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宋 Song · 词 Ci lyric

踏莎行·小径红稀

Treading, on, the, Grass: The, Small, Path, the, Red, Scattered, Thin

晏殊

Yan Shu

春景spring 闲愁sorrow

小径红稀，芳郊绿遍，高台树色阴阴见。
春风不解禁杨花，濛濛乱扑行人面。
翠叶藏莺，朱帘隔燕，炉香静逐游丝转。
一场愁梦酒醒时，斜阳却照深深院。

The, small, path, the, red, scattered, thin,
The, fragrant, fields, the, green, everywhere,
The, high, terrace, the, tree, colors, the, shade, dark, seen.
The, spring, wind, knows, not, to, restrain, the, willow, catkins,
In, the, mist, the, misty, wildly, dashing, at, the, faces, of, the, passers.
The, emerald, leaves, hiding, the, orioles,
The, scarlet, curtains, parting, the, swallows,
The, incense, smoke, quietly, following, the, floating, gossamer, turning.
A, dream, of, the, sorrow, waking, from, the, wine,
The, slanting, sun, yet, shining, the, deep, deep, courtyard.

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Meaning

A lyric of the spring and the sorrow, written by Yan Shu. The small path the red scattered thin, the fragrant fields the green everywhere, the high terrace the tree colors the shade dark seen — the spring of the opening. The spring wind knows not to restrain the willow catkins, in the mist the misty wildly dashing at the faces of the passers — the scene of the middle. The emerald leaves hiding the orioles, the scarlet curtains parting the swallows, the incense smoke quietly following the floating gossamer turning — the quiet of the middle. And the close's a dream of the sorrow waking from the wine, the slanting sun yet shining the deep deep courtyard — the close's sorrow. The lyric is the spring and the sorrow: the catkins, the courtyard, and the close's dream.

小径红稀，芳郊绿遍，高台树色阴阴见。春风不解禁杨花，濛濛乱扑行人面。翠叶藏莺，朱帘隔燕，炉香静逐游丝转。一场愁梦酒醒时，斜阳却照深深院。

Appreciation

[Plain Paraphrase] The, small, path, the, red, scattered, thin, the, fragrant, fields, the, green, everywhere, the, high, terrace, the, tree, colors, the, shade, dark, seen. The, spring, wind, knows, not, to, restrain, the, willow, catkins, in, the, mist, the, misty, wildly, dashing, at, the, faces, of, the, passers. The, emerald, leaves, hiding, the, orioles, the, scarlet, curtains, parting, the, swallows, the, incense, smoke, quietly, following, the, floating, gossamer, turning. A, dream, of, the, sorrow, waking, from, the, wine, the, slanting, sun, yet, shining, the, deep, deep, courtyard. [Structure and Thought] The lyric moves from the spring of the small path and the fragrant fields, through the scene of the catkins and the gossamer with the quiet of the leaves and the curtains, to the close's the courtyard of the dream. [Key Technique] The lyric's art is the close of the sorrow: the incense smoke quietly following the floating gossamer turning, and the close's the slanting sun yet shining the deep deep courtyard — the spring gathered in the quiet and the close's sorrow. [Emotional Tone] Sorrowful, quiet, and lingering: the lyric is the catkins, the courtyard and the close's dream.

【白话串讲】晏殊写《踏莎行·小径红稀》：“小径红稀，芳郊绿遍，高台树色阴阴见”——“春风不解禁杨花，濛濛乱扑行人面”——“翠叶藏莺，朱帘隔燕，炉香静逐游丝转”——“一场愁梦酒醒时，斜阳却照深深院”——他写春末的愁。【意象与手法】此词写春暮，以闲愁写春暮，是晏殊的名篇。上阕写春景：「小径红稀，芳郊绿遍，高台树色阴阴见」写小径红稀、芳郊绿遍、高台树色阴阴见——写尽春暮的景物；「春风不解禁杨花，濛濛乱扑行人面」写春风不解禁杨花、濛濛乱扑行人面——写尽春暮的杨花；下阕写愁绪：「翠叶藏莺，朱帘隔燕，炉香静逐游丝转」写翠叶藏莺、朱帘隔燕、炉香静逐游丝转——写尽庭院的静谧；「一场愁梦酒醒时，斜阳却照深深院」写一场愁梦酒醒时、斜阳却照深深院——写尽春暮的闲愁。全词以闲愁写春暮，写尽春暮的景物与闲愁，是晏殊的代表作。【情感与主旨】此词写春暮，以闲愁写春暮，是晏殊的名篇。此词写春暮时节的景物与闲愁。晏殊身为太平宰相，其词多写闲雅之愁。此词写春景：小径红稀，芳郊绿遍，高台树色阴阴见——写小径红稀、芳郊绿遍、高台树色阴阴见，写尽春暮的景物；春风不解禁杨花，濛濛乱扑行人面——写春风不解禁杨花、濛濛乱扑行人面，写尽春暮的杨花；翠叶藏莺，朱帘隔燕，炉香静逐游丝转——写翠叶藏莺、朱帘隔燕、炉香静逐游丝转，写尽庭院的静谧；一场愁梦酒醒时，斜阳却照深深院——写一场愁梦酒醒时、斜阳却照深深院，写尽春暮的闲愁。全词以闲愁写春暮——那「濛濛乱扑行人面」写尽春暮的杨花，「斜阳却照深深院」写尽春暮的闲愁，写尽春暮的景物与闲愁，是理解晏殊词的重要篇章。【名句点睛】常考「小径红稀，芳郊绿遍」写春暮的景物；「春风不解禁杨花，濛濛乱扑行人面」写春暮的杨花；「一场愁梦酒醒时，斜阳却照深深院」写春暮的闲愁；以及全词以闲愁写春暮、以景写愁的手法。

Background

Yan Shu (991-1055), the prime minister and the poet of the Song, wrote this 'Treading, on, the, Grass: The, Small, Path, the, Red, Scattered, Thin' of the spring and the sorrow — the melancholy of the late spring. The small path with the red scattered thin, the catkins of the spring wind, and the close's the deep deep courtyard — the lyric gathers the sorrow of the poet, the quiet of the late spring. The lyric is one of the famous works of the poet's lyrics of the spring.

此词写春暮，以闲愁写春暮，是晏殊的名篇。晏殊（991—1055），字同叔，抚州临川（今属江西）人，北宋政治家、词人，官至宰相，谥元献。晏殊一生富贵优游，其词多写闲雅之情、流连光景之愁。此词写春暮时节的景物与闲愁。上阕写春景：「小径红稀，芳郊绿遍，高台树色阴阴见」写小径红稀、芳郊绿遍、高台树色阴阴见——写尽春暮的景物（小径红稀，芳郊绿遍，高台树色阴阴见）；「春风不解禁杨花，濛濛乱扑行人面」写春风不解禁杨花、濛濛乱扑行人面——写尽春暮的杨花（春风不解禁杨花，濛濛乱扑行人面）。下阕写愁绪：「翠叶藏莺，朱帘隔燕，炉香静逐游丝转」写翠叶藏莺、朱帘隔燕、炉香静逐游丝转——写尽庭院的静谧（翠叶藏莺，朱帘隔燕，炉香静逐游丝转）；「一场愁梦酒醒时，斜阳却照深深院」写一场愁梦酒醒时、斜阳却照深深院——写尽春暮的闲愁（一场愁梦酒醒时，斜阳却照深深院）。全词以闲愁写春暮，写尽春暮的景物与闲愁，是理解晏殊词的重要篇章。

Art

The lyric's art is the art of the sorrow. The spring opens: the, small, path, the, red, scattered, thin — the small path of the red scattered thin; the, fragrant, fields, the, green, everywhere — the fragrant fields of the green everywhere; the, high, terrace, the, tree, colors, the, shade, dark, seen — the high terrace of the shade. The scene follows: the, spring, wind, knows, not, to, restrain, the, willow, catkins — the willow catkins of the spring wind; in, the, mist, the, misty, wildly, dashing, at, the, faces, of, the, passers — the misty of the dashing; the, emerald, leaves, hiding, the, orioles — the orioles of the emerald leaves; the, scarlet, curtains, parting, the, swallows — the swallows of the scarlet curtains; the, incense, smoke, quietly, following, the, floating, gossamer, turning — the gossamer of the incense smoke. And the close gathers the courtyard: a, dream, of, the, sorrow, waking, from, the, wine — the dream of the sorrow; the, slanting, sun, yet, shining, the, deep, deep, courtyard — the deep deep courtyard of the slanting sun — the spring, the quiet and the close's sorrow, gathered in the lyric.

此词的艺术特色可从四个方面解析。其一，以铺陈写春景。「小径红稀，芳郊绿遍，高台树色阴阴见」以铺陈写春景——那「红稀」「绿遍」「阴阴见」写尽春色的深浅，以铺陈写尽春暮的景物。其二，以拟人写杨花。「春风不解禁杨花」以拟人写杨花——那「不解禁」写尽春风的无奈，以拟人写尽春暮的杨花。其三，以静景写庭院。「翠叶藏莺，朱帘隔燕，炉香静逐游丝转」以静景写庭院——那「炉香静逐游丝转」写尽庭院的静谧，以静景写尽庭院的幽深。其四，以斜阳写闲愁。「斜阳却照深深院」以斜阳写闲愁——那「深深院」写尽院之深，以斜阳写尽春暮的闲愁。此外，此词上阕写春暮的景物，下阕写庭院的愁绪，由景入愁，正是晏殊词「以景写愁」的写法。四重手法，使此词以闲愁写春暮，写尽春暮的景物与闲愁，是晏殊的代表作。此外，此词尤可注意其「由景入愁」的层层收束：上阕由小径、芳郊、高台一路展开，是开阔的春景；至「春风不解禁杨花，濛濛乱扑行人面」，杨花乱扑，已是愁绪暗生；下阕忽转「翠叶藏莺，朱帘隔燕，炉香静逐游丝转」，由外景转入庭院，由动转入静，景愈窄而愁愈深；末以「一场愁梦酒醒时，斜阳却照深深院」收束——梦醒、酒醒、日斜、院深，四层递进，正见闲愁之无端而深长，正是晏殊「于小令中作层深」的功夫。

Allusions

'The willow catkins' (yang hua) are the willow catkins — the catkins of the willow, the dashing of the spring wind; 'the scarlet curtains' (zhu lian) are the scarlet curtains — the curtains of the scarlet, the parting of the swallows; 'the floating gossamer' (you si) is the floating gossamer — the gossamer of the floating, the turning of the incense smoke.

此词的用语深植于伤春与闲愁的传统。「红稀」令人想到「红稀」写落花的意象——「小径红稀」正是晏殊的名句，也令人想到「绿肥红瘦」（李清照）的意象；「杨花」令人想到「杨花」写柳絮的意象——「濛濛乱扑行人面」正是晏殊的名句，也令人想到「杨花落尽子规啼」（李白）的意象；「游丝」令人想到「游丝」写蛛丝的意象——「炉香静逐游丝转」正是晏殊的名句，也令人想到「游丝软系飘春榭」（曹雪芹）的意象；「愁梦」令人想到「愁梦」写愁之梦的意象——「一场愁梦酒醒时」正是晏殊的名句，也令人想到「故欹单枕梦中寻」（欧阳修）的意象；「深深院」令人想到「深深院」写深院的意象——「斜阳却照深深院」正是晏殊的名句，也令人想到「庭院深深深几许」（欧阳修）的意象。全词化用红稀、杨花、游丝、深深院的意象，以闲愁写春暮，正是晏殊「温润秀洁」而善写景、承伤春传统写闲愁的本领。又「斜阳却照深深院」可联系中国文学写深院斜阳的传统：晚唐李商隐「夕阳无限好，只是近黄昏」写斜阳之叹，温庭筠「斜晖脉脉水悠悠」写斜阳之望，而晏殊以「深深院」收斜阳于深院之内，正是将光景之叹与庭院之愁合一，开北宋小令写春暮闲愁的法门。

Commentary

This lyric is one of the famous works of Yan Shu's lyrics of the spring, quoted for the quiet of its scene and the sorrow of its close. The catkins dashing at the faces of the passers, and the slanting sun shining the deep deep courtyard, are among the admired passages of the poet's lyrics. Critics praise the lyric's sorrow: the spring gathered in the quiet, to the close's courtyard.

此词历来被推为晏殊词的名篇，也是北宋小令写春暮的代表。历代论者对此词评价极高：清人评此词「以闲愁写春暮，温润含蓄」；近人更指出「一场愁梦酒醒时，斜阳却照深深院」写春暮的闲愁，是此词的名句。在词史上，此词的特殊价值在于：它以四韵的短调写尽春暮的景物与闲愁——那小径，那红稀，那芳郊，那绿遍，那高台，那树色，那春风，那杨花，那翠叶，那莺，那朱帘，那燕，那炉香，那游丝，那愁梦，那斜阳，那深深院，都写尽了晏殊笔下的春暮；那「斜阳却照深深院」更以斜阳写尽春暮的闲愁。此词与晏殊《浣溪沙·一曲新词酒一杯》（「无可奈何花落去」）同为伤春名篇，一写「似曾相识燕归来」的春暮（浣溪沙），一写「斜阳却照深深院」的春暮（踏莎行）；又与欧阳修「庭院深深深几许」的深院传统一脉相承，可见北宋小令写闲愁的传统。对于今日读者，此词是理解晏殊词的窗口，也是中国词写春暮的经典——那斜阳照着的深深院，穿越千年，仍在诉说着春暮的闲愁。

Prosody

Form A lyric of the spring (ci pai: Ta, Sha, Xing)词·踏莎行

Rhyme The lyric rhymes on the level of the group — the cadence of the lyric that carries the lingering sorrow.《踏莎行》双调五十八字，押「见」「面」「转」「院」韵（去声），一韵到底，音节舒缓

Tone pattern The cadence is that of the sorrow: the level opening with the spring, the turning with the quiet, and the close's fall with the courtyard.此词为《踏莎行》调，押仄声韵，一韵到底，音节舒缓，正合闲愁的舒缓。

Reading note The lyric's sound matches its sorrow: the cadences of the lyric, and the close — 'xie yang que zhao shen shen yuan' — falls with the courtyard, the sound of the sorrow of the late spring.此词为《踏莎行》双调五十八字，上阕——「小径红稀，芳郊绿遍，高台树色阴阴见。春风不解禁杨花，濛濛乱扑行人面」，下阕——「翠叶藏莺，朱帘隔燕，炉香静逐游丝转。一场愁梦酒醒时，斜阳却照深深院」，押仄声韵（见、面、转、院），一韵到底，音节舒缓。全词以闲愁写春暮：上阕写春暮的景物（小径红稀、濛濛乱扑行人面），下阕写庭院的愁绪（炉香静逐游丝转、斜阳却照深深院）。两阕由景入愁，层层写尽春暮的景物与闲愁，正是晏殊词以景写愁的典型结构。诵读此词，宜以舒缓的语调读「小径红稀」的春景，以低回的语调读「斜阳却照深深院」的闲愁，结句要读得悠长而有余韵，方能传达出晏殊的温润含蓄。晏殊词以「温润秀洁」著称，此词正是其伤春词的典范。

Line by line

一场愁梦酒醒时，斜阳却照深深院

A, dream, of, the, sorrow, waking, from, the, wine, the, slanting, sun, yet, shining, the, deep, deep, courtyard.

一场愁梦酒醒时，斜阳却照深深院。

Waking from a sorrowful dream, the wine wears off; the slanting sun shines into the deep, deep courtyard.

此二句是全词写闲愁的核心，以一场愁梦写梦，以斜阳却照深深院写斜阳，写尽春暮的闲愁，是千古名句。「一场愁梦酒醒时」写一场愁梦酒醒时——那「一场愁梦」写一场愁梦，「酒醒时」写酒醒之时，写尽梦醒的愁绪；「斜阳却照深深院」写斜阳却照深深院——那「斜阳」写斜阳，「却照深深院」写却照深深院，写尽斜阳的深照。这句的深意在于：它以「一场愁梦酒醒时」的愁梦与「斜阳却照深深院」的斜阳，写尽春暮的闲愁——一场愁梦酒醒时，那「一场愁梦酒醒时」写尽梦醒的愁绪——一场愁梦，酒醒之时，正是愁绪满怀的写照，那「愁梦」写尽梦中的愁；斜阳却照深深院，那「斜阳却照深深院」写尽斜阳的深照——斜阳却照深深院，正是日暮院深的写照，那「深深院」写尽院之幽深；那「一场愁梦酒醒时」写尽梦醒的愁绪，那「斜阳却照深深院」写尽斜阳的深照，一写梦，一写斜阳，写尽春暮的闲愁——梦醒而日斜，正是闲愁的写照；此二句以梦、斜阳写尽春暮的闲愁，也让此二句成为全词写闲愁的核心与千古名句。若换作直说「我很愁」，则失其含蓄；唯以「一场愁梦酒醒时」写梦、「斜阳却照深深院」写斜阳，写尽春暮的闲愁，也让此二句成为全词写闲愁的核心。

These two lines are the ci piece's core in writing idle sorrow, famous through the ages. Waking from a sorrowful dream, the wine wears off places dream, wine, and waking in one instant; the dream was sorrow, the wine was a refuge, and waking brings both back - the sorrow without the wine. The slanting sun shines into the deep, deep courtyard then closes in scenery: the slanting sun names late afternoon, deep courtyard names seclusion, and the却 character gives the light an intrusive, indifferent presence, as if the day itself does not know how lonely the room is. The subtlety lies in the contrast between the inner state (sorrow, wine, dream) and the outer scene (sun, courtyard, silence) - no one is named, no emotion is directly stated, yet the idle sorrow of late spring and a long afternoon is fully present. This is the hallmark of Yan Shu's reserved, aristocratic melancholy: sorrow without cause, without event, only the light crossing an empty room. Compared with a plain saying I am sad, the dream-wine-sun-courtyard sequence gives the sorrow both depth and restraint, making this the core of the ci's idle melancholy.

春风不解禁杨花，濛濛乱扑行人面

The, spring, wind, knows, not, to, restrain, the, willow, catkins, in, the, mist, the, misty, wildly, dashing, at, the, faces, of, the, passers.

春风不解禁杨花，濛濛乱扑行人面。

The spring wind does not know how to restrain willow catkins; misty, wildly they dash in the faces of passersby.

此二句是全词写杨花的核心，以春风不解禁杨花写春风，以濛濛乱扑行人面写杨花，写尽春暮的杨花，是千古名句。「春风不解禁杨花」写春风不解禁杨花——那「春风」写春风，「不解禁杨花」写不解禁杨花，写尽春风的无奈；「濛濛乱扑行人面」写濛濛乱扑行人面——那「濛濛」写濛濛，「乱扑行人面」写乱扑行人面，写尽杨花的纷飞。这句的深意在于：它以「春风不解禁杨花」的春风与「濛濛乱扑行人面」的杨花，写尽春暮的杨花——春风不解禁杨花，那「春风不解禁杨花」写尽春风的无奈——春风不解禁杨花，正是春暮的写照，那「不解禁」写尽春风的无奈；濛濛乱扑行人面，那「濛濛乱扑行人面」写尽杨花的纷飞——濛濛乱扑，正是杨花纷飞的写照，那「乱扑」写尽杨花的纷飞；那「春风不解禁杨花」写尽春风的无奈，那「濛濛乱扑行人面」写尽杨花的纷飞，一写春风，一写杨花，写尽春暮的杨花——春风难禁而杨花乱扑，正是春暮的写照；此二句以春风、杨花写尽春暮的杨花，也让此二句成为全词写杨花的核心与千古名句。若换作直说「柳絮到处飞」，则失其情致；唯以「春风不解禁杨花」写春风、「濛濛乱扑行人面」写杨花，写尽春暮的杨花，也让此二句成为全词写杨花的核心。

These two lines are the ci piece's core in writing willow catkins, famous through the ages. The spring wind does not know how to restrain willow catkins personifies the wind as incompetent, unable to govern what it sets in motion; this is the ci's quietest irony - the season itself is unruly, and no force holds it back. Misty, wildly they dash in the faces of passersby then gives the catkins' motion: misty names their drifting, wildly names their unruliness, dash names their physical insistence, and the faces of passersby makes an external, indifferent object the target of the catkins' random assault. The subtlety lies in the way a trivial spring phenomenon becomes a figure for the poet's own restlessness: the catkins are like sorrow itself, ungovernable, drifting, settling where it is not wanted. This is Yan Shu at his most delicate - a spring image that carries the weight of the previous deep-courtyard sorrow without once naming it. Compared with a plain saying catkins fly everywhere, the wind's incompetence and the catkins' random assault give the image both movement and the feeling of a world gone slightly adrift, making this the core of the ci's catkin image.

Study

Word focus

濛濛 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「濛濛乱扑行人面」之「濛濛」是写杨花的关键词，一个「濛濛」写尽杨花的纷飞。濛濛者，迷蒙、纷杂也。晏殊以「濛濛乱扑行人面」写杨花，这个「濛濛」至少有双重意味：其一，写杨花之密——那「濛濛乱扑行人面」写濛濛乱扑行人面，那「濛濛」写尽杨花的密集——濛濛一片，正是杨花纷飞的写照，那「濛濛」写尽杨花的浓密；其二，写春暮之迷——那「濛濛」更是写迷——濛濛，正见春暮之迷离，那「濛濛」写尽春暮的迷蒙。以「濛濛」写杨花，正是晏殊写春暮的枢纽——若换作「纷纷」「茫茫」等词，则或失其与「乱扑行人面」的配合，或失其写濛濛的意味；唯「濛濛」二字，以濛濛乱扑行人面写尽杨花的密集与春暮的迷蒙，与「春风不解禁杨花」的不解禁相合，写尽春暮的杨花，也让「濛濛乱扑行人面」成为全词写杨花的名句。

却 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「斜阳却照深深院」之「却」字是写闲愁的关键词，一个「却」字写尽斜阳的深照。却者，偏、仍也。晏殊以「斜阳却照深深院」写斜阳，这个「却」字至少有双重意味：其一，写斜阳之偏——那「斜阳却照深深院」写斜阳却照深深院，那「却」字写尽斜阳的执着——斜阳偏照深院，正是日暮的写照，那「却」字写尽斜阳的深照；其二，写愁绪之深——那「却」字更是写深——却照，正见愁绪之深，那「却」字写尽闲愁的深重。以「却」字写斜阳，正是晏殊写闲愁的枢纽——若换作「正」「仍」等字，则或失其与「斜阳」「深深院」的配合，或失其写却的意味；唯「却」字，以斜阳却照深深院写尽斜阳的执着与愁绪的深重，与「一场愁梦酒醒时」的愁梦相合，写尽春暮的闲愁，也让「斜阳却照深深院」成为全词写闲愁的名句。