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宋 Song · 词 Ci lyric

昭君怨·送别

The, Complaint, of, the, Zhao, the, Jun, the, Seeing, Off

苏轼

Su Shi

送别Farewell 春景spring

谁作桓伊三弄，惊破绿窗幽梦。
新月与愁烟，满江天。
欲去又还不去，明日落花飞絮。
飞絮送行舟，水东流。

Listen

Meaning

A poem of the parting and the sorrow, written by Su Shi. Who made the three tunes of the Huan the Yi, startling breaking the dream of the green window of the deep — the dream of the opening. The new moon and the sorrowful mist, filling the river the sky — the scene of the middle. And the close's the flying willow catkins seeing off the boat of the traveler, the water flowing east — the close's parting. The poem is the parting and the sorrow: the dream, the moon, and the close's parting.

谁作桓伊三弄，惊破绿窗幽梦。新月与愁烟，满江天。欲去又还不去，明日落花飞絮。飞絮送行舟，水东流。

Appreciation

[Plain Paraphrase] Who, made, the, three, tunes, of, the, Huan, the, Yi, startling, breaking, the, dream, of, the, green, window, of, the, deep. The, new, moon, and, the, sorrowful, mist, filling, the, river, the, sky. Wishing, to, leave, and, yet, not, leaving, tomorrow, the, falling, flowers, the, flying, willow, catkins. The, flying, willow, catkins, seeing, off, the, boat, of, the, traveler, the, water, flowing, east. [Structure and Thought] The poem moves from the dream of the green window with the tunes, through the moon of the sorrowful mist, to the close's the parting of the flowing east. [Key Technique] The poem's art is the close of the parting: the flying willow catkins seeing off the boat of the traveler, and the close's the water flowing east — the parting gathered in the catkins and the close's flowing. [Emotional Tone] Sorrowful, lingering, and parting: the poem is the dream, the moon and the close's flowing.

【白话串讲】苏轼写《昭君怨·送别》：“谁作桓伊三弄，惊破绿窗幽梦”——“新月与愁烟，满江天”——“欲去又还不去，明日落花飞絮”——“飞絮送行舟，水东流”——他写送别。【意象与手法】此词写送别，以怀人写送别，是苏轼的名篇。上片写惊梦：「谁作桓伊三弄，惊破绿窗幽梦。新月与愁烟，满江天」写谁作桓伊三弄、惊破绿窗幽梦——写尽惊梦的愁绪；下片写送别：「欲去又还不去，明日落花飞絮。飞絮送行舟，水东流」写欲去又还不去、飞絮送行舟——写尽送别的离愁。全词以怀人写送别，写尽惊梦的愁绪与送别的离愁，是苏轼的代表作。【情感与主旨】此词写送别，以怀人写送别，是苏轼的名篇。此词写送别友人，或为送别之作。词写笛声惊破绿窗幽梦，新月与愁烟满江；友人欲去又还，明日落花飞絮之时，飞絮送行舟东流。上片以笛声惊梦写愁，下片以飞絮送舟写别，正是苏轼以景写情的送别名篇。此词写惊梦：谁作桓伊三弄，惊破绿窗幽梦——写谁作桓伊三弄、惊破绿窗幽梦，写尽惊梦的愁绪；新月与愁烟，满江天——写新月与愁烟、满江天，写尽满江的愁烟；欲去又还不去，明日落花飞絮——写欲去又还不去、明日落花飞絮，写尽欲去的留恋；飞絮送行舟，水东流——写飞絮送行舟、水东流，写尽送别的离愁。全词以怀人写送别——那「惊破绿窗幽梦」写尽惊梦的愁绪，「飞絮送行舟，水东流」写尽送别的离愁，写尽惊梦的愁绪与送别的离愁，是理解苏轼送别词的重要篇章。【名句点睛】常考「谁作桓伊三弄，惊破绿窗幽梦」写惊梦的愁绪；「飞絮送行舟，水东流」写送别的离愁；以及全词以怀人写送别、以景写情的手法。

Background

Su Shi (1037-1101), the great poet of the Song, wrote this 'The, Complaint, of, the, Zhao, the, Jun, the, Seeing, Off' of the parting and the sorrow — the parting of the seeing off. The dream of the green window with the tunes, and the close's the parting of the flowing east — the poem gathers the sorrow of the poet, the lingering of the parting. The poem is one of the famous works of the poet's poems of the farewell.

此词写送别，以怀人写送别，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，北宋文学家，为唐宋八大家之一，词开豪放一派。此词写送别友人，或为送别之作。词写笛声惊破绿窗幽梦，新月与愁烟满江；友人欲去又还，明日落花飞絮之时，飞絮送行舟东流。上片以笛声惊梦写愁，下片以飞絮送舟写别，正是苏轼以景写情的送别名篇。此词写惊梦：「谁作桓伊三弄，惊破绿窗幽梦」写谁作桓伊三弄、惊破绿窗幽梦——写尽惊梦的愁绪（谁作桓伊三弄，惊破绿窗幽梦）；「新月与愁烟，满江天」写新月与愁烟、满江天——写尽满江的愁烟（新月与愁烟，满江天）；「欲去又还不去，明日落花飞絮」写欲去又还不去、明日落花飞絮——写尽欲去的留恋（欲去又还不去，明日落花飞絮）；「飞絮送行舟，水东流」写飞絮送行舟、水东流——写尽送别的离愁（飞絮送行舟，水东流）。全词以怀人写送别，写尽惊梦的愁绪与送别的离愁，是理解苏轼送别词的重要篇章。

Art

The poem's art is the art of the parting. The dream opens: who, made, the, three, tunes, of, the, Huan, the, Yi — the three tunes of the Huan the Yi; startling, breaking, the, dream, of, the, green, window, of, the, deep — the dream of the green window; the, new, moon, and, the, sorrowful, mist — the new moon of the sorrowful mist; filling, the, river, the, sky — the filling of the river the sky; wishing, to, leave, and, yet, not, leaving — the leave of the not leaving; tomorrow, the, falling, flowers, the, flying, willow, catkins — the falling flowers of the flying catkins. And the close gathers the parting: the, flying, willow, catkins, seeing, off, the, boat, of, the, traveler — the catkins of the seeing off; the, water, flowing, east — the water of the flowing east — the dream, the moon and the close's parting, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以用典写笛声。「谁作桓伊三弄」以用典写笛声——那「桓伊三弄」用桓伊吹笛之典写笛声，以用典写尽惊梦的愁绪。其二，以设问写惊梦。「谁作桓伊三弄」以设问写惊梦——那「谁作」写尽惊问的设问，以设问写尽惊梦的愁绪。其三，以顶真写飞絮。「飞絮送行舟，水东流」以顶真写飞絮——那「飞絮」「送行舟」「水东流」写尽絮舟的衔接，以顶真写尽送别的离愁。其四，以景结写余韵。「飞絮送行舟，水东流」以景结写余韵——那「水东流」写尽东流的余韵，以景结写尽送别的离愁。此外，此词上片写惊梦的愁绪，下片写送别的离愁，由梦及别，正是送别词「以景写情」的写法。四重手法，使此词以怀人写送别，写尽惊梦的愁绪与送别的离愁，是苏轼的代表作。此词还善于以「新月与愁烟，满江天」的景语写愁——那「新月」「愁烟」写尽满江的愁意，正是以景写愁的妙笔，以景语写尽惊梦的愁绪。又善以「欲去又还不去」的复沓写留恋——欲去又还，正是欲行又止的写照，以复沓写尽送别的离愁。

Allusions

'The three tunes of the Huan the Yi' (huan yi san nong) are the three tunes of the Huan the Yi — the tunes of the Huan the Yi, the flute of the opening — the allusion of the Wang Hui, the flute of the three tunes; 'the green window' (lü chuang) is the green window — the window of the green, the dream of the opening.

此词的用语深植于送别与怀人传统。「桓伊三弄」典出《世说新语·任诞》——桓伊善吹笛，王徽之请其「为我一奏」，桓伊便作三调，苏轼以「桓伊三弄」写笛声；「绿窗」令人想到「绿窗」写闺窗的意象——也令人想到「绿窗春睡」的意象；「新月」令人想到「新月」写新月的意象——也令人想到「月落乌啼霜满天」的意象；「愁烟」令人想到「愁烟」写愁烟的意象——也令人想到「烟笼寒水月笼沙」（杜牧）的意象；「落花飞絮」令人想到「落花飞絮」写暮春的意象——也令人想到「飞絮落花时候」的意象；「水东流」令人想到「水东流」写东流的意象——也令人想到「大江东去」（苏轼）的意象。全词化用桓伊三弄、绿窗、新月、愁烟、落花飞絮、水东流的意象典故，以怀人写送别，正是苏轼「旷达」而善用典、承送别传统写离愁之本领。「桓伊三弄」令人想到桓伊吹笛与王徽之的典故——又令人想到李白《陪宋中丞武昌夜饮怀古》「黄鹤楼中吹玉笛」的笛声意象；「绿窗幽梦」令人想到「绿窗」写闺窗的意象——也令人想到「细雨梦回鸡塞远」（李璟）的梦意象。

Commentary

This poem is one of the famous works of Su Shi's poems of the farewell, quoted for the dreaminess of its opening and the lingering of its close. The green window of the deep, and the water of the flowing east, are among the admired passages of the poet's poems. Critics praise the poem's sorrow: the parting gathered in the catkins, to the close's flowing.

此词历来被推为苏轼送别词的名篇，也是宋词写送别的代表。历代论者对此词评价极高：清人评此词「以怀人写送别，缠绵凄恻」；近人更指出「飞絮送行舟，水东流」写送别的离愁，是此词的名句。在词史上，此词的特殊价值在于：它以三十三字的词写尽惊梦的愁绪与送别的离愁——那桓伊三弄，那惊破，那绿窗，那幽梦，那新月，那愁烟，那满江天，那欲去又还，那明日，那落花，那飞絮，那送行舟，那水东流，都写尽了苏轼笔下的昭君怨；那「飞絮送行舟，水东流」更以景结写尽送别的离愁。此词与苏轼《临江仙·送钱穆父》（「一别都门三改火」）同为送别名篇，一写「天涯踏尽红尘」的送行（临江仙），一写「飞絮送行舟」的送别（昭君怨）；又与李白《黄鹤楼送孟浩然之广陵》「孤帆远影碧空尽」的送别传统一脉相承，可见中国词写送别的传统。对于今日读者，此词是理解苏轼送别词的窗口，也是宋词写送别的经典——那东流的水，穿越千年，仍在诉说着送别的离愁。

Prosody

Form A ci of the parting (zhao jun yuan)词·昭君怨

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the lingering sorrow.词牌昭君怨，押「弄」「梦」「天」「去」「絮」「流」等韵，平仄互押

Tone pattern The cadence is that of the parting: the level opening with the dream, the turning with the moon, and the close's fall with the east.此词为昭君怨，平仄互押，音节婉转，正合送别的婉转。

Reading note The poem's sound matches its sorrow: the cadences of the ci, and the close — 'shui dong liu' — falls with the east, the sound of the parting of the farewell poet.此词为《昭君怨》词牌，上片四句——「谁作桓伊三弄，惊破绿窗幽梦。新月与愁烟，满江天」，下片四句——「欲去又还不去，明日落花飞絮。飞絮送行舟，水东流」，押仄韵（弄、梦）而转平韵（天、流），平仄互押，音节婉转。全词以怀人写送别：上片写惊梦的愁绪（谁作桓伊三弄、新月与愁烟），下片写送别的离愁（欲去又还不去、飞絮送行舟）。词体短章，前写惊梦，后写送别，以「飞絮送行舟，水东流」写尽送别的离愁，正见苏轼「旷达」的本色。诵读此词，宜以婉转的语调读「惊破绿窗幽梦」的惊梦，以低回的语调读「飞絮送行舟，水东流」的离愁，结句要读得婉转而有余韵，方能传达出苏轼的缠绵凄恻。苏轼词以「旷达」著称，此词正是其送别词的典范。

Line by line

飞絮送行舟，水东流

The flying willow-down sees the boat off; the waters flow east.

飞絮送行舟，水东流。

The catkins fly to speed the parting boat; the river flows eastward.

此二句是全词写离愁的核心，以飞絮送行舟写送行舟，以水东流写东流，写尽送别的离愁，是千古名句。「飞絮送行舟」写飞絮送行舟——那「飞絮」写飞絮，「送行舟」写送行舟，写尽飞絮的送舟；「水东流」写水东流——那「水东流」写水东流，写尽东流的逝水。这句的深意在于：它以「飞絮送行舟」的送舟与「水东流」的东流，写尽送别的离愁——飞絮送行舟，那「飞絮送行舟」写尽飞絮的送舟——飞絮送行舟，正是飞絮伴舟的写照，那「送行舟」写尽送别的离愁；水东流，那「水东流」写尽东流的逝水——水东流，正是行舟随水的写照，那「东流」写尽送别的离愁；那「飞絮送行舟」写尽飞絮的送舟，那「水东流」写尽东流的逝水，一写絮送，一写水逝，写尽送别的离愁——飞絮送舟而水向东流，正是离情无限的写照；此二句以飞絮、东流写尽送别的离愁，也让此二句成为全词写离愁的核心与千古名句。若换作直说「朋友坐船走了，我很舍不得」，则失其画面；唯以「飞絮送行舟」写送行舟、「水东流」写东流，写尽送别的离愁，也让此二句成为全词写离愁的核心。

These two lines are the core of the ci's parting grief, 'the flying willow-down sees the boat off' the send-off, 'the waters flow east' the flowing water, writing the farewell sorrow, a famous line. 'The flying willow-down sees the boat off' - willow-down accompanying the boat, the willow's flight the image of the drifting farewell; 'the waters flow east' - the boat following the river east, the flowing water the image of the irrecoverable going. The down sees the boat off and the water flows east, the parting grief boundless; one line the down sending, one the water going, the separation's endlessness. If one said plainly 'my friend sailed away and I am loath to part,' the picture would be lost; only the willow-down speeding the boat and the river flowing east hold the sorrow.

谁作桓伊三弄，惊破绿窗幽梦

Who plays Huan Yi's three tunes, startling awake the dim dream at the green window?

谁作桓伊三弄，惊破绿窗幽梦。

Who is playing Huan Yi's threefold flute, startling my dream at the green-latticed window?

此二句是全词写惊梦的核心，以谁作桓伊三弄写三弄，以惊破绿窗幽梦写幽梦，写尽惊梦的愁绪，是千古名句。「谁作桓伊三弄」写谁作桓伊三弄——那「谁作」写谁作，「桓伊三弄」写桓伊三弄，写尽笛声的设问；「惊破绿窗幽梦」写惊破绿窗幽梦——那「惊破」写惊破，「绿窗幽梦」写绿窗幽梦，写尽幽梦的惊破。这句的深意在于：它以「谁作桓伊三弄」的三弄与「惊破绿窗幽梦」的幽梦，写尽惊梦的愁绪——谁作桓伊三弄，那「谁作桓伊三弄」写尽笛声的设问——谁作桓伊三弄，正是笛声乍起的写照，那「谁作」写尽惊梦的愁绪；惊破绿窗幽梦，那「惊破绿窗幽梦」写尽幽梦的惊破——惊破幽梦，正是梦断笛声的写照，那「惊破」写尽惊梦的愁绪；那「谁作桓伊三弄」写尽笛声的设问，那「惊破绿窗幽梦」写尽幽梦的惊破，一写笛声，一写幽梦，写尽惊梦的愁绪——笛声三弄而幽梦惊破，正是别前愁绪的写照；此二句以三弄、幽梦写尽惊梦的愁绪，也为下文的愁烟作铺垫，也让此二句成为全词写惊梦的核心与千古名句。若换作直说「笛声把我吵醒了」，则失其含蓄；唯以「谁作桓伊三弄」写三弄、「惊破绿窗幽梦」写幽梦，写尽惊梦的愁绪，也让此二句成为全词写惊梦的核心。

These two lines are the core of the ci's startled dream, 'who plays Huan Yi's three tunes' the three tunes, 'startling awake the dim dream at the green window' the dream, writing the sorrow of the broken dream, a famous line. 'Who plays Huan Yi's three tunes' - the flute's sudden rise, the allusion to Huan Yi, the Jin-dynasty flute master who played for Wang Huizhi; 'startling awake the dim dream at the green window' - the dream broken by the flute, the 'startling awake' writing the abrupt awakening. The flute's three tunes and the dream's shattering, the sorrow before parting; one line the flute, one the dream, the grief complete. If one said plainly 'the flute woke me,' the reserve would be lost; only the question of who plays Huan Yi's three tunes and the dream's shattering hold the pathos.

Study

Word focus

惊破 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「惊破绿窗幽梦」之「惊破」是写惊梦的关键词，一个「惊破」写尽幽梦的惊破。惊破者，惊醒、惊碎也。苏轼以「惊破绿窗幽梦」写惊梦，这个「惊破」至少有双重意味：其一，写梦之破——那「惊破绿窗幽梦」写惊破绿窗幽梦，那「惊破」写尽幽梦的惊醒——惊破幽梦，正是梦断笛声的写照，那「惊破」写尽惊梦的愁绪；其二，写情之乱——那「惊破」更是写乱——惊破，正见别前的愁乱，那「惊破」写尽送别的离愁。以「惊破」写惊梦，正是苏轼写送别的枢纽——若换作「惊醒」「吹破」等词，则或失其与「谁作桓伊三弄」「绿窗幽梦」的配合，或失其写惊破的意味；唯「惊破」二字，以惊破绿窗幽梦写尽幽梦之惊醒与别前之愁乱，与「谁作桓伊三弄」的三弄相合，写尽惊梦的愁绪，也让「惊破绿窗幽梦」成为全词写惊梦的名句。

又 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「欲去又还不去」之「又」字是写留恋的关键词，一个「又」字写尽欲去的留恋。又者，却又、再而也。苏轼以「欲去又还不去」写留恋，这个「又」字至少有双重意味：其一，写去之还——那「欲去又还不去」写欲去又还不去，那「又」字写尽欲去的徘徊——欲去又还，正是去而复止的写照，那「又」字写尽送别的离愁；其二，写情之恋——那「又」字更是写恋——又，正见不忍相别的留恋，那「又」字写尽友情的深挚。以「又」字写留恋，正是苏轼写送别的枢纽——若换作「且」「却」等字，则或失其与「欲去」「还不去」的配合，或失其写又的意味；唯「又」字，以欲去又还不去写尽去而复止之徘徊与不忍别之留恋，与「飞絮送行舟，水东流」的东流相合，写尽送别的离愁，也让「欲去又还不去」成为全词写留恋的名句。