宋 Song · 词 Ci lyric
周邦彦·西河·金陵怀古
Xi He · Gazing on the Past at Jinling
西河·金陵怀古佳丽地。
南朝盛事谁记。
山围故国绕清江，髻鬟对起。
怒涛寂寞打孤城，风樯遥度天际。
断崖树，犹倒倚。
莫愁艇子谁系。
空余旧迹郁苍苍，雾沉半垒。
夜深月过女墙来，伤心东望淮水。
酒旗戏鼓甚处市。
想依稀、王谢邻里。
燕子不知何世。
入寻常巷陌人家，相对如说兴亡，斜阳里。
Who recalls the Southern Dynasties' splendour?
Hills ring the old capital about the clear river,
Like coiled hairpins facing, rising.
Lonely tides beat the lone-walled town;
Masted sails drift far to the sky's rim.
A tree on the broken cliff still leans awry.
Who now moors the Mo-chou boat?
Only old traces remain, lush and dim;
Mist sinks upon half the rampart.
Deep in the night the moon passes the battlement
And, grieving, I look east to the Huai stream.
Where is the market of wine-flags and play-drums?
I think, faintly, the lane of the Wang and Xie.
Swallows know not what age this may be,
But fly into the common alleys and homes,
Facing each other as if to tell of rise and fall,
There in the slanting sun.
Meaning
A land of beauty. Who still remembers the Southern Dynasties' splendour? Green hills ring the old capital about the clear river, like a pair of hairpins facing. Lonely tides beat the lone-walled town; sail-masts pass far toward the sky's edge. A tree on the broken cliff still leans awry. Who moors the Mo-chou boat now? Only old traces remain, lush and dark; mist sinks on half the rampart. Deep night, the moon passes over the battlement wall, and grieving I look east to the Huai River. Where is the market with wine-flags and play-drums? I think it is faintly the lane of the Wang and Xie. Swallows know not what age this is; they fly into ordinary alleys and homes, facing each other as if to speak of rise and fall, there in the slanting sun.
壮丽之地。南朝的繁盛往事，谁还记得？青山环绕故都，清江流过，如双鬟对峙。怒涛寂寞地拍打着孤城，风帆远远驶向天际。断崖上的老树，仍倒倚在那里。莫愁的艇子，如今谁系？空余旧日踪迹，郁郁苍苍，雾气沉压半截营垒。夜深，月儿越过女墙而来，伤心地向东望那淮水。酒旗戏鼓，又是哪处的集市？想来依稀是当年王谢的邻里。燕子不知身在何世，飞入寻常巷陌人家，相对呢喃，似在诉说兴亡，在斜阳里。
Appreciation
The three parts are clearly structured. The first part writes the land's grandeur: 'Hills ring the old capital about the clear river' and 'Lonely tides beat the lone-walled town' melt Liu Yuxi's lines, solemn and grand. This is a famous past-brooding work of Zhou Bangyan's, using Jinling's (now Nanjing) rise and fall of the Six Dynasties to voice the ache of history. The lyric has three parts: the first writes Jinling's grandeur and 'who recalls the Southern Dynasties' splendour' in vast melancholy. Exams often test the 'using the past to mourn the present' manner and the sense of history's vicissitudes, and the art of hiding Liu Yuxi's 'Stone City' and 'Wuyi Lane' within it.
【白话串讲】 “山围故国绕清江，髻鬟对起”——周邦彦写金陵：青山围住故国，像美人发髻。“夜深月过女墙来，伤心东望淮水”——夜深月照女墙，他望着秦淮水伤怀。六朝金粉，都在这里。 【意象与手法】 三片结构分明：首片写江山形胜，「山围故国绕清江」「怒涛寂寞打孤城」化用刘禹锡句，气象沉雄；次片写废垒月夜，「夜深月过女墙来，伤心东望淮水」以景写哀；末片写人间市井，「燕子不知何世」以燕说兴亡，反跌有力。全词隐括唐诗而不露痕迹，情景交融，以冷笔写盛衰，苍凉中含蕴藉。 【情感与主旨】 此词为周邦彦怀古名作，借金陵（今南京）六朝兴废抒发历史沧桑之感。词分三片：上写金陵形胜与「南朝盛事谁记」的苍茫，中写断崖旧垒、夜月淮水的凄清，下写酒旗戏鼓、王谢邻里，以燕子说兴亡。全词隐括刘禹锡《石头城》《乌衣巷》诗意，格调苍凉，是清真词中怀古压卷，开南宋辛弃疾、萨都剌怀古词先声。 【名句点睛】 中高考赏析：①怀古词「借古伤今」手法与历史沧桑感；②多处化用刘禹锡《石头城》《乌衣巷》的隐括艺术；③「燕子不知何世」以燕说兴亡的反跌笔法与「相对如说兴亡」的以景结情。
Background
This is a famous past-brooding work of Zhou Bangyan's, using Jinling's (now Nanjing) rise and fall of the Six Dynasties to voice the ache of history's changes. The lyric has three parts: the first writes Jinling's grandeur and 'who recalls the Southern Dynasties' splendour' in vast melancholy; the middle writes the broken cliff, old rampart, night moon and Huai river in desolation; the last writes the wine-flags, play-drums, and the lane of the Wang and Xie, with swallows telling of rise and fall. The whole lyric hides Liu Yuxi's 'Stone City' and 'Wuyi Lane' within it without trace, desolate in tone; it is the crown of Zhengqing's past-brooding lyrics, and opened the way for Xin Qiji and Sa Dula's later past-brooding lyrics.
此词为周邦彦怀古名作。周邦彦（1056—1121），字美成，号清真居士，钱塘（今浙江杭州）人，北宋末年词坛大家，精于音律，词风「富艳精工」，为婉约词集大成者。金陵（今南京）为六朝故都，南朝宋齐梁陈皆都于此，宫殿台榭、衣冠人物，盛极一时；然六朝皆短祚，繁华转瞬成空，遂成为历代文人怀古的绝佳题材。周邦彦此词借金陵六朝兴废，抒发历史沧桑之感：南朝的繁盛已无人记得，唯有青山依旧、怒涛拍城、夜月过墙，燕子飞入寻常人家，如说兴亡。全词分三片：上写金陵形胜与「南朝盛事谁记」的苍茫，中写断崖旧垒、夜月淮水的凄清，下写酒旗戏鼓、王谢邻里的人间变迁，以燕子说兴亡收束。词中隐括刘禹锡《石头城》《乌衣巷》诗意，融化无痕，是清真词中怀古压卷之作，开南宋辛弃疾、元代萨都剌怀古词之先声。周邦彦早年以献《汴都赋》得官，历官州县，晚年提举大晟府，为朝廷制礼作乐，其词精于音律、严于格律，被尊为词家之正宗、格律派的开山。此词作于其游宦江南之时，金陵为其必经之地，词人登临怀古，遂有此作。北宋末年，国势已露衰象，新旧党争不息、边患渐起，词人于金陵故都凭吊六朝，未必无借古伤今之意：六朝的偏安与北宋的时局，隐隐相映，故全词虽以怀古为题，而苍凉之气直逼当下，是清真词中寄慨最深的作品之一。
Art
The three parts are clearly structured. The first part writes the land's grandeur: 'Hills ring the old capital about the clear river' and 'Lonely tides beat the lone-walled town' melt Liu Yuxi's lines, solemn and grand; the middle writes the ruined rampart at night, 'Deep in the night the moon passes the battlement, and grieving I look east to the Huai stream' ending feeling with scene; the last writes the human market, 'Swallows know not what age this may be' telling rise and fall through the swallows, a strong overturn. The whole lyric hides Tang poems without trace, blending scene and feeling; writing prosperity and decay in a cold brush, desolate yet restrained, tight in structure—most showing Zhengqing's 'rich, ornate, fine and precise' wonder.
全词三片，结构分明而笔法各异。首片写江山形胜：起句「佳丽地」以谢朓「江南佳丽地」点题，「南朝盛事谁记」一问，苍茫之气顿生；「山围故国绕清江，髻鬟对起」写青山如髻环绕故都，气象端凝；「怒涛寂寞打孤城，风樯遥度天际」化用刘禹锡「潮打空城寂寞回」，以怒涛之动衬孤城之静，气象沉雄。次片写废垒月夜：断崖倒树、莫愁艇子、雾沉半垒，一片荒凉；「夜深月过女墙来，伤心东望淮水」以月之恒照写人事之变，以景写哀，凄清入骨。末片写人间市井：「酒旗戏鼓甚处市」一转，热闹中见苍凉；「燕子不知何世，入寻常巷陌人家」反跌有力，以燕之无知衬人之有情；「相对如说兴亡，斜阳里」以景结情，把六朝兴亡都化入斜阳燕语之中。全词以冷笔写盛衰，情景交融，苍凉中含蕴藉，章法绵密，最见清真「富艳精工」之妙。此词在写法上还有一个显著特点，即以我观物、物物皆着历史之色：怒涛、孤城、断崖、老树、夜月、女墙、燕子，无一是直接写史的意象，却无不浸透着历史的沧桑。词人几乎不直抒感慨，而是让景物自己说话：怒涛之寂寞、老树之倒倚、月之伤心、燕之呢喃，都是历史的见证者与诉说者。这种让物证史的笔法，比直白的议论更见含蓄，也更见清真词浑厚之妙，是怀古词由直抒到含蓄的重要转折。
Allusions
Many lines hide Liu Yuxi's poems: 'Hills ring the old capital about the clear river' and 'Lonely tides beat the lone-walled town' are from 'Stone City' ('Hills ring the old capital all around; tides beat the empty city, lonely, returning'); 'Mo-chou boat' uses the legend of Mo-chou Lake at Jinling; 'battlement' and 'Huai river' also come from 'Stone City' ('east of the Huai, the old moon; deep in the night it passes the battlement again'); 'the lane of the Wang and Xie' and 'Swallows know not what age' are from 'Wuyi Lane' ('the swallows before the hall of Wang and Xie now fly into the homes of common folk'). Melted without seam, using Tang to prove Song—the supremest method of past-brooding.
此词以隐括刘禹锡诗著称，多处化用而浑然无迹：「山围故国绕清江」「怒涛寂寞打孤城」本刘禹锡《石头城》「山围故国周遭在，潮打空城寂寞回」，「山围故国」四字直取其语；「夜深月过女墙来，伤心东望淮水」本《石头城》「淮水东边旧时月，夜深还过女墙来」，易「还」为「伤心东望」，增入情语；「王谢邻里」「燕子不知何世，入寻常巷陌人家」本《乌衣巷》「旧时王谢堂前燕，飞入寻常百姓家」，以「巷陌人家」点化「百姓家」。「莫愁艇子」用金陵莫愁湖传说：古乐府「莫愁在何处，莫愁石城西」，相传卢家少妇莫愁居此，如今艇子无人系，暗写风流云散。全词以唐证宋、融化无痕，把两首绝句隐括为一阕长调而毫无拼凑之迹，是怀古词「化用」的至高境界，论者称为「怀古之至法」。除刘禹锡二诗外，此词还暗融谢朓『江南佳丽地，金陵帝王州』，起句即点明金陵的形胜与传统；『风樯遥度天际』则暗含王安石『千里澄江似练，翠峰如簇。归帆去棹残阳里』的江景写法；『莫愁』又承乐府《莫愁乐》『莫愁在何处，莫愁石城西』的传说。词人熔谢朓、刘禹锡、王安石及乐府传说于一炉，皆融化无痕，正如论者所谓多用唐人诗句、隐括入律、浑然天成，是清真词富艳精工的典型表现。
Commentary
Zhengqing's lyric was praised by the Song as 'rounded'. The modern Chen Xun said 'Zhengqing's lyrics are full, mild and harmonious; this piece excels'. Hiding Liu Yuxi's poems as if his own, it most shows his melting craft. Zheng Wenzhuo praised it as 'desolate and solemn, pressing near the Tang'. Later Xin Qiji and the Yuan's Sa Dula both took from its past-brooding manner. Lodging the sigh of the Six Dynasties' rise and fall, lofty in tune and graceful, it is a peak of Song past-brooding lyrics.
清真此词，宋人誉为「浑成」：全篇如天衣无缝，化用唐诗而不见针线。近人陈洵谓「清真词浑厚和雅，此首尤胜」，以为此词最能代表周邦彦浑厚和雅的风格。郑文焯评其「苍凉悲壮，直逼唐人」，谓其怀古的气格直承唐人七绝之精粹。论者又谓此词隐括刘禹锡诗而如己出，最见熔裁功力：刘诗以绝句写一景一时，周词以长调写三片三境，由江山而废垒而市井，层层推衍，把六朝兴亡的沧桑写得更加浑厚。此词的影响及于南宋：辛弃疾《永遇乐·京口北固亭怀古》、元代萨都剌《念奴娇·登石头城》等怀古名篇，皆受其启发。以六朝盛衰寄兴亡之叹，格高调雅，熔铸唐诗而自成一格，是宋词怀古的一座高峰。此词在后世的影响，还体现在它开创了隐括唐诗以为怀古词的范式：南宋吴文英《八声甘州》、刘辰翁诸家怀古词，皆不同程度地借鉴其熔铸前人的手法；而辛弃疾《永遇乐·京口北固亭怀古》虽自铸伟词，其借古迹抒兴亡之慨的章法，亦与清真此作一脉相通。今人选宋词，多以此词与王安石《桂枝香》并称金陵怀古双璧，一以议论胜、一以意境胜，正可见宋代怀古词的两种极致，是理解宋词怀古传统的重要文本。
Prosody
Line by line
佳丽地。南朝盛事谁记
A land of beauty and splendor. Who still remembers the glories of the Southern Dynasties?
壮丽之地。南朝的繁盛往事，谁还记得？
A land of magnificent beauty. Who, after all, still recalls the prosperous days of the Southern Dynasties?
起句以谢朓《入朝曲》「江南佳丽地，金陵帝王州」点题，「佳丽地」三字一出，金陵的形胜繁华已在意中；紧接「南朝盛事谁记」陡然一问，繁华顿成追忆——南朝的繁盛往事，如今还有谁记得？「谁记」二字写尽沧桑：曾经冠盖云集的六朝金粉，已无人记得，只剩这一问在江天之间回荡。这一问是全词的纲领，定下「怀古伤今」的基调；「盛事」与「谁记」并置，盛极而衰的悲剧感扑面而来。起笔由丽景陡转苍茫，如高崖坠石，把读者直接带入六朝兴废的历史沉思之中，是怀古词开门见山的典范。
The opening takes its cue from Xie Tiao's verse 'Southland, a land of beauty and grace; Jinling, the seat of emperors,' and the words 'a land of beauty' at once call up Jinling's fabled grandeur. Then 'who remembers the Southern Dynasties' heyday' strikes as a sudden question, and splendor turns at once into memory. 'Who remembers' distills the weight of vanished ages: the Six Dynasties' glittering courts, once thronged with capped and belted magnates, are now forgotten, and this lone query echoes between river and sky. It is the governing question of the whole ci, fixing the elegiac key of mourning the present through the past. 'Heyday' set against 'who remembers' presses home the tragedy of rise followed by fall. The opening veers from bright scenery to vast desolation like a stone plunging from a cliff, sweeping the reader straight into the historical meditation on the Six Dynasties - a model of how a nostalgic ci should begin.
山围故国绕清江，髻鬟对起
Hills ring the old capital about the clear river, like coiled hairpins facing, rising.
青山环绕故都，清江流过，如双鬟对峙。
Green mountains encircle the old capital; the clear river flows past, and peaks stand facing each other like paired hair-buns.
此句写金陵形胜，化用刘禹锡「山围故国周遭在」而更见工丽。「山围故国」写青山依旧环绕故都，一个「围」字写出金陵群山环抱的地势，「故国」点出此地曾是帝王之都，如今已成前朝遗迹；「绕清江」写清澄的江水绕城流过，山河无恙；「髻鬟对起」以女子的发髻比喻对峙的山峰，把雄浑的山势写得妩媚秀美，正是清真「富艳精工」的笔法。此句以山水的永恒对照人事的变迁：青山依旧、江水长流，而南朝的帝王宫殿已灰飞烟灭，「物是人非」的感慨尽在其中；「故国」二字与上句「谁记」呼应，愈见苍茫。
This line paints Jinling's strategic splendor, transforming Liu Yuxi's 'mountains surround the old realm' into something more ornate and crafted. 'Mountains encircle the old capital' shows the hills still ring the former seat of empire; the word 'encircle' lays bare Jinling's basin terrain, while 'old capital' marks the place as a former imperial city, now a relic of a bygone dynasty. 'The clear river winds around' shows the limpid current still flowing by - hills and waters endure. 'Rising like paired hair-buns' compares the opposing peaks to a woman's chignon, lending the stern mountain forms a graceful, delicate charm; it is exactly Zhou Bangyan's famously rich and finely wrought manner. The line sets the eternity of hills and streams against the mutability of human affairs: the green mountains remain, the river flows on, yet the Southern Dynasties' palaces have turned to dust. The word 'old' echoes the 'who remembers' of the previous line, deepening the vast desolation.
怒涛寂寞打孤城
Lonely tides beat the lone-walled town;
怒涛寂寞地拍打着孤城。
Angry waves beat, in loneliness, against the lone city walls.
此句化用刘禹锡「潮打空城寂寞回」，是全词最见功力的一笔。「怒涛」写江涛之汹涌，「打孤城」写浪涛拍打着孤零零的城墙，一「怒」一「孤」，动与静、强与弱相映：怒涛年年拍打，孤城岁岁伫立，涛声依旧而人事全非。「寂寞」二字最妙，本是写人之情绪，移以写涛：怒涛拍城，无人观赏、无人理会，连涛声都显得寂寞——这寂寞既是城的寂寞、涛的寂寞，更是历史的寂寞。江涛无情，犹日日夜夜拍打着这已被遗忘的故都，仿佛在为六朝的繁华凭吊。以动衬静、以物写情，一个「寂寞」把怀古的苍凉写到骨子里，是「以景写哀」的典范。
This line refashions Liu Yuxi's 'tides beat the empty city and return in loneliness,' and is the most masterly stroke of the ci. 'Angry waves' gives the river's surge; 'beat the lone city' shows breakers pounding the solitary walls. One 'angry,' one 'lone' - motion and stillness, force and frailty, play off each other: the waves beat year after year, the city stands age after age, the sound unchanged, the world of men utterly altered. 'Lonely' is the subtlest word: loneliness is a human feeling, here transferred to the waves. The angry surf batters the city unwatched, unheeded, until even the surf seems solitary - a loneliness of the walls, of the waves, and ultimately of history itself. The river, unfeeling, still beats night and day at this forgotten capital, as if mourning the Six Dynasties' vanished splendor. Setting motion against stillness and writing feeling through objects, the single word 'lonely' drives the desolation of historical elegy to the bone - a model of expressing grief through scenery.
夜深月过女墙来，伤心东望淮水
Deep in the night the moon crosses the parapet, and, sorrowing, gazes east toward the Huai River.
夜深，月儿越过女墙而来，伤心地向东望那淮水。
Deep at night the moon rises over the parapet and, sorrowful, gazes east toward the Huai River.
此句写金陵月夜的凄清，化用刘禹锡「夜深还过女墙来」而增益情语。「女墙」指城上的矮墙，「夜深月过女墙来」写月亮升到城头，越过女墙，静静照着这空城——月是六朝时的月，城是六朝的城，唯有月不知疲倦地年年照临，以月之恒照反衬人事之变迁，正见「今月曾经照古人」的沧桑。「伤心东望淮水」增入「伤心」二字，把月写得有情：月照淮水，仿佛也为这六朝兴亡而伤心。「东望淮水」点出秦淮河，那是六朝金粉荟萃之地，如今唯余冷月寒波。此句以景写哀，把怀古之情凝于月照淮水的一瞬，凄清入骨，是次片情感的高潮。
This line renders the forlorn moonlit night at Jinling, reworking Liu Yuxi's 'late at night it crosses the parapet' and adding words of feeling. 'Parapet' is the low wall atop the rampart; 'deep in the night the moon crosses the parapet' shows the moon climbing to the city wall and silently lighting the empty town - the same moon that shone on the Six Dynasties, the same city, only the moon tirelessly returns each year. Its constancy throws into relief the mutability of human affairs, the very pathos of 'this present moon once shone on men of old.' 'Sorrowing, gazing east toward the Huai' adds the word 'sorrow,' endowing the moon with feeling: its light on the river seems to grieve the rise and fall of the dynasties. 'Gazing east toward the Huai' points to the Qinhuai River, where the Six Dynasties' glitter once gathered, now left only to cold moon and chill waves. Expressing grief through scenery, the line condenses the elegiac mood into one instant of moonlight on the river, piercingly cold - the emotional climax of the second stanza.
燕子不知何世。入寻常巷陌人家，相对如说兴亡，斜阳里
The swallows know not what age this is; they enter the humble lanes and homes, facing each other as if recounting rise and fall, in the slanting sun.
燕子不知身在何世，飞入寻常巷陌人家，相对呢喃，似在诉说兴亡，在斜阳里。
The swallows know not what age they live in; they slip into ordinary lanes and homes, chirring face to face as if telling of rise and fall, in the slanting sunlight.
结片以燕子说兴亡，是全词最著名的反跌之笔。「燕子不知何世」写燕子飞来飞去，不知如今是何朝代——它们年年筑巢于这乌衣巷中，见惯了王谢的华堂变成寻常人家，却浑然不觉；「入寻常巷陌人家」化用刘禹锡「旧时王谢堂前燕，飞入寻常百姓家」，以燕之无知衬人之有情，愈见人事变迁的悲凉。「相对如说兴亡」以拟人写燕语呢喃，仿佛在互相诉说着六朝的兴亡旧事；「斜阳里」以景收束，把燕语的兴亡之叹都染上一层斜阳的暖色与暮色，冷与暖交织，苍凉中含蕴藉。此句以景结情、以物写史，把千年的兴亡都化入斜阳燕语，含蓄不尽，余味悠长。
The closing image of swallows recounting rise and fall is the ci's most famous ironic turn. 'The swallows know not what age this is' shows the birds darting to and fro, unaware which dynasty reigns: they nest each year in these lanes, having watched Wang and Xie halls turn into ordinary homes, yet remain oblivious. 'Entering humble lanes and homes' transforms Liu Yuxi's 'the swallows once in the Wang and Xie halls fly now to commoners' doors'; the birds' unknowing sets off human feeling, deepening the pathos of change. 'Facing each other as if recounting rise and fall' personifies the swallows' chirping as if they murmur of the Six Dynasties' fortunes. 'In the slanting sun' closes in scenery, dyeing the swallows' tale of rise and fall with the warm dusk light - cold and warmth interwoven, desolation tempered by restraint. Ending in scene and writing history through creatures, the line folds a thousand years of rise and fall into swallows' chatter in the setting sun, leaving the meaning inexhaustible and the aftertaste long.
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Related Reading
Both write Jinling's rise and fall; Wang heroic judging ministers, Zhou desolate hiding Tang poems—together the twin peaks of Song Jinling past-brooding.
王安石《桂枝香·金陵怀古》「登临送目，正故国晚秋」写金陵晚秋的壮丽江山，「六朝旧事随流水，但寒烟衰草凝绿」，以「至今商女，时时犹唱，后庭遗曲」讽喻当世，议论精警，气骨雄健；周邦彦此词则隐括刘禹锡诗，以山、涛、月、燕等意象写兴亡，含而不露。二词同写金陵六朝兴亡，同为宋词怀古名篇，而面目迥异：王词以议论胜，直言「后庭遗曲」之讽，雄健激昂；周词以意境胜，冷笔写景，苍凉浑成。一为政治家之怀古，一为词人之怀古，一雄一婉，合为金陵怀古的「双璧」，比较二词，正可看出怀古词「言志」与「抒情」两种路数。
望海潮·洛阳怀古 Watching the Sea Tide · Gazing on the Past at Luoyang 秦观 · 同属宋词怀古，可比较不同城市的兴亡书写 Same (past-brooding theme)Both Song past-brooding lyrics; compare the rise-and-fall writing of different cities.
秦观《望海潮·洛阳怀古》写西京洛阳的兴废，「金谷俊游，铜驼巷陌」写尽当年的繁华，「兰苑未空，行人渐老」暗含盛衰之感，以「烟暝酒旗斜」的迷茫作结；周邦彦此词写金陵六朝的兴亡，「山围故国」「燕子不知何世」以江山风物写沧桑。二词同属北宋怀古词，同写帝王之都的盛衰，而城市气质不同：洛阳是周汉旧都，秦观写其「铜驼荆棘」的荒凉；金陵是六朝金粉之地，周邦彦写其「南朝盛事」的空幻。比较二词，正可看出不同城市承载的不同历史记忆，以及北宋词人怀古书写的多样面貌。
浪淘沙令·伊吕两衰翁 Wave-Washing Sands Command · The Two Old Men Yi and Lü 王安石 · 同借古抒怀，一咏史言志一伤往抒情 Same (author / historical)Both borrow the past to voice intent; Wang states ambition, Zhou mourns the past—compare the historical-brooding vein.
王安石《浪淘沙令·伊吕两衰翁》咏伊尹、吕尚两位古贤「汤武偶相逢」而成大业的际遇，借咏史言志，寄托自己得遇神宗、推行新法的抱负，意气昂扬；周邦彦此词则伤金陵六朝之往，凭吊繁华成空，感慨深沉。二词同属借古抒怀，而取向迥异：王词咏史以言志，从历史中汲取力量，昂扬奋发；周词怀古以伤往，从历史中读出虚无，苍凉低回。同是王安石与周邦彦，一个政治家、一个词人，一个向前看、一个向后看，比较二词，正可看出咏史怀古一体中「言志」与「抒情」的两种精神取向。