与醉眠闲适，正是苏轼「以词写景」的本领。全词两片：上片写月下溪景与醉意（照野弥弥浅浪、我欲醉眠芳草），下片写醉眠绿杨桥（可惜一溪明月、杜宇一声春晓）。声调上，全词以平仄相间的韵脚写声情的婉转，配合「弥弥」「暧暧」的叠字与「可惜」「莫教」的怜惜，全篇音节明快而不失闲适。诵读此词，宜以清朗的语调读上片的月下溪景，以闲适的语调读下片的醉眠，尤其「可惜一溪明月，莫教踏破琼瑶」两句，要读得怜惜而深情，方能传达出苏轼「醉眠芳草」的旷达。苏轼词以「旷达」著称，此词正是其贬居黄州时「以景写闲、以醉写达」的经典。

Line by line

照野弥弥浅浪，横空暧暧微霄。

The shallow waves shine on the fields, full and full, the fine clouds cross the sky, dim and dim.

月光照野，弥弥的浅浪；横空挂着，暧暧的微云。

Moonlight on the open fields, rippling the shallow waves; faint clouds drift across the vault of heaven.

这两句是写春夜月景的名句，也是千古名句，以「弥弥」「暧暧」的叠字写水波与云气的连绵隐约，以工对写月下溪景的清丽。「照野弥弥浅浪」写月下溪水——月光照着旷野，溪水漾起弥弥（连绵）的浅浪，「照野」写月光照野的开阔，「弥弥」写水波连绵（那浅浪如绉纱般连绵起伏），「浅浪」写溪水的浅浪——月光下，溪水如浅浪般粼粼，写尽月下溪水的清丽；「横空暧暧微霄」写横空的微云——云横远空，挂着暧暧（隐约）的微云，「横空」写云横远空的辽阔，「暧暧」写云气隐约（那微云如轻纱般隐约），「微霄」写微云的天霄——月下，那横空的微云隐约可见，写尽春夜的清景。这两句的深意在于：它以「弥弥」「暧暧」的叠字与「照野」对「横空」的工对，写尽春夜月下溪景的清丽——那月照浅浪、云横微霄，正是醉眠的背景；而那「弥弥」「暧暧」的绵延与隐约，更写尽春夜的静谧与朦胧——正是这样的良辰美景，让苏轼生出「我欲醉眠芳草」的醉意。以「弥弥」「暧暧」写连绵隐约、以「照野」「横空」写开阔辽阔，正是苏轼「以景写闲」的本领，也让这两句成为写春夜月景的千古名句。

These two lines write the spring-night-moon-scene famed line, and the through-the-ages famed line, using the mimi and aiai doubled words for the wave-and-cloud's continuous-and-vague, using the crafted couplet for the moonlit-stream's clear beauty. The moonlight-on-the-open-fields-rippling-the-shallow-waves writing the moonlit stream — the moonlight's lighting the open field, the stream's rippling the mimi (continuous) shallow waves, the light-on-the-field writing the moonlight's open lighting, the mimi writing the wave's continuity (the shallow waves like the crepe's continuous undulation), the shallow waves writing the stream's shallow waves — under the moonlight, the stream like the shallow waves' glinting, exhausting the moonlit stream's clarity; faint-clouds-drift-across-the-vault-of-heaven writing the horizon's faint cloud — the cloud's stretching the far sky, hanging the aiai (faint) micro-cloud, the cross-sky writing the cloud's far-sky vastness, the aiai writing the cloud's vagueness (the micro-cloud like the gauze's faintness), the micro-sky writing the micro-cloud's heaven-vault — under the moonlight, the cross-sky micro-cloud's faintly visible, exhausting the spring night's clear scene. These two lines' deep meaning: they use the mimi-and-aiai doubled words and the light-on-field-to-cross-sky's crafted couplet, exhausting the spring-night-moonlit-stream's clarity — the moon-lit shallow waves and the cloud-crossing micro-sky, precisely the drunk-sleeping's background; and the mimi-and-aiai's continuity-and-vagueness, the more exhausting the spring night's quietness-and-haze — precisely this kind of beautiful moment, making Su Shi's arising the I-would-drink-and-sleep-on-the-fragrant-grass's drunkenness. Using the mimi-and-aiai for the continuity-vagueness and the light-on-field-and-cross-sky for the openness, precisely Su Shi's scene-writes-leisure craft, and making these two lines the spring-night-moon-scene through-the-ages famed line.

可惜一溪明月，莫教踏破琼瑶。

A pity for the creek of the bright moon, do not let the broken steps tread the jade.

可惜那满溪的明月，莫教马儿踏破那琼瑶。

What a pity this moonlit stream — let not the horse trample the jade.

这两句是写怜惜月景的名句，也是千古名句，以「可惜」「莫教」写对满溪明月的怜惜，醉中见雅、怜中见痴。「可惜一溪明月」写满溪的月光——那满溪（一溪）的月光，是如此的美好，令人「可惜」（怜惜）——「一溪明月」写月光洒满溪水（那满溪都是月亮的倒影），「可惜」写对这美好月景的怜惜——美好的东西，最怕被破坏，那「可惜」写尽对月景的珍惜；「莫教踏破琼瑶」写莫教踏破——莫教（马儿）踏破那琼瑶（喻水中月影如美玉），「琼瑶」以美玉喻溪中的月影（那月影如琼瑶般晶莹），「莫教踏破」写对其保护的急切——那醉中的苏轼，竟不忍让马儿踏破溪中的月影，那「莫教踏破」写尽对月景的痴爱。这两句的深意在于：它以「可惜」「莫教」写对满溪明月的怜惜，写出了苏轼对美好景物的深情——那醉中的诗人，不是急着回家，而是「可惜」那满溪明月、要「莫教踏破琼瑶」，正是醉中见雅、怜中见痴；而那「琼瑶」的比喻（以美玉喻月影），更写尽月下溪景的晶莹美好——正是这样的美好，让苏轼不愿踏破，而要醉眠于芳草、流连于溪桥。以「可惜」写怜惜、以「琼瑶」喻月影，正是苏轼「以情写景」的本领，也让这两句成为写怜惜月景的千古名句。

These two lines write the moon-scene's pity famed line, and the through-the-ages famed line, using the pity-and-let-not for the stream-full-moon's pity, within-the-drunkenness's elegance and the pity's within-folly. The what-a-pity-this-moonlit-stream writing the stream-full moonlight — the stream-full (one stream) moonlight, the so beautiful, making the pity (cherish) — the one-stream-moonlight writing the moonlight's filling the stream (the stream-full all's the moon's reflection), the pity writing this beautiful moon-scene's cherishing — the beautiful thing's the most the breaking's fear, the pity word exhausting the moon-scene's treasuring; let-not-the-horse-trample-the-jade writing the let-not-trample — let-not (the horse) trample the qiongyao (the water-moon's reflection metaphor for the fine jade), the qiongyao using the fine jade for the stream's moon-reflection (the moon-reflection like the qiongyao's crystal), the let-not-trample writing the protection's eagerness — the drunken Su Shi, actually unable to bear the horse's trampling the stream's moon-reflection, the let-not-trample exhausting the moon-scene's doting love. These two lines' deep meaning: they use the pity-and-let-not for the stream-full-moonlight's pity, writing Su Shi's beautiful-things deep feeling — the drunken poet, not the rushing-home, and yet the what-a-pity-the-moonlit-stream's and let-not-trample-the-jade, precisely within-the-drunkenness's-elegance and the pity's-within-folly; and the qiongyao's metaphor (fine jade for moon-reflection), the more exhausting the moonlit stream's crystal-beauty — precisely this beauty's, making Su Shi's no-wanting-to-trample, and yet the wanting-to-drink-and-sleep-on-the-fragrant-grass's and linger-by-the-stream-bridge. Using the pity for the cherishing and the qiongyao's moon-reflection metaphor, precisely Su Shi's feeling-writes-scene craft, and making these two lines the moon-scene-pity through-the-ages famed line.

Study

Word focus

弥弥 'Full and full' — the shallow waves shining full and full, the fullness of the moonlight. 「弥弥」二字是写溪水浅浪的关键字，以叠字写水波的连绵，生动而传神。弥弥，水波连绵的样子。苏轼以「照野弥弥浅浪」写月下溪水，一个「弥弥」，至少有双重意味：其一，写水波之连绵——「弥弥」写浅浪连绵起伏的样子，那月光下的溪水，漾起弥弥的浅浪，「弥弥」写尽水波的绵延与粼粼——月光照在连绵的浅浪上，如无数碎银跳动，写尽月下溪水的清丽；其二，写溪水之浅净——「弥弥」与「浅浪」连用，写那浅浪是「弥弥」的、轻柔的，「弥弥」写尽浅浪的轻柔与连绵，也暗写溪水的浅净——正因水浅，才有「浅浪」；正因水净，才有「弥弥」的粼粼。以「弥弥」写浅浪，正是苏轼炼字的本领：他不写「浅浅浪」「泛泛浪」，而写「弥弥浅浪」——那「弥弥」的叠字，既是写水波的连绵（形态），也是写月光的粼粼（光影），更是写春夜的静谧（声音）——三个层面，一个「弥弥」写尽。若换作「漾漾」「漫漫」等词，则或失其「连绵」的轻柔，或失其与「浅浪」的相映；唯「弥弥」二字，以叠字写尽浅浪的连绵与月下的粼粼，也让「照野弥弥浅浪」成为写月下溪水的千古名句。

可惜 'A pity' — the pity for the creek of the bright moon, the love of the poet. 「可惜」二字是写怜惜月景的关键字，以「可惜」写对满溪明月的怜惜，醉中见雅、怜中见痴。可惜，怜惜、叹惜也。苏轼以「可惜一溪明月」写满溪的月光，一个「可惜」，至少有双重意味：其一，写怜惜之深——「可惜」写对一溪明月的怜惜——那满溪的月光如此美好，最怕被破坏，那「可惜」写尽对月景的珍惜——美好的东西，因「可惜」而格外珍贵，那「可惜」二字写尽苏轼对月下溪景的深情；其二，写醉态之痴——「可惜」以叹惜写醉中的痴——那醉中的诗人，不是急着回家，而是「可惜」那满溪明月，怕马儿踏破，那「可惜」写尽醉中的痴爱——对美好景物痴到要「莫教踏破」，正是醉中见雅、怜中见痴。以「可惜」写月景，正是苏轼「以情写景」的本领：一个「可惜」，既是写对月景的怜惜，也是写醉中的痴态，更是写贬谪中对美好事物的珍惜——那「可惜」二字，把无情的月光写得可亲可恋，也写尽苏轼在逆境中对美好的敏感。若换作「怜」「惜」等字，则或失其「可惜」的叹惜语气，或失其醉中见痴的深情；唯「可惜」二字，以叹惜写尽对月景的怜惜与醉中的痴爱，也让「可惜一溪明月」成为写怜惜月景的千古名句。