元 Yuan · 曲 Qu song
西厢记·长亭送别
The Western Chamber: Farewell at the Pavilion
【正宫·端正好】碧云天，黄花地，西风紧，北雁南飞。
晓来谁染霜林醉？
总是离人泪。
【滚绣球】恨相见得迟，怨归去得疾。
柳丝长玉骢难系，恨不倩疏林挂住斜晖。
马儿迍迍的行，车儿快快的随，却告了相思回避，破题儿又早别离。
听得道一声去也，松了金钏；
遥望见十里长亭，减了玉肌：此恨谁知？
Show full original poem
【正宫·端正好】碧云天，黄花地，西风紧，北雁南飞。
晓来谁染霜林醉？
总是离人泪。
【滚绣球】恨相见得迟，怨归去得疾。
柳丝长玉骢难系，恨不倩疏林挂住斜晖。
马儿迍迍的行，车儿快快的随，却告了相思回避，破题儿又早别离。
听得道一声去也，松了金钏；
遥望见十里长亭，减了玉肌：此恨谁知？
【叨叨令】见安排着车儿、马儿，不由人熬熬煎煎的气；
有甚么心情花儿、靥儿，打扮得娇娇滴滴的媚；
准备着被儿、枕儿，则索昏昏沉沉的睡；
从今后衫儿、袖儿，都揾做重重叠叠的泪。
兀的不闷杀人也么哥！
兀的不闷杀人也么哥！
久已后书儿、信儿，索与我凄凄惶惶的寄。
【脱布衫】下西风黄叶纷飞，染寒烟衰草萋迷。
酒席上斜签着坐的，蹙愁眉死临侵地。
【小梁州】我见他阁泪汪汪不敢垂，恐怕人知；
猛然见了把头低，长吁气，推整素罗衣。
【幺篇】虽然久后成佳配，奈时间怎不悲啼。
意似痴，心如醉，昨宵今日，清减了小腰围。
【上小楼】合欢未已，离愁相继。
想着俺前暮私情，昨夜成亲，今日别离。
我谂知这几日相思滋味，却原来此别离情更增十倍。
【幺篇】年少呵轻远别，情薄呵易弃掷。
全不想腿儿相挨，脸儿相偎，手儿相携。
你与俺崔相国做女婿，妻荣夫贵，但得个并头莲，煞强如状元及第。
【满庭芳】供食太急，须臾对面，顷刻别离。
若不是酒席间子母每当回避，有心待与他举案齐眉。
虽然是厮守得一时半刻，也合着俺夫妻每共桌而食。
眼底空留意，寻思起就里，险化做望夫石。
【快活三】将来的酒共食，尝着似土和泥。
假若便是土和泥，也有些土气息、泥滋味。
【朝天子】暖溶溶玉醅，白泠泠似水，多半是相思泪。
眼面前茶饭怕不待要吃，恨塞满愁肠胃。
蜗角虚名，蝇头微利，拆鸳鸯在两下里。
一个这壁，一个那壁，一递一声长吁气。
【四边静】霎时间杯盘狼藉，车儿投东，马儿向西。
两意徘徊，落日山横翠。
知他今宵宿在那里？
有梦也难寻觅。
【耍孩儿】淋漓襟袖啼红泪，比司马青衫更湿。
伯劳东去燕西飞，未登程先问归期。
虽然眼底人千里，且尽生前酒一杯。
未饮心先醉，眼中流血，心内成灰。
【五煞】到京师服水土，趁程途节饮食，顺时自保揣身体。
荒村雨露宜眠早，野店风霜要起迟！
鞍马秋风里，最难调护，最要扶持。
【四煞】这忧愁诉与谁？
相思只自知，老天不管人憔悴。
泪添九曲黄河溢，恨压三峰华岳低。
到晚来闷把西楼倚，见了些夕阳古道，衰柳长堤。
【三煞】笑吟吟一处来，哭啼啼独自归。
归家若到罗帏里，昨宵个绣衾香暖留春住，今夜个翠被生寒有梦知。
留恋你别无意，见据鞍上马，阁不住泪眼愁眉。
【二煞】你休忧文齐福不齐，我则怕你停妻再娶妻。
休要一春鱼雁无消息！
我这里青鸾有信频须寄，你却休金榜无名誓不归。
君须记：若见了那异乡花草，再休似此处栖迟。
【一煞】青山隔送行，疏林不做美，淡烟暮霭相遮蔽。
夕阳古道无人语，禾黍秋风听马嘶。
我为甚么懒上车儿内，来时甚急，去后何迟？
【收尾】四围山色中，一鞭残照里。
遍人间烦恼填胸臆，量这些大小车儿如何载得起？
the west wind blows sharp, wild geese from the north fly south.
At dawn, who has dyed the frosty woods drunk?
It is always the tears of those who part.
I hate that we met so late, I grieve that you depart so soon.
Though willow threads are long, they cannot tie your jade-white steed;
I wish the sparse woods could hang the slanting sun.
The horse plods slowly, the carriage follows quickly.
Just when we have told lovesickness to stand aside,
the first line of our theme is early parting.
Hearing the word 'I go,' my gold bracelet loosens;
seeing from afar the ten-li pavilion, my jade flesh diminishes.
Who knows this grief?
Seeing the carriage and horse prepared,
I cannot help being filled with burning anguish.
What heart have I for flowers and ornaments,
to deck myself all charming and pretty?
I prepare the quilts and pillows, only to fall into a dazed and drowsy sleep.
From now on, my dress and sleeves will be drenched with layer upon layer of tears.
Does this not kill one with despair? Does this not kill one with despair?
In time to come, letters and messages—you must send them to me, in sorrow and fear.
In the west wind, yellow leaves fly down;
cold mist dyes the withered grass in confusion.
At the banquet, he sits askew, his mournful brows knitted, deathly still.
I see him holding back his brimming tears, not daring to let them fall, fearing others will know.
When he suddenly sees me, he lowers his head, heaves a long sigh,
and pretends to straighten his plain silk robe.
Though we shall after long be happily married,
yet at this moment how can I not weep and wail?
Mind dazed, heart intoxicated, from last night to today,
my slender waist has shrunk.
Our joy of union is not yet ended, but parting sorrow follows upon it.
Thinking of our secret love the night before, our marriage last night, and today's separation—
I knew well these days the taste of longing,
yet I find this parting feeling is ten times stronger.
Youth is rash about distant partings, shallow feelings are easily cast off.
You do not think of legs pressed together, cheeks nestled, hands clasped.
As son-in-law of Prime Minister Cui, with a wife honored, the husband is noble.
If only we could be twin lotus blooms, that is far better than winning the highest imperial degree.
The dishes are served too hastily; a moment face to face, then immediate parting.
Were it not that mother and daughter must keep proper distance at the banquet,
I would wish to raise the tray to my eyebrows in respect to him.
Even though we may stay together but an instant, still we husband and wife should share one table.
In vain I send him glances; thinking of what lies behind, I nearly become a waiting-wife stone.
The wine and food brought before me taste like earth and mud.
Even if they were earth and mud, they would still have some smell of earth, some taste of mud.
Warm and mellow, the jade wine, white and chill as water—most of it must be tears of longing.
Before my eyes, tea and rice, I cannot bear to eat; resentment fills my sorrowing stomach and bowels.
An empty name as small as a snail's horn, a paltry profit as tiny as a fly's head—
they tear the mandarin ducks apart in two places.
One on this side, one on that side, alternating long sighs.
In a moment, cups and dishes are in disorder;
the carriage heads east, the horse goes west.
Two hearts linger; the setting sun, green mountains spread.
Who knows where he will lodge tonight? Even in dreams it will be hard to find him.
My sleeves are drenched with blood-red tears—wetter than the black robe of the Sima.
The shrike flies east, the swallow west; before he leaves, I ask of his return.
Though he is before my eyes now, in a thousand li, let us empty this cup of mortal wine.
Before drinking, my heart is already drunk; blood flows from my eyes, my heart turns to ashes.
When you reach the capital, mind the climate; on the road, be sparing with food and drink;
suit the seasons and care for your health.
In wild villages with dew and rain, go to bed early; at country inns in wind and frost, rise late!
On horseback in the autumn wind—that is hardest to manage, and most needs support.
To whom can I tell this sorrow? Lovesickness only I know; Heaven cares not for a person's wasting.
My tears would swell the nine-bend Yellow River until it overflows;
my resentment would press down the three peaks of Mount Hua until they are low.
At evening, in my gloom I lean on the west tower,
and see the setting sun on the ancient road, withered willows along the long dike.
With smiles we came together; with weeping I return alone.
If I go home to my silk curtain, last night the embroidered quilt was warm with fragrance, retaining spring;
tonight the green coverlet grows cold, and only dreams will know.
My clinging to you has no other meaning; seeing you mount the saddle on horseback,
I cannot hold back my tearful eyes and sorrowful brows.
Do not worry that your talent is full but your fortune is not;
I only fear you will set aside your wife and marry again.
Do not let a whole spring pass without word from fish or wild geese!
Here I shall often send letters by the green phoenix;
but do not swear not to return unless your name is on the golden list.
You must remember: if you see the flowers and grass of strange lands, do not linger there as you did here.
Green hills hide the one who sees me off; the sparse woods are unkind;
light mist and evening haze obscure the view.
On the ancient road in the setting sun, no one speaks;
in the autumn wind amid millet, I hear the horse neigh.
Why am I so loath to enter the carriage? I came in such haste, and why is going so slow?
Amid the colors of surrounding hills, under a single whip in the setting glow.
All the world's troubles fill my breast—how can these big and small carriages bear such a load?
Meaning
In this famous suite from The Western Chamber, Cui Yingying bids farewell to her lover Zhang Sheng at the Pavilion in a late autumn scene. She expresses grief at parting, resentment of worldly fame, anxiety about his journey, and fear of his possible abandonment, all in a torrent of lyrical sorrow.
【端正好】碧蓝的天空，金黄的菊花满地，西风凄紧，北雁向南飞去。清晨是谁把霜染的树林染得如醉？总归是离别人的眼泪。 【滚绣球】恨相见得太迟，怨离别得太快。柳丝虽长却难系住玉骢马，恨不能请疏林挂住西斜的阳光。马儿慢吞吞地走，车儿急匆匆地随，刚结束了相思却又回避，开头便又是早早的别离。听得一声去也，手上的金钏都松了；遥望十里长亭，消瘦了玉肌：这恨有谁知道？ 【叨叨令】见安排下车儿、马儿，不由人熬熬煎煎地生气；有什么心情把花儿、靥儿，打扮得娇娇滴滴的媚；准备着被儿、枕儿，只索昏昏沉沉地睡；从今后衫儿、袖儿，都揾成重重叠叠的泪。这岂不闷杀人么哥！这岂不闷杀人么哥！日后书儿、信儿，须与我凄凄惶惶地寄。 【脱布衫】吹下西风黄叶纷飞，染上寒烟衰草迷离。酒席上斜签着坐的人，皱着愁眉死气沉沉地。 【小梁州】我见他含泪汪汪不敢垂落，怕被人知；猛然见了把头低，长叹气，推说整理素罗衣。 【幺篇】虽然久后终成佳配，怎奈眼前怎不悲啼。意似痴，心如醉，昨宵到今日，清减了小腰围。 【上小楼】合欢未尽，离愁又继。想着俺前日私情，昨夜成亲，今日别离。我深知这几日相思滋味，却原来这别离之情更增十倍。 【幺篇】年少呵轻看远别，情薄呵容易弃掷。全不想腿儿相挨，脸儿相偎，手儿相携。你与俺崔相国做女婿，妻荣夫贵，但得个并头莲，强似那状元及第。 【满庭芳】供食太急，须臾相对，顷刻别离。若不是酒席间母子每须回避，有心待与他举案齐眉。虽然是厮守得一时半刻，也合着俺夫妻每共桌而食。眼底空留意，寻思起其中缘由，险些化做望夫石。 【快活三】将来的酒和食，尝着似土和泥。假若便是土和泥，也有些土气息、泥滋味。 【朝天子】暖溶溶的玉醅，白泠泠似水，多半是相思泪。眼面前茶饭怕不要吃，恨塞满了愁肠胃。蜗角虚名，蝇头微利，拆鸳鸯在两下里。一个这壁，一个那壁，一递一声长吁气。 【四边静】霎时间杯盘狼藉，车儿投东，马儿向西。两意徘徊，落日山横翠。知他今宵宿在那里？有梦也难寻觅。 【耍孩儿】淋漓襟袖啼红泪，比司马青衫更湿。伯劳东去燕西飞，未登程先问归期。虽然眼底人千里，且尽生前酒一杯。未饮心先醉，眼中流血，心内成灰。 【五煞】到京师服水土，趁程途节饮食，顺时自保揣身体。荒村雨露宜眠早，野店风霜要起迟！鞍马秋风里，最难调护，最要扶持。 【四煞】这忧愁诉与谁？相思只自知，老天不管人憔悴。泪添九曲黄河溢，恨压三峰华岳低。到晚来闷把西楼倚，见了些夕阳古道，衰柳长堤。 【三煞】笑吟吟一处来，哭啼啼独自归。归家若到罗帏里，昨宵个绣衾香暖留春住，今夜个翠被生寒有梦知。留恋你别无意，见据鞍上马，阁不住泪眼愁眉。 【二煞】你休忧文齐福不齐，我则怕你停妻再娶妻。休要一春鱼雁无消息！我这里青鸾有信频须寄，你却休金榜无名誓不归。君须记：若见了那异乡花草，再休似此处栖迟。 【一煞】青山隔送行，疏林不做美，淡烟暮霭相遮蔽。夕阳古道无人语，禾黍秋风听马嘶。我为甚么懒上车儿内，来时甚急，去后何迟？ 【收尾】四围山色中，一鞭残照里。遍人间烦恼填胸臆，量这些大小车儿如何载得起？
Appreciation
This suite is a pinnacle of Chinese classical lyric drama, fusing scenery and emotion to an extraordinary degree. The opening lines 'Azure clouds... yellow flowers' evoke a vast autumn setting, while the sudden question 'who has dyed the frosty woods drunk?' transforms external nature into the projection of the parting lover's tears. The music of the language—with its reduplications, parallelisms, and vivid colloquialisms—captures the heroine's tenderness, petulance, and anguish with breathtaking immediacy.
【白话串讲】 《西厢记》长亭送别，写崔莺莺送张生：“碧云天，黄花地，西风紧，北雁南飞”。“柳丝长玉骢难系，恨不倩疏林挂住斜晖”——她恨不得让疏林挂住夕阳，让离别慢一点。千古第一送别戏。 【意象与手法】 情景交融与心理刻画的深度结合。【端正好】化用范仲淹词意布悲凉；“晓来谁染霜林醉？总是离人泪”把霜林红艳归为离人泪，是情景合一的至高笔法。【滚绣球】以“柳丝长玉骢难系，恨不倩疏林挂住斜晖”写留郎不住之痴，诗词手法与戏曲形式完美融合。 【情感与主旨】 此折写暮秋长亭为赴考张生饯别，从“碧云天，黄花地”的景物悲凉到“未饮心先醉，眼中流血，心内成灰”的悲至极点，把少女的依依、娇痴、忧惧写得缠绵悱恻，与江淹《别赋》、柳永《雨霖铃》并列为中国离别文学的不朽篇章。 【名句点睛】 常考“柳丝长玉骢难系，恨不倩疏林挂住斜晖”化无情为有情的痴想；“遍人间烦恼填胸臆，量这些大小车儿如何载得起”以车载不动愁作结。
Background
The Western Chamber (Xixiangji) is Wang Shifu's masterpiece, adapted from Tang Yuanzhen's 'Story of Yingying' and the Jin-dynasty 'All Keys and Modes' by Dong Jieyuan. 'Farewell at the Pavilion' is the third scene of Act IV, where the old Madam Cui forces Zhang Sheng to go to the capital for the imperial examination, promising marriage only if he passes. Wang Shifu lived under the Yuan dynasty, when the civil service examination was intermittently abolished, making scholars' advancement difficult; thus Yingying's mockery of 'an empty name as small as a snail's horn' subtly criticizes the way worldly ambition tears lovers apart. This scene has almost no external conflict—it is pure lyrical outpour, and is revered as the supreme example of merging poetry with drama.
《西厢记》全称《崔莺莺待月西厢记》，元代王实甫据唐元稹《莺莺传》与金董解元《西厢记诸宫调》改编，为中国戏曲史上最杰出的爱情剧。《长亭送别》为第四本第三折，写张生奉老夫人之命赴京应试，莺莺与红娘送别于十里长亭。其背景是：崔张虽经红娘相助私自结合，老夫人却以门第之见逼张生应试，及第方许正式完婚，于是有了这长亭一幕。王实甫所处的元代，科举时行时废，文人进身艰难，剧中借莺莺之口讥蜗角虚名，蝇头微利，拆鸳鸯在两下里，实含对功名羁勒人性的批判。这一折几无戏剧冲突，纯以歌唱抒情，是王实甫将诗词抒情手法融入戏曲的巅峰，也是《西厢记》最具独立文学价值的片断。自明以来即入选各类戏曲与文学读本，其【端正好】【滚绣球】诸曲更成为古典戏曲抒情写意的范本，影响深远，至今上演不衰。西厢记本自元稹莺莺传与董解元诸宫调改编长亭送别写老夫人逼张生应试莺莺长亭饯别。元代科举时行时废文人进身维艰剧中蜗角虚名之讥实寓对功名羁勒人性之批判。此折几无冲突纯以歌唱抒情最见王实甫融诗词入曲之能，亦为元剧抒情之冠。
Art
The artistic glory of this suite lies in the deep fusion of scene and feeling and its subtle psychological portraiture. It opens with a borrowed Fan Zhongyan couplet transformed from a ci poem; then the striking image of the autumn forest 'drunk' and dyed by tears makes the external landscape wholly internal. The language moves freely from elegant literary phrases (e.g., 'blood-red tears') to earthy colloquialisms (e.g., 'Does this not kill one with despair?'), showing Wang Shifu's dual mastery of ornate and plain styles. The cumulative structure—from early resentment, to detailed recollections, to urgent instructions, to the final image of a carriage that cannot bear the weight of sorrow—creates an irresistible crescendo of feeling.
此折艺术上最辉煌的成就是情景交融与心理刻画的深度，以及诗词手法与戏曲形式的完美融合。首先是以景写情、情景互化：【端正好】碧云天，黄花地，西风紧，北雁南飞，由范仲淹《苏幕遮》脱化，以寥廓秋景先布悲凉；晓来谁染霜林醉？总是离人泪，把霜林红艳归为离人泪，使外景完全内化为情感之色，是情景合一的至高笔法。其次是心理描写的细腻层递：从【滚绣球】的恨相见迟、怨归去疾，到【叨叨令】的叠词排比（车儿、马儿、花儿、靥儿），把少女焦躁、娇痴、悲苦写得声口毕肖；【耍孩儿】未饮心先醉，眼中流血，心内成灰以夸张写悲之深。再次是语言雅俗共赏：既有晓来谁染霜林醉的诗词雅句，又有兀的不闷杀人也么哥的市井口语，辞采斐然而生气淋漓，充分体现王实甫文采派兼擅本色的大家手段，把一出送别写得回肠荡气。情景交融与心理刻画为此折双璧，端正好以碧云黄花生悲晓来谁染霜林醉以问将秋色归为离泪情景合一，滚绣球写留郎之痴叨叨令以叠词写怨耍孩儿至未饮心先醉之悲极。语言雅俗共赏既有诗词雅句亦有市井口语文采与本色兼擅，浑然天成。
Allusions
The suite abounds in allusions deftly reshaped for the dramatic context. The opening 'azure clouds, yellow flowers' directly transforms Fan Zhongyan's 'Su Mu Zhe.' 'Wetter than the black robe of the Sima' uses Bai Juyi's 'Pipa Song.' 'The shrike flies east, the swallow west' evokes the ancient ballad 'The Eastern Flight of the Shrike.' 'Raising the tray to the eyebrows' invokes the loyal couple Liang Hong and Meng Guang. 'Green phoenix' recalls the immortal messenger bird. The closing 'carriages cannot bear the load' anticipates Li Qingzhao's famous boat that cannot carry sorrow. These allusions are so naturally assimilated that they enhance both literary depth and stage effect.
本折用典与化用极富层次。【端正好】碧云天，黄花地直接化用范仲淹《苏幕遮》碧云天，黄叶地，更易黄叶为黄花，更显秋光烂漫中的凄清。【耍孩儿】比司马青衫更湿用白居易《琵琶行》江州司马青衫湿典，以莺莺之泪多于迁谪之司马极言悲深；伯劳东去燕西飞化用《东飞伯劳歌》喻情人分飞。【满庭芳】举案齐眉用梁鸿孟光典写夫妻恩爱；【二煞】青鸾有信用西王母青鸟传信典嘱寄书；【收尾】车儿载不动烦恼遥启李清照只恐双溪舴艋舟，载不动许多愁。【朝天子】蜗角虚名，蝇头微利用苏轼《满庭芳》语，讥功名之微末。这些典故经王实甫点化，或增悲或助讽，皆与剧情水乳交融，显示了深厚的诗学修养，也使这折戏文兼具案头鉴赏与场上搬演的双重价值。碧云天黄花地化用范仲淹苏幕遮，比司马青衫更湿用白居易琵琶行，伯劳东去燕西飞出东飞伯劳歌，举案齐眉用梁鸿孟光，青鸾用西王母青鸟，车儿载不动烦恼启李清照武陵春。蜗角虚名出苏轼。诸典点化皆与剧情水乳交融，不见堆垛之痕。
Commentary
The nineteen pieces of this suite, all sung by Yingying, advance in a nine-bend stream of feeling. From the desolate autumn scene of [Duan Zheng Hao], it moves to the lover's vexation in [Gun Xiu Qiu], the girl's petulant lament in [Dao Dao Ling], the helpless observation in [Tuo Bu Shan], the tender memory in [Shang Xiao Lou], the bitterness of forced separation in [Man Ting Fang], the sarcasm on fame in [Chao Tian Zi], the height of anguish in [Shua Hai Er], the practical worries in [Wu Sha], the jealous fears in [Er Sha], and the final scenic fading with [Yi Sha] and [Shou Wei] where the carriage that cannot carry sorrow leaves endless resonance. Every phrase touches feeling, every image paints a scene, making this the crown of classical Chinese operatic lyricism.
全折十九支曲以莺莺主唱，情绪如江流九曲层层推进。【端正好】总起以秋景定调，末句离人泪提挈全篇之悲；【滚绣球】恨怨交织，柳丝难系、疏林挂晖的奇想写尽留郎不住的痴愿，松了金钏、减了玉肌以形写神；【叨叨令】以一串叠词排比如闻呜咽，也么哥的呼告极尽散曲本色；【脱布衫】【小梁州】转写张生隐忍之态；【幺篇】【上小楼】【满庭芳】回味昨夜成亲、今日别离的戏剧转折，并头莲煞强如状元及第道出重情轻名；【快活三】【朝天子】讥酒食如泥、功名如蜗角，直斥拆散鸳鸯的虚名；【四边静】写席散车分；【耍孩儿】至悲极处，眼中流血，心内成灰；【五煞】至【二煞】转为临别叮咛，既忧其病又防其变心，痴情中见理智；【一煞】【收尾】以景结情，青山疏林、残照车儿，烦恼载不起，余味无穷。通折无一句不关情、无一支不写景，是古典戏曲抒情写意的巅峰。十九支曲以莺莺主唱情绪如江流九曲，由端正好之秋景至滚绣球之恨怨叨叨令之娇痴耍孩儿之悲极二煞之叮咛一煞收尾之以景结情。通折无一句不关情无一支不写景把少女依依娇痴忧惧写得回肠荡气，是古典戏曲抒情写意之巅峰。
Prosody
Line by line
晓来谁染霜林醉？总是离人泪。
At dawn, who has dyed the frosty woods drunk? It is always the tears of those who part.
At dawn, who dyed the frosted woods to drunken red? The tears of the one who parts.
这是《长亭送别》最奇绝动人的警句，也是中国古典戏曲情景交融的典范。霜林醉本指经霜枫林红艳如醉，是秋日实境；词人却以设问翻出新境：清晨是谁把树林染得这般醉红？答案不是天工，而是离人的眼泪。如此，外在秋色被完全内化为人物情感的投射，仿佛满林红叶皆是莺莺泣血所染。这一问一答把无情草木与有情人打成一片，既解释前面碧云天，黄花地的秋景，又为全折离恨定了最浓色调。其想象之奇、用情之深直追杜甫林花著雨胭脂湿，却更见戏剧性的惊心动魄，历来推为《西厢记》第一名句，也是王实甫点铁成金、以景写情的最高体现。
This is the most wondrous, moving aphorism of the Long Pavilion Farewell, and the model of scene-feeling fusion in classical Chinese drama. 'Frosted woods drunk' originally means the frost-reddened maples, the real autumn scene; yet the poet, by a question, turns out a new realm: at dawn, who dyed the woods this drunken red? The answer is not heaven's workmanship, but the parting one's tears. Thus the outer autumn scenery is wholly internalized as the projection of the character's feeling, as if the whole woods' red leaves were dyed by Yingying's weeping blood. The question and answer fuse the feelingless plants with the feeling person, explaining the blue clouds and yellow flowers before, and fixing the richest tone for the whole act's parting grief. The wonder of its imagination, the depth of its feeling, stand beside Du Fu's wet rain on forest flowers, yet with a more dramatic heart-striking force; it has always been held the first line of the Western Chamber, and Wang Shifu's highest embodiment of turning iron to gold, writing feeling through scenery.
遍人间烦恼填胸臆，量这些大小车儿如何载得起？
At dawn, who has dyed the frosty woods drunk? It is always the tears of those who part.
The sorrows of all the world fill my breast — how could such small carts, such size, carry them?
这是全折收束句，也是把抽象情感具象化的神来之笔。前文写尽离愁，至此以遍人间烦恼填胸臆总束，言其愁恨非一人一时之私，而是普天下离人共有之烦恼，境界由小我扩及大千；继而量这些大小车儿如何载得起，以车儿之小反衬烦恼之大，把无形之愁化为有重量、需车载之物。这一喻象遥启李清照只恐双溪舴艋舟，载不动许多愁，而王实甫以车儿入曲更切合送别场景，浑成自然。全折由碧云天起、以车儿止，景起景结，中间万转千回，终以一句诘问收束，余音摇漾，既写出莺莺临去频回首的痴态，也把离愁写到无可承载的极致，是元曲以景结情、含蓄不尽的绝佳范例。
This is the closing line of the whole act, the god-sent stroke making abstract feeling concrete. The parting grief written to the full before is now gathered in 'the sorrows of all the world fill my breast,' saying the grief is not one person's, one hour's, but the common sorrow of all the world's parted lovers, the realm expanding from the small self to the great world; then 'how could such small carts, such size, carry them?' the small carts setting off the grief's greatness, turning the formless sorrow into something with weight, needing carts. The image foreshadows Li Qingzhao's 'I fear the Shuangxi skiff could not carry so much sorrow,' yet Wang Shifu's carts suit the farewell scene the more, fused and natural. The act begins in blue clouds, ends in carts, scene opening and scene closing, ten thousand turns between, closing at last in one rhetorical question, the aftertone lingering; writing Yingying's foolishly backward glance, and the parting grief carried to the utmost that nothing can bear — the perfect example of Yuan qu closing feeling in scenery, reserve inexhaustible.
Study
Word focus
Related Reading
This entry is exactly the same as the present one, both being the third scene of Act IV of The Western Chamber. The only difference is the title: one uses the full play name, the other quotes the opening line. They share the same famous lines and artistic features.
本条目《西厢记·长亭送别》与同批《长亭送别（碧云天，黄花地）》实为《西厢记》第四本第三折同一套【正宫】曲文，文字、曲牌、次序全同，仅题名侧重不同：前者标以剧目全称，后者以起句点明。二者在内容、艺术、用典上完全一致，可互为参照。其共同巅峰名句晓来谁染霜林醉？总是离人泪与遍人间烦恼填胸臆，量这些大小车儿如何载得起，构成情景交融、以景结情两大支柱，是元杂剧抒情写意的巅峰，亦与江淹《别赋》、柳永《雨霖铃》并列为中国古典离别文学的不朽篇章。
雨霖铃·寒蝉凄切 Bells Ringing in the Rain 柳永 · 同写长亭离别，一为元曲套数，一为宋词长调，皆情景交融 Both are masterpieces of parting literature, one a ci, the other a quLiu Yong's 'Yulinling' and Wang Shifu's 'Farewell at the Pavilion' both depict farewell in autumn at a pavilion with intense emotion. The ci is restrained and imagistic, while the qu is exuberant and colloquial. The ci focuses on the traveler's sorrow, the qu on the woman's resentment and fear. Together they illustrate the distinct aesthetics of Song ci and Yuan qu.
王实甫《长亭送别》与柳永《雨霖铃》同为中国古典离别文学双璧，皆以长亭、秋景、执手相看写离愁。不同在体裁：柳词为宋词长调，一人独唱，以寒蝉凄切、杨柳岸晓风残月收束含蓄空灵；王曲为元杂剧套数，借莺莺之口联曲抒情，有碧云天黄花地的阔大，也有兀的不闷杀人也么哥的淋漓本色。情感上柳词写离人羁旅之悲，王曲写少女痴怨与对功名之讥讽更具戏剧张力。二者一婉约一酣畅、一词曲异体而同臻情景交融之境，恰可见宋词与元曲在离别主题上不同的美学风范。