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宋 Song · 词 Ci lyric

西江月·照野弥弥浅浪

The, Moon, over, the, West, River: The, Shallow, Waves, Shining, the, Wild

苏轼

Su Shi

春夜spring 闲适Leisure

照野弥弥浅浪，横空隐隐层霄。
障泥未解玉骢骄，我欲醉眠芳草。
可惜一溪风月，莫教踏碎琼瑶。
解鞍欹枕绿杨桥，杜宇一声春晓。

The, shallow, waves, shining, the, wild, full, and, full,
The, layered, clouds, stretching, across, the, sky, faint, and, faint.
The, mud, guard, not, yet, untied, the, jade, white, steed, proud,
I, desire, to, be, drunk, and, sleep, on, the, fragrant, grass.
What, a, pity, the, creek, of, the, wind, and, the, moon,
Do, not, let, the, trampling, crush, the, jasper, jade.
Untying, the, saddle, leaning, the, pillow, on, the, green, willow, bridge,
The, cuckoo, one, cry, the, spring, dawn.

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Meaning

A poem of the night and the sleep, written by Su Shi. The shallow waves shining the wild full and full, the layered clouds stretching across the sky faint and faint — the night of the opening. The mud guard not yet untied the jade white steed proud, I desire to be drunk and sleep on the fragrant grass — the sleep of the middle. What a pity the creek of the wind and the moon, do not let the trampling crush the jasper jade — the pity of the middle. And the close's untying the saddle leaning the pillow on the green willow bridge, the cuckoo one cry the spring dawn — the close's dawn. The poem is the night and the sleep: the waves, the grass, and the close's dawn.

照野弥弥浅浪，横空隐隐层霄。障泥未解玉骢骄，我欲醉眠芳草。可惜一溪风月，莫教踏碎琼瑶。解鞍欹枕绿杨桥，杜宇一声春晓。

Appreciation

[Plain Paraphrase] The, shallow, waves, shining, the, wild, full, and, full, the, layered, clouds, stretching, across, the, sky, faint, and, faint. The, mud, guard, not, yet, untied, the, jade, white, steed, proud, I, desire, to, be, drunk, and, sleep, on, the, fragrant, grass. What, a, pity, the, creek, of, the, wind, and, the, moon, do, not, let, the, trampling, crush, the, jasper, jade. Untying, the, saddle, leaning, the, pillow, on, the, green, willow, bridge, the, cuckoo, one, cry, the, spring, dawn. [Structure and Thought] The poem moves from the night of the shallow waves and the layered clouds with the full and faint, through the sleep of the fragrant grass with the pity of the jasper jade, to the close's the dawn of the cuckoo. [Key Technique] The poem's art is the close of the dawn: what a pity the creek of the wind and the moon, and the close's untying the saddle leaning the pillow on the green willow bridge the cuckoo one cry the spring dawn — the night gathered in the pity and the close's dawn. [Emotional Tone] Fresh, free, and lyrical: the poem is the waves, the grass and the close's dawn.

【白话串讲】苏轼写《西江月·照野弥弥浅浪》：“照野弥弥浅浪，横空隐隐层霄”——“障泥未解玉骢骄，我欲醉眠芳草”——“可惜一溪风月，莫教踏碎琼瑶”——“解鞍欹枕绿杨桥，杜宇一声春晓”——他醉卧溪边——解鞍欹枕绿杨桥。【意象与手法】此词写春日溪边的醉眠，以景写闲适，是苏轼的名篇。上阕写溪边的夜色：「照野弥弥浅浪」写照野弥弥浅浪，「横空隐隐层霄」写横空隐隐层霄，「障泥未解玉骢骄」写障泥未解玉骢骄，「我欲醉眠芳草」写我欲醉眠芳草；下阕写醉眠的情趣：「可惜一溪风月」写可惜一溪风月，「莫教踏碎琼瑶」写莫教踏碎琼瑶，「解鞍欹枕绿杨桥」写解鞍欹枕绿杨桥，「杜宇一声春晓」写杜宇一声春晓。全词以景写闲适，写尽溪边醉眠的旷达闲适，是苏轼的代表作。【情感与主旨】此词写春日溪边的醉眠，以景写闲适，是苏轼的名篇。此词作于苏轼被贬黄州时期，写春日酒后乘马过溪、醉眠芳草的闲适。此词写溪边：照野弥弥（水波荡漾）浅浪，横空隐隐层霄（层云）——写月光照野、水波荡漾、横空层云；障泥（马鞍下的垂垫）未解玉骢（白马）骄，我欲醉眠芳草——写障泥未解、玉骢骄立，我欲醉眠芳草；可惜一溪风月，莫教踏碎琼瑶——写可惜一溪风月，莫教马蹄踏碎如琼瑶（美玉）的月色；解鞍欹枕绿杨桥，杜宇一声春晓——写解鞍倚枕绿杨桥，杜宇（杜鹃）一声报春晓。全词以景写闲适——那「照野弥弥浅浪」写尽月照溪水的波光，「可惜一溪风月，莫教踏碎琼瑶」写尽爱惜月色的闲情，「解鞍欹枕绿杨桥」写尽醉眠的旷达，写尽溪边醉眠的旷达闲适，是理解苏轼黄州时期词风的重要篇章。【名句点睛】常考「可惜一溪风月，莫教踏碎琼瑶」写爱惜月色的闲情；「照野弥弥浅浪，横空隐隐层霄」写月夜溪景；「解鞍欹枕绿杨桥」写醉眠的旷达；以及全词以景写闲适、旷达清新的手法。

Background

Su Shi (1037-1101), the great poet of the Song, wrote this 'The, Moon, over, the, West, River: The, Shallow, Waves' of the night and the sleep — the freedom of the night ride. The shallow waves with the layered clouds, the sleep of the fragrant grass, and the close's the dawn of the cuckoo — the poem gathers the freedom of the poet, the charm of the night. The poem is one of the famous works of the poet's poems of the night.

此词写春日溪边的醉眠，以景写闲适，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今四川眉山）人，北宋伟大的文学家，是宋词豪放派的代表。此词作于苏轼被贬黄州时期（约元丰五年，1082），写春日酒后乘马过溪、醉眠芳草的闲适。此词写溪边：「照野弥弥浅浪，横空隐隐层霄」写月光照野、水波弥弥（荡漾）浅浪，横空隐隐层霄（层云）；「障泥未解玉骢骄，我欲醉眠芳草」写障泥（马鞍下的垂垫）未解、玉骢（白马）骄立，我欲醉眠芳草；「可惜一溪风月，莫教踏碎琼瑶」写可惜一溪风月，莫教（马蹄）踏碎如琼瑶（美玉）的月色；「解鞍欹枕绿杨桥，杜宇一声春晓」写解鞍倚枕绿杨桥，杜宇（杜鹃）一声报春晓。全词以景写闲适——那「照野弥弥浅浪」写尽月照溪水的波光，那「可惜一溪风月，莫教踏碎琼瑶」写尽爱惜月色的闲情，那「解鞍欹枕绿杨桥」写尽醉眠的旷达，写尽溪边醉眠的旷达闲适，是理解苏轼黄州时期词风的重要篇章。

Art

The poem's art is the art of the dawn. The night opens: the, shallow, waves, shining, the, wild, full, and, full — the shallow waves of the full and full; the, layered, clouds, stretching, across, the, sky, faint, and, faint — the layered clouds of the faint and faint. The sleep follows: the, mud, guard, not, yet, untied, the, jade, white, steed, proud — the jade white steed of the proud; I, desire, to, be, drunk, and, sleep, on, the, fragrant, grass — the fragrant grass of the sleep; what, a, pity, the, creek, of, the, wind, and, the, moon — the creek of the wind and the moon; do, not, let, the, trampling, crush, the, jasper, jade — the jasper jade of the trampling. And the close gathers the dawn: untying, the, saddle, leaning, the, pillow, on, the, green, willow, bridge — the green willow bridge of the leaning; the, cuckoo, one, cry, the, spring, dawn — the spring dawn of the cuckoo — the night, the sleep and the close's dawn, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以景写夜色。起二句「照野弥弥浅浪，横空隐隐层霄」以景写夜色——那「照野弥弥浅浪」写尽月照溪水、波光荡漾，「横空隐隐层霄」写尽横空层云、隐约可见，以景写尽月夜的明净。其二，以醉眠写闲适。「障泥未解玉骢骄，我欲醉眠芳草」以醉眠写闲适——那「障泥未解玉骢骄」写尽马儿骄立，「我欲醉眠芳草」写尽醉眠芳草的闲适，以醉眠写尽旷达。其三，以拟人写月色。「可惜一溪风月，莫教踏碎琼瑶」以拟人写月色——那「可惜一溪风月」写尽可惜风月，「莫教踏碎琼瑶」写尽莫教踏碎如琼瑶的月色，以拟人写尽爱惜月色的闲情。其四，以声写春晓。「解鞍欹枕绿杨桥，杜宇一声春晓」以声写春晓——那「解鞍欹枕绿杨桥」写尽醉眠绿杨桥，「杜宇一声春晓」写尽杜宇一声报春晓，以声写尽春晓的清新。四重手法，使此词以景写闲适，写尽溪边醉眠的旷达闲适，是苏轼的代表作。

Allusions

'The shallow waves' (mi mi) are the shallow waves — the waves of the shallow, the full and full of the opening; 'the mud guard' (zhang ni) is the mud guard — the guard of the mud, the horse of the middle; 'the jade white steed' (yu cong) is the jade white steed — the steed of the jade white, the proud of the middle; 'the jasper jade' (qiong yao) is the jasper jade — the jade of the jasper, the moon of the creek; 'the cuckoo' (du yu) is the cuckoo — the bird of the cuckoo, the dawn of the close.

此词的用语深植于山水闲适与月色的传统。「照野弥弥浅浪」令人想到「照野」写月光照野的意象，也令人想到「弥弥」写水波荡漾的意象——「弥弥」写水满貌；「横空隐隐层霄」令人想到「横空」写横贯天空的意象，也令人想到「层霄」写层云的意象；「障泥未解玉骢骄」令人想到「障泥」写马鞍垂垫的意象，也令人想到「玉骢」写白马的意象——「玉骢」是白马的美称；「我欲醉眠芳草」令人想到「醉眠」写醉卧的意象，也令人想到「芳草」写青草的意象——「芳草萋萋鹦鹉洲」；「可惜一溪风月」令人想到「可惜」写怜惜的意象，也令人想到「一溪风月」写满溪风月的意象——「一溪风月」正是苏轼的名句；「莫教踏碎琼瑶」令人想到「莫教」写莫使的意象，也令人想到「琼瑶」写美玉的意象——「报之以琼瑶」（《诗经》），以琼瑶喻月光，写尽月色之美；「解鞍欹枕绿杨桥」令人想到「解鞍」写卸下马鞍的意象——「解鞍欹枕绿杨桥」正是苏轼的名句，也令人想到「欹枕」写倚枕的意象；「杜宇一声春晓」令人想到「杜宇」写杜鹃的意象——杜宇即杜鹃，传说蜀帝杜宇之魂所化，也令人想到「一声春晓」写一声报晓的意象——「春晓」写春晨。全词化用弥弥、玉骢、琼瑶、杜宇的传统意象，以景写闲适，正是苏轼「旷达清新」而善用意象、承山水闲适传统写旷达的本领。

Commentary

This poem is one of the famous works of Su Shi's poems of the night, quoted for the beauty of its opening and the freshness of its close. The fragrant grass of the sleep, and the spring dawn of the cuckoo, are among the admired passages of the poet's poems. Critics praise the poem's freedom: the night gathered in the sleep, to the close's dawn.

此词历来被推为苏轼黄州时期的名篇，也是宋词写景闲适的代表。历代论者对此词评价极高：清人评此词「以景写闲适，旷达清新」；近人更指出「可惜一溪风月，莫教踏碎琼瑶」写爱惜月色的闲情，是此词的名句。在词史上，此词的特殊价值在于：它以八句的短章写尽春日溪边的醉眠与闲适——那照野的浅浪，那横空的层霄，那未解障泥的玉骢，那欲醉眠的芳草，那一溪的风月，那莫教踏碎的琼瑶，那绿杨桥上的解鞍欹枕，那杜宇一声的春晓，都写尽了溪边醉眠的旷达闲适；那「可惜一溪风月，莫教踏碎琼瑶」更写尽爱惜月色的闲情。此词与苏轼的《临江仙·夜饮东坡醒复醉》（「小舟从此逝，江海寄余生」）同为黄州时期的名篇，一写溪边醉眠，一写江海余生；又与王维「行到水穷处，坐看云起时」的山水闲适传统一脉相承，可见中国文人写山水闲适的传统。对于今日读者，此词是理解苏轼黄州时期词风的窗口，也是中国词写闲适的经典——那莫教踏碎的琼瑶月色，穿越千年，仍在诉说着溪边醉眠的旷达闲适。

Prosody

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

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the free freshness.西江月，押「霄」「骄」「草」「瑶」「桥」「晓」韵（下平二萧、上声十九皓），换韵，音节清新

Tone pattern The cadence is that of the dawn: the level opening with the night, the turning with the sleep, and the close's fall with the dawn.此词为西江月，双调五十字，押仄平韵，换韵，音节清新，正合闲适的清新。

Reading note The poem's sound matches its freedom: the cadences of the ci, and the close — 'du yu yi sheng chun xiao' — falls with the dawn, the sound of the freshness of the night sleep.此词为西江月，双调，上阕「照野弥弥浅浪，横空隐隐层霄。障泥未解玉骢骄，我欲醉眠芳草」，下阕「可惜一溪风月，莫教踏碎琼瑶。解鞍欹枕绿杨桥，杜宇一声春晓」，押「萧」韵与「皓」韵（霄、骄、草、瑶、桥、晓），换韵，音节清新。全词以景写闲适：上阕写溪边夜色（照野弥弥浅浪，横空隐隐层霄；障泥未解玉骢骄，我欲醉眠芳草），下阕写醉眠闲情（可惜一溪风月，莫教踏碎琼瑶；解鞍欹枕绿杨桥，杜宇一声春晓）。诵读此词，宜以清朗的语调读「照野弥弥浅浪」的溪景，以怜惜的语调读「莫教踏碎琼瑶」的月色，结句「杜宇一声春晓」要读得清新而有余韵，方能传达出苏轼的旷达闲适。苏轼词以「旷达清新」著称，此词正是其写景闲适小令的典范。

Line by line

可惜一溪风月，莫教踏碎琼瑶

Such loveliness—the moon and wind on the whole stream; let not the hooves trample the jade to fragments.

可惜这一溪的风月，莫教马蹄踏碎如琼瑶的月色。

Pity this whole stream of wind and moonlight; do not let the horse's hooves crush the jade to pieces.

此联是全词写闲情的核心，以琼瑶喻月色，以莫教写怜惜，是千古名句。「可惜一溪风月」写可惜这一溪的风月——那「可惜」写怜惜，「一溪风月」写满溪的风月，写尽爱惜风月的深情；「莫教踏碎琼瑶」写莫教踏碎如琼瑶的月色——那「莫教」写莫使，「踏碎琼瑶」写踏碎如琼瑶（美玉）的月色，写尽怜惜月色的闲情。这句的深意在于：它以「可惜一溪风月」的怜惜与「莫教踏碎琼瑶」的拟物，写尽爱惜月色的闲情——可惜这一溪的风月，那「一溪风月」写尽满溪的月色风光的明净——月光照溪，一溪风月，正是醉眠前的良辰美景；莫教踏碎如琼瑶的月色，那「莫教踏碎琼瑶」以琼瑶（美玉）喻月色，写尽怜惜月色之深——月色如琼瑶般美，怎忍马蹄踏碎？那「莫教」写尽怜惜的深情；那「可惜一溪风月」写尽风月之好，那「莫教踏碎琼瑶」写尽怜惜之深，一写风月，一写怜惜，写尽爱惜月色的闲情——这闲情，正是苏轼旷达的写照：沉醉于自然之美，怜惜于月色之明；此联上承「我欲醉眠芳草」的醉眠，下启「解鞍欹枕绿杨桥」的醉眠，是苏轼爱惜自然、旷达闲适的集中体现。若换作直说「月色很美我不舍得破坏」，则失其拟物；唯以「可惜一溪风月」的怜惜与「莫教踏碎琼瑶」的拟物写尽爱惜月色的闲情，也让此联成为全词写闲情的核心与千古名句。

This couplet is the leisured heart of the ci, the moonlit stream likened to jade and spared the horse's tread. 'Pity' opens the tender care; 'a whole stream of wind and moon' gathers the bright water into one. 'Let not the hooves trample the jade' compares the moonlight to fine jade, precious and fragile—how could one bear to break it? The personification of the moon as jade to be protected is Su Shi's care for natural beauty, preparing the drunken sleep by the bridge below. If stated as 'the moonlight is beautiful, I hate to disturb it,' the metaphor would vanish; only through 'trample the jade' does the moonlight become a thing of value.

解鞍欹枕绿杨桥，杜宇一声春晓

I loose the saddle, lean my pillow by the green-willow bridge; the cuckoo cries once, and spring dawn breaks.

解下马鞍倚枕绿杨桥，杜宇一声报春晓。

I unsaddle and rest my head by the green-willow bridge; at the cuckoo's cry, spring dawn has come.

此联是全词的收束，以解鞍欹枕写醉眠，以杜宇一声写春晓，是千古名句。「解鞍欹枕绿杨桥」写解下马鞍倚枕绿杨桥——那「解鞍」写卸下马鞍，「欹枕绿杨桥」写倚枕绿杨桥，写尽醉眠的旷达；「杜宇一声春晓」写杜宇一声报春晓——那「杜宇」写杜鹃，「一声春晓」写一声报春晓，写尽春晓的清新。这句的深意在于：它以「解鞍欹枕绿杨桥」的醉眠与「杜宇一声春晓」的春晓，写尽溪边醉眠的旷达闲适——解下马鞍，倚枕绿杨桥，那「解鞍欹枕绿杨桥」写尽醉眠的旷达——醉眠芳草，又解鞍倚枕绿杨桥，正是苏轼放达的写照；杜宇一声报春晓，那「杜宇一声春晓」写尽春晓的清新——杜鹃一声啼鸣，惊破春晓，那「一声春晓」写尽春晨的生机；那「解鞍欹枕绿杨桥」写尽醉眠的旷达，那「杜宇一声春晓」写尽春晓的清新，一写醉眠，一写春晓，写尽溪边醉眠的旷达闲适——醉眠一夜，杜宇报晓，正是闲适的春晓；此联以解鞍欹枕、杜宇报晓收束，写尽醉眠的旷达与春晓的清新，也让此联成为全词收束的千古名句。若换作直说「睡到天亮」，则失其情境；唯以「解鞍欹枕绿杨桥」写醉眠、「杜宇一声春晓」写春晓，写尽溪边醉眠的旷达闲适，也让此联成为全词的收束。

This couplet closes the ci, unsaddling to sleep by the bridge and the cuckoo's cry at dawn. 'Loose the saddle, lean my pillow' writes the unbuttoned ease of the drunken man sleeping in the open by the green-willow bridge; 'the cuckoo cries once, and spring dawn breaks' wakes him to the fresh morning. The cuckoo's single call cuts the night, opening the spring dawn. The couplet lands the whole night's roaming in a single sleep and awakening, the freedom of Su Shi's riverside night. If stated as 'slept till dawn,' the setting would vanish; only through the saddle loosed by the willow bridge and the cuckoo's cry does the dawn arrive.

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Word focus

可惜 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「可惜一溪风月」之「可惜」是写怜惜的关键字，一个「可惜」写尽爱惜风月的深情。可惜者，怜惜、爱惜也。苏轼以「可惜」写一溪风月，这个「可惜」至少有双重意味：其一，写怜惜之深——那「可惜一溪风月」写可惜这一溪的风月，那「可惜」写尽怜惜风月之美的深情——风月之美，怜惜不忍破坏；其二，写闲情之雅——那「可惜」更是写闲情——怜惜一溪风月，正是闲人的雅致，那「可惜」写尽苏轼旷达的闲情。以「可惜」写怜惜，正是苏轼写闲情的枢纽——若换作「怜惜」「爱惜」等词，则或失其口语的亲切，或失其与「莫教踏碎琼瑶」的呼应；唯「可惜」二字，以怜惜写尽爱惜一溪风月的深情与闲人的雅致，与「莫教踏碎琼瑶」的拟物相合，写尽爱惜月色的闲情，也让「可惜一溪风月」成为全词写闲情的名句。

琼瑶 'The, jasper, jade' — the jade of the jasper, the moon of the creek. 「莫教踏碎琼瑶」之「琼瑶」是写月色的关键词，一个「琼瑶」写尽月色之美。琼瑶者，美玉也，语出《诗经·卫风·木瓜》「报之以琼瑶」。苏轼以「琼瑶」喻月色，这个「琼瑶」至少有双重意味：其一，写月色之美——那「莫教踏碎琼瑶」写莫教踏碎如琼瑶的月色，那「琼瑶」以美玉喻月色，写尽月色之美——月色如琼瑶般晶莹洁白；其二，写怜惜之深——那「琼瑶」更是写怜惜——琼瑶是美玉，怎忍踏碎，那「琼瑶」写尽怜惜月色之深。以「琼瑶」写月色，正是苏轼写闲情的枢纽——若换作「明月」「银波」等词，则或失其以美玉喻月色的华美，或失其与「莫教踏碎」的配合；唯「琼瑶」二字，以美玉写尽月色如琼瑶般晶莹洁白的美与怜惜之深，与「可惜一溪风月」的怜惜相合，写尽爱惜月色的闲情，也让「莫教踏碎琼瑶」成为全词写闲情的名句。