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宋 Song · 词 Ci lyric

西江月·问讯湖边春色

West River Moon: Asking After the Spring Color by the Lake

张孝祥

Zhang Xiaoxiang

问讯湖边春色，重来又是三年。
东风吹我过湖船。
杨柳丝丝拂面。
世路如今已惯，此心到处悠然。
寒光庭下水如天。
飞起沙鸥一片。

Asking after the spring color by the lake,
Returning again, it is already three years.
The east wind blows me across the lake boat.
The willows on the bank, the old acquaintances,
Pointing at the mist and the rain, the old fishing of the clothes.
The road of the world, now already accustomed,
This heart, everywhere, at ease and carefree.
Looking at the deep hollows of the green mountains,
Suddenly, the start of a stretch of the sand gulls flying up.
Listen

Meaning

A lyric of the return to the lake and the ease, written by Zhang Xiaoxiang. Asking after the spring color by the lake, returning again, it is already three years — the return to the lake after the three years. The east wind blows him across the lake boat — the willows on the bank, the old acquaintances, pointing at the mist and the rain, the old fishing of the clothes — the east wind of the crossing, the old acquaintances of the bank. The road of the world, now already accustomed, this heart, everywhere, at ease and carefree — the accustomed road and the carefree heart. Looking at the deep hollows of the green mountains, suddenly, the start of a stretch of the sand gulls flying up — the green mountains and the startled gulls. The lyric is the return and the ease: the return after the three years, the accustomed road, and the carefree heart with the sand gulls.

问讯湖边春色，重来又是三年。东风吹我过湖船。杨柳丝丝拂面。世路如今已惯，此心到处悠然。寒光庭下水如天。飞起沙鸥一片。

Appreciation

[Plain Paraphrase] Asking after the spring color by the lake, returning again, it is already three years. The east wind blows me across the lake boat. The willows on the bank, the old acquaintances, pointing at the mist and the rain, the old fishing of the clothes. The road of the world, now already accustomed, this heart, everywhere, at ease and carefree. Looking at the deep hollows of the green mountains, suddenly, the start of a stretch of the sand gulls flying up. [Structure and Thought] The lyric moves from the return to the lake after the three years, through the east wind of the crossing and the old acquaintances of the bank, to the accustomed road and the carefree heart, and the close's sand gulls startled from the green mountains. [Key Technique] The lyric's art is the ease of the return: the old acquaintances of the willows and the old fishing of the mist and the rain, and the close's carefree heart with the startled sand gulls — the ease of the accustomed heart gathered in the return and the gulls. [Emotional Tone] Clear, at ease, and carefree: the lyric is the return and the ease, the accustomed road and the close's carefree heart.

【白话串讲】 张孝祥写《西江月·问讯湖边春色》：“问讯湖边春色，重来又是三年”——“东风吹我过湖船。杨柳丝丝拂面”——“世路如今已惯，此心到处悠然”——“寒光庭下水如天。飞起沙鸥一片”——他重游湖边——此心到处悠然。 【意象与手法】 “问讯湖边春色，重来又是三年”写重游湖边；“东风吹我过湖船。杨柳丝丝拂面”写湖船东风；“世路如今已惯，此心到处悠然”写此心悠然；结以“寒光庭下水如天。飞起沙鸥一片”以沙鸥飞起写境界。清丽旷达。 【情感与主旨】 张孝祥写重游湖边之作，写湖山春色与“此心到处悠然”的旷达，结以沙鸥飞起写心境之开阔，是于湖词中清旷的代表。 【名句点睛】 常考“世路如今已惯，此心到处悠然”以此心悠然写旷达；“寒光庭下水如天。飞起沙鸥一片”以沙鸥飞起写境界。

Background

Zhang Xiaoxiang (1132–1169), the heroic lyric master of the Southern Song, wrote this 'West River Moon' at the return to the lake after the three years — the ease of the return. The asking after the spring color and the returning after the three years, the east wind blowing across the lake boat with the old acquaintances of the bank, the accustomed road of the world with the carefree heart, and the close's sand gulls startled from the green mountains — the lyric gathers the ease of the return, the old acquaintances and the carefree close. The lyric is one of the clear, free works of the master.

《西江月·问讯湖边春色》为南宋词人张孝祥所作词。张孝祥（1132—1170），字安国，号于湖居士，历阳乌江（今安徽和县）人，南宋词人。此词写景感怀，为问讯湖边春色之作。词中「问讯湖边春色，重来又是三年」写问讯湖边春色，重来又是三年；「东风吹我过湖船。杨柳丝丝拂面」写东风吹我过湖船，杨柳丝丝拂面；「世路如今已惯，此心到处悠然」写世路如今已惯，此心到处悠然；「寒光庭下水如天。飞起沙鸥一片」写寒光庭下水如天，飞起沙鸥一片。张孝祥此词以写景感怀、飞起沙鸥一片写其感怀之情，清丽旷达，是张孝祥词中的名篇。此篇《西江月·问讯湖边春色》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。此篇《西江月·问讯湖边春色》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 ease. The return opens: asking after the spring color by the lake, returning again, it is already three years — the return after the three years; the east wind blows him across the lake boat — the east wind of the crossing. The old acquaintances follow: the willows on the bank, the old acquaintances, pointing at the mist and the rain, the old fishing of the clothes — the willows and the fishing of the past, the old acquaintances of the bank. The ease: the road of the world, now already accustomed, this heart, everywhere, at ease and carefree — the accustomed road and the carefree heart. And the close gathers the scene: looking at the deep hollows of the green mountains, suddenly, the start of a stretch of the sand gulls flying up — the green mountains and the startled gulls — the return and the ease, the accustomed road and the carefree heart, gathered in the close.

此词艺术上以「清丽旷达、以景写情」见长。全词共八句，由问讯湖边春色而东风吹我过湖船而世路如今已惯。起「问讯湖边春色，重来又是三年」写问讯湖边春色：问讯湖边春色，重来又是三年；「东风吹我过湖船。杨柳丝丝拂面」写东风吹我过湖船：东风吹我过湖船，杨柳丝丝拂面；「世路如今已惯，此心到处悠然」写世路如今已惯：世路如今已惯，此心到处悠然；结「寒光庭下水如天。飞起沙鸥一片」写飞起沙鸥一片：寒光庭下水如天，飞起沙鸥一片。全词以景写情，由问讯湖边春色而飞起沙鸥一片，清丽旷达，是张孝祥词中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

'The old acquaintances' (gu ren) are the old acquaintances of the bank — the willows as the old acquaintances; 'the mist and the rain, the old fishing of the clothes' (yan yu yi di）is the old fishing — the fishing of the past, the clothes of the fishing; 'the road of the world' (shi lu) is the road of the world — the accustomed road of the poet; 'the sand gulls' (sha ou) are the gulls of the sand — the startled gulls of the close.

词中「问讯湖边春色重来又是三年」「东风吹我过湖船杨柳丝丝拂面」「世路如今已惯此心到处悠然」「寒光庭下水如天飞起沙鸥一片」等语，皆含典故故实。「问讯湖边春色重来又是三年」写问讯湖边春色重来又是三年；「东风吹我过湖船杨柳丝丝拂面」写东风吹我过湖船杨柳丝丝拂面；「世路如今已惯此心到处悠然」用悠然之语，写世路如今已惯此心到处悠然；「寒光庭下水如天飞起沙鸥一片」用沙鸥之典（沙鸥为闲逸之鸟），写寒光庭下水如天飞起沙鸥一片。词人以悠然、沙鸥等语入词，不着痕迹，而把写景感怀之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

This lyric is one of the clear, free works of Zhang Xiaoxiang, quoted for the ease of its close. The old acquaintances of the willows, and the carefree heart with the startled sand gulls, are among the admired passages of the master's lyrics. Critics praise the lyric's ease: the return gathered from the old acquaintances, to the close's carefree heart with the gulls.

这首《西江月·问讯湖边春色》，是张孝祥写写景感怀之作，写问讯湖边春色、东风吹我过湖船、世路如今已惯、飞起沙鸥一片之情，清丽旷达。起「问讯湖边春色，重来又是三年」——问讯湖边春色，重来又是三年。写问讯湖边春色：问讯湖边春色、重来又是三年——湖边春色、又是三年；「东风吹我过湖船。杨柳丝丝拂面」——东风吹我过湖船，杨柳丝丝拂面。写东风吹我过湖船：东风吹我过湖船、杨柳丝丝拂面——吹我过湖船、丝丝拂面；「世路如今已惯，此心到处悠然」——世路如今已惯，此心到处悠然（用悠然之语）。写世路如今已惯：世路如今已惯、此心到处悠然——如今已惯、到处悠然；结「寒光庭下水如天。飞起沙鸥一片」——寒光庭下水如天，飞起沙鸥（用沙鸥之典）一片。写飞起沙鸥一片：寒光庭下水如天、飞起沙鸥一片——水如天、沙鸥一片。这「寒光庭下水如天。飞起沙鸥一片」，是全词之结：以飞起沙鸥一片写其感怀。全词清丽旷达，以景写情，正是张孝祥词中的名篇。

Prosody

Form Xijiangyue (West River Moon), a short lyric词（中调·西江月）
Rhyme The lyric rhymes on the level-tone words of the group — the even, level rhyme that carries the carefree ease.此词为中调词牌《西江月》，共八句五十字。押韵：「年」「面」「然」「天」「片」押先部韵与寒部韵。词体依词牌而定，句式长短错落，音节随情起伏，正与写写景感怀的清丽旷达相称，也见其以中调写感怀的自然。
Tone pattern The cadence is that of the return: the level opening with the asking and the years, the turning with the old acquaintances and the accustomed road, and the close's rise with the startled sand gulls.句式上，「问讯湖边春色，重来又是三年」写问讯湖边春色，音节清丽；「东风吹我过湖船。杨柳丝丝拂面」写东风吹我过湖船，音节明快；「世路如今已惯，此心到处悠然」写世路如今已惯，音节旷达；结「寒光庭下水如天。飞起沙鸥一片」写飞起沙鸥一片，音节悠长。全词音节随情起伏，由清丽而明快、由旷达而悠长，正合中调「铺叙」之妙，读来如写景感怀、飞起沙鸥一片之音，清丽而动人。
Reading note The lyric's sound matches its ease: the short, level rhymes carry the cadence of the return, and the close — 'jing qi sha ou yi pian' — rises with the startled gulls, the sound of the carefree heart of the poet.此词为中调《西江月》，是张孝祥写写景感怀之作，也是其词中的名篇。全词的艺术特色在于「清丽旷达、以景写情」：「问讯湖边春色，重来又是三年」写问讯湖边春色、「东风吹我过湖船。杨柳丝丝拂面」写东风吹我过湖船、「世路如今已惯，此心到处悠然」写世路如今已惯、「寒光庭下水如天。飞起沙鸥一片」写飞起沙鸥一片。全词清丽旷达，以景写情。尤为精妙者，是「世路如今已惯，此心到处悠然」用悠然之语；而「寒光庭下水如天。飞起沙鸥一片」用沙鸥之典，正是张孝祥词「清丽旷达」的典范，为历代选本所常收。《西江月·问讯湖边春色》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

问讯湖边春色，重来又是三年。

Asking after the spring color by the lake, returning again, it is already three years.

问讯湖边春色，重来又是三年。

I ask after the spring scenery by the lake; returning, three more years have passed.

首句写问讯湖边春色，起笔即见其景。「问讯湖边春色」写问讯湖边春色，「问讯」写问讯、「湖边春色」写湖边春色；「重来又是三年」写重来又是三年，「重来又是」写重来又是、「三年」写三年。两句一写问讯湖边春色、一写重来又是三年，以问讯湖边春色写湖边春色、以重来又是三年写又是三年，写尽问讯湖边春色、重来又是三年之情。以湖起兴，清丽而旷达，是「以湖起兴」的妙笔。

The opening line writes the ask-after-the-lake's-spring-scene, the first stroke at once seeing the scene. The ask-after-the-lake's-spring-scene writing the inquiry and the lakeside spring; the returning-three-more-years-have-passed writing the return and the three years. Two lines one writing the lake's spring and one the three years' return, using the lake-spring for the scenery and the three-years for the time's gone, exhausting the inquiry and the return. Using the lake's uprising, clear-and-open, the lake-uprising wondrous brush.

东风吹我过湖船。

The east wind blows me across the lake boat.

东风吹我过湖船。

The east wind blows my boat across the lake.

此句写东风吹我过湖船，是全词写湖船之态的关键。「东风吹我过湖船」写东风吹我过湖船，「东风吹我」写东风吹我、「过湖船」写过湖船。一句写东风吹我过湖船，以东风吹我写东风吹我、以过湖船写过湖船，写尽东风吹我过湖船之情。以风吹我、清丽而旷达，是「以风写船」的点睛之笔。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 writes the east-wind-blows-my-boat, the whole ci's boat-pose key. The east-wind-blows-my-boat writing the wind's blowing and the boat's crossing. One line writing the wind-borne boat, using the east-wind for the wind and the lake-boat for the crossing, exhausting the wind-borne journey. Using the wind's blowing-me, clear-and-open, the wind-writes-boat telling stroke.

世路如今已惯，此心到处悠然。

The road of the world, now already accustomed, this heart, everywhere, at ease and carefree.

世路如今已惯，此心到处悠然。

The ways of the world are now familiar; this heart is at ease wherever it goes.

此句写世路如今已惯，是全词写世路之态的关键。「世路如今已惯」写世路如今已惯，「世路如今」写世路如今、「已惯」写已惯；「此心到处悠然」用悠然之语写此心到处悠然，「此心到处」写此心到处、「悠然」写悠然。两句一写世路如今已惯、一写此心到处悠然，以世路如今已惯写如今已惯、以此心到处悠然写到处悠然，写尽世路如今已惯、此心到处悠然之情。以心写情，清丽而旷达，是「以心写情」的点睛之笔。

This line writes the world's-ways'-now-familiar, the whole ci's world-ways key. The world's-ways-are-now-familiar writing the world and the habituation; this-heart-is-at-ease-wherever-it-goes using the at-ease words. Two lines one writing the world's habituation and one the heart's ease, using the now-familiar for the acceptance and the everywhere-at-ease for the tranquility, exhausting the world's-ways-familiar and the heart's-ease. Using the heart for the feeling-writing, clear-and-open, the heart-writes-feeling telling stroke.

飞起沙鸥一片。

A flock of sand gulls rises in flight.

飞起沙鸥一片。

A whole flock of sand gulls rises in flight.

结句写飞起沙鸥一片，是全词立意的落点。「飞起沙鸥一片」用沙鸥之典写飞起沙鸥一片，「飞起」写飞起、「沙鸥一片」写沙鸥一片。一句写飞起沙鸥一片，以飞起写飞起、以沙鸥一片写沙鸥一片，写尽飞起沙鸥一片之情。以鸥写情，清丽而旷达，是全词最动人处，也是「以鸥写情」的点睛之笔。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。

The closing line writes the sand-gulls'-uprising, the whole ci's intention landing. The whole-flock-of-sand-gulls-rises-in-flight using the sand-gull allusion. One line writing the gulls' uprising, using the rising for the flight and the flock for the company, exhausting the gulls' flight. Using the gull for the feeling-writing, clear-and-open, the whole ci's most moving place, the gull-writes-feeling telling stroke.

Study

Word focus

问讯 'To ask after' — the asking after the spring color, the asking of the return. 「问讯」写问讯湖边春色，是写问讯之态的关键。「问讯湖边春色」着一「问讯」，写问讯——着一「问讯」，写问讯湖边春色，见其春之问讯。两字写尽问讯之态，是「以词写问」的妙笔。「问讯」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。
杨柳 'The willows' — the willows of the bank, the old acquaintances of the return. 「杨柳」写杨柳丝丝拂面，是写杨柳之态的关键。「杨柳丝丝拂面」着一「杨柳」，写杨柳——着一「杨柳」，写杨柳丝丝拂面，见其柳之杨。两字写尽杨柳之态，是「以词写柳」的点睛之词。「杨柳」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。
悠然 'At ease and carefree' — the carefree heart, at ease everywhere. 「悠然」写此心到处悠然，是写悠然之态的关键。「此心到处悠然」着一「悠然」，写悠然——着一「悠然」，写此心到处悠然，见其心之悠。两字写尽悠然之态，是「以词写悠」的点睛之词。「悠然」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。
沙鸥 'The sand gulls' — the startled gulls of the close, the carefree scene. 「沙鸥」写飞起沙鸥一片，是写沙鸥之态的关键。「飞起沙鸥一片」着一「沙鸥」，写沙鸥——着一「沙鸥」，写飞起沙鸥一片，见其鸥之沙。两字写尽沙鸥之态，是「以词写鸥」的点睛之词。「沙鸥」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 · 同写湖上羁旅、凝望天涯，一写误几回天际识归舟、一写东风吹我过湖船杨柳丝丝拂面，皆于湖上之中见羁旅 Both are the lyrics of the return and the boat — the return of the traveler of Liu Yong, the return of the lake of Zhang Xiaoxiang — the two returns of the boat.

Liu Yong's 'Eight Beats of Ganzhou' — 'unwilling to climb high and look far' — is the longing of the return of the traveler; Zhang Xiaoxiang's 'West River Moon' — 'the east wind blows me across the lake boat' — is the return of the lake — the two returns of the boat, the one of the longing, the other of the ease.

柳永《八声甘州·对潇潇暮雨洒江天》「想佳人妆楼颙望，误几回、天际识归舟」，写湖上羁旅、凝望天涯，是宋词写羁旅的名篇；张孝祥《西江月·问讯湖边春色》则以「东风吹我过湖船。杨柳丝丝拂面」「寒光庭下水如天。飞起沙鸥一片」写吹我过湖船、沙鸥一片。两词同写湖上羁旅、凝望天涯：一写误几回天际识归舟、以凝望写思归，一写东风吹我过湖船杨柳丝丝拂面、以湖船写羁旅；一为柳永之清丽、一为张孝祥之旷达，并读正可见词写「湖上羁旅」的两种笔法，皆于湖上之中见羁旅。

 水调歌头·明月几时有 Prelude to Water Melody: When Will the Bright Moon Appear 苏轼 · 同写感怀旷达、超然物外，一写我欲乘风归去、一写世路如今已惯此心到处悠然，皆于感怀之中见旷达 Both are the lyrics of the moon and the free heart — the free of Su Shi, the carefree of Zhang Xiaoxiang — the two frees of the heart.

Su Shi's 'Prelude to Water Melody' — 'the bright moon, when will it appear' — is the free thought of the moon; Zhang Xiaoxiang's 'West River Moon' — 'this heart, everywhere, at ease and carefree' — is the carefree heart of the return — the two frees of the heart, the one of the moon, the other of the lake.

苏轼《水调歌头·明月几时有》「我欲乘风归去，又恐琼楼玉宇，高处不胜寒」，写感怀旷达、超然物外，是宋词长调的名篇；张孝祥《西江月·问讯湖边春色》则以「世路如今已惯，此心到处悠然」「寒光庭下水如天。飞起沙鸥一片」写如今已惯、沙鸥一片。两词同写感怀旷达、超然物外：一写我欲乘风归去、以乘风写超然，一写世路如今已惯此心到处悠然、以悠然写旷达；一为苏轼之超然、一为张孝祥之旷达，并读正可见词写「感怀旷达」的两种笔法，皆于感怀之中见旷达。