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宋 Song · 词 Ci lyric

西江月·粉面都成醉梦

The, Moon, over, the, West, River: The, Painted, Face, All, Turned, into, the, Drunken, Dream

辛弃疾

Xin Qiji

感慨Theme 闲适Leisure

粉面都成醉梦，霜髯能几春秋。
来时诵我伴牢愁。
一见尊前似旧。
诗在阴何侧畔，字居罗赵前头。
锦囊来往几时休。
已遣蛾眉等候。

The, painted, faces, all, turned, into, the, drunken, dreams,
The, frost, whiskers, can, how, many, autumns, last.
When, you, came, reciting, my, poems, the, companionship, of, the, sorrow,
At, the, first, sight, before, the, wine, cup, like, the, old.
The, poems, at, the, side, of, the, Yin, and, the, He,
The, characters, ranking, before, the, Luo, and, the, Zhao.
The, brocade, pouch, coming, and, going, when, will, it, rest,
Already, having, sent, the, moth, eyebrows, to, wait.

Listen

Meaning

A poem of the meeting and the recollection, written by Xin Qiji. The painted faces all turned into the drunken dreams, the frost whiskers can how many autumns last — the aging of the opening. When you came reciting my poems the companionship of the sorrow, at the first sight before the wine cup like the old — the meeting of the middle. The poems at the side of the Yin and the He, the characters ranking before the Luo and the Zhao — the praise of the middle. And the close's the brocade pouch coming and going when will it rest, already having sent the moth eyebrows to wait — the close's waiting. The poem is the meeting and the recollection: the aging, the wine, and the close's waiting.

粉面都成醉梦，霜髯能几春秋。来时诵我伴牢愁。一见尊前似旧。诗在阴何侧畔，字居罗赵前头。锦囊来往几时休。已遣蛾眉等候。

Appreciation

[Plain Paraphrase] The, painted, faces, all, turned, into, the, drunken, dreams, the, frost, whiskers, can, how, many, autumns, last. When, you, came, reciting, my, poems, the, companionship, of, the, sorrow, at, the, first, sight, before, the, wine, cup, like, the, old. The, poems, at, the, side, of, the, Yin, and, the, He, the, characters, ranking, before, the, Luo, and, the, Zhao. The, brocade, pouch, coming, and, going, when, will, it, rest, already, having, sent, the, moth, eyebrows, to, wait. [Structure and Thought] The poem moves from the aging of the painted faces and the frost whiskers, through the meeting with the reciting of the poems, to the close's the waiting of the moth eyebrows. [Key Technique] The poem's art is the close of the waiting: the poems at the side of the Yin and the He, and the close's the brocade pouch coming and going when will it rest already having sent the moth eyebrows to wait — the meeting gathered in the praise and the close's waiting. [Emotional Tone] Aged, recollecting, and warm: the poem is the dreams, the wine and the close's waiting.

【白话串讲】辛弃疾写《西江月·粉面都成醉梦》：“粉面都成醉梦，霜髯能几春秋”——“来时诵我伴牢愁。一见尊前似旧”——“诗在阴何侧畔，字居罗赵前头”——“锦囊来往几时休。已遣蛾眉等候”——他写与友人重逢。【意象与手法】此词写感慨，以闲适写感慨，是辛弃疾的名篇。上片写年华：「粉面都成醉梦，霜髯能几春秋。来时诵我伴牢愁。一见尊前似旧」写粉面都成醉梦、霜髯能几春秋、来时诵我伴牢愁——写尽年华的易逝；下片写诗酒：「诗在阴何侧畔，字居罗赵前头。锦囊来往几时休。已遣蛾眉等候」写诗在阴何侧畔、字居罗赵前头、锦囊来往几时休——写尽诗酒的闲适。全词以闲适写感慨，写尽年华的易逝与诗酒的闲适，是辛弃疾的代表作。【情感与主旨】此词写感慨，以闲适写感慨，是辛弃疾的名篇。此词写辛弃疾与友人重逢于樽前，感慨年华易逝而自许诗书。辛弃疾罢官闲居，与诗友唱和往来，此词即写樽前重逢、赠诗酬和之乐，于闲适之中见感慨。此词写年华：粉面都成醉梦，霜髯能几春秋——写粉面都成醉梦、霜髯能几春秋，写尽年华的易逝；来时诵我伴牢愁，一见尊前似旧——写来时诵我伴牢愁、一见尊前似旧，写尽重逢的亲切；诗在阴何侧畔，字居罗赵前头——写诗在阴何侧畔、字居罗赵前头，写尽诗书的自许；锦囊来往几时休，已遣蛾眉等候——写锦囊来往几时休、已遣蛾眉等候，写尽诗酒的闲适。全词以闲适写感慨——那「霜髯能几春秋」写尽年华的易逝，「锦囊来往几时休」写尽诗酒的闲适，写尽年华的易逝与诗酒的闲适，是理解辛弃疾闲适词的重要篇章。【名句点睛】常考「粉面都成醉梦，霜髯能几春秋」写年华的易逝；「诗在阴何侧畔，字居罗赵前头」写诗书的自许；以及全词以闲适写感慨、以用典写自许的手法。

Background

Xin Qiji (1140-1207), the great poet of the Southern Song, wrote this 'The, Moon, over, the, West, River: The, Painted, Face' of the meeting and the recollection — the reunion with the old friend. The aging of the painted faces with the frost whiskers, the meeting with the wine, and the close's the waiting of the moth eyebrows — the poem gathers the warmth of the poet, the recollection of the friendship. The poem is one of the famous works of the poet's poems of the friendship.

此词写感慨，以闲适写感慨，是辛弃疾的名篇。辛弃疾（1140—1207），字幼安，号稼轩，历城（今山东济南）人，南宋词人，与苏轼并称「苏辛」，为豪放词派代表。此词写辛弃疾与友人重逢于樽前，感慨年华易逝而自许诗书。辛弃疾罢官闲居，与诗友唱和往来，此词即写樽前重逢、赠诗酬和之乐，于闲适之中见感慨。此词写年华：「粉面都成醉梦，霜髯能几春秋」写粉面都成醉梦、霜髯能几春秋——写尽年华的易逝（粉面都成醉梦，霜髯能几春秋）；「来时诵我伴牢愁，一见尊前似旧」写来时诵我伴牢愁、一见尊前似旧——写尽重逢的亲切（来时诵我伴牢愁，一见尊前似旧）；「诗在阴何侧畔，字居罗赵前头」写诗在阴何侧畔、字居罗赵前头——写尽诗书的自许（诗在阴何侧畔，字居罗赵前头）；「锦囊来往几时休，已遣蛾眉等候」写锦囊来往几时休、已遣蛾眉等候——写尽诗酒的闲适（锦囊来往几时休，已遣蛾眉等候）。全词以闲适写感慨，写尽年华的易逝与诗酒的闲适，是理解辛弃疾闲适词的重要篇章。

Art

The poem's art is the art of the recollection. The aging opens: the, painted, faces, all, turned, into, the, drunken, dreams — the drunken dreams of the painted faces; the, frost, whiskers, can, how, many, autumns, last — the frost whiskers of the autumns. The meeting follows: when, you, came, reciting, my, poems, the, companionship, of, the, sorrow — the reciting of the poems; at, the, first, sight, before, the, wine, cup, like, the, old — the wine cup of the first sight; the, poems, at, the, side, of, the, Yin, and, the, He — the poems of the Yin and the He; the, characters, ranking, before, the, Luo, and, the, Zhao — the characters of the Luo and the Zhao. And the close gathers the waiting: the, brocade, pouch, coming, and, going, when, will, it, rest — the brocade pouch of the coming and going; already, having, sent, the, moth, eyebrows, to, wait — the waiting of the moth eyebrows — the aging, the meeting and the close's waiting, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以对照写年华。「粉面都成醉梦，霜髯能几春秋」以对照写年华——那「粉面」「霜髯」写尽红颜白发的对照，以对照写尽年华的易逝。其二，以直抒写重逢。「一见尊前似旧」以直抒写重逢——那「似旧」写尽重逢的亲切，以直抒写尽樽前的故交。其三，以用典写自许。「诗在阴何侧畔」以用典写自许——那「阴何」用阴铿、何逊之典写诗才，以用典写尽诗书的自许。其四，以白描写闲适。「锦囊来往几时休」以白描写闲适——那「锦囊来往」写尽诗囊的往来，以白描写尽诗酒的闲适。此外，此词上片写年华的易逝，下片写诗酒的闲适，由慨及乐，正是闲适词「以乐写慨」的写法。四重手法，使此词以闲适写感慨，写尽年华的易逝与诗酒的闲适，是辛弃疾的代表作。此词还善于以「来时诵我伴牢愁」写故交的相知——那「诵我」写友人诵读词人旧作，正是以诗传情的写法，一个「诵」字写尽樽前的故交。又善以「已遣蛾眉等候」的细节写宴饮的期待——蛾眉（侍女）已备好，正是主人殷勤待客的写照，使全词于感慨之中更见情意。

Allusions

'The frost whiskers' (shuang ran) are the frost whiskers — the whiskers of the frost, the aging of the opening; 'the Yin and the He' (yin he) are the Yin and the He — the poets of the Yin Keng and the He Xun, the poems of the middle; 'the Luo and the Zhao' (luo zhao) are the Luo and the Zhao — the calligraphers of the Luo Shuo and the Zhao, the characters of the middle; 'the brocade pouch' (jin nang) is the brocade pouch — the pouch of the brocade, the collecting of the poems.

此词的用语深植于感慨与闲适传统。「粉面」令人想到「粉面」写红颜的意象——也令人想到「粉面含春」的意象；「霜髯」令人想到「霜髯」写白须的意象——也令人想到「霜鬓」的意象；「牢愁」令人想到「牢愁」写愁思的意象——也令人想到「牢骚」的意象；「阴何」令人想到「阴何」用阴铿、何逊之典——杜甫《解闷》「颇学阴何苦用心」，也令人想到「阴何」并称的意象；「罗赵」令人想到「罗赵」用罗晖、赵袭之典——西晋卫恒论书「罗叔景、赵元嗣」，也令人想到「罗赵」并称的意象；「锦囊」令人想到「锦囊」用李贺之典——李贺每出行以锦囊贮诗，也令人想到「锦囊佳句」的意象；「蛾眉」令人想到「蛾眉」写美人的意象——也令人想到「螓首蛾眉」的意象。全词化用粉面、霜髯、牢愁、阴何、罗赵、锦囊、蛾眉的意象典故，以闲适写感慨，正是辛弃疾「豪放」而善用典、承感慨传统写自许之本领。「阴何」指南朝诗人阴铿与何逊，杜甫《解闷》诗「颇学阴何苦用心」赞其炼字之苦；「罗赵」指东汉书法家罗晖与赵袭，西晋卫恒《四体书势》称「罗叔景、赵元嗣者，与伯英同时」，故以「字居罗赵前头」自夸书法。辛弃疾连用两典，正是以古人自况诗书才具。

Commentary

This poem is one of the famous works of Xin Qiji's poems of the friendship, quoted for the warmth of its meeting and the recollection of its close. The frost whiskers of the autumns, and the waiting of the moth eyebrows, are among the admired passages of the poet's poems. Critics praise the poem's recollection: the meeting gathered in the praise, to the close's waiting.

此词历来被推为辛弃疾闲适词的名篇，也是宋词写樽前酬和、自许诗书的代表。历代论者对此词评价极高：清人评此词「以闲适写感慨，旷达中含苍凉」；近人更指出「诗在阴何侧畔，字居罗赵前头」写诗书的自许，是此词的名句。在词史上，此词的特殊价值在于：它以双调的西江月写尽年华的易逝与诗酒的闲适——那粉面，那醉梦，那霜髯，那春秋，那伴牢愁，那尊前，那阴何，那罗赵，那锦囊，那蛾眉，都写尽了辛弃疾笔下的樽前；那「锦囊来往几时休」更以白描写尽诗酒的闲适。此词与辛弃疾《西江月·遣兴》（「醉里且贪欢笑」）同为闲适名篇，一写「近来始觉古人书」的遣兴（遣兴），一写「诗在阴何侧畔」的酬和（粉面都成醉梦）；又与苏轼「人生到处知何似」的感慨传统一脉相承，可见中国词写感慨的传统。对于今日读者，此词是理解辛弃疾闲适词的窗口，也是中国词写诗酒自许的经典——那等候的蛾眉，穿越千年，仍在诉说着年华的感慨。

Prosody

Form A ci of the tune of the Moon, over, the, West, River (xijiangyue)词·西江月

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the warm recollection.上片押「秋」「愁」，下片押「头」「候」，平仄换韵，音节旷达

Tone pattern The cadence is that of the recollection: the level opening with the aging, the turning with the meeting, and the close's fall with the waiting.此词为西江月词牌，上片押平韵、下片押平韵，平仄换韵，音节旷达，正合感慨的旷达。

Reading note The poem's sound matches its warmth: the cadences of the ci, and the close — 'yi qian e mei deng hou' — falls with the waiting, the sound of the recollection of the meeting poet.此词为《西江月》双调，上片四句、下片四句——「粉面都成醉梦，霜髯能几春秋。来时诵我伴牢愁。一见尊前似旧。诗在阴何侧畔，字居罗赵前头。锦囊来往几时休。已遣蛾眉等候」，上片押平韵（秋、愁），下片押平韵（头、候），平仄换韵，音节旷达。全词以闲适写感慨：上片写年华的易逝（粉面都成醉梦、霜髯能几春秋），下片写诗酒的闲适（诗在阴何侧畔、锦囊来往几时休）。双调短章，上写感慨，下写闲适，以「锦囊来往几时休」写尽诗酒的闲适，正见辛弃疾「豪放」的本色。诵读此词，宜以旷达的语调读「霜髯能几春秋」的感慨，以轻快的语调读「已遣蛾眉等候」的闲适，结句要读得旷达而有余韵，方能传达出辛弃疾的旷达苍凉。辛弃疾词以「豪放」著称，此词正是其闲适词的典范。

Line by line

粉面都成醉梦，霜髯能几春秋

Powdered faces have all turned to drunken dreams; how many years remain to this frost-white beard?

粉面都成醉梦，霜髯能几春秋。

Fair faces have become nothing but drunken dreams; of this frost-white beard, how many springs and autumns are left?

此二句是全词写年华的核心，以粉面都成醉梦写粉面，以霜髯能几春秋写霜髯，写尽年华的易逝，是千古名句。「粉面都成醉梦」写粉面都成醉梦——那「粉面」写粉面，「都成醉梦」写都成醉梦，写尽粉面的醉梦；「霜髯能几春秋」写霜髯能几春秋——那「霜髯」写霜髯，「能几春秋」写能几春秋，写尽霜髯的春秋。这句的深意在于：它以「粉面都成醉梦」的粉面与「霜髯能几春秋」的霜髯，写尽年华的易逝——粉面都成醉梦，那「粉面都成醉梦」写尽粉面的醉梦——粉面成梦，正是红颜易老的写照，那「都成醉梦」写尽年华的易逝；霜髯能几春秋，那「霜髯能几春秋」写尽霜髯的春秋——霜髯能几春秋，正是余年不多的写照，那「能几春秋」写尽年华的易逝；那「粉面都成醉梦」写尽粉面的醉梦，那「霜髯能几春秋」写尽霜髯的春秋，一写红颜，一写白髯，写尽年华的易逝——粉面成梦而霜髯无多，正是老之将至的写照；此二句以粉面、霜髯写尽年华的易逝，也为下文的尊前作铺垫，也让此二句成为全词写年华的核心与千古名句。若换作直说「我们都老了」，则失其词情；唯以「粉面都成醉梦」写粉面、「霜髯能几春秋」写霜髯，写尽年华的易逝，也让此二句成为全词写年华的核心。

These lines are the age heart of the ci, powdered faces turned to dream and the frost-white beard. The 'powdered faces' of youth have dissolved into a drunken dream—beauty and revelry both illusion; the 'frost-white beard' measures the few years left to the old man. The contrast of gone youth and remaining years is the whole point of the aging. If stated as 'we are all old now,' the ci's feeling would vanish; only through the dream of fair faces and the question over the white beard does the grief of time passing sharpen.

诗在阴何侧畔，字居罗赵前头

My verse stands beside Yin and He; my calligraphy takes the lead over Luo and Zhao.

诗在阴何侧畔，字居罗赵前头。

In poetry I rank beside Yin and He; in brushwork I place ahead of Luo and Zhao.

此二句是全词写自许的核心，以诗在阴何侧畔写诗才，以字居罗赵前头写书法，写尽诗书的自许，是千古名句。「诗在阴何侧畔」写诗在阴何侧畔——那「诗」写诗，「在阴何侧畔」写在阴何侧畔，写尽诗才的比肩；「字居罗赵前头」写字居罗赵前头——那「字」写字，「居罗赵前头」写居罗赵前头，写尽书法的领先。这句的深意在于：它以「诗在阴何侧畔」的诗才与「字居罗赵前头」的书法，写尽诗书的自许——诗在阴何侧畔，那「诗在阴何侧畔」写尽诗才的比肩——诗在阴何侧畔，正是自许诗才的写照，那「阴何」写尽诗书的自许；字居罗赵前头，那「字居罗赵前头」写尽书法的领先——字居罗赵前头，正是自许书法的写照，那「罗赵」写尽诗书的自许；那「诗在阴何侧畔」写尽诗才的比肩，那「字居罗赵前头」写尽书法的领先，一写诗，一写字，写尽诗书的自许——诗比阴何而字冠罗赵，正是自许的写照；此二句以诗才、书法写尽诗书的自许，也让此二句成为全词写自许的核心与千古名句。若换作直说「我诗写得不错，字也写得好」，则失其雅致；唯以「诗在阴何侧畔」写诗才、「字居罗赵前头」写书法，写尽诗书的自许，也让此二句成为全词写自许的核心。

These lines are the self-estimation heart of the ci, poetry beside the Southern Dynasties masters Yin Keng and He Xun, calligraphy ahead of the Han masters Luo and Zhao. The two allusions, one for verse one for script, set Xin Qiji's own pride—his poetry worthy to stand with Yin and He, his hand surpassing Luo and Zhao. The confidence, dropped into a ci of aging, is at once bravado and defiance against time. If stated as 'my poetry and calligraphy are good,' the elegance would vanish; only through the named masters beside and ahead does the self-praise become literary.

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Word focus

几 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「霜髯能几春秋」之「几」字是写年华的关键词，一个「几」字写尽春秋的有限。几者，多少、几何也。辛弃疾以「霜髯能几春秋」写年华，这个「几」字至少有双重意味：其一，写时之少——那「霜髯能几春秋」写霜髯能几春秋，那「几」字写尽春秋的有限——能几春秋，正是余年不多的写照，那「几」字写尽年华的易逝；其二，写情之慨——那「几」字更是写慨——几，正见感慨的深沉，那「几」字写尽辛弃疾的感慨。以「几」字写年华，正是辛弃疾写感慨的枢纽——若换作「多」「久」等字，则或失其与「霜髯」「春秋」的配合，或失其写几的意味；唯「几」字，以霜髯能几春秋写尽春秋的有限与感慨的深沉，与「粉面都成醉梦」的醉梦相合，写尽年华的易逝，也让「霜髯能几春秋」成为全词写年华的名句。

休 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「锦囊来往几时休」之「休」字是写闲适的关键词，一个「休」字写尽往来的不止。休者，停止、休止也。辛弃疾以「锦囊来往几时休」写闲适，这个「休」字至少有双重意味：其一，写往之不休——那「锦囊来往几时休」写锦囊来往几时休，那「休」字写尽往来的不止——几时休，正是往来不绝的写照，那「休」字写尽诗酒的闲适；其二，写情之乐——那「休」字更是写乐——休，正见唱和的乐趣，那「休」字写尽辛弃疾的自得。以「休」字写闲适，正是辛弃疾写感慨的枢纽——若换作「止」「尽」等字，则或失其与「锦囊来往」「几时」的配合，或失其写休的意味；唯「休」字，以锦囊来往几时休写尽往来的不止与唱和的乐趣，与「已遣蛾眉等候」的等候相合，写尽诗酒的闲适，也让「锦囊来往几时休」成为全词写闲适的名句。