五代 Five Dynasties · 词 Ci lyric
浣溪沙·夜夜相思
Sand of the Washing Stream · Nightly Longing
夜夜相思更漏残，伤心明月凭阑干，想君思我锦衾寒。
咫尺画堂深似海，忆来惟把旧书看，几时携手入长安？
Though the painted hall is but a step away, it is deep as the sea; in memory I only look at the old letters — when shall we hand in hand enter Chang'an?
Meaning
Nightly longing until the water-clock nears its end; heart-sore, I face the bright moon and lean on the rail, thinking you too are missing me, feeling the cold beneath the brocade quilt. Though the painted hall is but a step away, it is deep as the great sea; in memory I can only look at the old letters — when shall we together by the hand enter Chang'an?
夜夜相思直到更漏将尽，伤心地面对明月倚着阑干，想你也在思念我、锦被下倍感清寒。咫尺画堂却深似大海，回忆起来只能把旧日书信翻看，何时才能携手同入长安？
Appreciation
The upper part's three lines write the state of longing: 'nightly longing till the water-clock runs dry' points to the long night without sleep; 'heart-sore, I lean on the rail in the bright moon' writes sorrow through scene; 'thinking you miss me in the cold brocade quilt' wondrously writes from the other side, imagining the lover too in the cold quilt missing me, both sides at once, doubling the tenderness. The lower part's 'though the painted hall is but a step away, it is deep as the sea' writes the barrier in reverse; 'in memory I only look at the old letters' writes the listlessness; it closes on the infatuated question 'when shall we hand in hand enter Chang'an', from real to unreal, plain in language yet earnest in feeling, natural in antithesis, gaining Wen and Li's spirit yet more open.
【白话串讲】 “夜夜相思更漏残，伤心明月凭阑干”——韦庄写相思：夜夜想你，听到更漏将尽。“咫尺画堂深似海”——你就在附近，却像隔着海。“几时携手入长安”——什么时候能和你一起回长安？ 【意象与手法】 上片三句写相思之状：「夜夜相思更漏残」点长夜不寐，「伤心明月凭阑干」以景写哀，「想君思我锦衾寒」妙从对方落笔，悬想情人亦在寒衾中念己，两面兼写，情致倍深。下片「咫尺画堂深似海」以反语写阻隔，「忆来惟把旧书看」写无聊赖，结以「几时携手入长安」的痴问，由实入虚，语浅而情挚，对仗自然，深得温李风神而更疏朗。 【情感与主旨】 韦庄（约836—910）字端己，京兆杜陵人，花间派代表词人，晚年仕前蜀王建，官至宰相。「几时携手入长安」之「长安」既指唐都，亦暗含韦庄一生心系故唐、盼归旧里的情结——韦庄晚居蜀中而诗中每念长安，故园之思与闺情在此叠合，使小词于儿女情外别有一层身世漂零之慨。 【名句点睛】 命题角度：一、对写法，「想君思我锦衾寒」如何由对方着笔深化相思；二、炼句，「咫尺画堂深似海」中「深似海」的反衬之妙；三、「几时携手入长安」的痴问与双关。
Background
Wei Zhuang (c.836–910), courtesy Duanji, a representative of the Huajian school, in late life served Wang Jian of Former Shu and rose to prime minister. 'Sand of the Washing Stream · Nightly Longing' writes a woman's night-long longing for one far away. The 'Chang'an' in 'when shall we hand in hand enter Chang'an' means both the Tang capital and, darkly, Wei Zhuang's lifelong bond with the lost Tang and his hope to return to his old home — Wei lived in Shu yet in his poems often thought of Chang'an, so the longing for home and the boudoir feeling here overlap, giving the little lyric, beyond the love between man and woman, a layer of drifting, rootless sorrow.
韦庄（约836—910），字端己，京兆杜陵（今陕西西安附近）人，晚唐五代著名诗人、词人，花间派代表，与温庭筠并称「温韦」。韦庄身世坎坷：生于晚唐乱世，早年屡试不第，黄巢攻入长安后避难流离，直到五十九岁方中进士；晚年入蜀，仕前蜀王建，官至吏部侍郎同平章事（宰相），为前蜀的开国功臣。此词《浣溪沙·夜夜相思》写闺中女子长夜怀人之思，是花间词中典型的「闺情」之作。然「几时携手入长安」之「长安」暗藏深意：韦庄一生心系故唐——他生于长安，长于长安，唐末乱离中流落四方，晚年虽居蜀中高位，而诗中每念长安（其《秦妇吟》写长安之乱，《思归》有「暖丝无力自悠扬，牵引东风断客肠」之念长安语），「长安」在他笔下既是帝都，更是故国与乡关的象征。故此词表面写闺中思妇盼征人归，内里却叠入韦庄自己的故园之思：思妇盼「携手入长安」，正是诗人盼「归乡返故都」的投影，儿女之情与身世之慨在此叠合，使这首小词于花间词「艳情」的底色上，别添一层乱世漂零的苍凉，是花间词由「词为艳科」转向「词中有我」的过渡之作。
Art
The upper part's three lines write the state of longing: 'nightly longing till the water-clock runs dry' points to the long night without sleep; 'heart-sore, I lean on the rail in the bright moon' writes sorrow through scene; 'thinking you miss me in the cold brocade quilt' wondrously writes from the other side, imagining the lover too in the cold quilt missing me, both sides at once, the tenderness doubled. The lower part's 'though the painted hall is but a step away, it is deep as the sea' writes the barrier in reverse; 'in memory I only look at the old letters' writes the listlessness; it closes on the infatuated question 'when shall we hand in hand enter Chang'an', from real to unreal, plain in language yet earnest in feeling, natural in antithesis, gaining Wen and Li's manner yet more open.
此词艺术之妙，在「对写」与「反衬」的并用，以及「语浅情挚」的抒情笔致。上片三句层层写相思之状：「夜夜相思更漏残」点长夜不寐——「夜夜」叠用写相思之频（不是一夜两夜，而是夜夜如此），「更漏残」写夜将尽而人未眠（更漏是夜间的计时器，漏残则夜已将晓），七个字写尽彻夜不眠的相思之苦；「伤心明月凭阑干」以景写哀——伤心之人，对着一轮明月，倚着阑干，明月本是团圆的象征，而月圆人不圆，伤心更甚，一个「凭」字写尽倚栏凝望的痴态；「想君思我锦衾寒」是全词最精妙处，妙在「对写」——不写我思君，而写「想君思我」：我在想你，想你此刻也在想我，想你在锦被之中也觉得寒冷（因为孤独）——从对方着笔，把单向的相思写成了双向的牵挂，情致倍深。下片「咫尺画堂深似海」以反语写阻隔——画堂近在咫尺，却深似大海，咫尺天涯之恨，尽在一「海」字；「忆来惟把旧书看」写无聊赖——回忆起来，只能翻看旧日书信，一个「惟」字写尽别无他法的痴情；结句「几时携手入长安」以痴问收束——何时才能携手同入长安？由实入虚，把眼前的相思升华为对重逢的企盼，语浅而情挚，全词疏朗俊逸，深得温李风神而更见明快。
Allusions
The allusions are light: 'water-clock' is the bronze clepsydra that told the night, often used by Tang poets for the long night (as in Wen Tingyun's 'jade censer, red wax tears, lighting the painted hall's autumn thought'). 'Cold brocade quilt' transforms the old-poem image of 'brocade quilt left at Luo-pu', a boudoir-sorrow image. 'Chang'an' is double: literally the Tang capital, yet also inheriting the home symbol of 'autumn wind on the Wei river, leaves fill Chang'an'. The whole writes feeling in plain speech, piling no old tales, inheriting Huajian yet opening a free manner.
此词用典轻淡，以本色语写情，正见韦庄词「疏朗」之风。「更漏」指夜间计时的铜壶滴漏，唐宋诗词常借写长夜（如温庭筠《更漏子》「玉炉香，红蜡泪，偏照画堂秋思」），韦庄以「更漏残」写夜将尽而人不寐，暗承这一传统；「凭阑干」是唐宋词写相思倚望的经典动作（如李煜「独自莫凭栏，无限江山」、温庭筠「独倚望江楼」），倚栏望远，是思妇怀人的典型姿态；「锦衾寒」化用古诗「锦衾遗洛浦」一类闺怨意象——锦被本是华贵的夫妻共用之物，而独眠之际锦衾生寒，寒的不是衾，是心，暗承「孤眠」的闺怨传统；「画堂」出温庭筠「画堂金作屋」一类词境，指华美的厅堂，此处以「画堂深似海」写近在咫尺而难以逾越的阻隔，暗合崔郊「侯门一入深如海」的名句——「一入深如海」写侯门之深，韦庄化「深如海」为「深似海」以写画堂之阻，用典化句，不着痕迹；「长安」则双关：既实指唐都长安，亦承「秋风生渭水，落叶满长安」（贾岛）的故园符号，暗含韦庄的故国之思。全词以本色语写情，不堆故实，承花间而开透脱之风。
Commentary
Critics read this lyric beside Wen Tingyun's boudoir lyrics, saying Wei Duanji 'excels in float and ease' over Wen's 'dense ornament'. The couplet 'thinking you miss me in the cold brocade quilt' is often raised with Du Fu's 'tonight the moon at Fu-zhou' and Bai Juyi's 'I think of them at home sitting deep in the night' as a fine example of the 'writing from the other side' method, most showing the wonder of changing place and writing both sides in a longing lyric, long a top love line among Five-Dynasties ci.
此词历代论者多以「疏朗」「真挚」许之，为花间词中清丽一路的代表。论者每以韦庄与温庭筠并观，谓韦端己「飘逸」胜温之「浓缛」：温词秾丽密致（如「小山重叠金明灭」），韦词清疏明快（如「夜夜相思更漏残」），同是写闺情，一以辞采胜、一以情真胜。王国维《人间词话》评「温飞卿之词，句秀也；韦端己之词，骨秀也」，正指韦庄词以「骨力」（真情实感）见长——此词「想君思我锦衾寒」的「对写」，前人每与杜甫「今夜鄜州月，闺中只独看」、白居易「想得家中夜深坐，还应说着远行人」同举，以为「对面写来」之法的佳例：不写己之思人，而写人之思己，相思的深度与温度由此倍增，是五代词中「对写」手法最成功的运用之一。「咫尺画堂深似海」的「深似海」，也被视为「以夸张写阻隔」的经典：物理的「咫尺」与心理的「似海」对举，咫尺天涯之恨，寥寥五字写尽。此词在文学史上的价值，在于它把花间词的闺情从「应歌之作」提升为「抒情之作」——词中有真感情、真身世，为五代词由「伶工之词」走向「士大夫之词」（李煜、晏殊）开了先声，韦庄也因此被王国维推为五代词坛与李煜并称的大词人。
Prosody
Line by line
夜夜相思更漏残
Nightly longing till the water-clock runs dry
夜夜相思直到更漏将尽。
Night after night I long for you, as the night-water clock runs down to its last drops.
首句点长夜不寐，是全词相思的总起。「夜夜」叠用写相思之频——不是一时一刻的思念，而是夜夜如此、无夜不思，叠字造成音律的回环，如相思的节律，绵延不绝；「相思」直点题旨，毫不遮掩，正见韦庄词「情真语直」的本色；「更漏残」写夜之将尽——更漏是夜间计时的铜壶滴漏，「残」写漏将滴尽，夜已将晓：思妇彻夜未眠，从漏初滴到漏残，一夜的相思在时间的流逝中清晰可见。此句的妙处在于「以时间写深情」：「夜夜」写相思之久（夜夜如此），「更漏残」写相思之深（彻夜不眠），时间的两端（夜夜与残漏）共同写尽相思的煎熬。七个字，无一个闲字，相思的频与深、夜的静与长，尽在其中，为全词定下了「长夜相思」的基调。
The opening names the long night of sleeplessness, the general start of the lyric's longing. 'Night after night' is repeated to write the frequency of longing—not a moment's thought but every night, no night without it, the reduplication giving the circling rhythm of the music like the pulse of longing, winding without end. 'Longing for you' directly names the theme, without concealment, showing the plain truth of Wei Zhuang's 'true feeling, direct speech.' 'The night-water clock runs down to its last drops' writes the night nearly spent—the night watch is the copper clepsydra of night, and 'runs down' writes the water nearly exhausted, dawn near: the woman has not slept all night, from the first drip to the last, a night of longing clear within the passage of time. The art lies in 'writing deep feeling through time': 'night after night' the length of longing, 'clock runs down' the depth of it, the two ends of time together writing the ordeal of longing. Seven characters, not one idle word, the frequency and depth of longing, the quiet and length of the night, all within, setting the keynote of 'long-night longing' for the whole lyric.
伤心明月凭阑干
Heartbroken, in the bright moonlight I lean on the balustrade.
伤心地面对明月倚着阑干。
Heartbroken, facing the bright moon, I lean upon the rail.
次句以景写哀，是全词由「夜」入「望」的过渡。「伤心明月」四字极为凝练——明月是伤心的明月，还是伤心人对着明月？两种读法皆通：月本无情，而伤心人眼中之月亦带伤心之色，是「移情」的手法；「凭阑干」写倚栏之态——思妇倚着阑干，遥望远方，「凭」字写尽倚栏凝望的痴态与无奈。此句的深意在于「以月写圆缺」：明月是团圆的象征，而月圆人不圆，思妇对月凭栏，正是「举头望明月」式的怀远——月照两地，她在月下凭栏，征人（或情人）也在异乡望月，同一轮明月，照着两个相思的人。此句与首句「更漏残」相生：长夜将尽，思妇仍在月下凭栏，一夜未眠的痴情，尽在凭栏的身影中。温庭筠词多写「画堂」「金镜」的华贵，韦庄此句却以「明月阑干」的清景写之，正见其「疏朗」之风。
The second line writes grief through scenery, the passage where the lyric moves from 'night' to 'gazing.' The four characters 'heartbroken, bright moon' are highly condensed: is the moon the heartbroken moon, or the heartbroken person facing the moon? Both readings work—the moon is indifferent, yet to the eyes of the heartbroken it carries the color of grief, the method of projecting feeling. 'Lean on the balustrade' writes the posture of leaning—the woman at the rail, gazing into the distance, the word 'lean' writing all the rapt gazing and helplessness. The deep meaning lies in 'writing the waxing and waning through the moon': the bright moon is the symbol of reunion, yet the moon is full while the person is not, and the woman leaning on the rail in the moonlight is the 'raise the head, gaze at the bright moon' sort of longing—the moon shines on two places, she leans in the moonlight, the traveler too gazing at the moon in a strange land, one bright moon lighting two longing hearts. The line answers the opening 'clock runs down': the night nearly spent, the woman still leaning on the rail in the moonlight, the whole night's sleepless devotion within the leaning figure. Where Wen Tingyun's lyrics write the luxury of 'painted halls' and 'golden mirrors,' Wei Zhuang writes through the clear scene of 'bright moon and rail,' showing his 'open' manner.
想君思我锦衾寒
Thinking you miss me in the cold brocade quilt
想你也在思念我、锦被下倍感清寒。
I think how you, too, must miss me, and feel the broidered quilt cold.
此句是全词最精妙处，妙在「对写」——从对方落笔，把相思写得倍加深挚。「想君思我」四字是典型的「对面写来」：我不写「我思君」，而写「想君思我」——我在想，你此刻也在想我；这层悬想，把单向的相思化为双向的牵挂，仿佛隔着千里也能听见彼此的心跳；「锦衾寒」写悬想的具体内容——想你独眠锦被之下，也觉得寒冷：锦衾本是华贵的合欢之物，而孤眠之际衾寒难耐——寒的不是衾，是孤独的心。此句的妙处有三：一是「以对方写自己」——写君之寒，正是写己之寒，君我同此寒衾、同此孤寂，相思因此有了同频共振；二是「以虚写实」——君之「思我」是悬想（虚），而己之「想君」是实情（实），虚实相生；三是「以寒写爱」——寒衾的孤独，正是深爱的证明。此句与杜甫「今夜鄜州月，闺中只独看」异曲同工，是「对写」法的千古佳例。
The line is the most exquisite passage of the lyric, its art in 'writing from the other side'—writing from the counterpart's point of view to make the longing doubly deep. The four characters 'I think how you must miss me' are the typical 'writing from across': I do not write 'I miss you' but 'I think how you miss me'—I imagine that at this moment you, too, are thinking of me; this layer of imaginary thought turns one-way longing into two-way care, as though across a thousand li one could hear the other's heartbeat. 'The broidered quilt cold' writes the concrete content of the imagination—I imagine you sleeping alone under the broidered quilt and feeling the cold: the broidered quilt is by nature a rich wedding object, yet in lonely sleep the cold is unbearable—cold not in the quilt but in the lonely heart. The art is threefold: writing myself through the other—writing your cold is to write my own cold, you and I sharing this cold quilt, this solitude, so that longing resonates at one frequency; writing the real through the imaginary—your 'missing me' is imaginary, my 'thinking of you' is real, the imaginary and the real begetting each other; writing love through cold—the loneliness of the cold quilt is the proof of deep love. The line is the peer of Du Fu's 'tonight in Fuzhou moon, alone she watches from the chamber,' an age-old example of the 'writing from across' method.
咫尺画堂深似海
Though the painted hall is but a step away, it is deep as the sea
画堂近在咫尺，却深得似大海一样难以逾越。
The painted hall, a foot away, is deep as the sea.
此句以反语写阻隔，是全词情感的转折点。「咫尺」写距离之近——画堂近在咫尺，几乎伸手可及；「深似海」写阻隔之深——画堂虽近，却深似大海，无法逾越。咫尺与似海，一近一深，形成强烈的反差：物理的距离近在咫尺，心理（或人事）的距离远如大海，这正是「咫尺天涯」的具象化。此句化用崔郊「侯门一入深如海」的名句而自出新境：崔郊写「侯门」之深（地位的阻隔），韦庄写「画堂」之深（爱情的阻隔）——画堂是女子所居之处，也是两人曾经欢会之所，如今画堂依旧，而伊人如隔沧海。「深似海」的「海」字极见夸张之妙：海是最深最广的阻隔意象，以海喻画堂之深，把「可望而不可即」的绝望写到极致。此句与上片「想君思我锦衾寒」对照：思君之深与见君之难，正是相思的全部悲剧。
The line uses reverse speech to write the barrier, the emotional turning point of the lyric. 'A foot away' writes the nearness of distance—the painted hall near at hand, almost within reach. 'Deep as the sea' writes the depth of the barrier—the hall though near is deep as the sea, impossible to cross. 'A foot away' and 'as the sea,' one near, one deep, form a stark contrast: the physical distance is a foot away, the psychological (or human) distance far as the sea, the very image of 'a foot away yet a world apart.' The line adapts Cui Jiao's famous 'once the lordly gate is entered, deep as the sea' to new purpose: Cui wrote the depth of the 'lordly gate' (the barrier of rank), Wei Zhuang the depth of the 'painted hall' (the barrier of love)—the painted hall is where the woman dwelled, where the two once met; now the hall stands as before, yet the beloved is as if across a sea. The word 'sea' in 'deep as the sea' shows the art of exaggeration: the sea is the deepest, widest image of barrier, and using the sea for the depth of the hall writes the despair of 'within sight yet beyond reach' to the extreme. The line answers the upper stanza's 'I think how you must miss me, the broidered quilt cold': the depth of longing and the difficulty of meeting are the whole tragedy of love.
忆来惟把旧书看
When memory comes, I do nothing but read your old letters.
回忆起来只能把旧日书信翻看。
When I recall, I can only look through your old letters.
此句写相思的无聊赖，是全词由「望」入「忆」的过渡。「忆来」点明由望转入忆——望不见人，只能转而回忆；「惟把旧书看」写回忆的方式——只能把旧日的书信翻出来看，一个「惟」字写尽别无他法的无奈：不能相见，不能通语，唯有旧书是唯一的慰藉。此句的妙处在于「以小见大」：旧书（书信）是往日情爱的信物，信上的一字一句，都是往日的温言软语；思妇翻看旧书，是在文字中重温和那人在一起的时光——书犹在而人已远，看着旧书，如见故人，又更添新愁。「把旧书看」的动作看似寻常，实则写尽一个等待者的全部生活：她的日子，只剩下在回忆中翻看旧书这一件事。此句与下句「几时携手入长安」相连：正因为只能看旧书，才更盼「几时携手」的新聚，忆之深与盼之切，互为因果。
The line writes the helplessness of longing, the passage where the lyric moves from 'gazing' to 'remembering.' 'When memory comes' marks the turn from gazing to remembering—hearing no one, she turns to memory. 'I can only look through your old letters' writes the manner of remembering—only taking out the old letters to read, the single word 'only' writing the helplessness of no other way: they cannot meet, cannot speak, and only the old letters remain as solace. The art lies in 'writing the great through the small': the old letters are the token of past love, and every word on the page is the old tender speech; the woman reading the old letters is reliving, in the text, the time with that person—the letters remain while the man is far, and reading the old letters is like seeing the old friend, yet it only adds new grief. The action of 'looking through the old letters' seems ordinary, yet it writes the whole life of one who waits: her days are reduced to this one thing, reading old letters in memory. The line joins the next, 'when shall we join hands and enter Chang'an': precisely because she can only read old letters, she the more longs for the new meeting of 'when shall we join hands,' the depth of memory and the keenness of hope causing each other.
几时携手入长安
When shall we hand in hand enter Chang'an?
何时才能携手同入长安？
When shall we join hands and go into Chang'an?
结句以痴问收束，是全词情感的最高点，也是全词最耐人寻味处。「几时」是设问——何时才能？这问没有答案，也不指望答案，是绝望中的痴盼；「携手」写团圆之愿——携手同行，是爱人之间最亲密的姿态，也是对重逢最具体的想象；「入长安」点明归处——长安是征人（或情人）的去处，也是两人共同的家园。此句的妙处有二：一是「以问写盼」——「几时」的痴问，把无尽的相思收束为一个具体的企盼，问得越痴，盼得越切，而越切越见其渺茫；二是「以长安写故园」——长安既是实指（唐都），也是故园的象征，韦庄一生心系故唐，此句于儿女情中暗含故园之思：思妇盼携手入长安，正是诗人盼归故都的投影，闺情与身世在此叠合，使小词于柔情外别见苍凉。结句由实入虚，余韵悠长，是全词「语浅情挚」的极致。
The closing line ends in a foolish question, the highest point of the lyric's feeling and its most thought-provoking passage. 'When' is a question—when shall it be? The question has no answer, and hopes for none, a foolish hope within despair. 'Join hands' writes the wish for reunion—walking hand in hand is the most intimate gesture between lovers, and the most concrete imagining of meeting again. 'Enter Chang'an' names the destination—Chang'an is where the traveler (or lover) has gone, and the home shared by the two. The art is twofold: writing hope through the question—the foolish question of 'when' gathers the endless longing into a single concrete expectation, the more foolish the question, the keener the hope, and the keener the hope, the more distant it shows; and writing the home through Chang'an—Chang'an is both the real (the Tang capital) and the symbol of the homeland, and Wei Zhuang's life was bound to the fallen Tang, so that this line, within lovers' feeling, carries the thought of the lost homeland: the woman longing to join hands and enter Chang'an is the projection of the poet's longing to return to the old capital, and the boudoir feeling and the personal lot overlap here, giving the little lyric a desolation beyond tenderness. The close moves from the real to the virtual, the afterecho long, the extreme of the lyric's 'plain speech, earnest feeling.'
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Both Wei Zhuang masterworks; see his clear and open feeling.
《菩萨蛮·人人尽说江南好》「人人尽说江南好，游人只合江南老……未老莫还乡，还乡须断肠」与《浣溪沙·夜夜相思》同为韦庄的代表作，同写思乡怀人之情，而一写羁旅、一写闺情，一开阔一缠绵。《菩萨蛮》以「人人尽说江南好」起笔，写游子滞留江南的复杂心绪——「还乡须断肠」的欲归不得，情感疏朗中见沉郁；《浣溪沙》以「夜夜相思更漏残」起笔，写思妇长夜的相思——「几时携手入长安」的痴盼，情感缠绵中见真挚。两词同有「长安」情结（菩萨蛮写「游人只合江南老」的滞留，浣溪沙写「携手入长安」的归望），皆暗含韦庄的故国之思。两词并读，可见韦庄词「疏朗明快」的总体风格，也可见其「词中有我」的抒情自觉——无论写羁旅还是闺情，都有真感情、真身世，这是花间词中最可贵的品质。
浣溪沙·红日已高三丈透 Sand of the Washing Stream (The Red Sun Three Zhang High) （五代） · 同用《浣溪沙》词牌写闺情，可比较五代同调词的异同 Same (same author, same tune, both boudoir love)Both from Duanji; compare his Huan Xi Sha group.
《浣溪沙·红日已高三丈透》（或题李煜、或题无名氏，写「红日已高三丈透，金炉次第添香兽」的宫廷晨景）与《浣溪沙·夜夜相思》同用《浣溪沙》词牌，同属五代词，而情调迥异：红日词写宫廷的富丽晨景——红日高照、金炉添香，是「富贵闲愁」的应歌之作，辞采秾丽；夜夜相思词写闺中的长夜相思——更漏残、明月寒、旧书看，是「真情实感」的抒情之作，语浅情挚。一写昼之繁华、一写夜之孤寂，一秾丽一清疏，正是五代《浣溪沙》词的两种风貌，也可见韦庄词在花间词中「以情真胜」的独特位置。两词并读，可比较五代词同一曲牌下的风格差异，也可理解「词为艳科」向「词中有我」转变的时代趋势。
浣溪沙·懒岸风鬟金缕香 Sand of the Washing Stream (Lazy by the Wind, Gold-thread Scent) （五代） · 同牌闺情之作，互参可见五代闺情词的不同笔法 Same (same author, same tune)Same tune boudoir love; cross-reference Wei Zhuang's style.
《浣溪沙·懒岸风鬟金缕香》一类五代《浣溪沙》闺情词（写女子「风鬟」「金缕」的妆饰与情态）与《浣溪沙·夜夜相思》同写闺情而取径有别：懒岸词以「风鬟金缕」的妆饰起笔，写女子容色之美与情态之慵，是花间词「写形」一路（以物态、妆饰写人）；夜夜相思词以「更漏残」「凭阑干」的处境起笔，写女子相思之深与企盼之切，是韦庄词「写心」一路（以动作、心理写人）。一写容色、一写心绪，一秾丽、一清疏，可见五代闺情词的两种笔法。韦庄词之可贵，正在于他不满足于「写形」——他让闺情词中的女子有了真实的心事、真实的情感，「想君思我锦衾寒」的「对写」更是花间词中少有的深情之笔，为后来李煜、晏殊的抒情词开了先声。