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你是人间的四月天

You Are the April Day of the World

林徽因

Lin Huiyin

我说你是人间的四月天；
笑响点亮了四面风；
轻灵在春的光艳中交舞着变。
你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前。
那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆。
雪化后那片鹅黄，你像；
新鲜初放芽的绿，你是；
柔嫩喜悦，水光浮动着你梦期待中白莲。
你是一树一树的花开，是燕在梁间呢喃，——你是爱，是暖，是希望，你是人间的四月天！

I say you are the April day of the world;
Your laughter's echo lights the four winds;
Light and graceful, you dance and change in the spring's radiance.
You are the cloud-smoke of an early April day,
Dusk breathes the softness of the wind,
Stars blink unwittingly,
And soft rain drizzles before the flowers.
That lightness, that graceful bearing - you are;
You wear the crown of a hundred bright flowers,
You are innocence, you are solemnity,
You are the full round moon of every night.
The goose-yellow of melted snow, you are like;
The green of a fresh first shoot, you are;
Tender gladness -
Water-light floating on the white lotus of your dreamed-for hope.
You are a tree and a tree in flower,
You are the swallow's murmur under the beam,
- you are love, you are warmth, you are hope,
You are the April day of the world!
Listen

Meaning

Lin Huiyin's best-known lyric addresses its subject as a season rather than as a person: the addressee is 'the April day of the world', a figure made of cloud-smoke, soft wind, blinking stars, drizzles, goose-yellow, young green and a white lotus. The poem moves from the outer scene to the inner promise - love, warmth, hope - and returns to the opening figure. Written in the musical, colloquial style she called the poetry of the golden age, it is read as a celebration of a friend, of a lost love, or of a child, and its final trinity is the poem's real subject.

我说你是人间的四月天；笑响点亮了四面风；轻灵在春的光艳中交舞着变。你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前。那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆。雪化后那片鹅黄，你像；新鲜初放芽的绿，你是；柔嫩喜悦，水光浮动着你梦期待中白莲。你是一树一树的花开，是燕在梁间呢喃，——你是爱，是暖，是希望，你是人间的四月天！

Appreciation

【Plain Paraphrase】The speaker calls the beloved the April day of the world, and then fills the poem with the signs of early spring: laughter that lights the four winds, cloud-smoke at dusk, soft rain, stars blinking, a hundred flowers in bloom, goose-yellow, young green, a white lotus. The last stanza leaves the images for three abstract words - love, warmth, hope - and closes by naming the April day once more.
【Structure】A season used as a metaphor for a person; because 'April' returns at the opening and the close, the poem reads as a ring, and each stanza trades image for abstraction and back.
【Imagery】The objects are small and luminous - star, drizzle, sprout, lotus, swallow; nothing is heroic, and the effect is of lightness and cleanliness.

【白话串讲】 林徽因写《你是人间的四月天》：“我说你是人间的四月天，笑响点亮了四面风”——“你是四月早天里的云烟，黄昏吹着风的软”——“你是爱，是暖，是希望，你是人间的四月天”——她写四月天——你是爱，是暖，是希望。 【意象与手法】 “我说你是人间的四月天、笑响点亮了四面风”写四月天；“你是四月早天里的云烟、黄昏吹着风的软”写云烟；“那轻那娉婷你是、鲜妍百花的冠冕你戴着”写娉婷；“雪化后那片鹅黄你像、新鲜初放芽的绿你是”写鹅黄；结以“你是爱，是暖，是希望，你是人间的四月天”写你是人间的四月天。清新明快。 【情感与主旨】 林徽因写爱情之作，以四月天写心中所爱，是林徽因诗中的名篇。 【名句点睛】 常考“我说你是人间的四月天，笑响点亮了四面风”写四月天；“你是爱，是暖，是希望，你是人间的四月天”写爱与希望。

Background

Lin Huiyin (1904-1955), born in Fuzhou, was an architect as well as a poet and prose writer; she studied in the United States and worked with her husband Liang Sicheng on the survey and documentation of Chinese architecture. In poetry she belonged to the Crescent Moon school and developed the cadence she called the poetry of the golden age - colloquial in speech, precise in rhythm, free of fixed metre. This lyric is her most anthologised poem, composed in the late 1930s and often read as a private tribute, its dedicatee discussed though never named.

《你是人间的四月天》为现代女诗人林徽因所作诗。林徽因（1904—1955），原名林徽音，福建闽侯人，现代建筑师、诗人、作家。此诗写爱情写景，为咏四月天之作。诗中「我说你是人间的四月天；笑响点亮了四面风；轻灵在春的光艳中交舞着变」写我说你是人间的四月天，笑响点亮了四面风，轻灵在春的光艳中交舞着变；「你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前」写你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前；「那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆」写那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆；「雪化后那片鹅黄，你像；新鲜初放芽的绿，你是；柔嫩喜悦，水光浮动着你梦期待中白莲」写雪化后那片鹅黄，你像，新鲜初放芽的绿，你是，柔嫩喜悦，水光浮动着你梦期待中白莲；「你是一树一树的花开，是燕在梁间呢喃，——你是爱，是暖，是希望，你是人间的四月天」写你是一树一树的花开，是燕在梁间呢喃，你是爱，是暖，是希望，你是人间的四月天。林徽因此诗以爱情写景、你是人间的四月天写其爱情之情，清新明快，是林徽因诗中的名篇。

Art

The poem's central device is a sustained metaphor of the simplest kind: the elements of a season are the same as the person. Because the comparison is never explained, the images keep their literal force - the weather really is soft and the flowers really are bright - while also describing the beloved. Lin's craft appears in the cadence rather than in the argument: short lines, frequent enjambment, and the recurring 'you are ...' that lets each stanza open and close with the same assertion. The move from physical detail to the abstract trinity happens in a single line, so the feeling is stated without ever being argued.

此诗艺术上以「清新明快、以四月写情」见长。全诗共五节，由我说你是人间的四月天而你是四月早天里的云烟而那轻那娉婷你是而雪化后那片鹅黄你像。起「我说你是人间的四月天；笑响点亮了四面风；轻灵在春的光艳中交舞着变」写我说你是人间的四月天：我说你是人间的四月天，笑响点亮了四面风，轻灵在春的光艳中交舞着变；「你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前」写你是四月早天里的云烟：你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前；「那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆」写那轻那娉婷你是：那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆；结「你是一树一树的花开，是燕在梁间呢喃，——你是爱，是暖，是希望，你是人间的四月天」写你是人间的四月天：你是一树一树的花开，是燕在梁间呢喃，你是爱，是暖，是希望，你是人间的四月天。全诗以四月写情，由我说你是人间的四月天而你是人间的四月天，清新明快，是林徽因诗中的名篇。

Allusions

The goose-yellow of new spring and the white lotus belong to the classical Chinese palette of delicate colour, and the lotus carries the long association of purity. The crown of a hundred flowers borrows the imagery of honouring a figure with a circle of blossoms, a gesture of homage. None of these is quoted from a specific text; the poem's relation to tradition is tonal rather than quoted. It stands in the line of Chinese love lyrics in which nature is not a code to be decoded but a register of feeling, and the reader is simply asked to look.

诗中「我说你是人间的四月天笑响点亮了四面风轻灵在春的光艳中交舞着变」「你是四月早天里的云烟黄昏吹着风的软星子在无意中闪细雨点洒在花前」「那轻那娉婷你是鲜妍百花的冠冕你戴着你是天真庄严你是夜夜的月圆」「雪化后那片鹅黄你像新鲜初放芽的绿你是柔嫩喜悦水光浮动着你梦期待中白莲」「你是一树一树的花开是燕在梁间呢喃你是爱是暖是希望你是人间的四月天」等语，皆含典故故实。「我说你是人间的四月天笑响点亮了四面风轻灵在春的光艳中交舞着变」写我说你是人间的四月天笑响点亮了四面风轻灵在春的光艳中交舞着变；「你是四月早天里的云烟黄昏吹着风的软星子在无意中闪细雨点洒在花前」写你是四月早天里的云烟黄昏吹着风的软星子在无意中闪细雨点洒在花前；「那轻那娉婷你是鲜妍百花的冠冕你戴着你是天真庄严你是夜夜的月圆」写那轻那娉婷你是鲜妍百花的冠冕你戴着你是天真庄严你是夜夜的月圆；「雪化后那片鹅黄你像新鲜初放芽的绿你是柔嫩喜悦水光浮动着你梦期待中白莲」用白莲之典，写雪化后那片鹅黄你像新鲜初放芽的绿你是柔嫩喜悦水光浮动着你梦期待中白莲；「你是一树一树的花开是燕在梁间呢喃你是爱是暖是希望你是人间的四月天」写你是一树一树的花开是燕在梁间呢喃你是爱是暖是希望你是人间的四月天。诗人以四月天、云烟、白莲等语入诗，不着痕迹，而把爱情写景之情写得真切可感，是善于熔铸典故的体现。

Commentary

The lyric has been among the most reprinted modern Chinese poems since the 1980s and is a fixture of anthologies and recitation. Readers have argued about who is addressed - a friend, a departed companion, or Lin's own son - and the ambiguity has helped rather than hurt its reputation. What critics usually emphasise is its refusal of difficulty: the images are clear, the vocabulary plain, and the effect comes from repetition and warmth rather than from wit. It remains the standard example of modern Chinese love poetry that is neither sentimental nor obscure.

这首《你是人间的四月天》，是林徽因写爱情写景之作，写我说你是人间的四月天、你是四月早天里的云烟、你是爱是暖是希望之情，清新明快。起「我说你是人间的四月天；笑响点亮了四面风；轻灵在春的光艳中交舞着变」——我说你是人间的四月天，笑响点亮了四面风，轻灵在春的光艳中交舞着变。写我说你是人间的四月天：我说你是人间的四月天、笑响点亮了四面风、轻灵在春的光艳中交舞着变——你是四月天、笑响点亮风、轻灵交舞着变；「你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前」——你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前。写你是四月早天里的云烟：你是四月早天里的云烟、黄昏吹着风的软、星子在无意中闪、细雨点洒在花前——四月早天云烟、黄昏吹软、星子闪、细雨点洒花前；「那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆」——那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆。写那轻那娉婷你是：那轻那娉婷你是、鲜妍百花的冠冕你戴着、你是天真庄严、你是夜夜的月圆——那轻那娉婷、冠冕你戴着、天真庄严、夜夜月圆；结「你是一树一树的花开，是燕在梁间呢喃，——你是爱，是暖，是希望，你是人间的四月天」——你是一树一树的花开，是燕在梁间呢喃，你是爱，是暖，是希望，你是人间的四月天。写你是人间的四月天：你是一树一树的花开、是燕在梁间呢喃、你是爱是暖是希望、你是人间的四月天——一树树花开、燕在梁间呢喃、爱暖希望、你是四月天。这「你是爱，是暖，是希望，你是人间的四月天」，是全诗之结：以你是人间的四月天写其爱情。全诗清新明快，以四月写情，正是林徽因诗中的名篇。

Prosody

Form Poem (Modern free verse)诗（现代自由诗）
Rhyme Modern free verse with no fixed rime and no uniform line length. The music comes from repetition - the recurring 'you are ...' of nearly every stanza - rather than from end-rime.此诗为现代自由诗，句式长短错落，无固定格律。诗以意为主，音节随情起伏，正与写爱情写景的清新明快相称，也见其以自由诗写爱情的自然。
Tone pattern Sound: the opening is light and quick; the middle stanzas turn softer and slower; the close lifts. Enjambment is frequent, so the line seems to breathe rather than beat, and the short lines give the poem the air of conversation.句式上，「我说你是人间的四月天；笑响点亮了四面风；轻灵在春的光艳中交舞着变」写我说你是人间的四月天，音节清丽；「你是四月早天里的云烟，黄昏吹着风的软，星子在无意中闪，细雨点洒在花前」写你是四月早天里的云烟，音节轻快；「那轻，那娉婷，你是，鲜妍百花的冠冕你戴着，你是天真，庄严，你是夜夜的月圆」写那轻那娉婷你是，音节婉转；结「你是爱，是暖，是希望，你是人间的四月天」写你是人间的四月天，音节明快。全诗音节随情起伏，由清丽而轻快、由婉转而明快，正合自由诗「自然」之妙，读来如爱情写景、你是人间的四月天之音，清新而动人。
Reading note Note: often quoted as a model of Lin Huiyin's 'poetry of the golden age'. The point of its prosody is that it has almost none: the verse is free, yet the repeated opening 'you are' supplies the cadence, and the frequent breaks let each line carry its own breath. Read aloud, the poem sounds like speech that has been carefully tuned - which is exactly what she meant by the golden age.此诗为现代自由诗，是林徽因写爱情写景之作，也是其诗中的名篇。全诗的艺术特色在于「清新明快、以四月写情」：「我说你是人间的四月天；笑响点亮了四面风」写我说你是人间的四月天、「你是四月早天里的云烟，黄昏吹着风的软」写你是四月早天里的云烟、「那轻，那娉婷，你是」写那轻那娉婷你是、「你是爱，是暖，是希望，你是人间的四月天」写你是人间的四月天。全诗清新明快，以四月写情。尤为精妙者，是「雪化后那片鹅黄，你像；新鲜初放芽的绿，你是」用白莲之典；而「你是爱，是暖，是希望，你是人间的四月天」写尽爱暖希望，正是林徽因诗「清新明快」的典范，为历代选本所常收。

Line by line

我说你是人间的四月天；

I say you are the April day of the world;

我说你是人间的四月天；

I say you are April days on earth;

起句写我说你是人间的四月天，起笔即见其情。「我说你是人间的四月天」写我说你是人间的四月天，「我说你」写我说你、「是人间的四月天」写是人间的四月天。一句写我说你是人间的四月天，以我说你是人间的四月天写你是四月天，写尽我说你是人间的四月天之情。以你起兴，清新而明快，是「以你起兴」的妙笔。

The opening declares the beloved through the radiant image of April, the thesis of the whole. 'I say' is intimate and declarative, as if offering a definition; 'April days on earth' gathers all that is tender, luminous, and burgeoning—spring at its sweetest, neither harsh nor fading. The freshness of the image sets the lyrical, light tone of Lin Huiyin's most famous poem, and naming the beloved as a season rather than a face makes love worship the whole of living beauty.

你是四月早天里的云烟，

You are the cloud-smoke of an early April day,

你是四月早天里的云烟，

you are the mist and cloud of an early April sky,

「你是四月早天里的云烟」写你是四月早天里的云烟，是全诗写云烟之态的关键。你是四月早天里的云烟——你是写你是、四月早天里的云烟写四月早天里的云烟。一句写你是四月早天里的云烟，以你是四月早天里的云烟写你是云烟，写尽你是四月早天里的云烟之情。云烟缥缈、四月早天，正是以景写情的点睛之笔，把爱情写得清新可感。

The line unfolds the April image through the ethereal mist of an early spring sky. 'Mist and cloud' are light, insubstantial, half-seen—writing the beloved's delicacy and the airy grace of her presence. The freshness of the early April morning, its thin haze just lifting, is matched to the beloved; abstract feeling takes on a visible, aerial beauty, the poem moving outward from the declaration to concrete, luminous scenes.

那轻，那娉婷，你是，

That lightness, that graceful bearing - you are;

那轻，那娉婷，你是，

that lightness, that grace—you are,

「那轻，那娉婷，你是」写那轻那娉婷你是，是全诗写你是之态的关键。那轻那娉婷你是——那轻写那轻、那娉婷写那娉婷、你是写你是。一句写那轻，那娉婷，你是，以那轻那娉婷写那轻那娉婷、以你是写你是，写尽那轻、那娉婷、你是之情。轻灵娉婷、你即如是，正是以你写情的点睛之笔。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。

The fragmentary line catches the very qualities of lightness and poise. 'That lightness, that grace' points and names, as if the poet can only gesture toward what the beloved is; the breaking of the grammar, 'you are,' suspended, enacts the way praise stutters before so much beauty. The words 'light' and 'grace' together fuse physical buoyancy with feminine poise, and the unfinished phrasing leaves the sentence open, as love itself cannot be closed.

你是爱，是暖，是希望，

You are love, you are warmth, you are hope,

你是爱，是暖，是希望，

you are love, are warmth, are hope,

「你是爱，是暖，是希望」写你是爱是暖是希望，是全诗立意的落点。你是爱，是暖，是希望——你是爱写你是爱、是暖写是暖、是希望写是希望。一句写你是爱，是暖，是希望，以你是爱写你是爱、以是暖写是暖、以是希望写是希望，写尽你是爱、是暖、是希望之情。爱暖希望、集于一身，正是以情写爱的点睛之笔，把爱情写到了极致。

The line rises from physical image to abstract trinity, piling three nouns in a breath. 'Love, warmth, hope' are the inner meanings the April beloved embodies—not merely beautiful but the source of affection, comfort, and aspiration. The anaphora 'you are' three times lifts the verse like a hymn, and the accumulation suggests that the beloved cannot be contained by one metaphor but gathers all the good of life, the poem reaching its emotional crest.

你是人间的四月天！

You are the April day of the world!

你是人间的四月天！

you are April days on earth!

结句写你是人间的四月天，是全诗收束的落点。「你是人间的四月天」写你是人间的四月天，「你是」写你是、「人间的四月天」写人间的四月天。一句写你是人间的四月天，以你是人间的四月天写你是四月天，写尽你是人间的四月天之情。以四月收束，清新而明快，是全诗最动人处，也是「以四月收束」的点睛之笔。

The closing line returns to the opening image, rounding the poem in a full circle. The exclamation mark now rings with conviction, after the threefold trinity of love and warmth and hope has filled out what 'April' meant. Returning to the opening words is not repetition but resolution—the beloved has been defined, celebrated, and the single image, set between, has gathered all its meaning. It closes the poem in the same freshness with which it began, a sunny, perfect affirmation.

Study

Word focus

四月天 the April day; the poem's title word and its central image, a season used as a name for the beloved. 「四月天」写我说你是人间的四月天，是写四月天之态的关键。「我说你是人间的四月天」着一「四月天」，写四月天——着一「四月天」，写我说你是人间的四月天，见其天之美。三字写尽四月天之态，是「以词写天」的妙笔。「四月天」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
笑响 laughter's echo; the sound of a laugh, which here has the power to light up the four winds. 「笑响」写笑响点亮了四面风，是写笑响之态的关键。「笑响点亮了四面风」着一「笑响」，写笑响——着一「笑响」，写笑响点亮了四面风，见其笑之声。两字写尽笑响之态，是「以词写笑」的点睛之词。「笑响」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
娉婷 graceful bearing; the lovely poise of the body, paired with lightness as the two qualities the poet singles out. 「娉婷」写那轻，那娉婷，你是，是写娉婷之态的关键。「那轻，那娉婷，你是」着一「娉婷」，写娉婷——着一「娉婷」，写那轻那娉婷你是，见其人之娉婷。两字写尽娉婷之态，是「以词写姿」的点睛之词。「娉婷」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
呢喃 murmur; the soft twittering of a swallow, given to the beam and used as an image of tenderness. 「呢喃」写是燕在梁间呢喃，是写呢喃之态的关键。「是燕在梁间呢喃」着一「呢喃」，写呢喃——着一「呢喃」，写是燕在梁间呢喃，见其燕之声。两字写尽呢喃之态，是「以词写声」的点睛之词。「呢喃」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

浣溪沙·一曲新词酒一杯 Huanxisha - A Tune of the Western Stream: A New Song, a Cup of Wine 晏殊 · 同写春景感怀、无可奈何，一写无可奈何花落去、一写你是人间的四月天，皆于春景之中见感怀 Both write of spring and of feeling it pass - Yan Shu over fallen flowers and returning swallows, Lin Huiyin over an April of cloud-smoke and drizzle - and both let the season speak for the mood.

Yan Shu's 'Huanxisha', "nothing can be done about fallen flowers, and swallows return as though they knew", sees in spring's turning a philosophy of loss; Lin Huiyin's April keeps the same turn of the year but refuses the sadness, finding in light, rain and young growth a direct address to the beloved. Both poems make the season the poem's argument. The contrast is in the outcome: one arrives at acceptance, the other at an exclamation.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写春景感怀，是宋词小令的名篇；林徽因《你是人间的四月天》则以「我说你是人间的四月天；笑响点亮了四面风」「你是爱，是暖，是希望」写你是四月天、爱暖希望。两诗同写春景感怀、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写我说你是人间的四月天笑响点亮了四面风、以四月天写春景；一为晏殊之温润、一为林徽因之明快，并读正可见诗写「春景感怀」的两种笔法，皆于春景之中见感怀。

 山园小梅 Small Garden, Little Plum 林逋 · 同写咏物寄情、清新明丽，一写疏影横斜水清浅暗香浮动月黄昏、一写你是四月早天里的云烟黄昏吹着风的软，皆于咏物之中见清新 Both write of loving a particular flower with pure, unforced feeling - Lin Bu in the sparse beauty of plum and moonlight, Lin Huiyin in the April of blossom and swallow - and both keep the emotion in the image rather than in comment.

Lin Bu's 'Small Garden, Little Plum', "sparse shadows slanting in clear shallow water, a hidden scent drifting in the moon of dusk", is the celebrated poem on plum blossom seen in clear water under evening moonlight; Lin Huiyin's lyric is built out of the same elements of water, light and delicate colour, though it addresses a person rather than a flower. The two share a taste for the sparse and the clean, and differ in the object of devotion - an ideal of yourself, or another. Read together, they show how much modern poetry still owed to the Song dynasty eye.

林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」，写梅之清雅、清新明丽，是宋诗咏物的绝唱；林徽因《你是人间的四月天》则以「你是四月早天里的云烟，黄昏吹着风的软」「你是爱，是暖，是希望，你是人间的四月天」写四月早天云烟、你是人间的四月天。两诗同写咏物寄情、清新明丽：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写你是四月早天里的云烟黄昏吹着风的软、以四月天写爱情；一为林逋之清逸、一为林徽因之明丽，并读正可见诗写「咏物寄情」的两种笔法，皆于咏物之中见清新。