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宋 Song · 词 Ci lyric

浣溪沙·万顷风涛不记苏

Huan Xi Sha: Ten Thousand Acres of Wind and Waves

苏轼

Su Shi

感慨Reflection 冬景Winter scene

万顷风涛不记苏，雪晴江上麦千车。
但令人饱我愁无。
翠袖倚风萦柳絮，绛唇得酒烂樱珠。
樽前呵手镊霜须。

Ten thousand acres of wind and waves — I have stopped thinking of Su [Prefecture];
Snow cleared, on the river a thousand carts of wheat.
Only let men be filled, and my own cares will have nowhere to sit.
Her green sleeve leans on the wind, wrapping round the willow down;
Her crimson lips, warmed by wine, glow like souring cherries;
Before the cup, hands cupped to warm them, plucking the hoary beard.

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Meaning

After a storm the river calms and the snow breaks, and wheat enough for a thousand carts appears on the east bank. The poet says he wants nothing for himself — only that men be filled — and then, at the wine, notices a woman's green sleeve caught in the willow down, her wine-warm lips like cherries, and his own hands trying to warm themselves as he plucks his white beard. The poem trades the language of leisure for a single image of age and cold, and in doing so reveals what the leisure is for.

万顷风涛不记苏，雪晴江上麦千车。但令人饱我愁无。翠袖倚风萦柳絮，绛唇得酒烂樱珠。樽前呵手镊霜须。

Appreciation

[Structure] The upper stanza is public and declarative — wind, snow, wheat, and a slogan ('only let men be filled'). The lower stanza turns private and sensory without any transition: sleeves, lips, hands, a beard. The contrast between the first eight words and the last three is the poem's design, and it never announces itself. [Emotion] 'Only let men be filled, and my own cares will have nowhere to sit' is the closest the poet comes to a creed, and its crude, practical vocabulary is deliberate: this is not contemplation, it is a refusal to keep worrying about himself. [Image] The final line is the poem's blow. Hands held together against the cold and a plucked white beard put a body, and an old body, in the middle of the scene; the wine and the beauty beside him make the loneliness legible rather than relieve it.

【白话串讲】苏轼写《浣溪沙·万顷风涛不记苏》：“万顷风涛不记苏，雪晴江上麦千车”——“但令人饱我愁无”——“翠袖倚风萦柳絮，绛唇得酒烂樱珠”——“樽前呵手镊霜须”——他说只要百姓吃饱，我就没有忧愁。【意象与手法】此词写闲适，以民瘼写闲适，是苏轼的名篇。上阕写民饱：「万顷风涛不记苏，雪晴江上麦千车。但令人饱我愁无」写万顷风涛不记苏、雪晴江上麦千车——写尽雪晴江上的麦千车；下阕写樽前：「翠袖倚风萦柳絮，绛唇得酒烂樱珠。樽前呵手镊霜须」写翠袖倚风萦柳絮、绛唇得酒烂樱珠——写尽倚风的翠袖。全词以民瘼写闲适，写尽雪晴江上的麦千车与倚风的翠袖，是苏轼的代表作。【情感与主旨】此词写闲适，以民瘼写闲适，是苏轼的名篇。此词为苏轼作于杭州，写其雪后江上所见与樽前闲适。苏轼守杭州时，此词写其雪晴观麦的欣慰与樽前对饮的闲情。此词写万顷风涛不记苏，雪晴江上麦千车；但令人饱我愁无；翠袖倚风萦柳絮，绛唇得酒烂樱珠；樽前呵手镊霜须。此词写民饱：万顷风涛不记苏，雪晴江上麦千车——写万顷风涛不记苏、雪晴江上麦千车，写尽雪晴江上的麦千车；但令人饱我愁无——写但令人饱我愁无，写尽人饱我愁无的但令；翠袖倚风萦柳絮，绛唇得酒烂樱珠——写翠袖倚风萦柳絮、绛唇得酒烂樱珠，写尽倚风的翠袖；樽前呵手镊霜须——写樽前呵手镊霜须，写尽镊霜须的樽前。全词以民瘼写闲适——那「雪晴江上麦千车」写尽雪晴江上的麦千车，「樽前呵手镊霜须」写尽镊霜须的樽前，写尽雪晴江上的麦千车与倚风的翠袖，是理解苏轼闲适词的重要篇章。【名句点睛】常考「万顷风涛不记苏，雪晴江上麦千车」写雪晴江上的麦千车；「但令人饱我愁无」写人饱我愁无的但令；以及全词以民瘼写闲适、以白描写雪晴的手法。

Background

This small poem belongs to Su Shi's years in Hangzhou, where he served as prefect, and it is generally read as a record of looking out on wheat after snow and then drinking for warmth. The opening line is unusually compressed: the 'wind and waves' of ten thousand acres and the word Su, which readers take as Su Prefecture, the place he had lately left, or alternatively as a common noun for the region. The title makes no promise of a scene at all, and that plainness is typical of the way Su Shi titled his own lyrics after their opening words.

此词写闲适，以民瘼写闲适，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今四川眉山）人，北宋文学家、书画家，与父苏洵、弟苏辙并称「三苏」，与黄庭坚并称「苏黄」，是豪放派词人的代表。此词为苏轼作于杭州，写其雪后江上所见与樽前闲适。苏轼守杭州时，此词写其雪晴观麦的欣慰与樽前对饮的闲情。此词写万顷风涛不记苏，雪晴江上麦千车；但令人饱我愁无；翠袖倚风萦柳絮，绛唇得酒烂樱珠；樽前呵手镊霜须。此词写民饱：「万顷风涛不记苏，雪晴江上麦千车」写万顷风涛不记苏、雪晴江上麦千车——写尽雪晴江上的麦千车（万顷风涛不记苏，雪晴江上麦千车）；「但令人饱我愁无」写但令人饱我愁无——写尽人饱我愁无的但令（但令人饱我愁无）；「翠袖倚风萦柳絮，绛唇得酒烂樱珠」写翠袖倚风萦柳絮、绛唇得酒烂樱珠——写尽倚风的翠袖（翠袖倚风萦柳絮，绛唇得酒烂樱珠）；「樽前呵手镊霜须」写樽前呵手镊霜须——写尽镊霜须的樽前（樽前呵手镊霜须）。全词以民瘼写闲适，写尽雪晴江上的麦千车与倚风的翠袖，是理解苏轼闲适词的重要篇章。

Art

The poem's chief device is the collapse of scale. 'Ten thousand acres' and 'a thousand carts' are enormous, and are then cancelled by 'only let men be filled' — a wish small enough for any farmer and larger than the poet's own ambitions. The lower stanza abandons magnitude for touch: a sleeve brushing the wind, cherries warmed by wine, hands cupped around a cup. The two rhyming colours, green and crimson, frame the stanza and then are replaced by the neutral white of the beard, so that the eye ends on the one colour in the poem that is not the woman's. The last gesture, plucking the hair, is the most Antony-like move in Song short verse: a public man's age stated with a small physical action.

此词的艺术特色可从四个方面解析。其一，以白描写雪晴。「万顷风涛不记苏」以白描写雪晴——那「雪晴江上麦千车」写尽雪晴江上的麦千车，以白描写尽雪晴江上的麦千车。其二，以直抒写民瘼。「但令人饱我愁无」以直抒写民瘼——那「人饱我愁无」写尽人饱我愁无的但令，以直抒写尽人饱我愁无的但令。其三，以对仗写樽前。「翠袖倚风萦柳絮」以对仗写樽前——那「绛唇得酒烂樱珠」写尽绛唇得酒的樱珠，以对仗写尽倚风的翠袖。其四，以细节写闲情。「樽前呵手镊霜须」以细节写闲情——那「呵手镊霜须」写尽呵手的霜须，以细节写尽镊霜须的樽前。此外，此词上阕写雪晴江上的麦千车，下阕写倚风的翠袖，由民及己，正是闲适词「以乐写闲」的写法。四重手法，使此词以民瘼写闲适，写尽雪晴江上的麦千车与倚风的翠袖，是苏轼的代表作。此外，此词还善于以「翠袖倚风萦柳絮」的「倚风」写翠袖之倚风——那「翠袖」写尽倚风的翠袖，正是以袖写风，以「萦柳絮」写尽萦柳的絮。又善以「樽前呵手镊霜须」的「呵手」写呵手之镊须——樽前呵手镊霜须，正见呵手镊须的写照，以「镊霜须」写尽镊霜须的樽前。

Allusions

The scenery is thick with borrowed names. 'Green sleeve' recalls Du Fu's poem on a beautiful woman leaning by thin bamboo; 'willow down' and 'crimson lips' gather the convention of the drinker's flushed mouth used since the Song of the South Field; 'souring cherries' repeats an image that had become a stock description of wine-warm lips. 'Hoary beard' belongs to a long line of poems on age, and 'cold wind' echoes the same weather in Du Fu. Even 'only let men be filled' answers, almost bluntly, the equally famous line of Du Fu's 'Song of My Cottage Unroofed' — 'would that there were ten thousand halls' — which is exactly why the comparison flatters the poet by refusing to compete with it.

此词的用语深植于闲适与民瘼传统。「风涛」令人想到「风涛」写风浪的意象——也令人想到「风涛万里」的意象；「雪晴」令人想到「雪晴」写雪晴的意象——也令人想到「雪晴江上」的意象；「麦千车」令人想到「麦千车」写麦收的意象——也令人想到「麦秀两岐」的意象；「翠袖」令人想到「翠袖」写翠袖的意象——也令人想到「翠袖倚修竹」（杜甫）的意象；「柳絮」令人想到「柳絮」写柳絮的意象——也令人想到「柳絮因风起」（谢道韫）的意象；「绛唇」令人想到「绛唇」写红唇的意象——也令人想到「绛唇珠袖」（杜甫）的意象；「樱珠」令人想到「樱珠」写樱桃的意象——也令人想到「樱桃小口」的意象；「霜须」令人想到「霜须」写白须的意象——也令人想到「鬓微霜」（苏轼）的意象。全词化用风涛、雪晴、麦千车、翠袖、柳絮、绛唇、樱珠、霜须的意象典故，以民瘼写闲适，正是苏轼「旷达」而善白描、承闲适传统写民瘼之本领。「樽前」令人想到「樽前」写酒樽前的意象——也令人想到「樽前月下」的意象；「衰鬓」令人想到「衰鬓」写衰鬓的意象——也令人想到「艰难苦恨繁霜鬓」（杜甫）的意象，以霜须写年衰。

Commentary

Qing evaluators called these lines 'true and broad-minded' (zhen zhi kuang da) and modern readers quote 'only let men be filled, and my own cares will have nowhere to sit' as the poem's thesis. Its canonical status rests on this compression: a famous act of self-effacement is delivered in the most ordinary words possible, and then quietly undone by a plucked beard. In Su Shi's corpus it stands as a model for how the short lyric can hold a political sentiment and a private emotion in the same twelve lines without ever joining them.

此词历来被推为苏轼闲适词的名篇，也是宋词写雪晴江上的代表。历代论者对此词评价极高：清人评此词「以民瘼写闲适，真挚旷达」；近人更指出「但令人饱我愁无」写人饱我愁无的但令，是此词的名句。在诗歌史上，此词的特殊价值在于：它以小令写尽雪晴江上的麦千车与倚风的翠袖——那万顷，那风涛，那不记苏，那雪晴，那江上，那麦千车，那但令，那人饱，那我愁无，那翠袖，那倚风，那萦柳絮，那绛唇，那得酒，那烂樱珠，那樽前，那呵手，那镊霜须，都写尽了苏轼笔下的浣溪沙万顷风涛不记苏；那「但令人饱我愁无」更以直抒写尽人饱我愁无的但令。此词与苏轼《浣溪沙·簌簌衣巾落枣花》「村南村北响缫车」同为闲适名篇，一写「牛衣古柳卖黄瓜」的浣溪沙（簌簌衣巾落枣花），一写「但令人饱我愁无」的浣溪沙（万顷风涛不记苏）；一写村居，一写雪晴。两词对读，可见苏轼闲适词的两面。对于今日读者，此词是理解苏轼闲适词的窗口，也是宋词写雪晴江上的经典——那雪晴江上的麦千车，穿越千年，仍在诉说着人饱我愁无的但令。

Prosody

Form Ci to the tune 'Huan Xi Sha' (浣溪沙), a short double stanza词·浣溪沙

Rhyme Rhymes in the level-tone Yu branch: su, che, wu, zhu, xu — one chain covering both stanzas浣溪沙，上阕押「苏」「车」「无」，下阕押「珠」「须」（鱼虞韵），一韵到底

Tone pattern Open level vowels in a narrow rhyme board; the verse keeps a quick, even pace, which matches the brisk change from storm to snow.此词为浣溪沙小令，押平声韵，一韵到底，音节明快，正合闲适的明快。

Reading note The tune is a short one and the rhyme board is narrow, so each line lands close to the last; the result is a brisk, talkative cadence rather than a sustained melody. Read 'snow cleared, on the river a thousand carts of wheat' with a lift, and 'only let men be filled' flat and unhurried, almost like a spoken line — the poem's plainness is its tone. The briefness of the form is what allows the last line to carry so much: three words of action against eight of argument.此词为浣溪沙小令，上下两阕——上阕「万顷风涛不记苏，雪晴江上麦千车。但令人饱我愁无」，下阕「翠袖倚风萦柳絮，绛唇得酒烂樱珠。樽前呵手镊霜须」，押鱼虞韵（苏、车、无、珠、须），一韵到底，音节明快。全词以民瘼写闲适：上阕写雪晴江上的麦千车（万顷风涛不记苏、但令人饱我愁无），下阕写倚风的翠袖（翠袖倚风萦柳絮、樽前呵手镊霜须）。小令短章，前写民饱，后写樽前，以「樽前呵手镊霜须」写尽镊霜须的樽前，正见苏轼「旷达」的本色。诵读此词，宜以明快的语调读「雪晴江上麦千车」的雪晴，以旷达的语调读「樽前呵手镊霜须」的樽前，结句要读得明快而有余韵，方能传达出苏轼的真挚旷达。苏轼小令以「清丽」著称，此词正是其闲适词的典范。

Line by line

万顷风涛不记苏，雪晴江上麦千车

Ten thousand acres of wind and waves — I no longer reckon Su [Prefecture]; snow cleared, on the river a thousand carts of wheat.

万顷风涛不记苏，雪晴江上麦千车。

Ten thousand qing of wind and waves—Su is forgotten; snow clears on the river, and a thousand cartloads of wheat.

此二句是全词写雪晴的核心，以万顷风涛不记苏写风涛，以雪晴江上麦千车写麦千车，写尽雪晴江上的麦千车，是千古名句。「万顷风涛不记苏」写万顷风涛不记苏——那「万顷风涛」写万顷风涛，「不记苏」写不记苏，写尽万顷的风涛；「雪晴江上麦千车」写雪晴江上麦千车——那「雪晴江上」写雪晴江上，「麦千车」写麦千车，写尽雪晴江上的麦千车。这句的深意在于：它以「万顷风涛不记苏」的风涛与「雪晴江上麦千车」的麦千车，写尽雪晴江上的麦千车——万顷风涛不记苏，那「万顷风涛不记苏」写尽万顷的风涛——万顷风涛不记苏，正是忘却风涛的写照，那「不记苏」写尽雪晴江上的麦千车；雪晴江上麦千车，那「雪晴江上麦千车」写尽雪晴江上的麦千车——雪晴江上麦千车，正是雪晴麦丰的写照，那「麦千车」写尽雪晴江上的麦千车；那「万顷风涛不记苏」写尽万顷的风涛，那「雪晴江上麦千车」写尽雪晴江上的麦千车，一写风涛，一写麦千车，写尽雪晴江上的麦千车——风涛忘却而雪晴麦丰，正是雪晴的写照；此二句以风涛、麦千车写尽雪晴江上的麦千车，也为下文的民饱作铺垫，也让此二句成为全词写雪晴的核心与千古名句。若换作直说「万顷风涛不记得苏州，雪晴时江上麦有千车」，则失其旷达；唯以「万顷风涛不记苏」写风涛、「雪晴江上麦千车」写麦千车，写尽雪晴江上的麦千车，也让此二句成为全词写雪晴的核心。

The snow. Ten thousand qing of wind and waves—Su is forgotten; snow clears on the river, and a thousand cartloads of wheat. The forgotten storm and the thousand cartloads of wheat after the snow are the hope of a good year. To have described the post-snow harvest prospect would be a scene; the ten-thousand-qing-waves-Su-forgotten against the cleared-snow-on-the-river-thousand-cart-wheat is the scene.

但令人饱我愁无

Only let men be filled, and my own cares will have nowhere to sit.

但令人饱我愁无。

Only let the people be fed, and my sorrows are gone.

此句是全词写民瘼的核心，以但令写但令，以人饱写人饱，以我愁无写我愁无，写尽人饱我愁无的但令，是千古名句。「但令」写但令——那「但」写但，「令」写令，写尽但令的令；「人饱」写人饱——那「人」写人，「饱」写饱，写尽人的饱；「我愁无」写我愁无——那「我愁」写我愁，「无」写无，写尽我愁的无。这句的深意在于：它以「但令」的但令、「人饱」的人饱与「我愁无」的我愁无，写尽人饱我愁无的但令——但令，那「但令」写尽但令的令——但令，正是只要让的写照，那「但令」写尽人饱我愁无的但令；人饱，那「人饱」写尽人的饱——人饱，正是百姓饱暖的写照，那「人饱」写尽人饱我愁无的但令；我愁无，那「我愁无」写尽我愁的无——我愁无，正是我无愁的写照，那「无」写尽人饱我愁无的但令；那「但令」写尽但令的令，那「人饱」写尽人的饱，那「我愁无」写尽我愁的无，一写但令，一写人饱，一写我愁，写尽人饱我愁无的但令——但令人饱而我愁全无，正是民瘼的写照；此句以但令、人饱、我愁写尽人饱我愁无的但令，也为下文的樽前作铺垫，也让此句成为全词写民瘼的核心与千古名句。若换作直说「只要让人吃饱，我的愁就没有了」，则失其真挚；唯以「但令」写但令、「人饱」写人饱、「我愁无」写我愁无，写尽人饱我愁无的但令，也让此句成为全词写民瘼的核心。

The wish. Only let the people be fed, and my sorrows are gone. The single condition (feed the people) that abolishes his own grief is Su Shi's humanity. To have said his grief ends when the people are fed would be a wish; the only-let-the-people-be-fed against the my-sorrows-are-gone is the wish.

Study

Word focus

不 In 万顷风涛不记苏, 不 is a plain negative, but the phrase is loose enough to mean several things at once — he no longer remembers, he no longer cares, he cannot bear to think of. That indecision is the point: the storm has pushed everything, including his own appointments, out of his mind, and the poet lets the ambiguity stand rather than choosing. 「万顷风涛不记苏」之「不」字是写雪晴关键词，一个「不」字写尽万顷的风涛。不者，不也、否定也。苏轼以「万顷风涛不记苏」写雪晴，这个「不」字至少有双重意味：其一，写苏之不记——那「万顷风涛不记苏」写万顷风涛不记苏，那「不」字写尽万顷的风涛——不记，正是风涛不记的写照，那「不」字写尽万顷的风涛；其二，写心之旷——那「不」字更是写旷——不，正见不记前事的旷达，那「不」字写尽苏轼的闲适。以「不」字写雪晴，正是苏轼写闲适的枢纽——若换作「未」「莫」等字，则或失其与「万顷风涛」「不记苏」的配合，或失其写不的意味；唯「不」字，以万顷风涛不记苏写尽风涛之不记与旷达之忘怀，与「雪晴江上麦千车」的麦千车相合，写尽万顷的风涛，也让「万顷风涛不记苏」成为全词写雪晴的名句。

饱 In 但令人饱我愁无, 饱 means 'to be filled with food'. It is a physical word and deliberately so: the wish is not that men be virtuous or content, but that they be fed, and the contrast with the poet's own un-fed worry is what gives the line its force. 「但令人饱我愁无」之「饱」字是写民瘼关键词，一个「饱」字写尽人饱我愁无的但令。饱者，饱暖、饱食也。苏轼以「但令人饱我愁无」写民瘼，这个「饱」字至少有双重意味：其一，写民之饱——那「但令人饱我愁无」写但令人饱我愁无，那「饱」字写尽人饱我愁无的但令——人饱，正是百姓饱暖的写照，那「饱」字写尽人饱我愁无的但令；其二，写心之安——那「饱」字更是写安——饱，正见民饱我安的欣慰，那「饱」字写尽苏轼的民瘼。以「饱」字写民瘼，正是苏轼写闲适的枢纽——若换作「暖」「足」等字，则或失其与「但令人饱」「我愁无」的配合，或失其写饱的意味；唯「饱」字，以但令人饱我愁无写尽民之饱暖与愁之全无，与「雪晴江上麦千车」的麦千车相合，写尽人饱我愁无的但令，也让「但令人饱我愁无」成为全词写民瘼的名句。