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宋 Song · 词 Ci lyric

张先·一丛花令·伤高怀远几时穷

Yi Cong Hua Ling · Longing from Afar

张先

Zhang Xian

婉约graceful (wan-yue) 离愁parting sorrow

一丛花令伤高怀远几时穷。
无物似情浓。
离愁正引千丝乱，更东陌、飞絮濛濛。
嘶骑渐遥，征尘不断，何处认郎踪。
双鸳池沼水溶溶。
南北小桡通。
梯横画阁黄昏后，又还是、斜月帘栊。
沉恨细思，不如桃杏，犹解嫁东风。

Wounded by the height, longing for the far — when will it end? Nothing is like feeling, so deep. Parting sorrow is drawing a thousand threads in disorder; more, on the east path, flying catkins misty. The neighing horse grows distant; the road-dust never stops; where to know the lover's trace?
Twin mandarin ducks in the pond, the water wide and melting. North and south, small boats pass. After dusk the painted tower's ladder lies across; again it is the slanting moon at the curtain. Sinking hatred, I think fine: better the peach and apricot, who yet know to marry the east wind.

Listen

Meaning

Climbing high in grief, longing for the distant one — when will this sorrow end? Nothing in the world compares to love's depth. Parting sorrow is drawing a thousand willow threads into disorder; more, on the east road, flying catkins are misty. The lover's horse-whinny grows faint; the journey-dust is unbroken; where to trace his footprints? In the pond mandarin ducks pair, the spring water wide and melting; north and south, small boats pass. After dusk the painted pavilion's ladder lies across; again it is the slanting moon at the curtain. Sinking in hatred, I think closely: better the peach and apricot, who yet know to marry the east wind.

登楼伤怀、思念远人，这哀愁何时才是尽头？世间没有什么比情意更浓。离愁正牵惹得柳丝千条纷乱，更有东边路上、飞絮濛濛迷蒙。情郎的马嘶声渐渐远去，征途风尘连绵不断，到哪里去辨认他的踪迹？池塘里鸳鸯成双、春水溶溶，南北有小船相通。黄昏后画阁上横着梯子，依旧是斜月照进帘栊。沉痛地细想，倒不如那桃杏，还懂得嫁给东风。

Appreciation

The whole lyric speaks in a longing wife's voice, its composition fine and close. The upper part moves from feeling to scene: 'Parting sorrow is drawing a thousand threads in disorder; more, on the east path, flying catkins misty' uses the willow threads and flying catkins' disorder to externalize the inner disorder; 'the neighing horse grows distant' three lines write the traveller leaving, the lens pulling far, regret endless. The lower part's 'twin mandarin ducks in the pond' uses the pairing to set off the lone dweller; 'slanting moon at the curtain' uses still scene to write loneliness. The finest is the closing 'better the peach and apricot, who yet know to marry the east wind' — from hatred turns to obsession, using the peach-apricot's 'marrying' to set off the person's drifting, the personification fresh, sharp yet whole.

【白话串讲】 “伤高怀远几时穷。无物似情浓”——张先写：怀远的愁什么时候到头？没有东西比情更浓。“离愁正引千丝乱”——离愁像千丝乱。“嘶骑渐遥，征尘不断，何处认郎踪”——马嘶声远了，去哪里找他？【意象与手法】全词以思妇口吻出之，章法细密。上片由情入景，「离愁正引千丝乱，更东陌、飞絮濛濛」以柳丝、飞絮之纷乱外化内心之乱【情感与主旨】张先，字子野，湖州乌程（今浙江湖州）人，天圣八年进士，官至都官郎中，晚年优游杭州、吴兴间，多出入歌酒之场【名句点睛】中高考命题多聚焦：①赏析「离愁正引千丝乱，更东陌、飞絮濛濛」的写景抒情，答出以柳丝飞絮喻离愁、情景交融

Background

Zhang Xian, styled Ziyao, from Wucheng (today's Huzhou, Zhejiang), a Tiansheng-era graduate, rose to the post of Gentleman of the Court of the Waterways, and in late life roamed at leisure between Hangzhou and Wuxing, much among song and wine. His lyrics rank with Liu Yong, and he was famed for writing love and parting in short tunes, nicknamed 'Zhang of the Three Shadows'. This lyric was likely an early piece voicing a court lady's complaint of the far one; the exact story is lost, yet the title 'wounded by the height, longing for the far' exactly shows the early-Song custom of writing parting sorrow in a woman's voice — tender and clinging, most showing Zhang Xian's manner.

《一丛花令·伤高怀远几时穷》为北宋张先所作，是写伤高怀远的词。张先（990—1078），字子野，乌程人，北宋词人。此词：伤高怀远几时穷。无物似情浓。离愁正引千丝乱，更东陌、飞絮濛濛。嘶骑渐遥，征尘不断，何处认郎踪。双鸳池沼水溶溶。南北小桡通。梯横画阁黄昏后，又还是、斜月帘栊。沉恨细思，不如桃杏，犹解嫁东风。全词写伤高怀远、怨情之深，是张先词的名篇。

Art

《一丛花令·伤高怀远几时穷》艺术上以离愁的绵密与怨情的深婉见长。全词十二句，层层写来：上片写伤高怀远——“伤高怀远几时穷”写伤高怀远几时穷，“无物似情浓”写无物似情浓，“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁千丝、飞絮濛濛，“嘶骑渐遥，征尘不断，何处认郎踪”写嘶骑渐遥、何处认郎踪；下片写怨情——“双鸳池沼水溶溶。南北小桡通”写双鸳池沼、小桡通，“梯横画阁黄昏后，又还是、斜月帘栊”写梯横画阁、斜月帘栊，“沉恨细思，不如桃杏，犹解嫁东风”写沉恨细思、不如桃杏嫁东风。全词以离愁写怨情，正是张先词深婉的笔法。

Allusions

'Peach and apricot marry the east wind' is Zhang Xian's own new phrase, not a classical allusion, yet secretly fits the Tang poets' 'year by year the flowers are alike' mood of spring-regret and the sigh 'married to the east wind, spring cares not' (as in Li He, Han Wo, who use 'marry' for flowers). Young Zhang personifies it, writing the wife's complaint that her lover does not return, envying instead the flowers' having the east wind to lean on — turning emptiness into wonder, thus becoming a famous line. Later Su Shi jokingly called Zhang Xian the 'Minister of Peach-and-Apricot-Marrying-the-East-Wind', showing how widely loved it was.

《一丛花令·伤高怀远几时穷》用典少而意象精美。“嘶骑”写嘶鸣之马（行人）；“双鸳”写成双之鸳鸯；“桃杏嫁东风”写桃杏犹能嫁东风（怨己不如桃杏）。全词以这些意象写伤高怀远、怨情之深，不用深典而深婉自见，正是张先词的笔法。

Commentary

He Shang, in Zhou-shui Studio Lyric Notes, said 'Better the peach and apricot, who yet know to marry the east wind — this idea is fresh and uncommon'. Chen Tingzhuo called it 'passionate words, plaintive and wan, reading them makes one desolate'. Su Shi's poem to Zhang Xian has lines 'the poet grows old, the oriole remains; the young master returns, the swallow busy', also touching the 'marry the east wind' story, proving this phrase was already a fine tale of the time.

《一丛花令·伤高怀远几时穷》是张先词的名篇，也是北宋词中写怨情的代表作。此词写伤高怀远、怨情之深，向为论者称道。论者多赏其离愁的绵密与怨情的深婉——“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁千丝、飞絮濛濛，绵密之极；“沉恨细思，不如桃杏，犹解嫁东风”写不如桃杏嫁东风，更见怨情之深。张先为北宋词人，其词以深婉著称，此词正是其代表——以离愁写怨情，正是其词风。

Prosody

Form Lyric, 'Yi Cong Hua Ling' double-tune seventy-eight characters词·一丛花令

Rhyme Level rhyme (dong-zhong rhyme: end, deep, misty, trace, melting, pass, curtain, wind)《一丛花令·伤高怀远几时穷》为双调词，押平声韵。此词用韵：穷、浓、濛（东部）、踪、通、栊、风（东部），一韵到底，音节深婉。

Tone pattern Level-oblique per rule, slow long tune一丛花令为双调词，音节深婉而绵密。此词写伤高怀远、怨情之深，音节深婉而绵密。全词一韵到底，声调与怨情的内容相合，是张先词中深婉的一路。

Reading note Created by Zhang Xian; three level rhymes each in upper and lower parts; gentle spread-narration, fit for parting feeling.《一丛花令·伤高怀远几时穷》为北宋张先所作，是写伤高怀远的词。此词以“伤高怀远几时穷。无物似情浓”写怨情之起，以“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁绵密，以“沉恨细思，不如桃杏，犹解嫁东风”写怨情之深。以离愁写怨情，正是张先词的名篇。

Line by line

伤高怀远几时穷。无物似情浓。离愁正引千丝乱，更东陌、飞絮濛濛。

When will this grief of heights and distant longing end? Nothing is as strong as love. Parting sorrow now pulls a thousand strands awry; and beyond the eastern road, flying catkins drift in mist.

伤高怀远，几时能穷。无物似情之浓。离愁正引千丝乱，更那东陌、飞絮濛濛。

When will this grief of climbing heights and longing for the distant end? Nothing is as intense as love. Parting sorrow now tangles a thousand willow strands; and beyond the eastern road, flying catkins are mist.

上片首写伤高怀远，是全词怨情的起点。“伤高怀远几时穷”写伤高怀远几时穷——“伤高怀远”写伤高怀远，“几时穷”写几时能穷——伤高怀远，几时穷；“无物似情浓”写无物似情浓——“无物似情浓”写无物似情之浓——无物似情浓；“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁飞絮——“离愁正引千丝乱”写离愁正引千丝乱（柳丝），“更东陌、飞絮濛濛”写更那东陌飞絮濛濛——离愁千丝，飞絮濛濛。四句写伤高怀远：伤高怀远几时穷、无物似情浓，离愁正引千丝乱、更东陌飞絮濛濛。以“伤高怀远几时穷”写伤高怀远、此情无期，以“无物似情浓”写无物可比情之浓，以“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁如柳丝千缕、东陌飞絮濛濛，正是张先词写伤高怀远、怨情的起点——情浓无物比，离愁如乱丝。

The upper stanza opens with grief of heights and distant longing, the starting point of the ci's resentment. 'When will this grief of climbing heights and longing for the distant end?' — 'grief of heights and distant longing' the feeling, 'when will it end' the question. 'Nothing is as strong as love' writes that nothing matches its intensity. 'Parting sorrow now pulls a thousand strands awry; and beyond the eastern road, flying catkins drift in mist' writes sorrow and catkins — 'pulls a thousand strands awry' the willow strands, 'beyond the eastern road, flying catkins in mist' the drifting down. Four phrases: grief of heights and distant longing, when will it end; nothing as strong as love; parting sorrow tangling a thousand strands, eastern road catkins in mist. 'When will this grief end' writes the feeling without term; 'nothing is as strong as love' that no thing compares; 'parting sorrow pulls a thousand strands, eastern road catkins in mist' writes sorrow like a thousand willow strands and drifting down. This is precisely the starting point of Zhang Xian's grief of heights and resentment — love stronger than all, sorrow like tangled threads.

嘶骑渐遥，征尘不断，何处认郎踪。双鸳池沼水溶溶。南北小桡通。

The neighing horse grows distant, dust of traveling unbroken; where can I trace my love's track? Twin ducks on the pool, the waters soft; small boats pass between north and south.

嘶鸣的坐骑渐遥，征尘不断，何处能认郎的踪迹。双鸳池沼，水溶溶。南北小桡（小舟）相通。

The neighing steed recedes, dust of travel unending; where can I recognize my love's trace? Twin ducks on the pool, waters gently flowing; small boats pass north and south.

此六句写何处认郎踪、双鸳小桡，是全词怨情的深化。“嘶骑渐遥，征尘不断，何处认郎踪”写何处认郎踪——“嘶骑渐遥”写嘶鸣的坐骑渐遥，“征尘不断”写征尘不断，“何处认郎踪”写何处能认郎的踪迹——嘶骑渐遥，何处认郎踪；“双鸳池沼水溶溶。南北小桡通”写双鸳小桡——“双鸳池沼水溶溶”写双鸳池沼、水溶溶，“南北小桡通”写南北小舟相通——双鸳池沼，南北小桡通。六句写何处认郎踪、双鸳小桡：嘶骑渐遥、征尘不断、何处认郎踪，双鸳池沼水溶溶、南北小桡通。以“嘶骑渐遥，征尘不断，何处认郎踪”写郎踪渐远、何处可认，以“双鸳池沼水溶溶。南北小桡通”写双鸳并游、小舟相通，正以双鸳反衬己之孤单，是张先词写怨情深化的笔法——郎不可认，而双鸳成对。

These six phrases write 'where to trace my love's track' and 'twin ducks, small boats,' deepening the ci's resentment. 'The neighing horse grows distant, dust of traveling unbroken; where can I trace my love's track?' — 'neighing horse grows distant' the receding steed, 'travel dust unbroken' the road dust, 'where to trace his track' the unknown trail. 'Twin ducks on the pool, the waters soft; small boats pass between north and south' — 'twin-duck pool, waters soft' the paired pool and gentle water, 'small boats pass north and south' the craft crossing. Six phrases: neighing horse receding, travel dust unbroken, where to trace his track; twin-duck pool waters soft, small boats north-south. 'Where to trace his track' writes his trail gone and no way to know; 'twin ducks, small boats pass' sets the paired ducks against her solitude, precisely Zhang Xian's brush of deepening resentment — his track untraceable, yet the ducks go in pairs.

梯横画阁黄昏后，又还是、斜月帘栊。沉恨细思，不如桃杏，犹解嫁东风。

The ladder leans by the painted chamber after dusk; and again, as before, the slanting moon on the lattice. In deep resentment I ponder: I am less than the peach and almond, which still know how to marry the east wind.

梯横画阁，黄昏之后，又还是、斜月帘栊。沉恨细思，不如桃杏，犹解嫁东风。

The ladder leans by the painted tower after dusk; and once more, as always, the slanting moon on the lattice. In bitter resentment I think it over: I am not even peach and almond blossoms, which still know how to wed the east wind.

末四句写沉恨细思、不如桃杏，是全词怨情的归结。“梯横画阁黄昏后，又还是、斜月帘栊”写斜月帘栊——“梯横画阁黄昏后”写梯横画阁、黄昏之后，“又还是、斜月帘栊”写又还是斜月帘栊——梯横画阁，斜月帘栊；“沉恨细思，不如桃杏，犹解嫁东风”写不如桃杏嫁东风——“沉恨细思”写沉恨细思，“不如桃杏，犹解嫁东风”写不如桃杏、犹解嫁东风——沉恨细思，不如桃杏嫁东风。四句写沉恨细思、不如桃杏：梯横画阁黄昏后、又还是斜月帘栊，沉恨细思、不如桃杏犹解嫁东风。以“梯横画阁黄昏后，又还是、斜月帘栊”写黄昏画阁、斜月帘栊之孤寂，以“沉恨细思，不如桃杏，犹解嫁东风”写沉恨细思、怨己不如桃杏之能嫁东风，正是张先词写怨情之深的归结——桃杏犹解嫁东风，而己之怨独深。

The last four phrases write 'in deep resentment I ponder: less than peach and almond, which still know how to wed the east wind,' the conclusion of the ci's resentment. 'The ladder leans by the painted chamber after dusk; and again, as before, the slanting moon on the lattice' writes the slanting moon on lattice — 'ladder leans by painted chamber after dusk' the ladder and chamber at twilight, 'again the slanting moon on the lattice' the same moonlit lattice. 'In deep resentment I ponder: I am less than the peach and almond, which still know how to marry the east wind' — 'deep resentment I ponder' the bitter thought, 'less than peach and almond, which still know how to marry the east wind' the self-reproach. Four phrases: ladder leaning by the painted chamber at dusk, the slanting moon on lattice; deep resentment, less than peach and almond marrying the east wind. 'After dusk, slanting moon on lattice' writes the solitude of the twilight chamber; 'deep resentment, less than peach and almond, which still know how to wed the east wind' writes the self-reproach that she cannot, as the blossoms do, give herself to the wind. This is precisely the conclusion of Zhang Xian's deep resentment — the peach and almond still know how to wed the east wind, yet her resentment alone is deep.

Study

Word focus

伤高怀远 A key expression in the poem. Read it as an image, mood, or grammar point in context. “伤高怀远几时穷”之“伤高怀远”，写伤高怀远，是全词写怨情的起点词。“伤高”写登高而伤，“怀远”写怀念远方之人——伤高怀远，几时能穷。这一词写怀远之情：不是寻常之念，而伤高怀远；不是可止之思，而几时能穷之愁。以“伤高怀远几时穷”写伤高怀远、此情无期，正是张先词写怨情的起点。

无物似情浓 A key expression in the poem. Read it as an image, mood, or grammar point in context. “无物似情浓”之“无物似情浓”，写无物可比情之浓，是全词写情之浓的关键词。“无物”写无物可比，“似情浓”写似情之浓——无物似情之浓。这一句写情之浓：不是可量之情，而无物似情浓；不是寻常之浓，而万物难比。以“无物似情浓”写情浓无物可比，正是张先词写怨情之深的笔法。

千丝乱 A key expression in the poem. Read it as an image, mood, or grammar point in context. “离愁正引千丝乱”之“千丝乱”，写千丝（柳丝）之乱，是全词写离愁绵密的关键词。“千丝”写千缕柳丝（亦谐相思之“丝”），“乱”写纷乱——离愁正引千丝乱。这一词写离愁之象：不是一绪之愁，而千丝乱；不是可理之思，而纷纷乱丝。以“离愁正引千丝乱，更东陌、飞絮濛濛”写离愁如柳丝千缕纷乱，正是张先词写离愁绵密的笔法。

嫁东风 Personifies the flower as a person, sharp and new, the language of utter obsession and hatred. “不如桃杏，犹解嫁东风”之“嫁东风”，写桃杏犹解嫁东风，是全词写怨情之深的归结词。“嫁东风”写（桃杏）嫁与东风——不如桃杏犹解嫁东风。这一词以桃杏拟人：不是无情之物，而桃杏犹解嫁；不是可怨之己，而反怨己不如桃杏。以“沉恨细思，不如桃杏，犹解嫁东风”写怨己不如桃杏之能嫁东风，正是张先词写怨情之深的归结。