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宋 Song · 词 Ci lyric

眼儿媚

The Eye's Charm

范成大

Fan Chengda

酣酣日脚紫烟浮。
妍暖破轻裘。
困人天色，醉人花气，午梦扶头。
春慵恰似春塘水，一片縠纹愁。
溶溶泄泄，东风无力，欲皱还休。

The full, full, the foot of the sun, the purple smoke floating.
The sky of the sleepy man, the flower air of the drunk man, the noon dream, holding up the head.
The spring sloth, just like the water of the spring pond, a piece of the grain-patterned sorrow.
The melting and the flowing, the east wind without the strength, wishing to wrinkle, and still resting.
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Meaning

A lyric of the spring sloth and the sorrow, written by Fan Chengda. The full, full, the foot of the sun, the purple smoke floating — the warm sun of the spring and the floating purple smoke. The sky of the sleepy man, the flower air of the drunk man, the noon dream, holding up the head — the sleepy sky and the drunk flower air of the noon. The spring sloth, just like the water of the spring pond, a piece of the grain-patterned sorrow — the sloth of the spring, like the water, the grain-patterned sorrow. The melting and the flowing, the east wind without the strength, wishing to wrinkle, and still resting — the weak east wind and the un-wrinkled water. The lyric is the spring sloth and the sorrow: the sleepy spring, the grain-patterned sorrow, and the close's weak east wind.

酣酣日脚紫烟浮。妍暖破轻裘。困人天色，醉人花气，午梦扶头。春慵恰似春塘水，一片縠纹愁。溶溶泄泄，东风无力，欲皱还休。

Appreciation

[Plain Paraphrase] The full, full, the foot of the sun, the purple smoke floating. The sky of the sleepy man, the flower air of the drunk man, the noon dream, holding up the head. The spring sloth, just like the water of the spring pond, a piece of the grain-patterned sorrow. The melting and the flowing, the east wind without the strength, wishing to wrinkle, and still resting. [Structure and Thought] The lyric moves from the warm spring of the purple smoke, through the sleepy sky and the drunk flower air of the noon, to the spring sloth of the grain-patterned sorrow and the close's weak east wind wishing to wrinkle and still resting. [Key Technique] The lyric's art is the sloth of the spring: the sleepy sky and the drunk flower air, and the close's east wind without the strength, wishing to wrinkle and still resting — the sloth and the sorrow gathered in the spring pond, the un-wrinkled water. [Emotional Tone] Slothful, soft, and sorrowful: the lyric is the spring sloth, the grain-patterned sorrow and the close's weak wind.

【白话串讲】 范成大写《眼儿媚》：“酣酣日脚紫烟浮。妍暖破轻裘”——“困人天色，醉人花气，午梦扶头”——“春慵恰似春塘水，一片縠纹愁”——“溶溶泄泄，东风无力，欲皱还休”——他写春慵——春慵恰似春塘水。 【意象与手法】 “酣酣日脚紫烟浮。妍暖破轻裘”写日脚紫烟；“困人天色，醉人花气，午梦扶头”写午梦扶头；“春慵恰似春塘水，一片縠纹愁”以春塘水写春慵；结以“溶溶泄泄，东风无力，欲皱还休”以欲皱还休写春慵。比喻精妙、含蓄深婉。 【情感与主旨】 范成大写春日闲愁之作，以“春慵恰似春塘水”写春日的慵懒闲愁，是宋词中写春愁的巧妙比喻，体现范成大词婉约深婉的风格。 【名句点睛】 常考“春慵恰似春塘水，一片縠纹愁”以春塘水写春慵；“溶溶泄泄，东风无力，欲皱还休”以欲皱还休写春慵之态。

Background

Fan Chengda (1126–1193), the lyric master of the Southern Song, wrote this 'Eye's Charm' of the spring sloth and the sorrow — the noon of the spring. The full sun and the purple smoke of the spring, the sleepy sky and the drunk flower air of the noon dream, the spring sloth like the water of the spring pond with the grain-patterned sorrow, and the close's east wind without the strength wishing to wrinkle and still resting — the lyric gathers the sloth of the spring, the soft sorrow of the noon. The lyric is one of the famous works of the master's spring.

《眼儿媚》为南宋词人范成大所作词。范成大（1126—1193），字致能，号石湖居士，吴郡（今江苏苏州）人，南宋诗人、词人，与尤袤、杨万里、陆游并称「中兴四大诗人」。此词写春日闲愁。词中「酣酣日脚紫烟浮。妍暖破轻裘」写日脚紫烟；「困人天色，醉人花气，午梦扶头」写午梦扶头；「春慵恰似春塘水，一片縠纹愁」写春慵似水；「溶溶泄泄，东风无力，欲皱还休」写欲皱还休。范成大此词以春日闲愁、春慵似水写其闲愁之情，含蓄深婉，是范成大词中的名篇。此篇《眼儿媚》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《眼儿媚》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 spring sloth. The spring opens: the full, full, the foot of the sun, the purple smoke floating — the warm sun and the floating smoke of the spring; the sky of the sleepy man, the flower air of the drunk man, the noon dream, holding up the head — the sleepy sky and the drunk flower air, the noon of the sloth. The sorrow follows: the spring sloth, just like the water of the spring pond, a piece of the grain-patterned sorrow — the sloth of the spring, like the pond water, the grain-patterned sorrow. And the close gathers the weakness: the melting and the flowing, the east wind without the strength, wishing to wrinkle, and still resting — the weak east wind, wishing to wrinkle the water and still resting — the sloth and the sorrow, the weak wind and the un-wrinkled water, gathered in the close.

此词艺术上以「含蓄深婉、以景写情」见长。全词上片写日脚紫烟与午梦扶头，下片写春慵似水与欲皱还休。上片「酣酣日脚紫烟浮。妍暖破轻裘」写日脚紫烟：酣酣日脚紫烟浮，妍暖破轻裘；「困人天色，醉人花气，午梦扶头」写午梦扶头：困人天色，醉人花气，午梦扶头。下片「春慵恰似春塘水，一片縠纹愁」写春慵似水：春慵恰似春塘水，一片縠纹愁；「溶溶泄泄，东风无力，欲皱还休」写欲皱还休：溶溶泄泄，东风无力，欲皱还休。全词含蓄深婉，以景写情，是范成大词中的名篇。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 foot of the sun' (ri jiao) is the foot of the sun — the sun rays, the foot of the sun; 'the noon dream, holding up the head' (wu meng fu tou) is the noon dream — the dream of the noon, holding up the head; 'the spring pond' (chun tang) is the pond of the spring — the water of the spring pond; 'the grain-patterned sorrow' (hu wen chou) is the grain-patterned sorrow — the wrinkles of the water like the grain, the sorrow of the water; 'the melting and the flowing' (rong rong xie xie) is the flowing of the water — the soft flowing of the spring water.

词中「酣酣日脚」「紫烟」「妍暖」「轻裘」「困人天色」「醉人花气」「午梦扶头」「春慵」「春塘水」「縠纹」「溶溶泄泄」「东风无力」「欲皱还休」等语，皆含典故故实。「酣酣日脚」写酣酣之日光（日脚为日光）；「紫烟」写紫色之烟霭；「妍暖」写妍丽和暖；「轻裘」写轻暖之裘；「困人天色」写令人困倦之天色；「醉人花气」写令人沉醉之花气；「午梦扶头」写午睡（扶头为卯时酒，此处借指午睡初醒之态，亦写扶头酒）；「春慵」写春日之慵懒；「春塘水」写春日之塘水；「縠纹」写如绉纱之波纹（縠为绉纱）；「溶溶泄泄」写水光溶溶、荡漾的样子；「东风无力」写春风无力（用李商隐「东风无力百花残」之意）；「欲皱还休」写欲皱又止。词人以日脚紫烟、困人花气、春慵、縠纹、东风无力、欲皱还休等语入词，不着痕迹，而把春日闲愁之情写得真切可感，是善于熔铸意象的体现。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。

Commentary

This lyric is one of the famous works of Fan Chengda, quoted for the sloth of its images. The grain-patterned sorrow of the spring pond, and the weak east wind wishing to wrinkle and still resting, are among the admired passages of the master's lyrics. Critics praise the lyric's sloth: the spring gathered in the sleepy air and the grain-patterned sorrow, to the close's weak wind.

这首《眼儿媚》，是范成大写春日闲愁之作，写日脚紫烟、困人天色、春慵似水之情，含蓄深婉。上片写日脚紫烟与午梦扶头：「酣酣日脚紫烟浮。妍暖破轻裘」——酣酣日脚紫烟浮，妍暖破轻裘。写日脚紫烟：酣酣日脚紫烟浮、妍暖破轻裘——日脚紫烟浮、妍暖破轻裘；「困人天色，醉人花气，午梦扶头」——困人天色，醉人花气，午梦扶头。写午梦扶头：困人天色、醉人花气，午梦扶头——天色困人、花气醉人、午梦扶头。下片写春慵似水与欲皱还休：「春慵恰似春塘水，一片縠纹愁」——春慵恰似春塘水，一片縠纹愁。写春慵似水：春慵恰似春塘水、一片縠纹愁——春慵如春塘之水，一片縠纹之愁；「溶溶泄泄，东风无力，欲皱还休」——溶溶泄泄，东风无力，欲皱还休。写欲皱还休：溶溶泄泄、东风无力，欲皱还休——水光溶溶、东风无力，欲皱还休。这「溶溶泄泄，东风无力，欲皱还休」，是全词之结：以欲皱还休写其闲愁。全词含蓄深婉，以景写情，正是范成大词中的名篇。

Prosody

Form Yanermei (The Eye's Charm), a short lyric词（眼儿媚，小令）
Rhyme The lyric rhymes on the level-tone words of the group — the even, level rhyme that carries the soft sloth.此词为《眼儿媚》调，小令四十八字，上片下片各五句。押平声韵：「浮」「裘」「头」「愁」「休」押尤部韵。词体依词谱而定，句式长短错落，音节随情起伏，正与写春日闲愁的含蓄深婉相称，也见其以词写闲愁的自然。
Tone pattern The cadence is that of the sloth: the level opening with the full sun, the turning with the grain-patterned sorrow, and the close's fall with the weak wind wishing to wrinkle and still resting.句式上，上片「酣酣日脚紫烟浮。妍暖破轻裘」写日脚紫烟，音节明丽；「困人天色，醉人花气，午梦扶头」写午梦扶头，音节慵懒；下片「春慵恰似春塘水，一片縠纹愁」写春慵似水，音节低回；「溶溶泄泄，东风无力，欲皱还休」写欲皱还休，音节绵长。全词音节由明丽而慵懒、由低回而绵长，正合词体「长短句」之妙，读来如春日闲愁、欲皱还休之音，含蓄而动人。
Reading note The lyric's sound matches its sloth: the short, level rhymes carry the cadence of the spring, and the close — 'yu zhou huan xiu' — falls with the still resting, the sound of the weak wind without the strength.此词为《眼儿媚》调，是范成大写春日闲愁之作，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「酣酣日脚紫烟浮。妍暖破轻裘」写日脚紫烟、「困人天色，醉人花气，午梦扶头」写午梦扶头；下片「春慵恰似春塘水，一片縠纹愁」写春慵似水、「溶溶泄泄，东风无力，欲皱还休」写欲皱还休。全词含蓄深婉，以景写情。尤为精妙者，是「春慵恰似春塘水，一片縠纹愁」以春塘水比春慵写闲愁；而「溶溶泄泄，东风无力，欲皱还休」以水波欲皱还休写其欲愁还休，正是范成大词「含蓄深婉」的典范，为历代词选所常收。

Line by line

酣酣日脚紫烟浮。

The full, full, the foot of the sun, the purple smoke floating.

酣酣日脚紫烟浮。

The warm sunbeams pour down; purple mists float up.

首句写日脚紫烟，起笔即见其景。「酣酣日脚紫烟浮」写酣酣日脚紫烟浮，「酣酣」写日光酣暖、「日脚」写日光、「紫烟浮」写紫烟浮起。一句以「酣酣日脚」写日光之酣暖、以「紫烟浮」写紫烟之浮起，写尽春日日脚酣暖、紫烟浮起之景。以景起兴，含蓄而明丽，是「以景起兴」的妙笔。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 opening line writes the sunbeams' purple mist, the first stroke at once seeing the scene. The warm-sunbeams-pour-down-purple-mists-float-up writing the warm sun and the floating purple mist. One line using the warm-sunbeams for the sun's warmth and the purple-mist-float for the mist's rising, exhausting the spring sun's warmth and the purple mist's rising. Using the scene's uprising, reserved and bright, the scene-uprising wondrous brush.

困人天色，醉人花气，午梦扶头。

The sky of the sleepy man, the flower air of the drunk man, the noon dream, holding up the head.

困人天色，醉人花气，午梦扶头。

A drowsy sky, an intoxicating flower scent; my noon dream holds my head up.

此三句写午梦扶头，是全词写春困的关键。「困人天色」写困人天色，「困人」写令人困倦、「天色」写天色；「醉人花气」写醉人花气，「醉人」写令人沉醉、「花气」写花香；「午梦扶头」写午梦扶头，「午梦」写午睡之梦、「扶头」写扶头（初醒扶头之态）。三句一写困人天色、一写醉人花气、一写午梦扶头，以天色困人写其困、以花气醉人写其醉、以午梦扶头写其倦，写尽天色困人、花气醉人、午梦扶头之情。以态写情，含蓄而慵懒，是「以态写情」的点睛之笔。

These three lines write the noon-dream's head-holding, the whole ci's spring-drowsiness key. The drowsy-sky writing the drowsiness; the intoxicating-flower-scent writing the intoxication; the noon-dream-holds-my-head-up writing the noon dream. Three lines one writing the drowsy sky, one the intoxicating flower scent, one the noon dream, using the sky's drowsiness for the languor, the flower-scent's intoxication for the drunkenness, and the noon-dream's head for the weariness, exhausting the drowsy sky and the intoxicating scent and the noon dream. Using the pose for the feeling-writing, reserved and languid, the pose-writes-feeling telling stroke.

春慵恰似春塘水，一片縠纹愁。

The spring sloth, just like the water of the spring pond, a piece of the grain-patterned sorrow.

春慵恰似春塘水，一片縠纹愁。

Spring languor is just like the spring pond's water, a gauze of ripples, grief.

此二句写春慵似水，是全词写闲愁的关键。「春慵恰似春塘水」写春慵恰似春塘水，「春慵」写春日之慵懒、「恰似春塘水」写正像春塘之水；「一片縠纹愁」写一片縠纹愁，「一片縠纹」写一片绉纱般之波纹、「愁」写愁。两句一写春慵恰似春塘水、一写一片縠纹愁，以春慵比春塘水、以縠纹写其愁，写尽春慵如春塘之水、一片縠纹之愁之情。以喻写愁，含蓄而深婉，是「以喻写愁」的点睛之笔。

These two lines write the spring-languor-like-water, the whole ci's idle-grief key. The spring-languor-is-just-like-the-spring-pond's-water writing the spring languor; the a-gauze-of-ripples-grief writing the gauze ripples and the grief. Two lines one writing the languor-like-pond-water and one the gauze-ripples-grief, using the pond-water for the languor and the gauze ripples for the grief, exhausting the spring-languor's like the pond water and the gauze-ripple's grief. Using the metaphor for the grief-writing, reserved and deep-gentle, the metaphor-writes-grief telling stroke.

溶溶泄泄，东风无力，欲皱还休。

The melting and the flowing, the east wind without the strength, wishing to wrinkle, and still resting.

溶溶泄泄，东风无力，欲皱还休。

Flowing, drifting, the east wind has no strength; it would ripple, and yet rests.

尾三句写欲皱还休，是全词立意的落点。「溶溶泄泄」写溶溶泄泄，「溶溶泄泄」写水光溶溶、缓缓荡漾；「东风无力」写东风无力，用李商隐东风无力之意；「欲皱还休」写欲皱还休，「欲皱」写欲起波纹、「还休」写又止。三句一写溶溶泄泄、一写东风无力、一写欲皱还休，以溶溶泄泄写水光、以东风无力写风之弱、以欲皱还休写波之欲起又止，写尽春塘之水欲皱还休之情——如春慵之欲愁还休。以景写情，含蓄而深婉，是全词最动人处，也是「以景写情」的点睛之笔。

The closing three lines write the would-ripple-and-yet-rest, the whole ci's intention landing. The flowing-drifting writing the water's light; the east-wind-has-no-strength using Li Shangyin's east-wind-no-strength meaning; the it-would-ripple-and-yet-rest writing the ripple's about-to-rise-and-yet-stop. Three lines one writing the flowing water, one the wind's weakness, one the ripple's would-and-yet-stop, exhausting the spring-pond's would-ripple-and-yet-rest — like the spring-languor's would-grieve-and-yet-rest. Using the scene for the feeling-writing, reserved and deep-gentle, the whole ci's most moving place, the scene-writes-feeling telling stroke.

Study

Word focus

酣酣 'Full, full' — the fullness of the sun, the warmth of the spring. 「酣酣」写酣酣日脚，是写日光之暖的关键。「酣酣日脚紫烟浮」着一「酣酣」，写酣暖——叠字写日光之酣暖，见春日之暖。两字写尽日光之酣，是「以叠字写景」的妙笔。「酣酣」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。
困 'Sleepy' — the sleepy sky, the sloth of the spring. 「困」字写困人天色，是写春困的关键。「困人天色」着一「困」，写困倦——着一「困」字，写天色令人困倦，见春之困人。一字写尽天色之困，是「以一字写态」的点睛之词。「困」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。
慵 'The sloth' — the sloth of the spring, the lassitude of the noon. 「慵」字写春慵，是写春困懒散的关键。「春慵恰似春塘水」着一「慵」，写慵懒——着一「慵」字，写春日之慵懒，见其情之懒。一字写尽春慵，是「以一字写态」的点睛之词。「慵」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。
还休 'Still resting' — the wishing to wrinkle and still resting, the weakness of the wind. 「还休」写欲皱还休，是写愁之欲起还止的关键。「欲皱还休」着一「还休」，写又止——着一「还休」，写波纹欲起又止，见其愁之欲皱还休。两字写尽欲起又止，是「以词写景」的点睛之词。「还休」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

晏殊·蝶恋花·槛菊愁烟兰泣露 Butterflies Lingering over Flowers: The Fence Chrysanthemums Sorrow in the Smoke, the Orchids Weep in the Dew 晏殊 · 同写春景闲愁、含蓄深婉，一写槛菊愁烟兰泣露、一写春慵恰似春塘水，皆于春景之中见闲愁 Both are the lyrics of the sorrow of the spring and the garden — the chrysanthemums of the smoke, the grain-patterned sorrow of the pond — the two sorrows of the spring garden.

Yan Shu's 'Butterflies Lingering over Flowers' — 'the fence chrysanthemums sorrow in the smoke, the orchids weep in the dew' — is the sorrow of the spring garden; Fan Chengda's 'Eye's Charm' — 'a piece of the grain-patterned sorrow' — is the sorrow of the spring pond — the two sorrows of the spring, the one of the garden, the other of the pond.

晏殊《蝶恋花·槛菊愁烟兰泣露》「槛菊愁烟兰泣露。罗幕轻寒，燕子双飞去」，写秋日离愁、含蓄深婉，是宋词写愁的名篇；范成大《眼儿媚》则以「困人天色，醉人花气，午梦扶头」「春慵恰似春塘水，一片縠纹愁」写困人花气、春慵似水。两词同写春景闲愁、含蓄深婉：一写槛菊愁烟兰泣露、以菊烟写愁，一写春慵恰似春塘水、以塘水写愁；一为晏殊之温润、一为范成大之婉约，并读正可见宋词写「闲愁」的两种笔法，皆于春景之中见闲愁。

 浣溪沙·一曲新词酒一杯 Silk-Washing Stream: A New Song, a Cup of Wine 晏殊 · 同写春日闲情、无可奈何，一写无可奈何花落去、一写东风无力欲皱还休，皆于花落波皱之中见无可奈何 Both are the lyrics of the spring and the time — the falling flowers of Yan Shu, the grain-patterned sorrow of Fan Chengda — the two sorrows of the passing spring.

Yan Shu's 'Silk-Washing Stream' — 'helplessly the flowers fall' — is the sorrow of the passing spring; Fan Chengda's 'Eye's Charm' — 'the spring sloth, just like the water of the spring pond' — is the sloth of the passing spring — the two sorrows of the passing spring, the one of the falling, the other of the sloth.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来。小园香径独徘徊」，写春逝之无可奈何，是宋词写惜时的名篇；范成大《眼儿媚》则以「溶溶泄泄，东风无力，欲皱还休」写东风无力、欲皱还休。两词同写春日闲情、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写东风无力欲皱还休、以波皱写闲愁；一为晏殊之温润、一为范成大之婉约，并读正可见宋词写「无可奈何」的两种笔法，皆于花落波皱之中见无可奈何。