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宋 Song · 词 Ci lyric

玉楼春·风前欲劝春光住

The, Spring, in, the, Jade, Pavilion: Before, the, Wind, Wishing, to, Persuade, the, Spring, Light, to, Stay

辛弃疾

Xin Qiji

春愁spring / sorrow 惜春Cherishing spring

风前欲劝春光住，春在城南芳草路。
未随流落水边花，且作飘零泥上絮。
镜中已觉星星误，人不负春春自负。
梦回人远许多愁，只在梨花风雨处。

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Meaning

A lyric of the spring and the sorrow, written by Xin Qiji. Before the wind wishing to persuade the spring light to stay, the spring in the south of the city the road of the fragrant grass — the spring of the opening. Not yet following the fallen flowers of the drifting by the water, moreover becoming the floating catkins of the scattering on the mud — the falling of the middle. In the mirror already feeling the mistakes of the grey hairs, the man not failing the spring the spring of its own self failing — the age of the middle. And the close's in the dreams returning the man far many a sorrow, only at the place of the wind and the rain of the pear flowers — the close's sorrow. The lyric is the spring and the sorrow: the falling, the age, and the close's sorrow.

风前欲劝春光住，春在城南芳草路。未随流落水边花，且作飘零泥上絮。镜中已觉星星误，人不负春春自负。梦回人远许多愁，只在梨花风雨处。

Appreciation

[Plain Paraphrase] Before, the, wind, wishing, to, persuade, the, spring, light, to, stay, the, spring, in, the, south, of, the, city, the, road, of, the, fragrant, grass. Not, yet, following, the, fallen, flowers, of, the, drifting, by, the, water, moreover, becoming, the, floating, catkins, of, the, scattering, on, the, mud. In, the, mirror, already, feeling, the, mistakes, of, the, grey, hairs, the, man, not, failing, the, spring, the, spring, of, its, own, self, failing. In, the, dreams, returning, the, man, far, many, a, sorrow, only, at, the, place, of, the, wind, and, the, rain, of, the, pear, flowers. [Structure and Thought] The lyric moves from the spring of the fragrant grass with the fallen flowers, through the age of the grey hairs with the mirror, to the close's the sorrow of the pear flowers. [Key Technique] The lyric's art is the close of the sorrow: in the mirror already feeling the mistakes of the grey hairs, and the close's in the dreams returning the man far many a sorrow only at the place of the wind and the rain of the pear flowers — the spring gathered in the age and the close's sorrow. [Emotional Tone] Fine, sorrowful, and resigned: the lyric is the falling, the grey hairs and the close's sorrow.

【白话串讲】辛弃疾写《玉楼春·风前欲劝春光住》：“风前欲劝春光住，春在城南芳草路”——“未随流落水边花，且作飘零泥上絮”——“镜中已觉星星误，人不负春春自负”——“梦回人远许多愁，只在梨花风雨处”——他说人不负春春自负。【意象与手法】此词写惜春的感慨，以春光写感慨，是辛弃疾的名篇。上阕写春光：「风前欲劝春光住，春在城南芳草路」写风前欲劝春光住、春在城南芳草路，「未随流落水边花，且作飘零泥上絮」写未随流落水边花、且作飘零泥上絮；下阕写感慨：「镜中已觉星星误，人不负春春自负」写镜中已觉星星误、人不负春春自负，「梦回人远许多愁，只在梨花风雨处」写梦回人远许多愁、只在梨花风雨处。全词以春光写感慨，写尽惜春的感慨，是辛弃疾的代表作。【情感与主旨】此词写惜春的感慨，以春光写感慨，是辛弃疾的名篇。此词以《玉楼春》词牌写惜春，寄托身世之感。此词写惜春：风前欲劝春光住，春在城南芳草路——写风前欲劝春光住、春在城南芳草路，写尽劝春留住的惜春之情；未随流落水边花，且作飘零泥上絮——写未随流落水边花、且作飘零泥上絮，写尽春花的飘零；镜中已觉星星误，人不负春春自负——写镜中已觉星星误（星星指白发）、人不负春春自负，写尽白发的感慨；梦回人远许多愁，只在梨花风雨处——写梦回人远许多愁、只在梨花风雨处，写尽梦回人远的愁绪。全词以春光写感慨——那「风前欲劝春光住」写尽惜春之情，「镜中已觉星星误」写尽白发的感慨，「只在梨花风雨处」写尽梦回人远的愁绪，写尽惜春的感慨，是理解辛弃疾惜春词的重要篇章。【名句点睛】常考「风前欲劝春光住，春在城南芳草路」写惜春之情；「镜中已觉星星误，人不负春春自负」写白发的感慨；「梦回人远许多愁，只在梨花风雨处」写梦回人远的愁绪；以及全词以春光写感慨、以物象写愁绪的手法。

Background

Xin Qiji (1140-1207), the great poet of the Southern Song, wrote this 'The, Spring, in, the, Jade, Pavilion: Before, the, Wind, Wishing, to, Persuade, the, Spring, Light, to, Stay' of the spring and the sorrow — the sorrow of the passing spring in the late years. The spring of the fragrant grass with the fallen flowers, the age of the grey hairs, and the close's the sorrow of the pear flowers — the lyric gathers the sorrow of the poet, the resignation of the age. The lyric is one of the famous works of the poet's lyrics of the spring.

此词写惜春的感慨，以春光写感慨，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，南宋伟大的爱国词人，与苏轼并称「苏辛」，是宋词豪放派的代表。此词以《玉楼春》词牌写惜春，借惜春寄托身世之感与壮志难酬的感慨。此词写惜春：「风前欲劝春光住，春在城南芳草路」写风前欲劝春光住、春在城南芳草路——写尽劝春留住的惜春之情；「未随流落水边花，且作飘零泥上絮」写未随流落水边花、且作飘零泥上絮——写尽春花的飘零；「镜中已觉星星误，人不负春春自负」写镜中已觉星星误（星星指白发）、人不负春春自负——写尽白发的感慨；「梦回人远许多愁，只在梨花风雨处」写梦回人远许多愁、只在梨花风雨处——写尽梦回人远的愁绪。全词以春光写感慨，写尽惜春的感慨，是理解辛弃疾惜春词的重要篇章。此词虽为惜春小令，然其中「人不负春春自负」之语，正见稼轩以春光自比、以春自负自伤的深意——春光辜负了不负春光的我，正如朝廷辜负了力主抗金的我，惜春之中自寓身世之感与壮志难酬的悲慨。

Art

The lyric's art is the art of the sorrow. The spring opens: before, the, wind, wishing, to, persuade, the, spring, light, to, stay — the spring light of the persuading; the, spring, in, the, south, of, the, city, the, road, of, the, fragrant, grass — the fragrant grass of the south of the city; not, yet, following, the, fallen, flowers, of, the, drifting, by, the, water — the fallen flowers of the drifting; moreover, becoming, the, floating, catkins, of, the, scattering, on, the, mud — the floating catkins of the scattering. The age follows: in, the, mirror, already, feeling, the, mistakes, of, the, grey, hairs — the grey hairs of the mirror; the, man, not, failing, the, spring, the, spring, of, its, own, self, failing — the spring of the failing. And the close gathers the sorrow: in, the, dreams, returning, the, man, far, many, a, sorrow — the sorrow of the dreams; only, at, the, place, of, the, wind, and, the, rain, of, the, pear, flowers — the wind and the rain of the pear flowers — the spring, the age and the close's sorrow, gathered in the lyric.

此词的艺术特色可从四个方面解析。其一，以拟人写惜春。「风前欲劝春光住，春在城南芳草路」以拟人写惜春——那「欲劝春光住」写尽劝春留住的惜春之情，以拟人写尽惜春。其二，以比兴写飘零。「未随流落水边花，且作飘零泥上絮」以比兴写飘零——那水边花、泥上絮的意象写尽飘零，以比兴写尽春花的飘零与身世之感。其三，以议论写感慨。「镜中已觉星星误，人不负春春自负」以议论写感慨——那「星星误」写尽白发的误我、「人不负春春自负」写尽春自负的感慨，以议论写尽白发的感慨。其四，以景收束写愁绪。「梦回人远许多愁，只在梨花风雨处」以景收束写愁绪——那「梨花风雨处」的意象写尽愁绪的所在，以景收束，写尽梦回人远的愁绪。四重手法，使此词以春光写感慨，写尽惜春的感慨，是辛弃疾的代表作。再从整体上看，此词以「劝春」起，以「愁在梨花风雨处」结，上阕写春之将去，下阕写人之将老，物我双关：春光之去与白发之来互为映照，惜春即是惜己，伤春即是伤怀，正见稼轩以物写我、物我交融的笔法。

Allusions

'The spring light' (chun guang) is the spring light — the light of the spring, the persuading of the opening; 'the floating catkins' (xu) are the floating catkins — the catkins of the floating, the scattering of the middle; 'the pear flowers' (li hua) are the pear flowers — the flowers of the pear, the sorrow of the close.

此词的用语深植于惜春与感慨的传统。「风前欲劝春光住」令人想到「春光」写春光的意象——「惜春长怕花开早」（辛弃疾），也令人想到「欲劝春光住」写劝春留住的意象——以拟人劝春；「春在城南芳草路」令人想到「芳草」写芳草的意象——「芳草萋萋鹦鹉洲」（崔颢），也令人想到「城南芳草路」写芳草路的意象；「未随流落水边花」令人想到「水边花」写水边落花的意象——「落花流水春去也」（李煜），也令人想到「流落」写流落的意象；「且作飘零泥上絮」令人想到「泥上絮」写泥上柳絮的意象——「一池萍碎」，也令人想到「飘零」写飘零的意象——「零落成泥碾作尘」（陆游）；「镜中已觉星星误」令人想到「星星」写白发的意象——「星星白发」，也令人想到「镜中」写镜中的意象——「不知明镜里，何处得秋霜」（李白）；「人不负春春自负」令人想到「不负春」写不负春光的意象，也令人想到「春自负」写春光自负的意象——「人不负春春自负」正是辛弃疾的名句；「梦回人远许多愁」令人想到「梦回」写梦醒的意象——「梦回吹角连营」（辛弃疾），也令人想到「人远许多愁」写人远愁多的意象；「只在梨花风雨处」令人想到「梨花」写梨花的意象——「梨花一枝春带雨」（白居易），也令人想到「风雨」写风雨的意象——「风雨梨花寒食过」。全词化用芳草、落花、柳絮、星星、梨花风雨的意象，以春光写感慨，正是辛弃疾「豪放悲壮」而兼善婉约、承惜春传统写感慨的本领。

Commentary

This lyric is one of the famous works of Xin Qiji's lyrics of the spring, quoted for the fineness of its opening and the sorrow of its close. The grey hairs of the mirror, and the pear flowers of the wind and the rain, are among the admired passages of the poet's lyrics. Critics praise the lyric's sorrow: the spring gathered in the age, to the close's sorrow.

此词历来被推为辛弃疾惜春词的名篇，也是宋词写惜春的代表。历代论者对此词评价极高：清人评此词「以春光写感慨，婉约蕴藉」；近人更指出「风前欲劝春光住，春在城南芳草路」写惜春之情，「人不负春春自负」写感慨，是此词的名句。在词史上，此词的特殊价值在于：它以八句的小令写尽惜春的感慨——那风前欲劝的春光，那城南的芳草路，那流落的水边花，那飘零的泥上絮，那镜中的星星，那不负春的人，那自负的春，那梦回的人远，那许多愁，那梨花风雨处，都写尽了辛弃疾惜春的感慨；那「镜中已觉星星误，人不负春春自负」更写尽白发误人、春光自负的感慨。此词与辛弃疾《摸鱼儿》（「更能消、几番风雨，匆匆春又归去」）同为惜春名篇，一写「更能消、几番风雨」的惜春（摸鱼儿），一写「风前欲劝春光住」的惜春（玉楼春）；一以「天涯芳草无归路」写芳草，一以「只在梨花风雨处」写梨花风雨。两词对读，可见辛弃疾惜春词既婉约又深沉的两面。对于今日读者，此词是理解辛弃疾婉约词的窗口，也是中国词写惜春的经典——那梨花风雨处，穿越千年，仍在诉说着惜春的愁绪。

Prosody

Form A lyric of the tune of the Spring in the Jade Pavilion (ci)词·玉楼春（中调）

Rhyme The lyric rhymes on the level of the group — the cadence of the ci that carries the resigned sorrow.玉楼春，押「住」「路」「絮」「负」「处」韵（去声七遇、六御），一韵到底，音节婉转

Tone pattern The cadence is that of the sorrow: the level opening with the spring, the turning with the age, and the close's fall with the flowers.此词为玉楼春，双调五十六字，押仄声韵，一韵到底，音节婉转，正合惜春感慨的婉转。

Reading note The lyric's sound matches its resignation: the cadences of the ci, and the close — 'zhi zai li hua feng yu chu' — falls with the flowers, the sound of the sorrow of the spring poet.此词为玉楼春，双调，上阕「风前欲劝春光住，春在城南芳草路。未随流落水边花，且作飘零泥上絮」，下阕「镜中已觉星星误，人不负春春自负。梦回人远许多愁，只在梨花风雨处」，押仄声韵（住、路、絮、负、处），一韵到底，音节婉转。全词以春光写感慨：上阕写惜春（风前欲劝春光住，春在城南芳草路；未随流落水边花，且作飘零泥上絮），下阕写感慨（镜中已觉星星误，人不负春春自负；梦回人远许多愁，只在梨花风雨处）。诵读此词，宜以婉转的语调读「风前欲劝春光住」的惜春，以感慨的语调读「镜中已觉星星误」的白发，结句「只在梨花风雨处」要读得悠远而有余韵，方能传达出辛弃疾的婉约蕴藉。辛弃疾词以「豪放悲壮」著称，而此词正见其婉约的一面，是其惜春词的典范。

Line by line

风前欲劝春光住，春在城南芳草路

Before the wind, I would persuade spring to stay; spring is on the fragrant-grass road south of the city.

风前想劝春光留住，春正在城南芳草路。

In the wind I would persuade spring to linger; spring is on the fragrant-grass road south of the city.

此二句是全词写惜春的核心，以欲劝春光住写惜春，以芳草路写春的所在，写尽惜春之情，是千古名句。「风前欲劝春光住」写风前想劝春光留住——那「风前」写风前，「欲劝春光住」写想劝春光留住，写尽劝春留住的惜春之情；「春在城南芳草路」写春正在城南芳草路——那「城南芳草路」写城南芳草路，写尽春的所在。这句的深意在于：它以「风前欲劝春光住」的欲劝与「春在城南芳草路」的芳草路，写尽惜春之情——风前想劝春光留住，那「欲劝春光住」写尽劝春留住的惜春之情——风前欲劝春光住，以拟人劝春，那「欲劝」写尽惜春的深情；春正在城南芳草路，那「春在城南芳草路」写尽春的所在——春光正在城南芳草路，那「芳草路」写尽春的所在；那「风前欲劝春光住」写尽劝春留住的惜春之情，那「春在城南芳草路」写尽春的所在，一写欲劝，一写春在，写尽惜春之情——春在芳草路，而欲劝其住，正是惜春之人的痴情；此二句以拟人写尽惜春之情，也让此二句成为全词写惜春的核心与千古名句。若换作直说「春天要过去了」，则失其拟人；唯以「风前欲劝春光住」写欲劝、「春在城南芳草路」写春在，写尽惜春之情，也让此二句成为全词写惜春的核心。

These two lines are the core of the ci's spring-regret - a famous line. 'Before the wind, I would persuade spring to stay' personifying spring, the deep regret; 'spring is on the fragrant-grass road south of the city' where spring abides. The personified plea to stay, spring on the fragrant road - the lover of spring's foolish longing, priming the dream below.

梦回人远许多愁，只在梨花风雨处

Out of the dream, the person is far away, and much sorrow; it lies only where the pear blossoms meet the wind and rain.

梦回时人已远去有许多愁，只在那梨花风雨之处。

Waking from the dream, the person is far, and sorrow is much; it lies only where the pear blossoms meet wind and rain.

此二句是全词的收束，以梦回人远写愁绪，以梨花风雨写愁的所在，写尽梦回人远的愁绪，是千古名句。「梦回人远许多愁」写梦回时人已远去有许多愁——那「梦回人远」写梦回时人已远去，「许多愁」写有许多愁，写尽梦回人远的愁绪；「只在梨花风雨处」写只在那梨花风雨之处——那「梨花风雨处」写梨花风雨之处，写尽愁绪的所在。这句的深意在于：它以「梦回人远许多愁」的许多愁与「只在梨花风雨处」的梨花风雨，写尽梦回人远的愁绪——梦回时人已远去有许多愁，那「梦回人远许多愁」写尽梦回人远的愁绪——梦回之时，人已远去，愁绪万千，那「许多愁」写尽愁绪的多；只在那梨花风雨之处，那「只在梨花风雨处」写尽愁绪的所在——许多愁，只在那梨花风雨之处，那「梨花风雨处」写尽愁绪的所在——梨花在风雨中飘落，正是愁绪的具象；那「梦回人远许多愁」写尽梦回人远的愁绪，那「只在梨花风雨处」写尽愁绪的所在，一写愁绪，一写所在，写尽梦回人远的愁绪——愁本无形，而寄托于梨花风雨，正是「以物写愁」的含蓄；此二句以梨花风雨收束，写尽梦回人远的愁绪，也让此二句成为全词收束的千古名句。若换作直说「我很愁」，则失其含蓄；唯以「梦回人远许多愁」写愁绪、「只在梨花风雨处」写所在，写尽梦回人远的愁绪，也让此二句成为全词的收束。

These two lines close the ci - a famous line. 'Out of the dream, the person is far away, and much sorrow' the dream broken, the person distant, the sorrow countless; 'it lies only where the pear blossoms meet the wind and rain' where the sorrow abides. Sorrow is formless, yet lodged in the pear blossoms in wind and rain - the reserved writing of sorrow through things, closing the piece.

Study

Word focus

劝 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「风前欲劝春光住」之「劝」字是写惜春的关键字，一个「劝」字写尽劝春留住的惜春之情。劝者，劝说、挽留也。辛弃疾以「欲劝春光住」写春光，这个「劝」字至少有双重意味：其一，写惜春之深——那「风前欲劝春光住」写风前想劝春光留住，那「劝」字写尽劝春留住的惜春之情——以「劝」写春光，正是以拟人写惜春，那「劝」字写尽惜春的深情；其二，写无力之叹——那「劝」字更是写感慨——欲劝春光住，而春终将去，那「劝」字写尽挽留无力的感慨。以「劝」字写春光，正是辛弃疾写惜春的枢纽——若换作「留」「挽」等字，则或失其以拟人劝春的生动，或失其与「春在城南芳草路」的配合；唯「劝」字，以一字写尽劝春留住的惜春之情与挽留无力的感慨，与「春在城南芳草路」的春在相合，写尽惜春之情，也让「风前欲劝春光住」成为全词写惜春的千古名句。

星星 'The, grey, hairs' — the hairs of the grey, the mirror of the middle. 「镜中已觉星星误」之「星星」是写白发的关键词，一个「星星」写尽白发的误我。星星者，指白发也——白发星星，如星点布。辛弃疾以「镜中已觉星星误」写白发，这个「星星」至少有双重意味：其一，写白发之现——那「镜中已觉星星误」写镜中已觉白发误我，那「星星」写尽白发的星星点点——镜中已见星星白发，那「星星」写尽白发的显现；其二，写感慨之深——那「星星」更是写感慨——星星误，正是岁月误我、壮志难酬的感慨，那「星星」写尽白发的误我。以「星星」写白发，正是辛弃疾写感慨的枢纽——若换作「白发」「皓首」等词，则或失其写白发如星的比喻，或失其与「人不负春春自负」的配合；唯「星星」二字，以星星白发写尽白发的显现与岁月误我的感慨，与「人不负春春自负」的春自负相合，写尽惜春的感慨，也让「镜中已觉星星误」成为全词写感慨的名句。