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宋 Song · 词 Ci lyric

西江月·梅花

The, Moon, over, the, West, River: The, Plum, Blossoms

苏轼

Su Shi

咏梅Theme 悼亡Theme

玉骨那愁瘴雾，冰姿自有仙风。
海仙时遣探芳丛。
倒挂绿毛么凤。
素面翻嫌粉涴，洗妆不褪唇红。
高情已逐晓云空。
不与梨花同梦。

The, jade, bones, how, they, fear, the, miasma, of, the, mist,
The, icy, bearing, of, its, own, self, having, the, immortal, wind.
The, sea, immortal, from, time, to, time, sending, to, explore, the, fragrant, grove,
The, hanging, upside, down, the, green, haired, little, phoenix.
The, plain, face, instead, disliking, the, powdered, soiled,
The, washed, makeup, not, fading, the, lip, red.
The, high, sentiment, already, chasing, the, dawn, clouds, empty,
Not, with, the, pear, blossoms, the, same, dream.

Listen

Meaning

A poem of the plum and the praise, written by Su Shi. The jade bones how they fear the miasma of the mist, the icy bearing of its own self having the immortal wind — the plum of the opening. The sea immortal from time to time sending to explore the fragrant grove, the hanging upside down the green haired little phoenix — the admiration of the middle. The plain face instead disliking the powdered soiled, the washed makeup not fading the lip red — the purity of the middle. And the close's the high sentiment already chasing the dawn clouds empty, not with the pear blossoms the same dream — the close's purity. The poem is the plum and the praise: the jade bones, the purity, and the close's dream.

玉骨那愁瘴雾，冰姿自有仙风。海仙时遣探芳丛。倒挂绿毛么凤。素面翻嫌粉涴，洗妆不褪唇红。高情已逐晓云空。不与梨花同梦。

Appreciation

[Plain Paraphrase] The, jade, bones, how, they, fear, the, miasma, of, the, mist, the, icy, bearing, of, its, own, self, having, the, immortal, wind. The, sea, immortal, from, time, to, time, sending, to, explore, the, fragrant, grove, the, hanging, upside, down, the, green, haired, little, phoenix. The, plain, face, instead, disliking, the, powdered, soiled, the, washed, makeup, not, fading, the, lip, red. The, high, sentiment, already, chasing, the, dawn, clouds, empty, not, with, the, pear, blossoms, the, same, dream. [Structure and Thought] The poem moves from the plum of the jade bones and the icy bearing with the immortal wind, through the admiration of the sea immortal and the little phoenix, to the close's the purity of the high sentiment. [Key Technique] The poem's art is the close of the purity: the plain face instead disliking the powdered soiled, and the close's the high sentiment already chasing the dawn clouds empty not with the pear blossoms the same dream — the plum gathered in the purity and the close's dream. [Emotional Tone] Pure, praising, and lofty: the poem is the jade bones, the purity and the close's dream.

【白话串讲】苏轼写《西江月·梅花》：“玉骨那愁瘴雾，冰姿自有仙风”——“素面翻嫌粉涴，洗妆不褪唇红”——“高情已逐晓云空。不与梨花同梦”——他写梅花——玉骨冰姿，不惧瘴雾——实为悼念朝云。【意象与手法】此词咏梅，以梅悼亡，是苏轼的名篇。上阕写梅姿：「玉骨那愁瘴雾，冰姿自有仙风」写玉骨那愁瘴雾、冰姿自有仙风——写尽梅的仙姿；「海仙时遣探芳丛。倒挂绿毛么凤」写海仙时遣探芳丛、倒挂绿毛么凤——写尽梅的高洁；下阕写梅情：「素面翻嫌粉涴，洗妆不褪唇红」写素面翻嫌粉涴、洗妆不褪唇红——写尽梅的素洁；「高情已逐晓云空。不与梨花同梦」写高情已逐晓云空、不与梨花同梦——写尽梅的孤高。全词以梅悼亡，写尽梅的仙姿与孤高，是苏轼的代表作。【情感与主旨】此词咏梅，以梅悼亡，是苏轼的名篇。此词为悼念侍妾朝云而作。朝云随苏轼谪居惠州，病卒于惠州。惠州瘴雾弥漫，而梅花于此独开，故苏轼借梅悼朝云。上阕写梅姿：玉骨那愁瘴雾，冰姿自有仙风——写玉骨那愁瘴雾、冰姿自有仙风，写尽梅的仙姿；海仙时遣探芳丛。倒挂绿毛么凤——写海仙时遣探芳丛、倒挂绿毛么凤，写尽梅的高洁；下阕写梅情：素面翻嫌粉涴，洗妆不褪唇红——写素面翻嫌粉涴、洗妆不褪唇红，写尽梅的素洁；高情已逐晓云空。不与梨花同梦——写高情已逐晓云空、不与梨花同梦，写尽梅的孤高。全词以梅悼亡——那「玉骨那愁瘴雾」写尽梅的仙姿，「高情已逐晓云空」写尽梅的孤高，写尽梅的仙姿与孤高，是理解苏轼悼亡词的重要篇章。【名句点睛】常考「玉骨那愁瘴雾，冰姿自有仙风」写梅的仙姿；「素面翻嫌粉涴，洗妆不褪唇红」写梅的素洁；「高情已逐晓云空。不与梨花同梦」写梅的孤高；以及全词以梅悼亡、以咏物写悼亡的手法。

Background

Su Shi (1037-1101), the great poet of the Song, wrote this 'The, Moon, over, the, West, River: The, Plum, Blossoms' of the plum and the praise — the praise for the plum of the south. The jade bones with the icy bearing, the purity of the plain face, and the close's the high sentiment chasing the dawn clouds — the poem gathers the praise of the poet, the purity of the plum. The poem is one of the famous works of the poet's poems of the plum.

此词咏梅，以梅悼亡，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉山（今属四川）人，北宋伟大的文学家，唐宋八大家之一。此词为悼念侍妾朝云而作。朝云随苏轼谪居惠州，绍圣三年（1096）病卒于惠州，年仅三十四岁。惠州地处岭南，瘴雾弥漫，而梅花于此独开，故苏轼借梅悼朝云。「玉骨那愁瘴雾，冰姿自有仙风」写玉骨那愁瘴雾、冰姿自有仙风——写尽梅的仙姿（玉骨那愁瘴雾，冰姿自有仙风）；「海仙时遣探芳丛。倒挂绿毛么凤」写海仙时遣探芳丛、倒挂绿毛么凤——写尽梅的高洁（海仙时遣探芳丛，倒挂绿毛么凤）；「素面翻嫌粉涴，洗妆不褪唇红」写素面翻嫌粉涴、洗妆不褪唇红——写尽梅的素洁（素面翻嫌粉涴，洗妆不褪唇红）；「高情已逐晓云空。不与梨花同梦」写高情已逐晓云空、不与梨花同梦——写尽梅的孤高（高情已逐晓云空，不与梨花同梦）。全词以梅悼亡，写尽梅的仙姿与孤高，是理解苏轼悼亡词的重要篇章。

Art

The poem's art is the art of the purity. The plum opens: the, jade, bones, how, they, fear, the, miasma, of, the, mist — the jade bones of the miasma; the, icy, bearing, of, its, own, self, having, the, immortal, wind — the icy bearing of the immortal wind. The admiration follows: the, sea, immortal, from, time, to, time, sending, to, explore, the, fragrant, grove — the fragrant grove of the sea immortal; the, hanging, upside, down, the, green, haired, little, phoenix — the little phoenix of the hanging upside down; the, plain, face, instead, disliking, the, powdered, soiled — the plain face of the disliking; the, washed, makeup, not, fading, the, lip, red — the lip red of the washed makeup. And the close gathers the purity: the, high, sentiment, already, chasing, the, dawn, clouds, empty — the dawn clouds of the high sentiment; not, with, the, pear, blossoms, the, same, dream — the same dream of the pear blossoms — the plum, the purity and the close's praise, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以玉骨写仙姿。「玉骨那愁瘴雾」以玉骨写仙姿——那「玉骨」「那愁」写尽玉骨无惧，以玉骨写尽梅的仙姿。其二，以仙风写高洁。「冰姿自有仙风」以仙风写高洁——那「冰姿」「仙风」写尽冰清仙韵，以仙风写尽梅的高洁。其三，以对照写素洁。「素面翻嫌粉涴，洗妆不褪唇红」以对照写素洁——那「素面」「不褪唇红」写尽素面不妆，以对照写尽梅的素洁。其四，以空灵写孤高。「高情已逐晓云空」以空灵写孤高——那「晓云空」写尽高情随云，以空灵写尽梅的孤高。此外，此词上阕写梅姿的仙韵，下阕写梅情的素洁孤高，由姿及情，正是咏物词「借物悼人」的写法。四重手法，使此词以梅悼亡，写尽梅的仙姿与孤高，是苏轼的代表作。此词尤可注意其「以人写梅、以梅写人」的双关结构：玉骨、冰姿、素面、唇红，句句写梅，又句句是朝云之写照——玉骨冰姿是其仙姿，素面唇红是其容貌，高情晓云是其逝去，人即梅，梅即人，浑然一体；而那「海仙时遣探芳丛。倒挂绿毛么凤」二句，以岭南珍禽绿毛么凤相伴梅丛，更添岭南风物之异，也暗写朝云随行惠州、死葬栖禅寺松林下的身世。全词不着一「悼」字，而悼意已透骨，正是苏轼悼亡「不写泪而情深」的至境。

Allusions

'The jade bones' (yu gu) are the jade bones — the bones of the jade, the plum of the opening; 'the icy bearing' (bing zi) is the icy bearing — the bearing of the ice, the immortal wind of the opening; 'the sea immortal' (hai xian) is the sea immortal — the immortal of the sea, the exploring of the middle; 'the green haired little phoenix' (lü mao me feng) is the green haired little phoenix — the little phoenix of the green hair, the hanging upside down of the middle.

此词的用语深植于咏梅与悼亡的传统。「玉骨」令人想到「玉骨」写仙骨的意象——「玉骨那愁瘴雾」正是苏轼的名句，也令人想到「玉骨冰肌」的意象；「瘴雾」令人想到「瘴雾」写岭南瘴气的意象——惠州多瘴雾，也令人想到「瘴江」「瘴疠」的意象；「海仙」令人想到「海仙」写海上仙人的典故——也令人想到「海上仙山」的意象；「绿毛么凤」令人想到「绿毛么凤」写岭南珍禽的典故——绿毛么凤即绿毛倒挂鸟，岭南所产，传为梅之守护，也令人想到「么凤」写岭南鸟的意象；「梨花同梦」令人想到「梨花」写梨花的意象——王建《梦看梨花云》诗，记梦梨花云事，也令人想到「一树梨花压海棠」的意象。全词化用玉骨、海仙、绿毛么凤的意象典故，以梅悼亡，正是苏轼「随物赋形」而善用典、承咏梅传统写悼亡的本领。又「不与梨花同梦」之典须细考：王建《梦看梨花云》诗自注「梦看梨花云」，苏轼《西江月》另有「唐昌观中玉蕊树」句，唐昌观玉蕊花与梨花并称；此句谓梅花不与梨花同入梦，正是以梨花之寻常衬梅花之孤高，也暗喻朝云不与俗流同梦的高格。而「绿毛么凤」乃岭南珍禽，陆游《南唐书》亦载「么凤」之名，苏轼以之点缀梅丛，正见其对惠州风物的熟悉与对朝云故地的一往情深。

Commentary

This poem is one of the famous works of Su Shi's poems of the plum, quoted for the purity of its middle and the loftiness of its close. The icy bearing of the immortal wind, and the high sentiment of the dawn clouds, are among the admired passages of the poet's poems. Critics praise the poem's purity: the plum gathered in the praise, to the close's dream.

此词历来被推为苏轼悼亡词的名篇，也是宋人咏梅悼亡的代表。历代论者对此词评价极高：清人评此词「以梅悼亡，空灵蕴藉」；近人更指出「玉骨那愁瘴雾，冰姿自有仙风」写梅的仙姿，是此词的名句。在词史上，此词的特殊价值在于：它以八句的短调写尽梅的仙姿与孤高——那玉骨，那冰姿，那海仙，那绿毛么凤，那素面，那唇红，那高情，那晓云，那梨花，都写尽了苏轼笔下的梅；那「高情已逐晓云空」更以空灵写尽梅的孤高。此词与苏轼《江城子·乙卯正月二十日夜记梦》（「十年生死两茫茫」）同为悼亡名篇，一写「明月夜，短松冈」的亡妻（江城子），一写「玉骨那愁瘴雾」的朝云（西江月·梅花）；又与陆游《沈园》「此身行作稽山土」的悼亡传统一脉相承，可见中国悼亡词的情深。对于今日读者，此词是理解苏轼悼亡词的窗口，也是中国咏梅悼亡的经典——那逐晓云空的高情，穿越千年，仍在诉说着对朝云的思念。

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 pure praise.《西江月》双调五十字，押「风」「丛」「红」「空」「梦」韵（平声），一韵到底，音节空灵

Tone pattern The cadence is that of the purity: the level opening with the plum, the turning with the purity, and the close's fall with the dream.此词为《西江月》调，押平声韵，一韵到底，音节空灵，正合悼亡的空灵。

Reading note The poem's sound matches its purity: the cadences of the ci, and the close — 'bu yu li hua tong meng' — falls with the dream, the sound of the purity of the plum praise.此词为《西江月》双调五十字，上阕——「玉骨那愁瘴雾，冰姿自有仙风。海仙时遣探芳丛。倒挂绿毛么凤」，下阕——「素面翻嫌粉涴，洗妆不褪唇红。高情已逐晓云空。不与梨花同梦」，押平声韵（风、丛、红、空、梦），一韵到底，音节空灵。全词以梅悼亡：上阕写梅姿的仙韵（玉骨那愁瘴雾、冰姿自有仙风、倒挂绿毛么凤），下阕写梅情的素洁孤高（素面翻嫌粉涴、高情已逐晓云空）。两阕由姿及情，层层写尽梅的仙姿与孤高，正是苏轼咏物词借物悼人的典型结构。诵读此词，宜以空灵的语调读「玉骨那愁瘴雾」的仙姿，以低回的语调读「高情已逐晓云空」的孤高，结句要读得空灵而有余韵，方能传达出苏轼的深情。苏轼词以「随物赋形」著称，此词正是其悼亡词的典范。

Line by line

玉骨那愁瘴雾，冰姿自有仙风

Jade bones—what should they fear from miasma? An icy grace, of itself, bears an immortal air.

玉骨那愁瘴雾，冰姿自有仙风。

With jade-like bones, why fear the miasmic fog? Her icy bearing has of itself an immortal's grace.

此二句是全词写仙姿的核心，以玉骨那愁瘴雾写骨，以冰姿自有仙风写姿，写尽梅的仙姿，是千古名句。「玉骨那愁瘴雾」写玉骨那愁瘴雾——那「玉骨」写玉骨，「那愁瘴雾」写那愁瘴雾，写尽玉骨的无惧；「冰姿自有仙风」写冰姿自有仙风——那「冰姿」写冰姿，「自有仙风」写自有仙风，写尽冰姿的仙韵。这句的深意在于：它以「玉骨那愁瘴雾」的骨与「冰姿自有仙风」的姿，写尽梅的仙姿——玉骨那愁瘴雾，那「玉骨那愁瘴雾」写尽玉骨的无惧——玉骨，正是不畏瘴雾的写照，那「那愁」写尽玉骨的无惧；冰姿自有仙风，那「冰姿自有仙风」写尽冰姿的仙韵——冰姿，正是天然仙风的写照，那「自有仙风」写尽冰姿的仙韵；那「玉骨那愁瘴雾」写尽玉骨的无惧，那「冰姿自有仙风」写尽冰姿的仙韵，一写骨，一写姿，写尽梅的仙姿——玉骨冰姿，正是仙风的写照；此二句以骨、姿写尽梅的仙姿，也让此二句成为全词写仙姿的核心与千古名句。若换作直说「梅花很美丽很高雅」，则失其仙气；唯以「玉骨那愁瘴雾」写骨、「冰姿自有仙风」写姿，写尽梅的仙姿，也让此二句成为全词写仙姿的核心。

These lines are the immortal grace heart of the ci on the plum, jade bones fearless of miasma and icy bearing with immortal air. The plum grows in the misty south, yet its 'jade bones' need fear no poisonous fog; its 'icy grace' carries an innate immortal air. The personification lifts the plum to a lofty being, Su Shi's tribute to the South-China consort Zhaoyun through the flower. If stated as 'the plum is beautiful and noble,' the immortal quality would fade; only through 'jade bones' and 'icy grace' does the plum become an immortal figure.

高情已逐晓云空。不与梨花同梦

Her high feeling has vanished with the morning cloud, empty now; she does not share the pear blossom's dream.

高情已逐晓云空。不与梨花同梦。

The lofty sentiment has fled with the dawn cloud, now empty; she does not dream the same dream as the pear blossoms.

此二句是全词写孤高的核心，以高情已逐晓云空写情，以不与梨花同梦写梦，写尽梅的孤高，是千古名句。「高情已逐晓云空」写高情已逐晓云空——那「高情」写高情，「已逐晓云空」写已随晓云空，写尽高情的逝去；「不与梨花同梦」写不与梨花同梦——那「不与」写不与，「梨花同梦」写梨花同梦，写尽梅的孤高。这句的深意在于：它以「高情已逐晓云空」的情与「不与梨花同梦」的梦，写尽梅的孤高——高情已逐晓云空，那「高情已逐晓云空」写尽高情的逝去——高情已随晓云而空，正是朝云已逝的写照，那「晓云空」写尽高情的逝去；不与梨花同梦，那「不与梨花同梦」写尽梅的孤高——不与梨花同梦，正是梅的孤高，那「同梦」写尽不与为伍的孤高；那「高情已逐晓云空」写尽高情的逝去，那「不与梨花同梦」写尽梅的孤高，一写情，一写梦，写尽梅的孤高——高情已逝而孤高犹存，正是悼亡的写照；此二句以情、梦写尽梅的孤高，也让此二句成为全词写孤高的核心与千古名句。若换作直说「我很想念朝云」，则失其空灵；唯以「高情已逐晓云空」写情、「不与梨花同梦」写梦，写尽梅的孤高，也让此二句成为全词写孤高的核心。

These lines are the lofty isolation heart of the ci, high feeling gone with the dawn cloud and no shared dream with pear blossoms. 'Morning cloud' puns on Su Shi's consort Zhaoyun, now dead; her 'high feeling' has vanished with her, leaving emptiness. 'Does not share the pear blossom's dream' writes the plum's solitary pride—it will not dream the soft, common dream of the pear blossoms. Grief for the dead is folded into the plum's aloofness. If stated as 'I miss Zhaoyun,' the airiness would vanish; only through the empty dawn cloud and the refused pear-blossom dream does the elegy become ethereal.

Study

Word focus

那 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「玉骨那愁瘴雾」之「那」字是写无惧的关键词，一个「那」字写尽玉骨的无惧。那者，哪、岂也。苏轼以「玉骨那愁瘴雾」写梅，这个「那」字至少有双重意味：其一，写无惧之问——那「玉骨那愁瘴雾」写玉骨那愁瘴雾，那「那」字写尽无惧的反问——玉骨哪愁瘴雾，正是无惧的反问，那「那」字写尽玉骨的无惧；其二，写高洁之态——那「那」字更是写高洁——那愁，正见高洁不惧，那「那」字写尽梅的高洁。以「那」字写无惧，正是苏轼写仙姿的枢纽——若换作「岂」「怎」等字，则或失其与「玉骨」「瘴雾」的配合，或失其写那的意味；唯「那」字，以玉骨那愁瘴雾写尽无惧的反问与高洁的姿态，与「冰姿自有仙风」的仙风相合，写尽梅的仙姿，也让「玉骨那愁瘴雾」成为全词写仙姿的名句。

空 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「高情已逐晓云空」之「空」字是写逝去的关键词，一个「空」字写尽高情的逝去。空者，空无、消逝也。苏轼以「高情已逐晓云空」写悼亡，这个「空」字至少有双重意味：其一，写逝去之空——那「高情已逐晓云空」写高情已随晓云空，那「空」字写尽高情的消逝——高情已随晓云而空，正是朝云已逝的写照，那「空」字写尽高情的逝去；其二，写悼念之悲——那「空」字更是写悲——晓云空，正见人去楼空之悲，那「空」字写尽悼亡的悲凉。以「空」字写逝去，正是苏轼写悼亡的枢纽——若换作「散」「尽」等字，则或失其与「高情」「晓云」的配合，或失其写空的意味；唯「空」字，以高情已逐晓云空写尽高情的消逝与悼亡的悲凉，与「不与梨花同梦」的同梦相合，写尽梅的孤高，也让「高情已逐晓云空」成为全词写悼亡的名句。