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金金 · 词 Ci lyric

凤栖梧·衰柳疏疏苔满地

Phoenix Perched on the Plane: Withered Willows

王庭筠

Wang Tingjun

伤秋autumn sorrow 羁旅sojourn 金词Jin lyric

衰柳疏疏苔满地。
十二阑干，故国三千里。
南去北来人老矣。
短亭依旧残阳里。
木叶萧萧风淅淅。
绣阁灯红，梦里长安道。
酒醒觉来知是梦，不禁寒夜听归雁。

Withered willows sparse, moss spreads o'er the ground.
Twelve railings—my home three thousand li away.
South and north I have gone; the man is old.
The short pavilion remains in the setting sun.
Leaves rustle, the wind soughs.
In the red-lit embroidered chamber, I dream the road to Chang'an.
Waking from wine, I know it was a dream,
And cannot help but listen to the homebound geese in the cold night.

Listen

Meaning

A northern literatus far from home, the poet uses autumn's withered willows and the red lamp of a dream to voice his longing for the lost capital and his grief at wandering and growing old.

衰败的柳枝疏落，苔痕铺满了地。十二曲阑干畔，是我三千里外的故国。南去北来，人已衰老。短亭依旧立在残阳里。木叶萧萧，风声淅淅。绣阁里灯色红暖，梦中却走上长安的道途。酒醒后知是一场梦，禁不住在寒夜里听着归雁。

Appreciation

The first part layers withered willow, moss, and twelve railings to stir the thought of a homeland three thousand li off; it sighs that south and north the man is old while the short pavilion still stands in the setting sun. The second part sets rustling leaves and soughing wind; though the embroidered chamber's red lamp is warm, the dream returns to the road of Chang'an; waking to know it a dream, he listens to the homebound geese in the cold night, and the longing cannot be checked. The imagery of withered willow, moss, setting sun, rustling leaves, and cold-night geese dyes the autumn layer by layer; the warm red lamp only sets off the chill of the broken dream. The twelve railings against the three-thousand-li homeland pull the space wide and the feeling deeper.

【白话串讲】 “衰柳疏疏苔满地。十二阑干，故国三千里”——王庭筠写秋日登高：衰柳疏疏。“南去北来人老矣”——奔波半生，人老了。“木叶萧萧风淅淅”——“酒醒觉来知是梦，不禁寒夜听归雁”——他惊醒，听归雁。【意象与手法】以衰柳、苔、残阳、萧萧木叶、寒夜归雁层层染秋；以绣阁灯红反衬梦断之冷。十二阑干、三千里故国对举，空间拉宕而情愈深。【情感与主旨】抒发北地文人的故国之思与漂泊迟暮之悲。王庭筠为金源文宗，词风婉约，此作于秋景中寄万里乡关之梦，凄婉含蕴。【名句点睛】酒醒觉来知是梦，不禁寒夜听归雁——梦回长安而醒后唯闻归雁，以虚写实，归思凄绝。

Background

Wang Tingjun was a master of prose and the chief literary figure of the Jin, skilled in calligraphy, painting, and lyric. This poem may have been written while serving away from home, using autumn scenery to gaze toward the old realm (the Central Plain) and home—a rare tender, restrained work among Jin lyric.

王庭筠（一一五一至一二〇二），字子端，号黄华山主，熊岳（今辽宁盖州）人，渤海族，金代文坛宗主，工诗词书画，时称「三绝」。其祖王继升、父王遵古皆仕辽金，庭筠早慧，大定十六年进士，历官应奉翰林文字、翰林修撰，以才名动天下，然性刚介，不免遭忌，曾因事免官，晚年起复。金源立国中原，文脉多承北宋，庭筠身处北地，既染汴京词风之婉约，又兼草原民族特有的疏朗气骨，遂成金词「清壮顿挫」之貌。此词题「衰柳疏疏苔满地」，写秋日羁旅、故国之思，当为其宦游或免官闲居时所作。金代文人身处异族政权，每于诗词中暗寄对汉文化故都（长安、汴京）的魂牵梦萦，「梦里长安道」正是此种集体心理的投射。词中以衰柳、残阳、归雁织成一片苍凉，既是个人的漂泊迟暮之悲，亦折射北金士人文化认同的深层焦虑，于婉约中见沉郁，足称金词上乘。金源词坛介于宋之婉约与元之豪放之间，庭筠此作以闺阁之暖反衬梦断之冷，恰见北地文人于异族治下对汉文化故都的精神依恋，其哀婉实为一代士人集体乡愁之缩影。作为渤海族文人而主盟金源文坛，王庭筠以中原雅词写北地羁怀，文化认同的张力使此词远超寻常秋思，成为金词「清壮顿挫」气脉中的深沉一曲。

Art

The first part scene, the second dream; from real to imagined. The warm red lamp sets off the chill of the broken dream; the real homebound geese close the faint thought—the structure is fine, the language clear and lovely.

此词章法疏密有致，上片由景入情、下片由梦归实，虚实相生而气脉不断。上片起以「衰柳疏疏苔满地」的衰飒近景，旋以「十二阑干，故国三千里」拉开空间维度，咫尺阑干与万里故国对举，乡愁之张力顿出；「南去北来人老矣」以行旅频率与年岁之老相撞，沉痛无言；「短亭依旧残阳里」以物之恒常反衬人之易老，一个「依旧」最是苍凉。下片「木叶萧萧风淅淅」以叠字写秋声，听觉渲染极佳；「绣阁灯红，梦里长安道」以暖色实境引出温馨虚梦，章法陡转；结以「酒醒觉来知是梦，不禁寒夜听归雁」，梦破归雁，以虚写实，归思凄绝。全词以衰柳、苔、残阳、萧萧木叶、寒夜归雁层层染秋，以绣阁灯红一抹暖色反衬梦断之冷，十二阑干与三千里故国对举使空间拉宕而情愈深，是金词「北人南思」的婉约范本。由衰景入故国，由故国入梦境，由梦境归寒雁，层层转进而气脉不断；以绣阁灯红一抹暖色，反衬觉来之后的无边凄寒，章法之妙在于以乐景写哀，以实境写虚。上片铺叙空间之遥，下片渲染秋声之肃，终以梦醒听雁收束，结构如波折而后归于寂灭，诚金词婉约体中章法最缜密者之一。

Allusions

Twelve railings: a general term for balustrades, also shaping the curve of sorrow. 'Home three thousand li': adapts Du Mu's 'home three thousand li' for distant longing. The road to Chang'an: stands for the old capital.

「十二阑干」化用诗词常典，李商隐「十二玉楼空婉娩」、欧阳修「阑干十二独凭春」皆以阑干写倚望之久、相思之深，王庭筠借以写故国凝望。「故国三千里」暗袭杜牧「故国三千里，深宫二十年」句法，将空间之远化为乡思之重。「长安」自汉唐以来即为国都代称与士人精神原乡，李白「长安一片月」、杜甫「每依北斗望京华」皆以长安写恋阙，此处「梦里长安道」亦是以梦回故都寄寓文化认同之思。「归雁」承《汉书·苏武传》雁足传书及「雁阵惊寒」传统，喻归期与乡书；而词人反写「听归雁」，暗含雁归人未归的更深悲怆。全词用典融于景语，不堆垛而意远，以阑干、故国、长安、归雁诸故实织成北人怀南的抒情网络，最见金词驱使唐宋典实而自出机杼的功力。十二阑干、故国三千里、长安道、归雁，皆唐宋怀古与羁旅之经典符号，经庭筠以金人身份重述，便多一层北望江南的文化乡愁，用典之妙在似旧实新。长安既为汉唐精神原乡，亦为北金文人想象中的文明故都，故「梦里长安」实为文化归属之隐喻，非仅地理意义上的望乡而已。

Commentary

Wang Tingjun's lyric stands alone in the Jin for pure tenderness; read beside Yuan Haowen's 'Mo Yu Er,' one sees northern poets too were deep in feeling.

王庭筠为金源文宗，元好问推为「百年文坛」领袖，其诗词书画俱绝，而词名尤盛于北地。此《凤栖梧》以婉约之笔写故国之思，清人编《全金元词》多收之，近人论金词每举此作以证「金源崛兴，辞人多祖宋而能自振」。它与蔡松年、吴激等由宋入金的「吴蔡体」相较，更少酬应而多性灵；与元好问之沉郁悲壮相较，则更显婉约清疏。今人读之，既能赏其「衰柳」「残阳」的意象经营与「觉来知是梦」的章法巧思，亦当体会北金文人身处异族政权、以汉文化故都为精神原乡的深层焦虑——词中的长安之梦，实为一整个时代的乡愁。此作于秋景中寄万里乡关，凄婉含蕴，足称宋词婉约一脉在金源土壤上的新生与升华。元好问推庭筠为金源文宗，此词之婉约清疏，上承北宋周邦彦之丽，下启元人张可久之雅，于金词中别立一格；今人读之，既能赏其意象经营，亦当体其故园之思。在宋词传统北流的过程中，王庭筠以宗主之姿调和婉约与苍凉，使金源词自具面目，此作正可视为这一历程的缩影与标本。

Prosody

Form Phoenix Perched on the Plane, another name for Die Lian Hua词·蝶恋花（又名凤栖梧），双调

Rhyme Rhyme category not specified in the source; follows the tune's convention.上片仄韵地、里、矣、里；下片仄韵淅、道、雁，上下片换韵

Tone pattern Double tune, sixty characters.依词谱平仄，上片平缓沉郁，下片跌宕转咽

Reading note The upper part lodges age within scene; the lower sets dream against waking. A short piece yet the feeling is long—pure and tender among Jin lyric.此词双调，依《凤栖梧》（即《蝶恋花》）体格，上下片各四句，句式以七言为主间以四言。用韵取仄声，上片地、里、矣、里，下片淅、道、雁，上下片换韵，声情由沉郁转凄咽，与「上实下虚、由景入梦」的章法同构。上片以「衰柳」「苔」「残阳」铺衰飒之景，韵脚低回；下片「木叶萧萧风淅淅」以入声「淅」振起秋声，「梦里长安道」转暖，「酒醒觉来」复归寒咽，声情随梦境起伏。王庭筠为金源文宗，其词兼融北宋婉约之细腻与北地特有的苍凉气骨，此作以闺阁绣阁之暖反衬梦断听雁之冷，章法跌宕而情韵幽深。整体看，其韵律安排紧密服务于乡愁主题：恒常之景（依旧）与易变之人（老矣）形成声情上的稳定与破碎之对照，是金词中「北人南思」的典范之作，亦可见宋词婉约一脉在异代北地的流变与新生。

Line by line

衰柳疏疏苔满地。十二阑干，故国三千里。南去北来人老矣。短亭依旧残阳里。

Withered willows sparse, moss covers the ground; twelve railings—my home three thousand li away; south and north I have gone, the man is old; the short pavilion remains in the setting sun.

衰败的柳枝疏落，苔痕铺满了地。十二曲阑干畔，是我三千里外的故国。南去北来，人已衰老。短亭依旧立在残阳里。

Withered willows are sparse; moss covers the ground. By the twelve railings, my old home lies three thousand li away. Going south and north, a man grows old. The short pavilion stands as before in the setting sun.

上片由眼前景物直入故国之思，起句「衰柳疏疏苔满地」以衰柳、苔痕两意象铺开一片荒寂，物色之衰已暗喻心境之衰。「十二阑干，故国三千里」以空间对举极有张力——阑干在咫尺，故国在三千里外，咫尺与万里反差，写尽羁留他乡、望乡难归的折磨。十二阑干化用李商隐「十二玉楼」及诗词常见「倚遍阑干」意，暗写独倚之久。「南去北来人老矣」以行旅之频与年岁之老对撞，道出漂泊无依的迟暮之悲；「短亭依旧残阳里」以短亭、残阳的恒常反衬人之易老、世之易变，一个「依旧」最是苍凉。全片景起情承，由衰景到故国、到人老、到残阳，层层递进，是北地文人乡愁与身世之悲的高度浓缩。

The first stanza. Withered willows are sparse; moss covers the ground. By the twelve railings, my old home lies three thousand li away. Going south and north, a man grows old. The short pavilion stands as before in the setting sun. The sparse willows and moss, the railings against the three-thousand-li homeland, the south-north wandering and aging, and the unchanged pavilion in the sunset are the stanza. To have described a nostalgic autumn evening would be a scene; the withered-willows-moss-ground against the twelve-railings-three-thousand-li-homeland, the south-north-aging, and the short-pavilion-as-before-in-the-sunset is the scene.

木叶萧萧风淅淅。绣阁灯红，梦里长安道。酒醒觉来知是梦，不禁寒夜听归雁。

Leaves rustle, wind soughs; in the red-lit chamber I dream the road to Chang'an; waking from wine I know it was a dream, and cannot help but hear the homebound geese in the cold night.

木叶萧萧，风声淅淅。绣阁里灯色红暖，梦中却走上长安的道途。酒醒后知是一场梦，禁不住在寒夜里听着归雁。

Leaves sigh, the wind soughs. The embroidered chamber's lamp is red; in a dream I walk the road to Chang'an. Waking, I know it was a dream; in the cold night I cannot help listening for the returning geese.

下片以声写秋、以梦写归，章法由实入虚再归于实。「木叶萧萧风淅淅」叠用象声词，以听觉渲染秋气之肃杀，与上片衰柳苔地相表里。「绣阁灯红」忽转暖色，似见温馨，然紧接「梦里长安道」，方知灯红是实、长安是梦——以绣阁之暖反衬梦断之冷，章法极巧。「酒醒觉来知是梦，不禁寒夜听归雁」为全词警策：酒酣入梦，魂返故都，醒后唯闻归雁，虚实相生，归思凄绝。归雁本为传书之象，而自己反听归雁，暗含「雁归人未归」的深层悲怆。王庭筠以金源文宗之笔写如此婉约之思，于秋景中寄万里乡关之梦，凄婉含蕴，足见北金词风兼融北宋婉约与本土苍凉的独特气质。

The dream. Leaves sigh, the wind soughs. The embroidered chamber's lamp is red; in a dream I walk the road to Chang'an. Waking, I know it was a dream; in the cold night I cannot help listening for the returning geese. The sighing leaves and soughing wind, the red lamp and the dreamt Chang'an road, the waking, and the listening geese, are the second stanza. To have described a homesick dream would be a scene; the sighing-leaves-soughing-wind against the red-lamp-dreamt-Chang'an-road, the waking, and the listening-to-returning-geese-in-the-cold-night is the scene.

Study

Word focus

衰柳 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「衰柳疏疏苔满地」之「衰柳」，是全词悲凉基调的奠定者。柳本为离别与春色之象（「柳」谐「留」），此处却着一「衰」字，写柳枝凋疏、了无生意，既点秋景，更隐喻故国倾颓、身世飘零之「衰」。与「苔满地」叠加，一片荒芜寂灭，物色之衰即是心境之衰。王庭筠以金臣身份写此，衰柳亦暗含对故国（北宋）沦亡、新朝羁縻的隐痛，以最寻常的秋柳意象承载最沉郁的家国之思，炼字之重，在于「衰」字一字千钧，统摄全篇苍凉气脉，亦为后文「故国」「归雁」之思预植根柢。

依旧 The words '依旧' (still) show things unchanged while the man is not. 「短亭依旧残阳里」之「依旧」二字，是上片情感的关键纽结。短亭、残阳亘古如斯，物色不改，而倚亭之人却已「南去北来人老矣」，物之恒常反衬人之代谢，遂生深沉的物我对照之悲。此字以景之不变写情之巨变，将「故国三千里」的遥望化为无可奈何的徒然。「依旧」在古典诗词中常作今昔反差之眼（如「依旧烟笼十里堤」），王庭筠此处承其法而用于羁旅，使残阳短亭成为永恒与无常的见证，章法血脉因之贯通，余韵苍凉不尽，最见婉约词「以常景写变情」的章法精微。

觉来 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「酒醒觉来知是梦」之「觉来」二字，写尽梦断之刹那的空落。酒酣入梦，魂返长安，一旦「觉来」，方知繁华皆幻，唯余寒夜孤身，一个「觉」字将虚境击碎、将归思逼回现实。「觉来」与「梦里」对举，构成全词虚实结构的支点：梦愈真切，觉后愈惨；长安道愈近，残阳短亭愈远。王庭筠以「觉来」收束上片之梦、开启下片之听雁，使情感由温馨骤坠凄寒，举重若轻，最见婉约词「以梦写情、以觉写悲」的章法精微，亦使全词由绮梦归于孤雁的苍凉收煞更显自然。