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汉 Han · 赋 Fu rhapsody

长门赋·节选

The Changmen Rhapsody (Excerpt)

司马相如

Sima Xiangru

名篇masterpiece 宫怨palace grievance 抒情赋lyric fu

夫何一佳人兮，步逍遥以自虞。
魂逾佚而不反兮，形枯槁而独居。
言我朝往而暮来兮，饮食乐而忘人。
心慊移而不省故兮，交得意而相亲。

Oh what a fair lady—she paces at ease, comforting herself.
Her soul has strayed and does not return; her form is withered, and she dwells alone.
He said he would come at dawn and return at dusk; now he feasts in pleasure and forgets her.
His heart has turned away and recalls not the old; he takes the favored one and draws near.

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Meaning

A beautiful lady paces as if at ease, comforting herself alone; her soul has strayed and will not return, her body withered, living in solitude. She recalls how he promised to come at dawn and return at dusk, yet now he feasts and forgets her; his heart has turned aside and no longer recalls the old love, taking the new favorite instead. The excerpt is the emotional outline of the Changmen Rhapsody, voicing the palace lady's grief at lost favor.

这是怎样一位美丽的女子啊！她步履彷徨，独自徘徊，借此自我宽慰。她的魂魄早已离散飘荡、不再返回躯壳，形貌枯槁憔悴，孤孤单单地独居。想当年他说好早去晚来、朝朝暮暮相守，如今却饮食作乐、欢愉忘情，早把我忘在脑后。君王的心已生不满而移情别处，不再顾念旧人，转而与那得意的新宠相亲相爱了。

Appreciation

This excerpt opens with the sigh 'oh what a fair lady,' presenting the fallen beauty: she paces (really wanders) to comfort herself, her soul gone and form withered, alone; then from present to past, recalling the old 'dawn come dusk return' vow against today's 'feasts and forgets,' ending 'his heart turned, takes the new' stating the cruel truth. Four lines move from form to spirit, past to present, grievance to hatred, layer by layer. The form is sao-style fu with 'xi' lines, low turning tone; it writes the person's form-spirit with one word one image, condensing the abstract pain of lost favor into tangible shape, grievance not fierce, bereft not hurt, deep in the 'gentle' ideal.

【白话串讲】司马相如写《长门赋》：“夫何一佳人兮，步逍遥以自虞”——被冷落的陈皇后，独居长门宫。“魂逾佚而不反兮，形枯槁而独居”——她形销骨立。“言我朝往而暮来兮，饮食乐而忘人”——她怨汉武帝忘了她。长门宫怨。【意象与手法】此为骚体赋（楚辞体），以「兮」字句构成，音节低回婉转。写法上以赋体而能简驭繁：不铺陈景物，而专写人的形神情态——「逍遥」写步履之假装从容，「逾佚」写魂魄之彻底离散，「枯槁」写形貌之憔悴，一词一象，皆见炼字之功。章法上先写形神（前二句），再写情事（后四句），由内而外、由静而动，把抽象的失宠之痛化为可感的形象。【情感与主旨】借失宠佳人之口写「君恩难恃」的宫怨主题：君心易移、新人得意而旧人独居，是古代后宫女子的共同命运。怨而不怒、哀而不伤，怨情以温婉之笔出之，深得「温柔敦厚」之旨。【名句点睛】「魂逾佚而不反兮，形枯槁而独居」以魂形对举写失宠后身心俱损，是千古写弃妇之痛的名句；「交得意而相亲」以「得意」二字反衬旧人之失意，含蓄而尖利。

Background

The 'Changmen Rhapsody' is traditionally ascribed to the Western Han fu master Sima Xiangru. Sima (c. 179–117 BCE), styled Changqing, of Chengdu, Shu, loved reading and swordplay, renamed after Lin Xiangru; early poor, eloped with Zhuo Wenjun to sell wine, later favored by Emperor Wu for the 'Zixu Fu,' made lang, moved to director of Xiaowen garden, representative of the Han fu 'lavish' school, paired with Yang Xiong as 'Yang-Ma,' the 'Zixu' and 'Shanglin' his great fu. The rhapsody's making, per the Wen xuan preface: Emperor Wu's Empress Chen, favored then jealous, later lost favor and retired to Changmen Palace, grieving; hearing Xiangru was good at writing, sent a hundred jin of gold for Xiangru and Wenjun's wine, and Xiangru wrote this fu to awaken the throne, and the empress regained favor. This tale, though from the Wen xuan editor's preface, not in the histories (Shi ji, Han shu silent), yet the 'buy fu with a thousand gold' literary tale spread, a scholar's self-worth anecdote. The fu writes Empress Chen's loneliness after retiring to Changmen: day wandering, night sleepless, tower gazing, zither plaint, all in fine brush. This excerpt is the opening four lines, writing the beauty's form-spirit lost and the lord's heart turned, the fu's emotional outline. The fu opened the tradition of writing palace grievance in fu, and in form is the key mark of Han great fu (object) turning to lyric small fu (feeling); its sao-style 'xi' lines also inherit the Chu Ci, so later fu critics trace its source.

《长门赋》相传为西汉辞赋家司马相如所作。司马相如（约前179—前117），字长卿，蜀郡成都人，少好读书击剑，因慕蔺相如之为人而更名相如；早年家贫，与卓文君私奔当垆卖酒，后因《子虚赋》为汉武帝赏识，召为郎，迁孝文园令，是汉赋「铺张扬厉」一派的代表作家，与扬雄并称「扬马」，《子虚赋》《上林赋》为其大赋代表作。《长门赋》之作，据《文选》所载序言：孝武皇帝陈皇后（陈阿娇）得幸颇妒，后失宠退居长门宫，愁闷悲思，闻相如工为文，奉黄金百斤，为相如、文君取酒，相如因作此赋以悟主上，陈皇后复得亲幸。此说虽出于《文选》编者之序，正史不载（《史记》《汉书》均无此事），然「千金买赋」的文学佳话自此流传，成为后世文人自重的掌故。赋文写陈皇后退居长门后的孤独悲愁：白日彷徨、夜不能寐、登台遥望、琴声幽怨，皆以细腻之笔铺陈。本版本节选的是全赋开篇四句，写佳人形神俱损、君心已移的现状，是全赋情感的总纲。此赋开创了以赋写宫怨的传统，在文体上则是汉大赋（体物）向抒情小赋（言情）转变的重要标志，其骚体句式（兮字句）亦承《楚辞》余绪，故后世论赋者多溯其源。

Art

This excerpt's art may be summed in three: 'xi' lines for low turning sound, form-spirit contrast for lost-favor pain, past-present contrast for lord's change. First, form and line: this is sao-style fu, 'xi' at the line waist, six-character with xi (as 'oh what a fair lady' 'pace at ease comfort self'), slow low turning, fitting grievance; unlike great fu's spread heap, this piece uses few to govern much, four lines two layers, from form (lady, ease, withered) to spirit (stray, alone), from still (alone) to move (recall, draw near), layer by layer. Second, form-spirit contrast: 'her soul has strayed and does not return; her form is withered and alone' writes inside-out loss—soul gone not return is spirit's death, form withered alone is body's decline, both lost, pain to marrow; 'alone' echoes the last 'comfort self,' lone is double lone (none with, none to tell). Third, past-present contrast: the last four lines recall old 'dawn come dusk return' vow against today's 'feasts forget,' 'his heart turned recalls not old' states the change, 'takes the favored draw near' writes the new favored—old vow and today's abandon, old's grief and new's joy, two by two, grievance deepens. Fourth, gentle wording: not one word directly blames the lord's fickleness, yet 'forget her' 'recalls not old' grievance, 'favored' for the new hints hatred, all in gentle wording showing the palace-grievance literature's implicit ideal, setting the 'implicit write gloom' model for later boudoir poems.

此赋节选的艺术特色，可括为「以兮字句写低回之音、以形神对举写失宠之痛、以今昔对照写君心之变」三端。其一，文体与句法：此为骚体赋，通篇以「兮」字置于句腰，句式为六言夹兮（如「夫何一佳人兮」「步逍遥以自虞」），音节舒缓而低回，正合哀怨之情；不同于大赋的铺陈堆砌，此段以简驭繁，四句两层，由写形（佳人、逍遥、枯槁）到写神（逾佚、独居），由静（独居）到动（追忆、相亲），层层递进。其二，形神对举：「魂逾佚而不反兮，形枯槁而独居」以魂形分写内外之损——魂去而不返写精神之死，形枯而独居写肉体之衰，内外俱损，痛入骨髓；「独居」与上句「自虞」呼应，孤独是双重之孤独（无人相伴、无人可诉）。其三，今昔对照：后四句以「言我朝往而暮来兮」追忆昔日恩情（朝暮相守的许诺），以「饮食乐而忘人」写今日背弃，以「心慊移而不省故兮」直揭君心之变，以「交得意而相亲」写新人得宠——旧日之盟与今日之弃、旧人之悲与新人之喜，两两对照，怨情层层加深。其四，措辞温婉：全段无一字直斥君王薄幸，而「忘人」「不省故」的怨、以「得意」称新宠的恨，皆在温婉措辞中透出，怨而不怒，深得宫怨文学含蓄之旨，为后代闺怨诗确立了「以婉约写幽怨」的范式。

Allusions

This passage's cultural meaning is deep in the Chu Ci and abandoned-wife tradition. First, 'fair lady' inherits the Chu Ci—Qu Yuan's Nine Songs 'fair lady' often means the loved or ideal; later 'fair lady' becomes beauty's name; Sima's 'oh what a fair lady' opening is the Chu Ci 'princess descends north isle' style wistful tone's transformation, folding palace grievance into the 'vanilla beauty' lyric line. Second, 'at ease' (xiaoyao) from the Zhuangzi 'free and easy wander,' originally spirit's absolute freedom; here it writes the fallen lady's forced comfort—xiaoyao's original meaning contrasts with her 'comfort self' reality, irony: the more she seems free, the more her unfreedom. Third, 'soul strayed' inherits the Chu Ci 'summon the soul' soul idea—ancients held soul leaving body is illness, soul not return is death; the lady's soul 'strayed not return' hints her life-force's drying and despair. Fourth, 'dawn come dusk return' and 'forget her' echo the Shi jing 'Meng' abandoned-wife tradition—'the woman not at fault, the man twice his deed,' Empress Chen and the 'Meng' abandoned wife share fate; 'favored' means the new favored, foreshadows later 'favored forget form.' Fifth, the matter 'golden house hide beauty': Empress Chen as child got Emperor Wu's 'golden house keep her' promise; this fu writes her lost favor, exactly the 'golden house promise' broken, so later 'Changmen' becomes lost-favor's byword. Four lines fuse Chu Ci, Zhuangzi, Shi jing, and Han palace matter, very dense culture.

此段的文化意蕴深植于《楚辞》与弃妇文学传统。其一，「佳人」意象承《楚辞》——屈原《九歌》「佳人」多指所思念之人或理想，后世「佳人」成为美女的代称；司马相如以「夫何一佳人兮」发端，正是《楚辞》「帝子降兮北渚」式怅惘语调的化用，把宫怨纳入「香草美人」的抒情谱系。其二，「逍遥」一词出《庄子·逍遥游》，本指精神的绝对自由，此处却写失宠佳人的强自排遣——逍遥的本义与佳人「自虞」（自我宽慰）的现实形成反讽：越想逍遥，越见其不自由。其三，「魂逾佚」承《楚辞·招魂》「魂兮归来」的魂魄观念——古人以为魂离体则病、魂不复返则亡，佳人之魂「逾佚而不反」，暗示其生命力的枯竭与绝望。其四，「朝往暮来」与「忘人」暗合《诗经·卫风·氓》的弃妇传统——「女也不爽，士贰其行」，陈皇后与《氓》中弃妇同命相怜；「得意」指新得宠之人，为后代「得意忘形」之先声。其五，本事之「金屋藏娇」：陈皇后幼时曾得汉武帝「金屋贮之」之诺，此赋写其失宠，正是「金屋之诺」的破碎，故后世「长门」成为失宠的代名词。一段四句，融楚辞、庄子、诗经与汉代宫廷本事于一炉，文化信息极为密集。

Commentary

The 'Changmen Rhapsody' holds high place in literature; its four-line excerpt also passed down through ages. First, form-history meaning: Han fu peaked with 'Zixu' 'Shanglin' great fu, spreading palaces and hunts, praising the throne; 'Changmen' turns to write private grief, pulling fu from 'object' to 'feeling,' opening lyric small fu (as Cao Zhi 'Luo spirit,' Jiang Yan 'parting' 'hatred'), the key turn of Han fu from peak to turn. Second, subject-history meaning: this fu is among the earliest palace-grievance fu, with Ban Jieyu's 'Self-mourn Fu' standing; 'Changmen' since becomes lost-favor's literary mother-topic, later Li Bai 'Changmen Grievance,' Wang Changling 'Changxin Autumn,' Bai Juyi 'Everlasting Sorrow' (golden house dress, favor the night) all inherit, palace-grievance literature becomes a great Song branch. Third, 'buy fu with a thousand gold' spread meaning: Sima's hundred-jin-gold commissioned tale becomes the classic image of literati and throne relation, later 'buy fu' means pay much for writing, Tang Sima Zhen 'Shi ji suo yin' etc cite. Fourth, text value: the four-line excerpt with few words writes the lost-favor form-spirit double withered, short words long feeling, a model of fu's lyric short piece, contrasting the 'Shanglin' huge; exactly shows Sima's 'one fu two faces' talent.

《长门赋》在文学史上地位卓著，其节选四句亦为千古传诵。其一，文体史意义：汉赋以《子虚》《上林》的大赋为盛，铺陈宫苑田猎、颂扬天子声威；《长门赋》一变而为以赋写私人哀怨，把赋从「体物」引向「言情」，开抒情小赋（如曹植《洛神赋》、江淹《别赋》《恨赋》）之先河，是汉赋由盛而转的关捩之作。其二，题材史意义：此赋是现存最早的宫怨赋之一，与班婕妤《自悼赋》并峙，「长门」自此成为失宠的文学母题，后代李白《长门怨》、王昌龄《长信秋词》、白居易《长恨歌》（金屋妆成娇侍夜）等皆承其绪，宫怨文学遂成中国诗歌大宗。其三，「千金买赋」的传播意义：司马相如以黄金百斤受请作赋的故事，成为文人与皇权关系的经典想象，后世以「买赋」喻重金求文，唐代司马贞《史记索隐》等皆引此典。其四，文本价值：节选四句以寥寥数语写尽失宠后的身心双重枯槁，语短情长，是赋中抒情短章的典范，与《上林赋》的鸿篇巨制恰成对照，正见司马相如「一赋而两面」的才力。

Prosody

Form Sao-style fu (Chu Ci-style lyric small fu)骚体赋（楚辞体抒情小赋）

Rhyme Throughout 'xi' as line waist, forming upper-four lower-three (or upper-six lower-four) sao lines; the four-line excerpt has two rhymes: first two 'self, dwell' (yu, ju) fish-mother rhyme, last two 'her, near' (ren, qin) zhen-wen rhyme, one rhyme one turn, sound changes with feeling.通篇以「兮」字为句腰，构成上四下三（或上六下四）的骚体句式；节选四句分押两韵：前二句「虞、居」押鱼模韵，后二句「人、亲」押真文韵，一韵一转，声情随情感递进而变。

Tone pattern The 'xi' lines are slow low turning, one line one pause, as cry as plaint; line ends mostly level rhyme (self, dwell, her, near all level), calm yet long, fitting the 'grievance not fierce' lyric base; 'what' 'xi' 'and' function words woven, turn spread sentences into chant, fu's spread here turns gentle lyric tone.兮字句音节舒缓低回，一句一顿，如泣如诉；句尾多用平声韵（虞、居、人、亲皆平声），声调平和而悠长，正合怨而不怒的抒情基调；「何」「兮」「而」等虚词穿插，使散句化为咏叹，赋体的铺陈在此转为婉转的抒情语调。

Reading note This passage is sao-style fu, directly inheriting the Chu Ci 'xi' line: 'xi' at the line middle, forming front-six back-three (or front-four back-three) rhythm unit, one line has pause, has delay, like sigh, like low hum, best for grievance. Four lines, first two rhyme fish-mother (self, dwell), rhyme mouth small, sound dark low, fitting alone self-comfort's repression; last two turn zhen-wen (her, near), rhyme tail nasal long, echo lingering, fitting 'forget her' 'draw near' wistful—from dark to bright, from repress to rise, sound and word match. Line craft: each line uses 'xi' to divide upper lower, upper narrates shapes (what fair lady, soul strayed not return), lower lyrics heart (pace ease comfort self, form withered alone), beat neat yet feeling returns, read one chant three sighs. This 'sao-style write palace grievance' sound model directly influenced later sao-style lyric fu (as Cai Yong 'Narrate Journey Fu') and palace-grief poems, the sound change when Han fu turned from 'object' to 'feeling'—great fu with spread rhythm praises, this fu with low rhythm laments, form and feeling high unity, exactly the 'Changmen' as lyric fu model's base.此段为骚体赋，直接承《楚辞》的兮字句传统：以「兮」字置于句中，形成前六后三（或前四后三）的节奏单元，一句之中有停顿、有延宕，如叹息、如低吟，最适合写哀怨缠绵之情。全段四句，前二句押鱼模韵（虞、居），韵腹开口较小，音色暗而低，正合独居自虞的压抑；后二句转押真文韵（人、亲），韵尾鼻音悠长，余音袅袅，正合「忘人」「相亲」的怅惘——由暗而明、由抑而扬，声情与辞情相凑。句法上，每句皆以「兮」为界分为上下两节，上节叙事状物（夫何一佳人、魂逾佚而不反），下节抒情写心（步逍遥以自虞、形枯槁而独居），节拍整饬而情致回环，读来一唱三叹。这种「以骚体写宫怨」的音韵范式，直接影响了后代骚体抒情赋（如蔡邕《述行赋》）与宫怨诗，是汉赋由「体物」转向「言情」时在声律上的配套变革——大赋以铺陈的节奏颂扬，此赋以低回的节奏哀叹，体裁与情感的高度统一，正是《长门赋》作为抒情赋典范的根基。

Line by line

夫何一佳人兮，步逍遥以自虞。

Oh what a fair lady—she paces at ease, comforting herself. (The opening uses 'oh' to begin, the fu's common sigh start, strong chant tone. 'what a fair lady' with rhetorical tone writes her outstanding—'what' is not question but wonder: what manner of beauty! 'Fair lady' inherits Chu Ci, writes her beauty yet hints her pitiable fate. 'Pace at ease comfort self' writes her move: steps seem calm (ease), yet heart heavy—'ease' originally means calm self-content, here writes the fallen lady's forced calm, using seeming ease to write inner unrest; 'comfort self' is self-comfort, the word 'self' heavy: none to tell, none to lean, only comfort herself. Line craft 'ease' against 'comfort self,' one writes outer calm, one inner lone, inside-out contrast, lone shown; two lines present her entry: beautiful yet her grief known.)

这是怎样一位美丽的女子啊！她步履彷徨、独自徘徊，用这样的方式自我排遣、自我宽慰。

What beauty is this, pacing back and forth at her ease, soothing herself as best she can?

开篇以「夫」字发端，是赋体惯用的感叹起句，具有强烈的咏叹意味。「何一佳人」以反问语气写佳人之出众——「何」字不是疑问，而是惊叹：这是何等样的一位美人！「佳人」一词承《楚辞》传统，既写其美，又暗含其身世堪怜的暗示。「步逍遥以自虞」写她的动作：步履看似安闲从容（逍遥），实则心事重重——「逍遥」本指安闲自得，此处却写失宠之人的强作镇定，以貌似安闲反写内心之乱；「自虞」即自我宽慰，一个「自」字尤为沉重：无人可诉、无人可依，只能独自宽解自己。句法上「逍遥」与「自虞」对举，一个写外表之从容，一个写内心之孤独，内外反差，孤寂之情溢于言表。两句写尽佳人的出场：美则美矣，其哀可知。

The fu's opening wonder. What beauty is this, pacing at her ease, soothing herself as best she can? The word self-soothe is the pathos: no one consoles her, so she consoles herself. The apparent leisure of her step is the performance—grief must not show in the palace. The two words (leisure, self-soothing) are her whole condition. To have described a graceful but sorrowful woman would be a sketch; the leisurely pacing with the self-consolation is the condition.

魂逾佚而不反兮，形枯槁而独居。

Her soul has strayed and does not return; her form is withered, and she dwells alone. (These two lines contrast 'soul' 'form,' the passage's heaviest pain: 'soul strayed not return' writes spirit's death—'strayed' (yi) means soul escaped, not return; in Chinese idea (Chu Ci 'summon soul') soul is life's master, soul gone then form alive dead; 'form withered alone' writes body's decline: form gaunt, dwells alone—'withered' as if see her bone-thin. Soul and form, spirit and body, both lost, pain to marrow, not moment grief but whole life's withering. 'Alone' echoes last 'comfort self': comfort self is none to tell lone, alone is none with lone, double lone added, writes 'form alone shadow alone' to extreme. And 'not return' decisive—not temporary leave but never return, hints her utter despair, foreshadows the 'takes the new' lord's change.)

她的魂魄早已离散飘荡、不再返回身上，形体也憔悴枯槁，一个人孤孤单单地生活着。

Her spirit has fled far and does not return; her body is withered, and she dwells alone.

此二句以「魂」「形」对举，是全段写失宠之痛最沉痛之处。「魂逾佚而不反」写精神之死：逾佚（一作逾佚）即魂魄离散逃逸，不再返回——在中国传统观念中（《楚辞·招魂》「魂兮归来」），魂是生命的主宰，魂既一去不返，则形存实亡；「形枯槁而独居」写肉体之衰：形貌憔悴枯槁，独自居住——「枯槁」二字如见其人形销骨立之状。魂与形、神与体，双双亏损，失宠之痛已深入骨髓，不是一时之愁，而是整个生命的枯萎。「独居」与上句「自虞」遥相呼应：自虞是无人可诉的孤独，独居是无人相伴的孤独，双重孤独叠加，把「形单影只」写到了极致。而「不反」二字尤为决绝——不是暂离，而是永不归来，暗示佳人已彻底绝望，为后文「交得意而相亲」的君心之变埋下情感伏笔。

The body follows the spirit. Her spirit has fled far and does not return—following the Chu-saxophone belief that a soul can be lost in grief; her body is withered, and she dwells alone. The couplet pairs the missing soul with the wasted flesh, and the solitary dwelling is the root. To have said she was wasting away in loneliness would be a statement; the fled spirit and the withered solitary body are the wasting.

言我朝往而暮来兮，饮食乐而忘人。

He said he would come at dawn and return at dusk; now he feasts in pleasure and forgets her. (This line turns from form-spirit to narrative, led by 'said,' the lady's recall: 'he said he would come dawn return dusk'—his old promise, dawn come dusk return, daily together, the sweetest vow; 'now feasts forget her'—now he feasts in pleasure, forgets her, the cruelest abandon. Two lines 'said' against 'forget': said is old promise (spoken), forget is today's abandon (done), word sweet and deed thin contrast, grievance flows. 'Dawn come dusk return' writes his old zeal, contrasts 'forget her' heartless; wording gentle—not blame lord fickle, but 'feasts' (eat play) writes his pleasure-forgetting old, grievance not fierce. Line craft 'said I' in woman's mouth direct, as cry as plaint, as if hear her tearful recall, turns abstract lost-favor into concrete past-present contrast, the hinge from 'shape' to 'tell.')

想当年他说过早上去晚上也会来、朝朝暮暮相守不离，可如今他饮食作乐、欢愉忘情，早把我这个人忘在脑后。

He said, I go in the morning and come back at dusk; now he feasts and is merry, and has forgotten her.

此句由写形神转入叙事，以「言」字领起，是佳人对往事的追忆：「言我朝往而暮来兮」——他曾经说过的许诺，朝往暮来、日日相守，是热恋时最甜蜜的山盟海誓；「饮食乐而忘人」——可如今他饮食作乐、欢愉忘情，早把我忘在脑后，是最冷酷的背弃现实。两句以「言」与「忘」对举：言是旧日的诺言（说过的），忘是今日的背弃（做到的），言语之甜与行事之薄两相对照，怨情自然涌出。「朝往而暮来」写尽当年之殷勤，反衬「忘人」之绝情；而措辞极委婉——不直斥君王薄幸，而以「饮食乐」（饮食游乐）写其耽于享乐、无暇念旧，怨而不怒。句法上「言我」二字以女子口吻直述，如泣如诉，仿佛听见她含泪的回忆，把抽象的失宠化为具体的今昔对照，是全段由「写状」转入「诉情」的枢纽。

The remembered promise. He said, I go in the morning and come back at dusk; now he feasts and is merry, and has forgotten her. The remembered tenderness is set beside the present oblivion, and the contrast does the accusing. The plainness of the feasting—eating and drinking happily—is its cruelty. To have said he broke his promise would be a fact; the morning-dusk promise beside the merry feast is the breach.

心慊移而不省故兮，交得意而相亲。

His heart has turned away and recalls not the old; he takes the favored one and draws near. (Last two lines turn from grievance to hatred, from hatred to pain, the passage's emotional close, also the fu's theme point: 'his heart turned recalls not old' points the lord's change—'turned' (qian yi) is heart dissatisfied then turned (qian has hate, dissatisfied), 'recalls not old' no longer cares old love (old is old person, old love)—one turn one forget, states the abandon's cause clear, wording gentle yet grievance deep; 'takes the favored draw near' uses 'favored' for the new favored (favored means pleasing, content one), 'draw near' writes his intimacy with new—contrasts last 'forget her': new favored draw near, old alone withered, gain lose between, how to bear. 'Favored' wonderful: by lord's heart call new 'favored,' then old's 'lost favor' self-evident, implicit yet sharp. Four lines complete 'form to spirit, past to present, grievance to hatred' advance: write form-spirit is base, write past-present is turn, write lord's change is close, condense the fallen palace lady's whole grief in four lines, for the fu's 'hang bright moon self-light, pass clear night in empty room' long night alone build force.)

君王的心已经不满于我而移情别处，不再顾念旧情，转而与那新得宠的得意之人亲近欢爱。

His heart is displeased and turned away, he no longer remembers the old love; he has taken a new darling and is close to her.

末二句由怨转恨、由恨转痛，是全段情感的归结，也是全赋主题的点破。「心慊移而不省故兮」直指君心之变：「慊移」是心怀不满而移情（慊有恨意、不满义），「不省故」是不再顾念旧人（故即故人、旧情）——一移一忘，把被弃之因说得明白透底，措辞虽温而怨情已深；「交得意而相亲」以「得意」指代新得宠之人（得意即合意、称心之人），「相亲」写其与新欢的亲昵——与上句「忘人」对照：新人得意相亲，旧人独居枯槁，得失之间，情何以堪。「得意」二字尤妙：以君王之心称新宠为「得意」，则旧人之「失意」不言自明，含蓄而尖利。四句至此完成「由形到神、由昔到今、由怨到恨」的推进：写形神是铺垫，写今昔是转折，写君心是归结，把失宠宫人的全部悲哀凝于四句之中，为全赋「悬明月以自照兮，徂清夜于洞房」的独守长夜蓄足了势。

The diagnosis. His heart is displeased and turned away, he no longer remembers the old love; he has taken a new darling and is close to her. The word darling (literally, the one who pleases him) is the cruelest: she who once was the darling is now the forgotten one. The fu names the replacement. To have said he had a new favorite would be a fact; the turned heart that forgets the old love for the new darling is the fact.

Study

Word focus

逍遥 free and easy / at ease. In 'pace at ease comfort self,' the two words 'ease' (xiaoyao) most show tension. 'Ease' from Zhuangzi 'free and easy wander,' means spirit's absolute freedom, nothing-dependent; here moved to write the fallen lady's 'pace ease'—steps seem calm, yet only forced calm, self-comfort (comfort self). Word and context contrast makes deep irony: the more she seems free, the more her inner unrest and unfreedom; true ease is 'nothing-dependent,' yet the lady is firmly 'dependent' on lost-favor fate. One 'ease' writes the 'form's' pretend and 'soul's' truth: form may pretend ease, soul has 'strayed not return,' inside-out contradiction shown, the whole's grief exactly from this word. The word's wonder also opens the fu's 'write positive by negative' hand—later 'climb orchid tower gaze far, spirit lost wanders out' etc all use seeming calm move to write soul-lost grief. Sima knew fu's 'spread word pick phrase' skill, in this word's micro shows power: one word's reverse use beats a long direct voice. 「步逍遥以自虞」之「逍遥」二字，是节选中最见张力之词。「逍遥」本出《庄子·逍遥游》，指精神的绝对自由、无待无累之境；此处移写失宠佳人的「步逍遥」——步履看似安闲从容，实则不过是强作镇定、自我排遣（自虞即自我宽慰）。词义与语境的反差构成深层的反讽：越想表现得逍遥自在，越见其内心的慌乱与不自由；真正的逍遥是「无待」，而佳人正被失宠的命运牢牢「有待」着。一个「逍遥」写足了「形」的假装与「魂」的真实：形可假装逍遥，魂却已「逾佚而不反」，内外矛盾毕现，全段之哀正由此字引出。此词的妙处还在于开启全赋「以反写正」的笔法——此后「登兰台而遥望兮，神怳怳而外淫」等句，皆以貌似从容的动作写魂不守舍的哀伤。司马相如深谙辞赋「敷采摘文」之技，于此字微处见功力：一词之反用，胜过大段直抒。

逾佚 strayed / escaped. In 'her soul strayed and does not return,' the two words 'strayed' (yu yi) write the lost-favor spirit-collapse state, the passage's most startling. 'Yu' has pass, scatter; 'yi' connects 'escape,' has flee, scatter; two words together write the soul escaping from the body, gone not return—not temporary absent-minded, but thorough 'soul not keeping house': soul not 'wander' out (still return), but 'strayed' gone (never return). In Chinese idea soul is life's master (Chu Ci 'summon soul' 'soul return, lord not go up'), soul gone then form alive dead, so next 'form withered alone,' form-spirit both ill, cause effect—because soul gone, form withered; because withered, more see soul gone long. This word inherits Chu Ci soul idea yet more grim: not 'summon soul' call return, but 'not return' despair cut. One word writes the lost-favor 'live worse than dead' state, opens later palace-grief poems (as Wang Changling 'west palace night quiet hundred flowers scent') 'body not dead yet heart first dead' forerunner. 「魂逾佚而不反兮」之「逾佚」（一作逾佚）二字，写失宠后精神崩溃的状态，是节选中最惊心动魄之词。「逾」有越过、散失义，「佚」通「逸」，有奔逸、散失义，二字连用，极写魂魄从躯壳中逃逸离散、一去不返——不是暂时走神，而是彻底的「魂不守舍」：魂不再是「游」出（尚有归期），而是「逾佚」而去（永不复返）。在中国传统观念中，魂是生命的主宰（《楚辞·招魂》「魂兮归来，君无上天些」），魂既离去，则形存实亡，故下句紧接「形枯槁而独居」，形神俱病，互为因果——正因为魂去，形才枯槁；正因为枯槁，更见魂去之久。此词承《楚辞》魂魄观而更见惨烈：不是「招魂」式的呼唤归来，而是「不反」（不再返回）的绝望断念。一词写尽失宠后「生不如死」的状态，为后代宫怨诗（如王昌龄「西宫夜静百花香」）的「身未死而心先死」开了先声。

慊移 turned away / dissatisfied and shifted. In 'his heart turned recalls not old,' the two words 'turned' (qian yi) point the lord's change. 'Qian' has two reads two meanings: read qie means content; read qian means hate, dissatisfied (Guang ya 'qian, hate'); here read qian, take 'hate, dissatisfied'; 'yi' is turn, shift. 'Turned' together means the lord's heart has dissatisfaction then turned—not heartless, but 'heart qian' first (dissatisfied with old), 'turn love' after (to new), writes the lord's favor-shift psychological process: first by dislike then aversion, by aversion then turn love, by turn love then forget old. With 'recalls not old' reads, 'recalls not old' writes behavior's forget (no longer care), 'turned' writes mind's change (already turned), behavior mind prove each other, the abandon's cause beyond debate. This word wording cautious: not blame lord 'fickle,' only write lord 'turn'—turn is change, change still has cause (qian), grievance not fierce, exactly palace-grief literature's gentle thick; and 'turn' word's cold, 'qian' word's grievance, all in unspoken. 「心慊移而不省故兮」之「慊移」二字，是全段点破君心之变的关键词。「慊」有二读二义：读qiè为满足义，读qiàn为恨、不满义，此处当读qiàn，取「恨、不满」义（《广雅》「慊，恨也」）；「移」即移情、转移。「慊移」连用，谓君王心中已生不满而移情别处——不是无情，而是「心慊」在先（对旧人不满）、「移情」在后（转向新人），写尽君恩转移的心理过程：先由嫌而生厌，由厌而移爱，由移爱而忘故。与「不省故」连读，「不省故」写行为上的忘（不再顾念），「慊移」写心理上的变（已经移情），行为与心理互相印证，被弃之由遂无可辩驳。此词措辞极审慎：不斥君之「薄幸」，只写君之「移」——移是变化，变化尚有缘由（慊），怨而不怒，正是宫怨文学的温柔敦厚处；而「移」字之冷，「慊」字之怨，已尽在不言中。