宋 Song · 词 Ci lyric
鹧鸪天
Partridge in the Sky
休舞银貂小契丹。
满堂宾客尽关山。
从今袅袅盈盈处，谁复端端正正看。
模泪易，写愁难。
潇湘江上竹枝斑。
碧云日暮无书寄，寥落烟中一雁寒。
The full hall of the guests, all, the mountains and the passes.
From now, the graceful and the slender, the places,
Who, again, the proper and the correct, looking.
Modeling, the tears, easy,
Writing, the sorrow, hard.
The Xiao and the Xiang river, on, the bamboo branches, the speckled.
The blue clouds, the day, darkening, no, the letter, sent,
Desolate and lonely, in the mist, one goose, cold.
Meaning
A lyric of the sorrow and the goose, written by Fan Chengda. Stop dancing the silver marten small Khitan with the full hall of the guests all the mountains and the passes, and from now the graceful places who again the proper looking — the stop of the dance. Modeling the tears easy with writing the sorrow hard, and the Xiao and the Xiang river on the bamboo branches speckled — the tears and the sorrow. And the close's blue clouds day darkening with no letter sent, desolate and lonely in the mist one goose cold — the goose of the close. The lyric is the sorrow and the goose: the stop of the dance, the tears hard to write, and the close's lone goose.
休舞银貂小契丹。满堂宾客尽关山。从今袅袅盈盈处，谁复端端正正看。模泪易，写愁难。潇湘江上竹枝斑。碧云日暮无书寄，寥落烟中一雁寒。
Appreciation
[Plain Paraphrase] Stop, dancing, the silver marten, the small Khitan. The full hall of the guests, all, the mountains and the passes. From now, the graceful and the slender, the places, who, again, the proper and the correct, looking. Modeling, the tears, easy, writing, the sorrow, hard. The Xiao and the Xiang river, on, the bamboo branches, the speckled. The blue clouds, the day, darkening, no, the letter, sent, desolate and lonely, in the mist, one goose, cold. [Structure and Thought] The lyric moves from the stop of the dance and the guests of the passes, through the tears easy and the sorrow hard, to the close's blue clouds with no letter sent, the lone goose cold in the mist. [Key Technique] The lyric's art is the close of the goose: the tears easy to model and the sorrow hard to write, and the close's lone goose in the mist — the sorrow gathered in the contrast and the close's goose. [Emotional Tone] Sorrowful, desolate, and lonely: the lyric is the stop of the dance, the sorrow hard and the close's lone goose.
【白话串讲】 范成大写《鹧鸪天》：“休舞银貂小契丹。满堂宾客尽关山”——“从今袅袅盈盈处，谁复端端正正看”——“模泪易，写愁难。潇湘江上竹枝斑”——“碧云日暮无书寄，寥落烟中一雁寒”——他写离别——模泪易写愁难。 【意象与手法】 “休舞银貂小契丹。满堂宾客尽关山”写满堂关山；“从今袅袅盈盈处，谁复端端正正看”写从今袅袅；“模泪易，写愁难。潇湘江上竹枝斑”以竹枝斑写愁；结以“碧云日暮无书寄，寥落烟中一雁寒”以一雁寒写孤寂。含蓄深婉。 【情感与主旨】 范成大写离别怀人之作，写满堂关山、别后无人再赏与“模泪易写愁难”的深情，是范成大词中写离别之情的名篇。 【名句点睛】 常考“模泪易，写愁难。潇湘江上竹枝斑”以竹枝斑写愁难；“碧云日暮无书寄，寥落烟中一雁寒”以一雁寒写孤寂。
Background
Fan Chengda (1126–1193), the poet of the Southern Song, wrote this 'Partridge in the Sky' of the sorrow and the goose — the desolation of the parting. The stop of the dance with the guests of the passes, the tears easy with the sorrow hard, and the close's blue clouds with the lone goose cold in the mist — the lyric gathers the desolation of the farewell, the lone goose of the close. The lyric is one of the famous works of the poet's lyrics of the sorrow.
《鹧鸪天》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」。此词写离别怀人。词中「休舞银貂小契丹。满堂宾客尽关山」写满堂关山；「从今袅袅盈盈处，谁复端端正正看」写从今袅袅；「模泪易，写愁难。潇湘江上竹枝斑」写潇湘竹枝；「碧云日暮无书寄，寥落烟中一雁寒」写一雁寒。范成大此词以离别怀人、潇湘竹枝写其怀人之情，含蓄深婉，是范成大词中的名篇。此篇《鹧鸪天》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《鹧鸪天》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 sorrow. The stop opens: stop, dancing, the silver marten, the small Khitan — the stopping of the dance; the full hall of the guests, all, the mountains and the passes — the guests of the passes; from now, the graceful and the slender, the places — who, again, the proper and the correct, looking — the no looking of the graceful. The contrast follows: modeling, the tears, easy — writing, the sorrow, hard — the tears easy and the sorrow hard; the Xiao and the Xiang river, on, the bamboo branches, the speckled — the speckled bamboo. And the close gathers the goose: the blue clouds, the day, darkening, no, the letter, sent — the letter not sent; desolate and lonely, in the mist, one goose, cold — the lone goose of the close — the stop, the contrast and the close's goose, gathered in the lyric.
此词艺术上以「含蓄深婉、以景写情」见长。全词上片写满堂关山与从今袅袅，下片写潇湘竹枝与一雁寒。上片「休舞银貂小契丹。满堂宾客尽关山」写满堂关山：休舞银貂小契丹，满堂宾客尽关山；「从今袅袅盈盈处，谁复端端正正看」写从今袅袅：从今袅袅盈盈处，谁复端端正正看。下片「模泪易，写愁难。潇湘江上竹枝斑」写潇湘竹枝：模泪易，写愁难，潇湘江上竹枝斑；「碧云日暮无书寄，寥落烟中一雁寒」写一雁寒：碧云日暮无书寄，寥落烟中一雁寒。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 silver marten, the small Khitan' (yin diao xiao Qidan) is the silver marten, the small Khitan — the dance of the frontier, the stopping; 'the bamboo branches, the speckled' (zhu zhi ban) are the bamboo branches, the speckled — the bamboo of the Xiao and the Xiang, the speckled of the tears; 'the lone goose' (yi yan) is the lone goose — the goose of the lone, cold in the mist.
词中「银貂」「小契丹」「满堂宾客」「关山」「袅袅盈盈」「端端正正」「模泪」「写愁」「潇湘江上竹枝斑」「碧云日暮」「无书寄」「寥落」「烟中一雁寒」等语，皆含典故故实。「银貂」写银貂之舞（舞者所著）；「小契丹」写契丹乐曲名（《小契丹》为舞曲名）；「满堂宾客」写满堂之宾客；「关山」写关山（《关山月》为离别之曲，亦指边关之山）；「袅袅盈盈」写舞姿袅袅、体态盈盈；「端端正正」写端正之态；「模泪」写模仿流泪；「写愁」写抒写愁情；「潇湘江上竹枝斑」用湘妃斑竹之典（娥皇女英哭舜，泪染竹成斑），写潇湘竹枝之斑；「碧云日暮」用江淹「日暮碧云合」之意，写日暮碧云；「无书寄」写无书信可寄；「寥落」写冷落；「烟中一雁寒」写寒烟中之一只孤雁。词人以小契丹、关山、竹枝斑、碧云日暮、一雁寒等语入词，不着痕迹，而把离别怀人之情写得真切可感，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。
Commentary
This lyric is one of the famous works of Fan Chengda's lyrics of the sorrow, quoted for the contrast of its tears and the goose of its close. The tears easy and the sorrow hard, and the lone goose cold in the mist, are among the admired passages of the poet's lyrics. Critics praise the lyric's desolation: the sorrow gathered in the contrast, to the close's goose.
这首《鹧鸪天》，是范成大写离别怀人之作，写休舞银貂、满堂关山、潇湘竹枝之情，含蓄深婉。上片写满堂关山与从今袅袅：「休舞银貂小契丹。满堂宾客尽关山」——休舞银貂小契丹，满堂宾客尽关山。写满堂关山：休舞银貂小契丹，满堂宾客尽关山——休再舞《小契丹》之曲，满堂宾客皆关山之人；「从今袅袅盈盈处，谁复端端正正看」——从今袅袅盈盈处，谁复端端正正看。写从今袅袅：从今袅袅盈盈处，谁复端端正正看——今后舞姿袅袅，谁复端正来看。下片写潇湘竹枝与一雁寒：「模泪易，写愁难。潇湘江上竹枝斑」——模泪易，写愁难，潇湘江上竹枝斑。写潇湘竹枝：模泪易、写愁难，潇湘江上竹枝斑（用湘妃斑竹之典）——摹泪易、写愁难，潇湘竹枝斑斑；「碧云日暮无书寄，寥落烟中一雁寒」——碧云日暮无书寄，寥落烟中一雁寒。写一雁寒：碧云日暮无书寄，寥落烟中一雁寒——日暮碧云、无书可寄，寒烟中一雁孤飞。这「碧云日暮无书寄，寥落烟中一雁寒」，是全词之结：以烟中一雁寒写其孤寂。全词含蓄深婉，以景写情，正是范成大词中的名篇。
Prosody
Line by line
休舞银貂小契丹。
Stop dancing, silver-minked Little Khitan.
休舞银貂小契丹。
Stop, stop the silver-minked Little Khitan dance.
首句写休舞小契丹，起笔即见其意。「休舞银貂小契丹」写休舞银貂小契丹，「休舞」写不要再舞、「银貂小契丹」写《小契丹》之舞曲。一句以「休舞」写其罢舞、以「银貂小契丹」写舞曲，写尽休舞银貂《小契丹》之曲之情。以舞起兴，含蓄而委婉，是「以舞起兴」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 writes stopping the Little Khitan dance, its meaning visible from the first stroke. 'Stop dancing, silver-minked Little Khitan' — 'stop dancing' that it cease, 'silver-minked Little Khitan' the dance tune. One phrase writes the ending of the dance through 'stop dancing' and the tune through 'silver-minked Little Khitan,' exhausting the feeling of halting the silver-minked Little Khitan dance. Raising feeling through dance, restrained and tactful — a fine stroke of 'raising through dance.' In a few words it exhausts deep meaning, waves hidden between the characters, worth repeated pondering.
从今袅袅盈盈处，谁复端端正正看。
Henceforth, where the dance sways and sways, who will ever watch it straight and earnest again?
从今袅袅盈盈处，谁复端端正正看。
From now on, wherever the dance sways so gracefully, who will ever watch it attentively again?
此二句写从今袅袅，是全词写人去后的关键。「从今袅袅盈盈处」写从今袅袅盈盈处，「从今」写从此、「袅袅盈盈处」写舞姿袅袅之处；「谁复端端正正看」写谁复端端正正看，「谁复」写谁还会、「端端正正看」写端正地看。两句一写从今袅袅盈盈处、一写谁复端端正正看，以从今袅袅写舞之依旧、以谁复端端正正看写看客已非，写尽今后舞姿袅袅而谁复端正来看之情。以舞写别，含蓄而深婉，是「以舞写别」的点睛之笔。
These two write henceforth the swaying dance, the key to the ci after the person has gone. 'From now on, where the dance sways and sways' — 'from now on' henceforth, 'sways and sways' the dancing grace. 'Who will ever watch it straight and earnest again?' — 'who will ever' who still, 'watch straight and earnest' the attentive gaze. One phrase each: henceforth the graceful swaying, who will watch it straight. 'Henceforth the dance still sways' writes the dance unchanged, 'who will watch straight and earnest' that the watcher is no more; it exhausts the feeling of graceful dancing hereafter yet no one watching attentively. Writing parting through dance, restrained and delicate — an illuminating stroke of 'writing parting through dance.'
模泪易，写愁难。
To mime a tear is easy; to write true sorrow is hard.
模泪易，写愁难。
Imitating tears is easy; truly painting sorrow is hard.
此二句写模泪写愁，是全词写愁难的关键。「模泪易」写模泪易，「模泪」写模仿流泪、「易」写容易；「写愁难」写写愁难，「写愁」写抒写愁情、「难」写困难。两句一写模泪易、一写写愁难，以模泪易写其泪可仿、以写愁难写其愁难写，写尽摹泪虽易、写愁实难之情。以愁写情，含蓄而深挚，是「以愁写情」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。
These two write miming tears and painting sorrow, the key to the ci's difficulty of writing sorrow. 'Imitating tears is easy' — 'miming tears' the mimic weeping, 'easy' facile. 'Truly painting sorrow is hard' — 'painting sorrow' voicing grief, 'hard' difficult. One phrase each: miming tears easy, painting sorrow hard. 'Miming tears easy' writes the tears imitable, 'painting sorrow hard' the grief hard to render; it exhausts the feeling that miming tears is facile yet writing sorrow is hard. Writing feeling through sorrow, restrained and deep — an illuminating stroke of 'writing feeling through sorrow.' In a few words it exhausts deep meaning, waves hidden in the plainness.
碧云日暮无书寄，寥落烟中一雁寒。
The blue clouds, the day, darkening, no, the letter, sent, desolate and lonely, in the mist, one goose, cold.
碧云日暮无书寄，寥落烟中一雁寒。
At dusk under blue clouds there is no letter to send; lonely in the mist, a single goose flies cold.
尾二句写一雁寒，是全词立意的落点。「碧云日暮无书寄」写碧云日暮无书寄，「碧云日暮」用江淹日暮碧云合之意、「无书寄」写无书可寄；「寥落烟中一雁寒」写寥落烟中一雁寒，「寥落」写冷落、「烟中一雁寒」写寒烟中之孤雁。两句一写碧云日暮无书寄、一写寥落烟中一雁寒，以碧云日暮写时之暮、以无书寄写音信之无、以一雁寒写其孤，写尽日暮无书、寒烟中一雁孤飞之情。以景写情，含蓄而深挚，是全词最动人处，也是「以景写情」的点睛之笔。
The last two write the lone cold goose, where the ci's meaning lands. 'At dusk under blue clouds there is no letter to send' — 'blue clouds at dusk' uses Jiang Yan's 'at dusk blue clouds close,' 'no letter to send' that nothing can be mailed. 'Lonely in the mist, a single goose flies cold' — 'lonely' the desolation, 'single goose in cold mist' the lone bird in the veiled chill. One phrase each: blue clouds at dusk with no letter, lone goose cold in mist. 'Blue clouds at dusk' writes the evening, 'no letter to send' the silence of word, 'a lone cold goose' his solitude; it exhausts the feeling of no letter at dusk and a lone goose flying in cold mist. Writing feeling through scenery, restrained and deep, it is the most moving place of the ci and an illuminating stroke of 'writing feeling through scenery.'
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
晏几道《鹧鸪天·彩袖殷勤》「彩袖殷勤捧玉钟，当年拚却醉颜红」「犹恐相逢是梦中」，写当年歌舞、别后相思，是鹧鸪天调最著名的词；范成大《鹧鸪天》则以「休舞银貂小契丹。满堂宾客尽关山」「模泪易，写愁难」写休舞小契丹、模泪写愁难。两词同用鹧鸪天词牌写别后相思、歌舞追忆：一写彩袖殷勤捧玉钟、以歌舞写当年之欢，一写休舞银貂小契丹、以罢舞写今日之别；一为晏几道之深婉、一为范成大之婉约，并读正可见鹧鸪天词牌写「别后相思」的两种笔法，皆于歌舞之中见别后之情。
虞美人·春花秋月何时了 The Beautiful Lady Yu: When Will Spring Flowers and Autumn Moon End? 李煜 · 同写别后无书、只愁难遣，一写问君能有几多愁恰似一江春水向东流、一写模泪易写愁难碧云日暮无书寄，皆于愁水无书之中见愁之难遣 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
李煜《虞美人·春花秋月何时了》「问君能有几多愁？恰似一江春水向东流」，写愁如春水，是写愁的千古名篇；范成大《鹧鸪天》则以「模泪易，写愁难。潇湘江上竹枝斑」「碧云日暮无书寄，寥落烟中一雁寒」写写愁难、无书寄。两词同写别后无书、只愁难遣：一写问君能有几多愁恰似一江春水向东流、以春水写愁之深，一写模泪易写愁难碧云日暮无书寄、以竹斑写愁之难；一为帝王之血泪、一为文士之婉约，并读正可见宋词写「愁之难遣」的两种情致，皆于愁水无书之中见愁之难遣。