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宋 Song · 词 Ci lyric

鹧鸪天

Partridge in the Sky

周紫芝

Zhou Zizhi

都无一点残红。
夜来风。
底事东君归去、太匆匆。
桃花醉。
梨花泪。
总成空。
断送一年春在、绿阴中。

No, at all, one point, the remaining red.
The night, coming, the wind.
What matter, the Master of the East, returning, too, hurriedly.
The peach blossoms, drunken,
The pear blossoms, tearful,
All, become, the empty.
Breaking off, the spring of the year, in, the green shade.

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Meaning

A lyric of the spring and the leaving, written by Zhou Zizhi. No at all one point of the remaining red with the night coming the wind, and the Master of the East returning too hurriedly — the leaving of the spring. The peach blossoms drunken with the pear blossoms tearful, all become the empty — the flowers of the empty. And the close's breaking off the spring of the year in the green shade — the green shade of the close. The lyric is the spring and the leaving: the remaining red gone, the flowers empty, and the close's green shade.

枝头已没有一点残红。昨夜风起。为什么春神东君归去，如此匆匆。桃花醉了。梨花垂泪。一切都成了空。断送了这一年春色，只在绿阴之中。

Appreciation

[Plain Paraphrase] No, at all, one point, the remaining red. The night, coming, the wind. What matter, the Master of the East, returning, too, hurriedly. The peach blossoms, drunken, the pear blossoms, tearful, all, become, the empty. Breaking off, the spring of the year, in, the green shade. [Structure and Thought] The lyric moves from the remaining red gone with the wind of the night, through the drunken peach blossoms and the tearful pear blossoms, to the close's breaking off the spring in the green shade. [Key Technique] The lyric's art is the close of the green shade: the flowers of the empty of the middle, and the close's spring broken off in the green shade — the leaving of the spring gathered in the flowers and the close's shade. [Emotional Tone] Light, sorrowful, and resigned: the lyric is the leaving, the flowers empty and the close's green shade.

【白话串讲】周紫芝写《鹧鸪天》：“都无一点残红。夜来风”——“底事东君归去、太匆匆”——“桃花醉。梨花泪。总成空”——“断送一年春在、绿阴中”——他写春归——断送一年春在绿阴中。【意象与手法】上阕以“都无一点残红。夜来风”写春风过后残红已尽的景象，以“底事东君归去、太匆匆”写春神归去太匆匆的怨叹；下阕以“桃花醉。梨花泪。总成空”写桃花梨花零落成空的惆怅，终以“断送一年春在、绿阴中”写春尽于绿阴中的怅惘。清新婉约、语短情长。【情感与主旨】周紫芝写春暮惜春之作，写残红已尽、春归匆匆与桃花梨花成空的惆怅，是宋词写惜春的名篇。【名句点睛】常考“底事东君归去、太匆匆”以怨春神写春归匆匆；“断送一年春在、绿阴中”以春在绿阴写春尽。

Background

Zhou Zizhi (1082–1155), the poet of the Southern Song, wrote this 'Partridge in the Sky' of the spring and the leaving — the resignation of the season. The remaining red gone with the Master of the East returning hurriedly, the drunken peach blossoms with the tearful pear blossoms, and the close's spring broken off in the green shade — the lyric gathers the leaving of the spring, the sorrow of the season. The lyric is one of the famous works of the poet's lyrics of the spring.

此词为南宋词人周紫芝的《鹧鸪天·春暮》之作，是写春暮惜春的小令。周紫芝（1082—1155），字少隐，号竹坡居士，宣城（今安徽宣城）人，南宋初年词人。他早年家贫，力学苦读，绍兴中登进士第，历官枢密院编修官等职。其词风清丽婉约，长于写景言情。此词写春暮之景：「都无一点残红。夜来风」，写春暮之时，枝头已没有一点残红——一夜风过，百花落尽，正是「夜来风雨声，花落知多少」的春暮；「底事东君归去、太匆匆」，写为什么春神东君归去如此匆匆——「东君」为春神，词人怨东君归去太匆匆，正是惜春的怨叹；「桃花醉。梨花泪。总成空」，写桃花如醉、梨花如泪，总成空——桃花酡红如醉、梨花带雨如泪，那娇艳的花容，如今都成了空，正是「花落去」的惆怅；「断送一年春在、绿阴中」，写断送了这一年春色，只在绿阴之中——春尽之时，花落而绿阴成，那一年春色，都断送在绿阴之中。全词以春暮为背景，写尽花尽绿浓时的惜春之叹，语短而情长，是周紫芝词清丽婉约风格的代表作。

Art

The lyric's art is the art of the leaving. The red opens: no, at all, one point, the remaining red — the remaining red gone; the night, coming, the wind — the wind of the night; what matter, the Master of the East, returning, too, hurriedly — the hurried return of the Master of the East. The flowers follow: the peach blossoms, drunken — the drunken peach blossoms; the pear blossoms, tearful — the tearful pear blossoms; all, become, the empty — the empty of the flowers. And the close gathers the shade: breaking off, the spring of the year, in, the green shade — the green shade of the close — the red, the flowers and the close's shade, gathered in the lyric.

此词艺术上以「语短情长」与「拟人写花」为特色，在极短的篇幅中写尽春暮的惜春之叹。上阕以「都无一点残红。夜来风」起笔，写春风过后残红已尽的景象——「都无一点残红」，以「都无」写残红尽尽，是春暮的实写；「夜来风」，以三字补足残红尽尽的原因——一夜风过，百花落尽，正是「夜来风雨声，花落知多少」的春暮；「底事东君归去、太匆匆」，以「底事」设问写春神归去太匆匆的怨叹——不是不知道春要归去，是怨它归去得太匆匆，正是惜春的怨叹。下阕「桃花醉。梨花泪。总成空」，以拟人写桃花如醉、梨花如泪——桃花酡红如醉，梨花带雨如泪，那娇艳的花容，是春日的繁华；「总成空」，以三字写尽繁华成空的惆怅，正是「花落去」的叹息；「断送一年春在、绿阴中」，以「断送」写春尽，以「绿阴中」写春尽的归宿——花落而绿阴成，那一年春色，都断送在绿阴之中。全词以「残红」「桃花」「梨花」「绿阴」写春暮的时序流转，以「都无」「总成空」「断送」写春去的无奈，语短而情长，是周紫芝词「清丽婉约」的极致。

Allusions

'The remaining red' (can hong) is the remaining red — the red of the flowers remaining; 'the Master of the East' (Dong jun) is the Master of the East — the master of the spring, returning; 'the peach blossoms, the pear blossoms' (tao hua, li hua) are the peach blossoms, the pear blossoms — the flowers of the spring, drunken and tearful; 'the green shade' (lü yin) is the green shade — the shade of the green, the spring broken off.

此词用典自然而不着痕迹。「残红」，写残落的花朵，暗含「落红」这一伤春的核心意象——杜甫「一片花飞减却春，风飘万点正愁人」、李清照「知否，知否，应是绿肥红瘦」，皆以残红、落红写春去之无奈，此词「都无一点残红」，以「都无」写残红尽尽，正是春暮的实写。「东君」，为春神——战国楚地祭祀日神、春神为东君，屈原《九歌》有《东君》篇，后以「东君」代指春神、司春之神，此词「底事东君归去、太匆匆」，以怨东君归去写惜春。「桃花醉。梨花泪」，以拟人写桃花如醉、梨花如泪——桃花酡红，如醉人面，暗用「人面桃花相映红」的意象；梨花带雨，如泪人面，暗用白居易《长恨歌》「梨花一枝春带雨」写杨贵妃泪容之意，皆以花写情。「绿阴」，写绿叶成阴，暗含杜牧「狂风落尽深红色，绿叶成阴子满枝」之意——花落而叶成，正是春尽的标志，也暗含「绿叶成阴子满枝」的时光之感。这些典故，或写残红、或写东君、或写桃花梨花、或写绿阴，皆围绕惜春这一核心，织成一张清丽的情网，正是周紫芝词「用事自然」的特点。

Commentary

This lyric is one of the famous works of Zhou Zizhi's lyrics of the spring, quoted for the brevity of its scene and the shade of its close. The drunken peach blossoms and the tearful pear blossoms, and the spring broken off in the green shade, are among the admired passages of the poet's lyrics. Critics praise the lyric's resignation: the leaving gathered in the flowers, to the close's green shade.

读此词，最令人低回的是「桃花醉。梨花泪。总成空」这九个字。桃花酡红如醉，是春日的繁华；梨花带雨如泪，是春暮的凄清——一醉一泪，正是春光从盛到衰的两种面容。然而「总成空」三字，把这如醉如泪的花容，一并化作乌有：醉也好，泪也好，都成空了。这「总成空」三字，写尽了对春去花落的全部体认——不是不知花要落，是眼见那如醉如泪的繁华，一朝成空，终究难掩惆怅。而全词最见匠心的，是结尾的「断送一年春在、绿阴中」：「断送」二字，写春尽之无奈，仿佛那一年春色，是被「断送」的；而「绿阴中」三字，写春尽的归宿——花落而绿阴成，春不是消失了，而是化作了绿阴。这一转，把「花落成空」的惆怅，化作了「绿阴满枝」的新景：春去了，但绿阴还在，生命还在延续。从「总成空」到「绿阴中」，正是周紫芝对春暮的全部体认：惜春是真惜春，而春尽之后自有绿阴，也是真旷达。这「断送一年春在绿阴中」的结尾，比单纯的「惜春」更见圆融，正是此词在无数惜春词中独特的地方。

Prosody

Form A short ci lyric of the spring (ci diao)词（鹧鸪天·双调小令）

Rhyme The lyric rhymes on the level and the oblique of the group — the cadence of the short ci that carries the light resignation.此词为《鹧鸪天》双调小令，上下阕各押平韵，「红」「风」「匆」「空」「中」等字皆属上平一东韵，韵脚绵长而低回，正合词情「惜春」的声调。词中「都无一点残红。夜来风」「桃花醉。梨花泪。总成空」等句，句式长短错落而流丽；「底事东君归去、太匆匆」「断送一年春在、绿阴中」，句式转折而婉转。整体声调由起句的残红尽尽，到「总成空」的惆怅，再到「绿阴中」的圆融，起伏有致，正合春暮惜春的词情。

Tone pattern The cadence is that of the leaving: the level opening with the red, the turning with the flowers, and the close's fall with the green shade.句式上，此词善用短句与转折：「桃花醉。梨花泪。总成空」，以三个三字句连排，音节短促而流转，正是「语短情长」的句式；「都无一点残红。夜来风」，以七五相间，流丽而婉转；「底事东君归去、太匆匆」「断送一年春在、绿阴中」，以设问、顿挫写春归太速与春尽无奈。全词由残红入东君、由东君入花容、由花容入绿阴，句式随之由流丽转短促、由短促转圆融，正是周紫芝词「清丽婉约」的节奏美学。

Reading note The lyric's sound matches its resignation: the cadences of the short ci, and the close — 'duan song yi nian chun zai, lü yin zhong' — falls with the green shade, the sound of the spring ended.作为北宋小令，《鹧鸪天》的声律之美，在于以平声长韵与短句转折的句式，写出春暮惜春的委婉情思。全词上阕由「都无一点残红」的残红尽尽起笔，经「夜来风」的补足，到「底事东君归去、太匆匆」的怨叹，声调由平叙转怨叹；下阕以「桃花醉。梨花泪」的花容起笔，经「总成空」的惆怅，到「断送一年春在、绿阴中」的圆融结穴，声调由短促转圆融。词中「都无一点残红」「桃花醉。梨花泪。总成空」「断送一年春在、绿阴中」等句，句式多变而声情相谐，正是周紫芝词「清丽婉约」的体现。就全词而言，此词以极短的篇幅写尽春暮的惜春之叹，由残红、东君、桃花梨花、绿阴一路写来，语短而情长，是宋词写惜春的名篇，与晏殊《浣溪沙·一曲新词酒一杯》同为「无可奈何花落去」的绝唱，而一以「似曾相识燕归来」写圆融，一以「断送一年春在绿阴中」写归宿，可见宋词写惜春的两种结尾。

Line by line

都无一点残红。

Not a single fleck of faded red remains.

枝头已没有一点残红。

On the branches there is not one fleck of faded red left.

这一句是全词的起笔，写春暮残红已尽的景象，是此词惜春的开端。「都无一点残红」，以「都无」写残红尽尽——春暮之时，枝头已没有一朵残花，「都无一点」四字，写尽春去的彻底：不是残红渐少，是连一点都没有了；「残红」，写残落的花朵，正是春暮的标志。下句「夜来风」，以三字补足残红尽尽的原因——一夜风过，百花落尽，正是「夜来风雨声，花落知多少」的春暮。以「都无一点残红」写春暮，比「花落知多少」更见彻底——不是问花落多少，是眼见残红尽尽，一朵也无。这一起笔，以最平淡的语言写最彻底的春暮，正是「语短情长」的开端，为全词定下惜春的基调。

The opening writes the late-spring scene of faded red all gone, the start of the ci's cherishing of spring. 'Not a single fleck of faded red remains' — 'not a single' writes the faded petals exhausted: in late spring not one faded flower on the bough; 'not a single fleck' exhausts the thoroughness of spring's going — not faded red growing fewer, but not even one. 'Faded red' writes the fallen blossoms, the very mark of late spring. The next line, 'the wind in the night,' adds in three characters the cause of faded red's exhaustion — a night of wind, a hundred flowers fallen, precisely the late spring of 'how many flowers fell in the night's rain and wind.' Writing late spring through 'not a fleck of faded red' is more thorough than 'how many fell' — not asking how many fell, but seeing with one's own eyes that not one is left. This opening writes the most thorough late spring in the plainest language, precisely the start of 'short words, long feeling,' fixing the keynote of cherishing spring.

桃花醉。

The peach blossoms are drunk.

桃花如醉。

The peach blossoms glow as if drunken.

这一句以拟人写桃花，是此词对春暮最生动的体认。「桃花醉」，写桃花酡红如醉——那娇艳的桃花，红得如醉人的面庞，暗用「人面桃花相映红」的意象，是春日的繁华；下句「梨花泪」，写梨花带雨如泪——那素白的梨花，沾着雨露如泪痕，暗用白居易「梨花一枝春带雨」写杨贵妃泪容之意，是春暮的凄清。一醉一泪，正是春光从盛到衰的两种面容：桃花之醉是春盛时的狂欢，梨花之泪是春暮时的哀愁。以「醉」「泪」拟人写花，比直写花色更见情思之深——花有醉态，花有泪容，正是「以我观物，故物皆著我之色彩」。这一句，是此词对春暮最生动的体认，也是「总成空」的铺垫。

This line personifies the peach blossom, the liveliest recognition of late spring in the ci. 'The peach blossoms are drunk' writes the peach glow flushed as intoxication — the tender peach blossoms red as a drunkard's face, secretly using the 'face and peach blossom in reciprocal red' image, the splendor of spring. The next line, 'pear blossoms in tears,' writes pear blossoms rain-streaked as weeping — the white pear blossoms beaded with dew like tear marks, secretly using Bai Juyi's 'one spray of pear blossoms in spring rain' for Yang Guifei's tear-stained face, the desolation of late spring. One drunk, one tear, are the two faces of spring from fullness to decline: the peach's drunkenness is spring's revelry at its height, the pear's tears spring's sorrow at its end. Personifying flowers through 'drunk' and 'tears' shows deeper feeling than a plain color description — flowers have drunken faces and tear-stained looks, precisely 'viewing things through my own self, so all things take my coloring.' This line is the liveliest recognition of late spring and the preparation for 'all turns to nothing.'

断送一年春在、绿阴中。

Breaking off, the spring of the year, in, the green shade.

断送了这一年春色，只在绿阴之中。

The whole year's spring is ended and delivered up — within the green shade.

这一句是全词的结穴，写春尽于绿阴之中，是此词惜春的最高点。「断送」，写春尽之无奈——仿佛那一年春色，是被「断送」的，一个「断送」，写尽对春去的怅惘与无力；「一年春」，写这一年的春色——从初春到暮春，一年的春色；「绿阴中」，写春尽的归宿——花落而绿阴成，那一年春色，都断送在绿阴之中。这一句，把「花落成空」的惆怅，化作了「绿阴满枝」的新景：春去了，但绿阴还在，生命还在延续。以「断送」写春尽，以「绿阴中」写春尽的归宿，正是「无可奈何花落去，似曾相识燕归来」的圆融。这一结句，比单纯的「惜春」更见旷达，正是此词在无数惜春词中独特的地方，也是周紫芝对春暮的全部体认。

This line is the knot of the ci, writing spring ended within the green shade, the highest point of its cherishing of spring. 'Delivered up' writes the helplessness of spring's end — as if the whole year's spring were 'delivered away'; one word exhausts the wistfulness and powerlessness at spring's going. 'The whole year's spring' writes this year's spring — from early to late spring, the year's bloom. 'Within the green shade' writes the resting place of spring's end — flowers fallen, green shade formed, the year's spring all delivered into the green shade. This line turns the regret of 'flowers fallen to nothing' into the new scene of 'green shade filling the boughs': spring has gone, but the green shade remains, life continuing. Writing spring's end through 'delivered up' and its resting place through 'within the green shade' is precisely the rounded openness of 'helplessly the flowers fall, swallows as if of old return.' This closing is more open-hearted than mere 'cherishing of spring,' precisely what makes this ci unique among a host of spring-cherishing poems, and Zhou Zizhi's whole recognition of late spring.

Study

Word focus

东君 'The Master of the East' — the master of the spring, returning. 「底事东君归去、太匆匆」之「东君」，以春神写司春之神，是此词惜春怨叹的核心语。「东君」为春神——战国楚地祭祀春神、日神为东君，屈原《九歌》有《东君》篇，后以「东君」代指春神、司春之神。词人「底事东君归去、太匆匆」，以怨东君归去写惜春——不是不知道春要归去，是怨它归去得太匆匆。以「东君」写春，比直说「春」更见拟人之趣与怨叹之深——春不是一个季节，而是一位神祇，它归去得太匆匆，是它的「罪过」。这一词，把惜春的怨叹，安放在「东君归去太匆匆」的拟人叙事上，正是「以神写春」的笔法，也是此词惜春主题的凝聚。

总成空 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「桃花醉。梨花泪。总成空」之「总成空」，写繁华成空，是此词由春盛入春暮的枢纽。「总成空」三字，把如醉如泪的桃花梨花，一并化作乌有——桃花酡红如醉，梨花带雨如泪，那娇艳的花容，是春日的繁华；而「总成空」，写这繁华一朝成空，醉也好、泪也好，都成空了。以「总成空」写花落，比「花落去」更见彻底与怅惘——不是花落了几朵，是一切都成了空；这「空」字，写尽了对春去花落的全部体认。这一词，是此词由春盛入春暮的枢纽，也是「断送一年春在绿阴中」的铺垫——正因为「总成空」，才有「断送」的怅惘。以「总成空」写春暮，语短而意深，是周紫芝词炼字的精妙处。

断送 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「断送一年春在、绿阴中」之「断送」，写春尽之无奈，是此词惜春的最高点。「断送」本为葬送、送走之意，词人以「断送」写春尽——仿佛那一年春色，是被「断送」的，一个「断送」，写尽了对春去的怅惘与无力；「断送一年春在、绿阴中」，写断送了这一年春色，只在绿阴之中——花落而绿阴成，那一年春色，都断送在绿阴之中。以「断送」写春尽，比「春去」「春尽」更见主动性，仿佛春是被「断送」的，正见词人对春去的怅惘；而「绿阴中」又写春尽的归宿，把「断送」的怅惘化作了绿阴满枝的新景。这一词，是此词惜春情感的最高点，也是「无可奈何花落去，似曾相识燕归来」的圆融，正是周紫芝炼字的精妙处。

鹧鸪天