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唐 Tang · 诗 Poem

长信秋词·其三

The, Words, of, the, Autumn, of, the, Chang, the, Xin, III

王昌龄

Wang Changling

宫怨Palace sorrow

奉帚平明金殿开，暂将团扇共徘徊。
玉颜不及寒鸦色，犹带昭阳日影来。

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Meaning

A poem of the neglected and the grief, written by Wang Changling. Holding the broom at the dawn the gold hall opening, the temporarily taking the round fan together with the wandering lingering — the neglected of the opening. The jade face not as good as the color of the cold crow, still carrying the light of the shadow of the sun of the Zhao the Yang — the grief of the close. The poem is the neglected and the grief: the broom, the crow, and the close's grief.

奉帚平明金殿开，暂将团扇共徘徊。玉颜不及寒鸦色，犹带昭阳日影来。

Appreciation

[Plain Paraphrase] Holding, the, broom, at, the, dawn, the, gold, hall, opening, the, temporarily, taking, the, round, fan, together, with, the, wandering, lingering. The, jade, face, not, as, good, as, the, color, of, the, cold, crow, still, carrying, the, light, of, the, shadow, of, the, sun, of, the, Zhao, the, Yang. [Structure and Thought] The poem moves from the neglected of the broom with the round fan, through the wandering lingering, to the close's the grief of the cold crow. [Key Technique] The poem's art is the close of the grief: the jade face not as good as the color of the cold crow, and the close's still carrying the light of the shadow of the sun of the Zhao the Yang — the neglected gathered in the comparison and the close's grief. [Emotional Tone] Cold, sorrowful, and grieving: the poem is the broom, the crow and the close's grief.

【白话串讲】王昌龄写《长信秋词·其三》：“奉帚平明金殿开，暂将团扇共徘徊”——“玉颜不及寒鸦色，犹带昭阳日影来”——她的容颜还不如寒鸦，寒鸦还能带着昭阳殿的日光——他写失宠的宫女。【意象与手法】此诗写宫怨，以秋怨写失宠，是王昌龄的名篇。前二句写劳作：「奉帚平明金殿开，暂将团扇共徘徊」写奉帚平明金殿开、暂将团扇共徘徊——写尽宫人的劳作与闲愁；后二句写对比：「玉颜不及寒鸦色，犹带昭阳日影来」写玉颜不及寒鸦色、犹带昭阳日影来——写尽玉颜与寒鸦的对比。全诗以秋怨写失宠，写尽失宠宫人的孤寂与怨愤，是王昌龄的代表作。【情感与主旨】此诗写宫怨，以秋怨写失宠，是王昌龄的名篇。长信即长信宫，汉成帝时班婕妤失宠后居长信宫侍奉太后，此诗即借班婕妤事写宫怨。此诗写劳作：奉帚平明金殿开，暂将团扇共徘徊——写奉帚平明金殿开、暂将团扇共徘徊，写尽宫人的劳作与闲愁；玉颜不及寒鸦色，犹带昭阳日影来——写玉颜不及寒鸦色、犹带昭阳日影来，写尽玉颜与寒鸦的对比。全诗以秋怨写失宠——那「玉颜不及寒鸦色」写尽玉颜与寒鸦的对比，「犹带昭阳日影来」写尽失宠的怨愤，写尽失宠宫人的孤寂与怨愤，是理解王昌龄宫怨诗的重要篇章。【名句点睛】常考「奉帚平明金殿开，暂将团扇共徘徊」写宫人的劳作与闲愁；「玉颜不及寒鸦色，犹带昭阳日影来」写玉颜与寒鸦的对比；以及全诗以秋怨写失宠、以对比写怨愤的手法。

Background

Wang Changling (698-757), the poet of the Tang, wrote this 'The, Words, of, the, Autumn, of, the, Chang, the, Xin, III' of the neglected and the grief — the grief of the neglected in the palace. The neglected of the broom with the round fan, and the close's the grief of the cold crow — the poem gathers the sorrow of the poet, the pity of the neglected. The poem is one of the famous works of the poet's poems of the palace.

此诗写宫怨，以秋怨写失宠，是王昌龄的名篇。王昌龄（约698—约757），字少伯，京兆长安（今陕西西安）人，盛唐伟大的边塞诗人，尤擅七绝，人称「七绝圣手」「诗家夫子」。长信宫为汉太后所居之宫。汉成帝时，班婕妤失宠，自请退居长信宫侍奉太后，其《自悼赋》云「奉共养于东宫兮，托长信之末流」，此诗即借班婕妤事写失宠宫怨，属《长信秋词》组诗之一。「奉帚平明金殿开，暂将团扇共徘徊」写奉帚平明金殿开、暂将团扇共徘徊——写尽宫人的劳作与闲愁（平明捧帚扫金殿，暂将团扇共徘徊）；「玉颜不及寒鸦色，犹带昭阳日影来」写玉颜不及寒鸦色、犹带昭阳日影来——写尽玉颜与寒鸦的对比（如玉容颜反不及寒鸦之色，寒鸦尚带昭阳的日影而来）。全诗以秋怨写失宠，写尽失宠宫人的孤寂与怨愤，是理解王昌龄宫怨诗的重要篇章。还应追溯班婕妤本事：班婕妤为西汉成帝妃，初得宠，后赵飞燕姊妹入宫，班婕妤恐见危，自请退居长信宫侍奉太后，作《团扇诗》（即《怨歌行》）以团扇自喻，「常恐秋节至，凉飙夺炎热。弃捐箧笥中，恩情中道绝」。王昌龄此诗借班婕妤长信奉帚之事，写尽失宠宫人的怨苦，正是「借古人酒杯，浇自己块垒」；而「玉颜不及寒鸦色」之设想极痴，正见失宠者怨极而痴的绝望。

Art

The poem's art is the art of the grief. The neglected opens: holding, the, broom, at, the, dawn, the, gold, hall, opening — the broom of the gold hall; the, temporarily, taking, the, round, fan, together, with, the, wandering, lingering — the round fan of the wandering lingering. The grief follows: the, jade, face, not, as, good, as, the, color, of, the, cold, crow — the jade face of the not as good; still, carrying, the, light, of, the, shadow, of, the, sun, of, the, Zhao, the, Yang — the light of the Zhao the Yang — the neglected, the comparison and the close's grief, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以细节写劳作。「奉帚平明金殿开」以细节写劳作——那「奉帚」「平明」写尽清晨扫殿的劳作，以细节写尽宫人的清苦。其二，以用典写闲愁。「暂将团扇共徘徊」以用典写闲愁——那「团扇」写尽班婕妤团扇的典故，以用典写尽宫人的闲愁。其三，以对比写怨愤。「玉颜不及寒鸦色」以对比写怨愤——那「玉颜」与「寒鸦色」对比，以对比写尽玉颜反不及寒鸦的怨愤。其四，以反衬写失宠。「犹带昭阳日影来」以反衬写失宠——那「昭阳日影」写尽宠者所沾的恩泽，以反衬写尽失宠的孤寂。此外，此诗前二句写宫人的劳作与闲愁，后二句写玉颜与寒鸦的对比，由叙入议，正是宫怨诗「以事写怨」的写法。四重手法，使此诗以秋怨写失宠，写尽失宠宫人的孤寂与怨愤，是王昌龄的代表作。此诗尤可注意「日影」与「寒鸦」的巧妙：日影喻皇帝恩泽，寒鸦自昭阳飞来而犹带日影，玉颜空老长信而不得恩泽——一鸟之幸与一人之悲，形成强烈的反差。而「玉颜不及寒鸦色」更是无理而妙之笔：玉颜之美，何尝不及寒鸦之色？然以恩泽论之，玉颜竟不及寒鸦，正是以「色」之比较写「恩」之悬殊，设想愈痴，怨愤愈深，正是宫怨诗的极致。

Allusions

'The round fan' (tuan shan) is the round fan — the fan of the round, the neglected of the opening — the allusion of the Ban Jieyu, the fan of the autumn; 'the Zhao the Yang' (zhao yang) is the Zhao the Yang — the palace of the Zhao the Yang, the light of the close.

此诗的用语深植于宫怨与典故的传统。「奉帚」令人想到「奉帚」写持帚侍奉的意象——班婕妤《自悼赋》「共洒扫于帷幄兮」即写洒扫之职，也令人想到「长信奉帚」写失宠宫人的意象；「团扇」令人想到「团扇」写团扇的典故——班婕妤《怨歌行》以团扇自喻，恐「秋节至」而被弃，也令人想到「团扇」写被弃的意象；「玉颜」令人想到「玉颜」写美人的意象——「玉颜不及寒鸦色」正是王昌龄的名句，也令人想到「以色事人者」的意象；「寒鸦」令人想到「寒鸦」写寒鸦的意象——「玉颜不及寒鸦色」正是王昌龄的名句，也令人想到「月落乌啼霜满天」的寒鸦意象；「昭阳日影」令人想到「昭阳」写昭阳殿的典故——赵飞燕居昭阳殿受宠，也令人想到「日影」写恩泽的意象——「犹带昭阳日影来」正是王昌龄的名句。全诗化用奉帚、团扇、昭阳的典故，以秋怨写失宠，正是王昌龄「深情幽怨」而善用典、承宫怨传统写怨愤的本领。又「奉帚」二字可深味：班婕妤《自悼赋》「共洒扫于帷幄兮，永终死以为期」，即写其在长信宫洒扫之职。王昌龄以「奉帚平明金殿开」写失宠宫人清晨扫殿之劳，正是将班婕妤的洒扫之事化为诗歌意象，以日常劳作写失宠之清苦，不着一怨字而怨意自深；而「暂将团扇共徘徊」更以团扇徘徊写闲暇之无聊，劳作与闲愁相映，正是宫人清苦的双重写照。

Commentary

This poem is one of the famous works of Wang Changling's poems of the palace, quoted for the servitude of its opening and the depth of its close. The round fan of the wandering lingering, and the jade face of the not as good, are among the admired passages of the poet's poems. Critics praise the poem's grief: the neglected gathered in the comparison, to the close's sorrow.

此诗历来被推为王昌龄宫怨诗的名篇，也是唐人写宫怨的代表。历代论者对此诗评价极高：清人评此诗「以秋怨写失宠，设想极痴而极哀」；近人更指出「玉颜不及寒鸦色，犹带昭阳日影来」以寒鸦反衬玉颜，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽失宠宫人的孤寂与怨愤——那平明奉帚，那金殿，那团扇，那徘徊，那玉颜，那寒鸦色，那昭阳日影，都写尽了王昌龄笔下的长信秋怨；那「犹带昭阳日影来」更以反衬写尽失宠的怨愤。此诗与王昌龄《西宫春怨》（「斜抱云和深见月」）同为宫怨名篇，一写「玉颜不及寒鸦色」的秋怨（长信秋词），一写「欲卷珠帘春恨长」的春怨（西宫春怨）；又与李白《玉阶怨》「却下水晶帘」的宫怨传统一脉相承，可见中国诗写宫怨的幽怨传统。对于今日读者，此诗是理解王昌龄宫怨诗的窗口，也是中国诗写宫怨的经典——那犹带日影的寒鸦，穿越千年，仍在诉说着失宠的怨愤。

Prosody

Form A quatrain of the palace (qi yan jue ju)诗·七言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the cold grief.七绝，押「开」「徊」「来」韵（上平十灰），一韵到底，音节幽怨

Tone pattern The cadence is that of the grief: the level opening with the neglected, the turning with the comparison, and the close's fall with the coming.此诗为七言绝句，押平声韵，一韵到底，音节幽怨，正合秋怨的幽怨。

Reading note The poem's sound matches its sorrow: the cadences of the quatrain, and the close — 'you dai zhao yang ri ying lai' — falls with the coming, the sound of the grief of the palace poet.此诗为七言绝句，四句——「奉帚平明金殿开，暂将团扇共徘徊。玉颜不及寒鸦色，犹带昭阳日影来」，押「灰」韵（开、徊、来），一韵到底，音节幽怨。全诗以秋怨写失宠：前二句写宫人的劳作与闲愁（奉帚平明金殿开，暂将团扇共徘徊），后二句写玉颜与寒鸦的对比（玉颜不及寒鸦色，犹带昭阳日影来）。四句短章，前写劳作，后写对比，以「犹带昭阳日影来」写尽失宠的怨愤，正见王昌龄「深情幽怨」的本色。诵读此诗，宜以幽怨的语调读「奉帚平明金殿开」的劳作，以怨愤的语调读「玉颜不及寒鸦色」的对比，结句要读得激切而有余韵，方能传达出王昌龄的深情幽怨。王昌龄绝句以「深情幽怨」著称，此诗正是其宫怨绝句的典范。

Line by line

玉颜不及寒鸦色，犹带昭阳日影来

My jade face is not even as fair as the cold crow's plumes, which still bring the sun's shadow from Zhaoyang.

如玉容颜反不及寒鸦之色，寒鸦尚带昭阳的日影而来。

My jade-white face cannot compare with the cold crow's feathers, which still carry the sun's rays from Zhaoyang.

此二句是全诗写怨愤的核心，以玉颜不及寒鸦色写对比，以犹带昭阳日影来写反衬，写尽失宠的怨愤，是千古名句。「玉颜不及寒鸦色」写如玉容颜反不及寒鸦之色——那「玉颜」写如玉的容颜，「不及寒鸦色」写反不及寒鸦之色，写尽玉颜与寒鸦的对比；「犹带昭阳日影来」写寒鸦尚带昭阳的日影而来——那「犹带」写尚带着，「昭阳日影」写昭阳的日影，写尽寒鸦之幸与己之不幸。这句的深意在于：它以「玉颜不及寒鸦色」的对比与「犹带昭阳日影来」的反衬，写尽失宠的怨愤——如玉容颜反不及寒鸦之色，那「玉颜不及寒鸦色」写尽玉颜与寒鸦的对比——玉颜本是绝世之美，而反不及寒鸦之色，正见失宠后的凄惨，那「不及」写尽玉颜的凄凉；寒鸦尚带昭阳的日影而来，那「犹带昭阳日影来」写尽寒鸦之幸与己之不幸——寒鸦自昭阳飞来，犹带着昭阳的日影，而那日影正是皇帝的恩泽，那「昭阳日影」写尽恩宠的象征；那「玉颜不及寒鸦色」写尽玉颜与寒鸦的对比，那「犹带昭阳日影来」写尽寒鸦之幸与己之不幸，一写对比，一写反衬，写尽失宠的怨愤——玉颜反不及寒鸦，正是失宠者的彻骨之悲；此二句以对比、反衬写尽失宠的怨愤，也让此二句成为全诗写怨愤的核心与千古名句。若换作直说「她失宠了很可怜」，则失其怨愤；唯以「玉颜不及寒鸦色」写对比、「犹带昭阳日影来」写反衬，写尽失宠的怨愤，也让此二句成为全诗写怨愤的核心。

These two lines are the core of the poem's resentment, 'my jade face not even as fair as the cold crow's plumes' the contrast, 'which still bring the sun's shadow from Zhaoyang' the foil, writing the neglected consort's grievance, a famous line. 'My jade face is not even as fair as the cold crow's plumes' - 'jade face' the matchless beauty, 'not even as the crow's plumes' the wretchedness of neglect; 'which still bring the sun's shadow from Zhaoyang' - 'still bring' the crow's luck, 'the sun's shadow from Zhaoyang' the imperial grace, the crow flying from Zhaoyang, still bearing the sun's rays, those rays the very emperor's favor. A jade face, peerlessly fair, yet less than a crow's black plumes - the contrast writing the depth of the discarded one's grief; the crow still carrying the sun's shadow, while she who waits in the cold chamber gets none. One contrast, one foil, the resentment of the fallen consort complete. If one said plainly 'she is neglected and pitiful,' the bitterness would be lost; only by the jade face's losing to the crow's plumes does the grief cut to the bone.

奉帚平明金殿开，暂将团扇共徘徊

At dawn, broom in hand, the golden hall opens; for a while, with the round fan, I pace to and fro.

平明捧帚扫金殿，暂将团扇共徘徊。

At dawn, holding the broom, the golden hall is opened; for a moment, with the round fan in hand, I pace to and fro.

此二句是全诗写劳作的核心，以奉帚平明写劳作，以团扇共徘徊写闲愁，写尽宫人的劳作与闲愁，是千古名句。「奉帚平明金殿开」写平明捧帚扫金殿——那「奉帚」写捧帚，「平明金殿开」写平明金殿开门，写尽清晨扫殿的劳作；「暂将团扇共徘徊」写暂将团扇共徘徊——那「暂将团扇」写暂拿团扇，「共徘徊」写一同徘徊，写尽百无聊赖的闲愁。这句的深意在于：它以「奉帚平明金殿开」的劳作与「暂将团扇共徘徊」的闲愁，写尽宫人的劳作与闲愁——平明捧帚扫金殿，那「奉帚平明金殿开」写尽清晨扫殿的劳作——平明时分，金殿开门，便捧帚洒扫，正是失宠宫人的清苦之职，那「奉帚」写尽洒扫的劳作；暂将团扇共徘徊，那「暂将团扇共徘徊」写尽百无聊赖的闲愁——团扇，正是班婕妤自喻被弃之物，暂将团扇徘徊，正是无事可做的闲愁，那「共徘徊」写尽徘徊的无奈；那「奉帚平明金殿开」写尽清晨扫殿的劳作，那「暂将团扇共徘徊」写尽百无聊赖的闲愁，一写劳作，一写闲愁，写尽宫人的劳作与闲愁——扫殿已毕而团扇徘徊，正是失宠宫人的清苦；此二句以劳作、闲愁写尽宫人的劳作与闲愁，也为后二句的对比作铺垫，也让此二句成为全诗写劳作的核心与千古名句。若换作直说「她每天在宫里干活很无聊」，则失其用典；唯以「奉帚平明金殿开」写劳作、「暂将团扇共徘徊」写闲愁，写尽宫人的劳作与闲愁，也让此二句成为全诗写劳作的核心。

These two lines are the core of the poem's toil, 'at dawn, broom in hand, the golden hall opens' the labor, 'for a while, with the round fan, I pace to and fro' the idle grief, writing the palace woman's toil and languor, a famous line. 'At dawn, broom in hand, the golden hall opens' - dawn, the golden hall unlocked, she takes up the broom to sweep, the mean task of the discarded consort; 'for a while, with the round fan, I pace to and fro' - the round fan, the very thing Ban Jieyu used to liken herself, cast aside; pacing with the fan, the idle sorrow of nothing to do. The hall swept, the fan paced - the toil and the leisure, the labor and the ennui, priming the contrast below. The round fan allusion to Ban Jieyu, the discarded consort, the poetry's depth not in plain statement of her drudgery, but in the fan's silent company as she wanders.

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团扇 'The, round, fan' — the fan of the round, the lingering of the opening. 「暂将团扇共徘徊」之「团扇」是写闲愁的关键词，一个「团扇」写尽被弃的愁怨。团扇者，圆形之扇也。王昌龄以「暂将团扇共徘徊」写闲愁，这个「团扇」至少有双重意味：其一，写被弃之喻——那「暂将团扇共徘徊」写暂将团扇共徘徊，那「团扇」写尽班婕妤自喻被弃的典故——团扇夏用秋弃，正是失宠宫人的自喻，那「团扇」写尽被弃的愁怨；其二，写闲愁之绪——那「团扇」更是写愁——暂将团扇徘徊，正是百无聊赖，那「团扇」写尽闲愁的无奈。以「团扇」写闲愁，正是王昌龄写幽怨的枢纽——若换作「罗扇」「纨扇」等词，则或失其写被弃的典故，或失其与「徘徊」的配合；唯「团扇」二字，以暂将团扇共徘徊写尽被弃之喻与闲愁的无奈，与「奉帚平明金殿开」的奉帚相合，写尽宫人的劳作与闲愁，也让「暂将团扇共徘徊」成为全诗写闲愁的名句。

日影 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「犹带昭阳日影来」之「日影」是写恩泽的关键词，一个「日影」写尽皇帝的恩泽。日影者，日光照影也，喻皇帝的恩泽。王昌龄以「犹带昭阳日影来」写寒鸦，这个「日影」至少有双重意味：其一，写恩泽之象征——那「犹带昭阳日影来」写寒鸦尚带昭阳的日影而来，那「日影」写尽恩泽的象征——日影即皇帝之泽，正见寒鸦尚沾恩泽，那「日影」写尽恩宠的象征；其二，写对照之怨——那「日影」更是写怨——寒鸦带日影而玉颜无恩，那「日影」写尽失宠的怨愤。以「日影」写恩泽，正是王昌龄写怨愤的枢纽——若换作「恩光」「宠光」等词，则或失其写日影的意味，或失其与「昭阳」的配合；唯「日影」二字，以犹带昭阳日影来写尽恩泽的象征与失宠的怨愤，与「玉颜不及寒鸦色」的玉颜相合，写尽失宠的怨愤，也让「犹带昭阳日影来」成为全诗写怨愤的名句。