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宋 Song · 词 Ci lyric

蝶恋花·六曲阑干偎碧树

Butterflies Love Flowers: Six-Bend Balustrades Nestle Against Emerald Trees

晏殊

Yan Shu

春景spring scenery 闲愁idle melancholy

六曲阑干偎碧树，杨柳风轻，展尽黄金缕。
谁把钿筝移玉柱，穿帘海燕双飞去。
满眼游丝兼落絮，红杏开时，一霎清明雨。
浓睡觉来莺乱语，惊残好梦无寻处。

Six-bend balustrades nestle against emerald trees; willows in a light breeze unroll their strands of golden thread.
Who is it, moving the ivory pegs of an inlaid zither? Sea swallows pierce the curtain, flying off in pairs.
Before the eyes, gossamer and drifting catkins everywhere; as the red apricots open, one sudden shower of Qingming rain.
Waking from deep sleep to orioles' tangled chatter—the lovely dream is broken, nowhere to be found.

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Meaning

A spring tableau in a lady's garden—balustrades against green trees, willow silk in the breeze, a zither sounding behind the curtain, swallows in pairs—turns by degrees toward melancholy: gossamer and falling catkins, a sudden Qingming shower, and finally a nap cut short by orioles, leaving a broken dream that cannot be recovered. Spring beauty carries a quiet, undefined sorrow.

六曲阑干偎碧树，杨柳风轻，展尽黄金缕。谁把钿筝移玉柱，穿帘海燕双飞去。满眼游丝兼落絮，红杏开时，一霎清明雨。浓睡觉来莺乱语，惊残好梦无寻处。

Appreciation

[Plain Paraphrase] The winding balustrade leans against emerald trees; a light breeze unrolls the willows' golden threads. Someone moves the ivory pegs of an inlaid zither; sea swallows thread the curtain and fly off in pairs. Gossamer and drifting catkins fill the eyes; when the red apricots bloom, a sudden Qingming shower falls. Waking from deep sleep to orioles' noisy chatter, the lovely dream is broken—nowhere to find it again. [Structure] The upper stanza paints spring's charm and ends with the paired swallows departing; the lower stanza lets spring decay—gossamer, catkins, rain—until the dream is shattered. [Imagery] Everything moves lightly: breeze, zither notes, swallow wings, catkins—until the rain and the orioles' clamor. The paired swallows recall the solitary watcher; the 'golden threads' of the willow, so bright at first, become the 'drifting catkins' of the close. [Technique] The ci paints joy in order to deepen the sorrow: the livelier the spring, the more desolate the broken dream. Nothing is stated about feeling; the last image says it all.

【白话串讲】晏殊写《蝶恋花·六曲阑干偎碧树》：“六曲阑干偎碧树，杨柳风轻，展尽黄金缕”——“谁把钿筝移玉柱，穿帘海燕双飞去”——“满眼游丝兼落絮，红杏开时，一霎清明雨”——“浓睡觉来莺乱语，惊残好梦无寻处”——他写春日的惆怅。【意象与手法】此词写春景，以闺怨写春景，是晏殊的名篇。上阕写春景：「六曲阑干偎碧树，杨柳风轻，展尽黄金缕。谁把钿筝移玉柱，穿帘海燕双飞去」写六曲阑干偎碧树、杨柳风轻、展尽黄金缕——写尽穿帘海燕的双飞去；下阕写闺怨：「满眼游丝兼落絮，红杏开时，一霎清明雨。浓睡觉来莺乱语，惊残好梦无寻处」写满眼游丝兼落絮、红杏开时、一霎清明雨——写尽惊残好梦的无寻处。全词以闺怨写春景，写尽穿帘海燕的双飞去与惊残好梦的无寻处，是晏殊的代表作。【情感与主旨】此词写春景，以闺怨写春景，是晏殊的名篇。此词为晏殊写其春日的闺情，写其春景中的幽怨。晏殊此词写春日的景物与闺中之情。此词写六曲阑干偎碧树，杨柳风轻，展尽黄金缕；谁把钿筝移玉柱，穿帘海燕双飞去；满眼游丝兼落絮，红杏开时，一霎清明雨；浓睡觉来莺乱语，惊残好梦无寻处。此词写春景：六曲阑干偎碧树，杨柳风轻，展尽黄金缕——写六曲阑干偎碧树、杨柳风轻、展尽黄金缕，写尽展尽黄金的缕；谁把钿筝移玉柱，穿帘海燕双飞去——写谁把钿筝移玉柱、穿帘海燕双飞去，写尽穿帘海燕的双飞去；满眼游丝兼落絮，红杏开时，一霎清明雨——写满眼游丝兼落絮、红杏开时、一霎清明雨，写尽一霎清明的一霎雨；浓睡觉来莺乱语，惊残好梦无寻处——写浓睡觉来莺乱语、惊残好梦无寻处，写尽惊残好梦的无寻处。全词以闺怨写春景——那「穿帘海燕双飞去」写尽穿帘海燕的双飞去，「惊残好梦无寻处」写尽惊残好梦的无寻处，写尽穿帘海燕的双飞去与惊残好梦的无寻处，是理解晏殊春景词的重要篇章。【名句点睛】常考「六曲阑干偎碧树，杨柳风轻，展尽黄金缕」写展尽黄金的缕；「浓睡觉来莺乱语，惊残好梦无寻处」写惊残好梦的无寻处；以及全词以闺怨写春景、以白描写春景的手法。

Background

Yan Shu (991–1055), courtesy name Tongshu, a native of Linchuan in Fuzhou (modern Fuzhou, Jiangxi), rose to grand councilor of the Northern Song and was posthumously titled Yuanxian. A major early Song ci writer, he is remembered with his son Yan Jidao as the 'Two Yans.' His lyrics are famed for their mild warmth, polish and restraint—griefs held within an elegant surface. This mid-length lyric belongs to that manner: a spring garden scene in a boudoir world, a dream of pleasure interrupted, and a sorrow that is never named. It is often paired with his autumn 'Butterflies Love Flowers: Chrysanthemums by the Railing Grieve in Mist' as the spring and autumn faces of the same style.

此词写春景，以闺怨写春景，是晏殊的名篇。晏殊（991—1055），字同叔，抚州临川（今江西抚州）人，北宋政治家、文学家，官至宰相，谥元献，世称「晏元献」，北宋词坛大家，与其子晏几道合称「二晏」。此词为晏殊写其春日的闺情，写其春景中的幽怨。晏殊此词写春日的景物与闺中之情。此词写六曲阑干偎碧树，杨柳风轻，展尽黄金缕；谁把钿筝移玉柱，穿帘海燕双飞去；满眼游丝兼落絮，红杏开时，一霎清明雨；浓睡觉来莺乱语，惊残好梦无寻处。此词写春景：「六曲阑干偎碧树，杨柳风轻，展尽黄金缕」写六曲阑干偎碧树、杨柳风轻、展尽黄金缕——写尽展尽黄金的缕（六曲阑干偎碧树，杨柳风轻，展尽黄金缕）；「谁把钿筝移玉柱，穿帘海燕双飞去」写谁把钿筝移玉柱、穿帘海燕双飞去——写尽穿帘海燕的双飞去（谁把钿筝移玉柱，穿帘海燕双飞去）；「满眼游丝兼落絮，红杏开时，一霎清明雨」写满眼游丝兼落絮、红杏开时、一霎清明雨——写尽一霎清明的一霎雨（满眼游丝兼落絮，红杏开时，一霎清明雨）；「浓睡觉来莺乱语，惊残好梦无寻处」写浓睡觉来莺乱语、惊残好梦无寻处——写尽惊残好梦的无寻处（浓睡觉来莺乱语，惊残好梦无寻处）。全词以闺怨写春景，写尽穿帘海燕的双飞去与惊残好梦的无寻处，是理解晏殊春景词的重要篇章。

Art

Four devices shape the ci. First, plain description of spring: the balustrade 'nestling' against the trees, the light breeze unrolling 'golden threads'—the willow strands shine, and the scene feels tender and unhurried. Second, a question opens an interior: 'who is moving the ivory pegs of the inlaid zither?'—an unseen player behind the curtain stirs the quiet, and the swallows' paired flight away hints at loneliness without saying it. Third, layered scenery marks time: gossamer, falling catkins, blossoming apricots, a sudden Qingming shower—spring at its fullest and already passing. Fourth, contrast closes the ci: the orioles' merry clamor wakes the sleeper and shatters the sweet dream; the bird's joy underscores the dreamer's loss, the classic device of using gladness to write grief. From balustrade to willow to swallow to catkin to rain to oriole, the ci descends by gentle stages from brightness into melancholy, all feeling carried by image—Yan Shu's warm, reserved manner at its purest.

此词的艺术特色可从四个方面解析。其一，以白描写春景。「六曲阑干偎碧树」以白描写春景——那「杨柳风轻」写尽杨柳风的轻，以白描写尽展尽黄金的缕。其二，以设问写寂寥。「谁把钿筝移玉柱」以设问写寂寥——那「穿帘海燕双飞去」写尽穿帘海燕的双飞去，以设问写尽穿帘海燕的双飞去。其三，以写景写春雨。「满眼游丝兼落絮」以写景写春雨——那「红杏开时，一霎清明雨」写尽一霎清明的一霎雨，以写景写尽一霎清明的一霎雨。其四，以反衬写好梦。「惊残好梦无寻处」以反衬写好梦——那「浓睡觉来莺乱语」写尽浓睡觉来的莺乱语，以反衬写尽惊残好梦的无寻处。此外，此词上阕写穿帘海燕的双飞去，下阕写惊残好梦的无寻处，由景及情，正是春景词「以乐写哀」的写法。四重手法，使此词以闺怨写春景，写尽穿帘海燕的双飞去与惊残好梦的无寻处，是晏殊的代表作。又，此词上阕由阑干、杨柳、海燕一路写来，皆是春之动景，而「谁把钿筝移玉柱」一问，暗逗闺中之人；下阕「游丝」「落絮」「红杏」「清明雨」层层写春之将尽，末以「浓睡觉来莺乱语」点醒，一笔落到「惊残好梦无寻处」，以景语作情语，正是晏殊「含蓄深婉」的本色。

Allusions

The diction draws on a long tradition. 'Emerald trees' anticipates Yan Shu's own 'last night the west wind withered the emerald trees'; 'willow wind' recalls the monk Zhinan's 'the willow wind that blows the face is not cold'; 'golden threads' names the willow's shining strands. The 'inlaid zither' (dian zheng) with 'ivory pegs' is the standard furniture of elegant boudoir music. 'Sea swallows' pair flight recalls the swallows of Wang and Xie halls in Liu Yuxi; 'gossamer' and 'falling catkins' are conventional emblems of drifting, unseizable spring feeling; 'red apricots' echoes Song Qi's 'on the red apricot branches, spring boisterous.' The 'Qingming rain' follows Du Mu's 'rain thick and thin at Qingming,' and the orioles that break a dream invert Jin Changxu's 'drive away the orioles—do not let them sing.' Each image is borrowed gently, fitted into a scene whose mood is the poet's own.

此词的用语深植于春景与闺怨传统。「阑干」令人想到「阑干」写栏杆的意象——也令人想到「玉勒雕鞍游冶处」的意象；「碧树」令人想到「碧树」写绿树的意象——也令人想到「昨夜西风凋碧树」（晏殊）的意象；「杨柳风」令人想到「杨柳风」写春风的意象——也令人想到「吹面不寒杨柳风」（志南）的意象；「黄金缕」令人想到「黄金缕」写柳条的意象——也令人想到「柳丝袅娜黄金缕」的意象；「钿筝」令人想到「钿筝」写筝的意象——也令人想到「钿筝罗幕玉搔头」的意象；「玉柱」令人想到「玉柱」写筝柱的意象——也令人想到「十三弦上玉柱横」的意象；「海燕」令人想到「海燕」写燕子的意象——也令人想到「旧时王谢堂前燕」（刘禹锡）的意象；「游丝」令人想到「游丝」写游丝的意象——也令人想到「游丝软系飘春榭」的意象；「落絮」令人想到「落絮」写飞絮的意象——也令人想到「飞絮濛濛」的意象；「红杏」令人想到「红杏」写红杏的意象——也令人想到「红杏枝头春意闹」（宋祁）的意象；「清明雨」令人想到「清明雨」写清明的意象——也令人想到「清明时节雨纷纷」（杜牧）的意象；「莺乱语」令人想到「莺乱语」写莺啼的意象——也令人想到「打起黄莺儿」（金昌绪）的意象；「好梦」令人想到「好梦」写好梦的意象——也令人想到「好梦留人睡」（范仲淹）的意象。全词化用阑干、碧树、杨柳风、黄金缕、钿筝、玉柱、海燕、游丝、落絮、红杏、清明雨、莺乱语、好梦的意象，以闺怨写春景，正是晏殊「温润」而善白描、承晚唐五代词传统写闺怨之本领。

Commentary

This ci has long been counted among Yan Shu's finest spring lyrics and a representative early Song treatment of boudoir melancholy. Qing critics praised its 'mild and reserved' way of writing spring scenery through the sensibility of the boudoir; modern readers treasure the opening line 'Six-bend balustrades nestle against emerald trees' and the close 'a lovely dream is broken—nowhere to be found.' Its value in ci history lies in the descent it stages: from the shining willow threads through the departing swallows to catkins, rain and a broken dream, a whole spring—and a whole mood—passes in eight lines without one word of lament. Read against Yan Shu's autumn 'Chrysanthemums by the Railing Grieve in Mist,' it shows the spring face of his art; against Ouyang Xiu's deep courtyard, the milder temper of the early Song. The dream that cannot be found still speaks, after a thousand years, of the swallows flying off in pairs.

此词历来被推为晏殊春景词的名篇，也是宋初词写春闺幽怨的代表。历代论者对此词评价极高：清人评此词「以闺怨写春景，温润含蓄」；近人更指出「六曲阑干偎碧树，杨柳风轻，展尽黄金缕」写展尽黄金的缕，是此词的名句。在词史上，此词的特殊价值在于：它以中调写尽穿帘海燕的双飞去与惊残好梦的无寻处——那六曲，那阑干，那偎碧树，那杨柳，那风轻，那展尽，那黄金缕，那谁把，那钿筝，那移玉柱，那穿帘，那海燕，那双飞去，那满眼，那游丝，那兼落絮，那红杏，那开时，那一霎，那清明雨，那浓睡，那觉来，那莺乱语，那惊残，那好梦，那无寻处，都写尽了晏殊笔下的蝶恋花六曲阑干偎碧树；那「惊残好梦无寻处」更以反衬写尽惊残好梦的无寻处。此词与晏殊《蝶恋花·槛菊愁烟兰泣露》「槛菊愁烟兰泣露」同为春景名篇，一写「昨夜西风凋碧树」的槛菊愁烟，一写「穿帘海燕双飞去」的六曲阑干；一写秋，一写春。两词对读，可见晏殊蝶恋花的两面。对于今日读者，此词是理解晏殊春景词的窗口，也是宋初词写春闺幽怨的经典——那惊残好梦的无寻处，穿越千年，仍在诉说着穿帘海燕的双飞去。

Prosody

Form Ci to the tune 'Butterflies Love Flowers' (Die Lian Hua), a mid-length lyric in two stanzas词·蝶恋花

Rhyme Oblique-tone rhymes throughout: upper stanza 树, 缕, 去; lower stanza 雨, 处 — oblique rhyme maintained to the end蝶恋花，上阕押「树」「缕」「去」，下阕押「雨」「处」（仄韵遇语韵），仄韵到底

Tone pattern The recurring falling rhymes give the song a rounded, mellow cadence—gentle and reserved, matching the mild melancholy beneath the spring scene此词为蝶恋花中调，押仄声韵，仄韵到底，音节温润，正合春景的温润。

Reading note In the Die Lian Hua pattern every major pause rhymes, so the oblique endings (shu, lü, qu, yu, chu) lend the lines a soft, sinking music well suited to a mood that never announces itself. Read the opening garden scene in a warm, flowing voice, lighten the question about the zither as if half-heard, let the catkins and rain lines slow and dim, and give the final broken dream a falling, fading close—the lingering afterglow is the essence of Yan Shu's mild reserve.此词为蝶恋花中调，上下两阕——上阕「六曲阑干偎碧树，杨柳风轻，展尽黄金缕。谁把钿筝移玉柱，穿帘海燕双飞去」，下阕「满眼游丝兼落絮，红杏开时，一霎清明雨。浓睡觉来莺乱语，惊残好梦无寻处」，押仄韵（树、缕、去、雨、处），仄韵到底，音节温润。全词以闺怨写春景：上阕写穿帘海燕的双飞去（六曲阑干偎碧树、谁把钿筝移玉柱），下阕写惊残好梦的无寻处（满眼游丝兼落絮、浓睡觉来莺乱语）。中调铺叙，前写春景，后写闺怨，以「惊残好梦无寻处」写尽惊残好梦的无寻处，正见晏殊「温润」的本色。诵读此词，宜以温润的语调读「展尽黄金缕」的春景，以低回的语调读「惊残好梦无寻处」的闺怨，结句要读得温润而有余韵，方能传达出晏殊的温润含蓄。晏殊中调以「温润」著称，此词正是其春景词的典范。

Line by line

六曲阑干偎碧树，杨柳风轻，展尽黄金缕

Six-bend balustrades nestle against emerald trees; willows in a light breeze unroll their strands of golden thread.

六曲阑干偎碧树，杨柳风轻，展尽黄金缕。

The six-turn balustrade leans against green trees; in the light willow breeze, the golden threads are fully unfurled.

此三句是全词写春景的核心，以六曲阑干偎碧树写偎碧树，以杨柳风轻写风轻，以展尽黄金缕写黄金缕，写尽展尽黄金的缕，是千古名句。「六曲阑干偎碧树」写六曲阑干偎碧树——那「六曲阑干」写六曲阑干，「偎碧树」写偎碧树，写尽六曲阑干的偎碧树；「杨柳风轻」写杨柳风轻——那「杨柳」写杨柳，「风轻」写风轻，写尽杨柳的风轻；「展尽黄金缕」写展尽黄金缕——那「展尽」写展尽，「黄金缕」写黄金缕，写尽展尽的黄金缕。这句的深意在于：它以「六曲阑干偎碧树」的偎碧树、「杨柳风轻」的风轻与「展尽黄金缕」的黄金缕，写尽展尽黄金的缕——六曲阑干偎碧树，那「六曲阑干偎碧树」写尽六曲阑干的偎碧树——六曲阑干偎碧树，正是阑干依树的写照，那「偎碧树」写尽展尽黄金的缕；杨柳风轻，那「杨柳风轻」写尽杨柳的风轻——杨柳风轻，正是风轻柳摆的写照，那「风轻」写尽展尽黄金的缕；展尽黄金缕，那「展尽黄金缕」写尽展尽的黄金缕——展尽黄金缕，正是柳丝尽展的写照，那「黄金缕」写尽展尽黄金的缕；那「六曲阑干偎碧树」写尽六曲阑干的偎碧树，那「杨柳风轻」写尽杨柳的风轻，那「展尽黄金缕」写尽展尽的黄金缕，一写偎碧树，一写风轻，一写黄金缕，写尽展尽黄金的缕——阑干依树而柳丝尽展，正是春景的写照；此三句以偎碧树、风轻、黄金缕写尽展尽黄金的缕，也为下文的钿筝作铺垫，也让此三句成为全词写春景的核心与千古名句。若换作直说「六曲栏杆偎着碧树，杨柳风轻，柳丝展尽黄金缕」，则失其温润；唯以「六曲阑干偎碧树」写偎碧树、「杨柳风轻」写风轻、「展尽黄金缕」写黄金缕，写尽展尽黄金的缕，也让此三句成为全词写春景的核心。

The ci opens on a garden corner. The six-turn balustrade leans against the green trees—even the railing is personified, nestling; the light willow breeze unfurls the golden threads of the new catkins to their full length. The whole stanza is a soft survey of spring: railing, trees, breeze, willow, each yielding its detail. The word leans for the railing is the first tenderness of a enclosed garden. To have said the balustrade was among green trees in a light breeze would be a garden description; the leaning railing and the unfurled golden willow threads are the spring.

浓睡觉来莺乱语，惊残好梦无寻处

Waking from deep sleep amid orioles' tangled chatter—the lovely dream is broken, nowhere to be found.

浓睡觉来莺乱语，惊残好梦无寻处。

Waking from deep sleep, the orioles chatter in disarray; they have shattered the fine dream, and there is nowhere to find it.

此二句是全词写闺怨的核心，以浓睡觉来莺乱语写莺乱语，以惊残好梦无寻处写无寻处，写尽惊残好梦的无寻处，是千古名句。「浓睡觉来莺乱语」写浓睡觉来莺乱语——那「浓睡觉来」写浓睡觉来，「莺乱语」写莺乱语，写尽浓睡觉来的莺乱语；「惊残好梦无寻处」写惊残好梦无寻处——那「惊残好梦」写惊残好梦，「无寻处」写无寻处，写尽惊残好梦的无寻处。这句的深意在于：它以「浓睡觉来莺乱语」的莺乱语与「惊残好梦无寻处」的无寻处，写尽惊残好梦的无寻处——浓睡觉来莺乱语，那「浓睡觉来莺乱语」写尽浓睡觉来的莺乱语——浓睡觉来莺乱语，正是莺啼惊梦的写照，那「莺乱语」写尽惊残好梦的无寻处；惊残好梦无寻处，那「惊残好梦无寻处」写尽惊残好梦的无寻处——惊残好梦无寻处，正是好梦难寻的写照，那「无寻处」写尽惊残好梦的无寻处；那「浓睡觉来莺乱语」写尽浓睡觉来的莺乱语，那「惊残好梦无寻处」写尽惊残好梦的无寻处，一写莺乱语，一写无寻处，写尽惊残好梦的无寻处——莺啼惊梦而好梦难寻，正是闺怨的写照；此二句以莺乱语、无寻处写尽惊残好梦的无寻处，也让此二句成为全词写闺怨的核心与千古名句。若换作直说「浓睡醒来莺乱叫，惊断了美梦无处寻」，则失其含蓄；唯以「浓睡觉来莺乱语」写莺乱语、「惊残好梦无寻处」写无寻处，写尽惊残好梦的无寻处，也让此二句成为全词写闺怨的核心。

The stanza closes on the ruined dream. Waking from deep sleep, the orioles chatter in disarray—the birds, conventionally joyful, here become the intruders; they have shattered the fine dream, and there is nowhere to find it. The famous complaint reverses the expected: instead of the birdsong being welcome, it is blamed for waking her from whatever dream she was having. The scattered, meaningless chatter of the birds mirrors the scattered dream. To have said the birds woke me and my dream was gone would be a complaint; the orioles blamed for shattering the dream are the complaint.

Study

Word focus

偎 'Wēi' (to nestle, lean close): the balustrade is personified as snuggling against the green trees, giving the spring scene an intimate, affectionate warmth. The word makes scenery tender before any sorrow appears, setting the gentle tone against which the later broken dream falls. 「六曲阑干偎碧树」之「偎」字是写春景关键词，一个「偎」字写尽六曲阑干的偎碧树。偎者，依偎、偎傍也。晏殊以「六曲阑干偎碧树」写春景，这个「偎」字至少有双重意味：其一，写栏之偎——那「六曲阑干偎碧树」写六曲阑干偎碧树，那「偎」字写尽六曲阑干的偎碧树——偎碧树，正是依傍绿树的写照，那「偎」字写尽六曲阑干的偎碧树；其二，写景之亲——那「偎」字更是写亲——偎，正见景物相依的意味，那「偎」字写尽晏殊的温润。以「偎」字写春景，正是晏殊写闺怨的枢纽——若换作「靠」「倚」等字，则或失其与「六曲阑干偎碧树」「杨柳风轻」的配合，或失其写偎的意味；唯「偎」字，以六曲阑干偎碧树写尽阑干之依树与景物之相亲，与「杨柳风轻」的风轻相合，写尽六曲阑干的偎碧树，也让「六曲阑干偎碧树」成为全词写春景的名句。

残 'Cán' (broken, shattered): the good dream is left in fragments by the orioles' cries. The word stresses damage and irrecoverability—not merely interrupted but ruined—so the loss of the dream that 'has nowhere to be found' lands with full weight at the close. 「惊残好梦无寻处」之「残」字是写闺怨关键词，一个「残」字写尽惊残好梦的无寻处。残者，残缺、惊残也。晏殊以「惊残好梦无寻处」写闺怨，这个「残」字至少有双重意味：其一，写梦之残——那「惊残好梦无寻处」写惊残好梦无寻处，那「残」字写尽惊残好梦的无寻处——惊残，正是好梦被惊断的写照，那「残」字写尽惊残好梦的无寻处；其二，写恨之深——那「残」字更是写深——残，正见好梦难续的意味，那「残」字写尽晏殊的幽怨。以「残」字写闺怨，正是晏殊写春景的枢纽——若换作「断」「破」等字，则或失其与「惊残好梦无寻处」「浓睡觉来莺乱语」的配合，或失其写残的意味；唯「残」字，以惊残好梦无寻处写尽好梦之惊断与春恨之难续，与「浓睡觉来莺乱语」的莺乱语相合，写尽惊残好梦的无寻处，也让「惊残好梦无寻处」成为全词写闺怨的名句。