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宋 Song · 词 Ci lyric

张元干·满江红·自豫章阻风吴城山作

Man Jiang Hong · Written at Wucheng Mountain When Wind Blocks the Boat from Yuzhang

张元干

Zhang Yuangan

婉约graceful (wan-yue) 行旅travel

满江红·自豫章阻风吴城山作春水迷天，桃花浪、几番风恶。
云乍起、远山如削，暮沙鸥落。
剩水残山无态度，被疏梅、料理成风月。
两三航、未曾着岸，卧听喧江橹。
谁作此，平生屐。
天意许，飞鸿过。
趁风帆、一笑翻身，依然高卧。
且占丹枫深处宿，算维梢、向晚潮平。
待何如、唤起谪仙来，同此乐。

Spring water confuses the sky; peach-blossom waves, several rounds of vicious wind. Clouds suddenly rise; the far mountains like cut, at dusk the sand-gulls settle. Leftover water, broken hills have no bearing; but sparse plum blossoms tend them into a wind-moon scene. Two or three boats have not yet touched shore; lying, I hear the noisy river oars.
Who made this? My lifetime's travelling clogs. Heaven's will permits; the flying wild-goose passes. Seizing the wind-sail, I smile and turn over, still lying at ease. For now I lodge deep in the red maples; reckoning mooring the boat, toward evening the tide calms. What then? I summon the Banished Immortal to come, to share this joy.

Listen

Meaning

Spring water obscures the sky; in the peach-blossom flood several rounds of vicious wind. Clouds suddenly rise; the far mountains stand like cut blades; at dusk the sand-gulls settle. The broken hills and leftover water have no grace, but a few sparse plum blossoms tend them into a wind-moon scene. Two or three boats have not yet reached shore; lying, I hear the noisy river oars. Who made this scene? My lifetime's travelling clogs. Heaven's will permits; let the flying wild-goose pass. Seizing the wind-sail, I smile and turn over, still lying at ease. For now I lodge deep among the red maples; reckoning to moor the boat, toward evening the tide calms. What then? I summon the Banished Immortal (Li Bai) to come, to share this joy.

春水迷蒙了天际，桃花汛里几番恶风。云忽然涌起，远山如刀削般峭立，暮色中沙鸥落岸。残山剩水全无姿色，却被几枝疏梅点缀成风月之景。两三只船还没靠岸，我卧听喧闹的江橹声。是谁作成此景？是我平生的游屐（足迹）。天意许可，任飞鸿掠过。趁着风帆，我一笑翻身，依旧高卧。暂且占那丹枫深处歇宿，算来系缆向晚潮平。待怎样？唤起谪仙（李白）来，同享此乐。

Appreciation

The upper part purely writes the river scene: 'Spring water confuses the sky' states the wind's viciousness and the broad waves; 'far mountains like cut' 'at dusk the sand-gulls settle' sketches the vastness; 'Leftover water, broken hills have no bearing; but sparse plum blossoms tend them into a wind-moon scene' — in the broken it sees life, turning the helpless into delight, most showing the wonder of phrasing. The lower part's 'Who made this? My lifetime's travelling clogs' is a self-confident line; 'I smile and turn over, still lying' writes breadth of mind; 'summon the Banished Immortal to come, to share this joy' uses Li Bai the wine-immortal as self-comparison, heroism suddenly born. Hard and soft aid each other; within the graceful travel lyric lies the heroic — opening the line of Xin Qiji.

【白话串讲】张元干乘船被风阻在吴城山：“春水迷天，桃花浪、几番风恶”。“剩水残山无态度，被疏梅、料理成风月”——残山剩水，被几枝梅花料理成了风月。“卧听喧江橹”——他躺在船里听橹声。【意象与手法】上片纯写江景：「春水迷天」状风恶浪阔，「远山如削」「暮沙鸥落」勾勒苍茫【情感与主旨】张元干，北宋末太学生，南渡后因作词送胡铨触怒秦桧，削籍除名，从此漫游江湖以终【名句点睛】中高考常考：①赏析「剩水残山无态度，被疏梅、料理成风月」的炼句之妙，须答出以梅点缀残景、化无奈为风月、乐观胸襟

Background

Zhang Yuangan, a student at the imperial academy in late Northern Song, after the crossing south was stripped of rank and name for writing a lyric to see off Hu Quan and angering Qin Hui, thence roamed rivers and lakes to the end. This lyric, titled 'Written at Wucheng Mountain when wind blocks the boat from Yuzhang', was written as he sailed east from Nanchang and met wind, mooring at Wucheng Mountain (by Poyang Lake). The poet prized his integrity all his life; though beset, his breast never fell. In the lyric 'blocked by wind' is both a real scene and a dark figure for the storms of the age and the thwarted official path, so amid the river oars he holds a mixed defiance and ease beyond the world.

《满江红·自豫章阻风吴城山作》为南宋张元干所作，是写阻风泊舟、怀人念远的词。张元干（1091—约1170），字仲宗，号芦川居士，永福人，南宋词人。此词：春水迷天，桃花浪、几番风恶。云乍起、远山如削，暮沙鸥落。剩水残山无态度，被疏梅料理成风月。两三雁、也萧瑟，为谁留。……全词写阻风吴城山、怀人念远，是张元干词的名篇。

Art

The upper part purely writes the river scene: 'Spring water confuses the sky' states the wind's viciousness and broad waves; 'far mountains like cut' 'at dusk the sand-gulls settle' sketches the vastness; 'Leftover water, broken hills have no bearing; but sparse plum blossoms tend them into a wind-moon scene' — in the broken sees life, turning helplessness into delight, most showing the wonder of phrasing. The lower part's 'Who made this? My lifetime's travelling clogs' is a self-assured line; 'I smile and turn over, still lying' writes breadth; 'summon the Banished Immortal to come, to share this joy' uses Li Bai the wine-immortal as self-comparison, heroism suddenly rising. Hard and soft aid each other; within the graceful travel lyric lies the heroic — opening the line of Xin Qiji.

《满江红·自豫章阻风吴城山作》艺术上以风浪的险恶与怀人的深婉见长。全词写阻风泊舟：首写风浪之险——“春水迷天，桃花浪、几番风恶”写春水迷天、桃花浪风恶，“云乍起、远山如削，暮沙鸥落”写云起山削、鸥落；“剩水残山无态度，被疏梅料理成风月”写剩水残山、疏梅风月，“两三雁、也萧瑟，为谁留”写两三雁萧瑟。全词以阻风写怀人，正是张元干词深婉沉郁的笔法。

Allusions

'Summon the Banished Immortal to come' uses the Li Bai allusion. Li Bai was styled the Green-Lotus Hermit; He Zhizhang praised him as the 'Banished Immortal', later called 'Banished Immortal'. The poet, alone at anchor in the blocked wind, would summon Li Bai to share the joy — showing both his uninhibited heroism and secretly comparing himself to Li Bai's pride against the world. 'Lifetime's travelling clogs' transforms Xie Lingyun's 'wearing wooden clogs in the hills' (how many pairs in a lifetime) allusion, writing a lifetime's wandering traces. Also 'leftover water, broken hills' secretly uses Du Fu's 'leftover water, broken hills, a bleak autumn' line-meaning, holding the lament of half a rivers-and-mountains.

《满江红·自豫章阻风吴城山作》用典在“桃花浪”“剩水残山”。“桃花浪”写桃花汛（春水涨时）；“剩水残山”写残破之山河（寓国事）。全词以这些意象写阻风泊舟、怀人念远，不用深典而沉郁自见，正是张元干词的笔法。

Commentary

The Qing 'Ci Zong' praised Zhang Yuangan as 'stirring and desolate; centuries later one still feels his living air'. Though this lyric writes travel blocked by wind, its heroic openness already opens Xin Jiaxuan's gate. The modern says of him 'seeing ease within hardship; the sparse-plum wind-moon couplet especially shows phrasing power' — a representative transition from graceful to heroic among Southern-Crossing lyrics.

《满江红·自豫章阻风吴城山作》是张元干词的名篇，也是南宋词中写羁旅怀人的代表作。此词写阻风泊舟、怀人念远，向为论者称道。论者多赏其风浪的险恶与怀人的深婉——“春水迷天，桃花浪、几番风恶”写春水迷天、风恶浪险，险恶之极；“剩水残山无态度，被疏梅料理成风月”写剩水残山、疏梅风月，更见其寓国事之慨。张元干为南宋爱国词人，其词以深婉沉郁著称，此词正是其代表——以阻风写怀人，正是其词风。

Prosody

Form Lyric, 'Man Jiang Hong' double-tune ninety-three characters (oblique-rhyme form)词·满江红

Rhyme Oblique rhyme (vicious, settle, moon, oars, clogs, pass, lie, lodge, calm, joy, etc.)《满江红·自豫章阻风吴城山作》为双调词，押仄声韵。此词用韵：恶、落（药部）、月、留（尤部）等，随段换韵，音节沉郁。

Tone pattern Oblique rhyme stirring and vehement, slow tune满江红为双调词，音节沉郁而深婉。此词写阻风泊舟、怀人念远，音节沉郁而深婉。全词随段换韵，声调与羁旅怀人的内容相合，是张元干词中沉郁的一路。

Reading note Man Jiang Hong mostly takes oblique rhyme, stirring and vehement; this piece writes travel yet with heroism, Zhang Yuangan's famed tune.《满江红·自豫章阻风吴城山作》为南宋张元干所作，是写阻风泊舟、怀人念远的词。此词以“春水迷天，桃花浪、几番风恶”写风浪之险，以“剩水残山无态度，被疏梅料理成风月”写剩水残山、疏梅风月，以“两三雁、也萧瑟，为谁留”写孤雁萧瑟。以阻风写怀人，正是张元干词的名篇。

Line by line

春水迷天，桃花浪、几番风恶。云乍起、远山如削，暮沙鸥落。

Spring waters shroud the sky; peach-blossom floods, many a savage gale. Clouds rise of a sudden; distant hills stand sharp-cut; on the evening sand, gulls alight.

春水迷天，桃花浪，几番风恶。云乍起、远山如削，暮沙鸥落。

Spring waters veil the sky; the peach-blossom flood has known many a cruel gale. Clouds suddenly rise; distant hills look as if cut; at dusk, gulls settle on the sand.

上片首写风浪之险，是全词羁旅的起点。“春水迷天，桃花浪、几番风恶”写春水风恶——“春水迷天”写春水迷天，“桃花浪、几番风恶”写桃花浪（春汛）、几番风恶——春水迷天，风恶浪险；“云乍起、远山如削，暮沙鸥落”写云起鸥落——“云乍起、远山如削”写云乍起、远山如削，“暮沙鸥落”写暮沙鸥落——云起山削，暮沙鸥落。五句写风浪之险：春水迷天、桃花浪几番风恶，云乍起远山如削、暮沙鸥落。以“春水迷天，桃花浪、几番风恶”写春水连天、风恶浪险，以“云乍起、远山如削，暮沙鸥落”写云起如削、鸥落暮沙，正是张元干词写阻风泊舟、羁旅之险的起点——风恶浪险，阻舟难行。

The upper stanza opens with the perils of wind and waves, the starting point of the ci's travel. 'Spring waters shroud the sky; peach-blossom floods, many a savage gale' writes the spring flood and cruel wind — 'spring waters shroud the sky' the water veiling the heavens, 'peach-blossom flood, many a savage gale' the spring tide and the repeated gales; water fills the sky, wind vicious and waves perilous. 'Clouds rise of a sudden; distant hills stand sharp-cut; on the evening sand, gulls alight' writes rising clouds and settling gulls — 'clouds rise, distant hills sharp-cut' the sudden clouds and knife-edged peaks, 'evening sand gulls alight' the birds on the dusk shore. Five phrases write the peril of wind and waves: spring waters shrouding the sky, peach-blossom floods with savage gales; clouds rising, hills sharp-cut, gulls on evening sand. 'Spring waters shroud the sky, savage gales' writes the water sky and vicious waves; 'clouds rise sharp-cut, gulls on evening sand' writes the knife-edged peaks and settling birds. This is precisely the starting point of Zhang Yuangan's ci on being wind-bound and the perils of travel — savage wind and waves, the boat held fast.

剩水残山无态度，被疏梅料理成风月。两三雁、也萧瑟，为谁留。

A remnant of water, a broken stretch of hill — no grace left; yet sparse plums have dressed them into moon and wind. Two or three geese, bleak too; for whom do they stay?

剩水残山，无甚姿态；被疏梅料理成风月。两三只雁，也萧瑟，为谁而留。

What remains of water and hills has no grace; but sparse plum blossoms have arranged it into wind and moon. Two or three geese, also bleak — for whom do they linger?

下片写剩水残山、疏梅风月、两三雁萧瑟，是全词怀人念远的归结。“剩水残山无态度，被疏梅料理成风月”写剩水残山疏梅——“剩水残山无态度”写剩水残山无甚姿态（寓国事之慨），“被疏梅料理成风月”写被疏梅料理成风月——剩水残山，疏梅风月；“两三雁、也萧瑟，为谁留”写两三雁萧瑟——“两三雁、也萧瑟”写两三只雁也萧瑟，“为谁留”写为谁而留——两三雁萧瑟，为谁留。三句写剩水残山、两三雁萧瑟：剩水残山无态度、被疏梅料理成风月，两三雁也萧瑟、为谁留。以“剩水残山无态度，被疏梅料理成风月”写残破山河因疏梅而添风月、亦寓国事之慨，以“两三雁、也萧瑟，为谁留”写孤雁萧瑟、为谁而留，正是张元干词写怀人念远、羁旅之慨的归结——孤雁萧瑟，为谁而留。

The lower stanza writes 'remnant water, broken hills; sparse plums making wind and moon; two or three geese bleak,' the conclusion of the ci's longing for the distant. 'A remnant of water, a broken stretch of hill — no grace left; yet sparse plums have dressed them into moon and wind' writes broken hills and sparse plums — 'remnant water, broken hill, no grace' writes the ravaged scenery (carrying the grief for the state), 'sparse plums dressing it into wind and moon' the plums making it fair. 'Two or three geese, bleak too; for whom do they stay?' writes the bleak geese — 'two or three geese, also bleak' the small flock desolate, 'for whom do they stay' the question. Three phrases: remnant water and broken hill with no grace, sparse plums into wind and moon; two or three geese bleak, for whom they stay. 'Remnant water, broken hill, sparse plums into wind and moon' writes the broken landscape given wind and moonlight by sparse plums, carrying the grief for the state; 'two or three geese bleak, for whom do they stay' writes the lone desolate geese and the question of for whom. This is precisely the conclusion of Zhang Yuangan's ci on longing for the distant and the grief of travel — lone geese bleak, for whom do they stay?

Study

Word focus

桃花浪 A key expression in the poem. Read it as an image, mood, or grammar point in context. “桃花浪、几番风恶”之“桃花浪”，写桃花汛（春水涨时），是全词写春水风浪的关键词。“桃花浪”写桃花时节之春汛——桃花浪、几番风恶。这一词写春水之涨：不是寻常之水，而桃花浪；不是平缓之波，而风恶浪险之汛。以“春水迷天，桃花浪、几番风恶”写春水连天、风恶浪险，正是张元干词写阻风之险的笔法。

远山如削 A key expression in the poem. Read it as an image, mood, or grammar point in context. “云乍起、远山如削”之“远山如削”，写远山如削，是全词写江景峭拔的关键词。“远山”写远方之山，“如削”写如刀削——远山如削。这一词写山之峭：不是平缓之山，而远山如削；不是柔和之态，而陡峭如削。以“云乍起、远山如削，暮沙鸥落”写云起山削、鸥落暮沙，正是张元干词写江景之险的笔法。

剩水残山 A key expression in the poem. Read it as an image, mood, or grammar point in context. “剩水残山无态度”之“剩水残山”，写剩水残山（残破之山河），是全词写国事之慨的关键词。“剩水残山”写残剩之山水——剩水残山无甚姿态。这一词写山河之残：不是完整之山河，而剩水残山；不是可赏之景，而残破之山水。以“剩水残山无态度，被疏梅料理成风月”写残破山河因疏梅而添风月、寓国事之慨，正是张元干词写羁旅之慨的笔法。

为谁留 A key expression in the poem. Read it as an image, mood, or grammar point in context. “两三雁、也萧瑟，为谁留”之“为谁留”，写为谁而留，是全词写怀人念远的归结词。“为谁留”写为谁而停留——两三雁萧瑟，为谁而留。这一词写留之无凭：不是可寄之人，而为谁留；不是有约之留，而孤雁空留。以“两三雁、也萧瑟，为谁留”写孤雁萧瑟、为谁而留，正是张元干词写怀人念远的归结。