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沙扬娜拉

Sayonara (Shayangnala)

徐志摩

Xu Zhimo

新月派Crescent Moon School 抒情诗Lyric Poetry 名篇Masterpiece

最是那一低头的温柔，像一朵水莲花不胜凉风的娇羞，道一声珍重，道一声珍重，那一声珍重里有蜜甜的忧愁——沙扬娜拉！

The most is the tenderness of that bowing of the head, like a water-lily that cannot bear the shyness of the cool breeze; a word of take good care, a word of take good care, and in that word of take good care there is the honey-sweet sorrow—Sayonara!

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Meaning

A representative short lyric of Xu Zhimo, written in 1924. During his accompaniment of the Indian poet Tagore's visit to Japan from May to July 1924, Xu Zhimo wrote the series of eighteen 'Sayonara' poems on the way home, this one being the eighteenth (the last), with the note under the title 'For the Japanese maiden.' 'Sayonara' is the transliteration of the Japanese 'sayonara' (goodbye), used by Xu Zhimo as the title, both making clear the farewell and carrying the exotic flavor. The whole poem of five lines: 'the most is the tenderness of that bowing of the head'—the most moving moment, the tenderness of the bowing; 'like a water-lily that cannot bear the shyness of the cool breeze'—the image of the water-lily, the shyness of the cool breeze, the charm of the Japanese maiden; 'a word of take good care, a word of take good care'—the repetition of the farewell, the reluctance to part; 'in that word of take good care there is the honey-sweet sorrow'—the honey-sweet sorrow, the sweetness and the sorrow in one, the deep feeling of the farewell; and 'Sayonara!'—the close with the Japanese word, the exotic flavor, the graceful close.

最动人的是她那低头的温柔，像一朵水莲花在凉风中不胜娇羞；她道一声珍重，又道一声珍重，那一声珍重里含着蜜甜的忧愁——再见（沙扬娜拉）！

Appreciation

This poem is a short lyric of the Crescent Moon School, its art most prominent in the 'the eternalizing of an instant' and the 'the perfect fusion of the three beauties.' In the structure, the whole poem of five lines, the development extremely refined: the opening 'the most is the tenderness of that bowing of the head' with the 'the most is' leading, directly pointing out the most moving instant of the whole poem—not saying 'she is beautiful,' but 'the most is the tenderness of that bowing of the head,' aiming the lens of the whole poem at the action of the 'bowing,' like the freeze of the photograph; the second 'like a water-lily that cannot bear the shyness of the cool breeze' the image of the water-lily, the shyness of the cool breeze, the charm of the Japanese maiden written with the image; the 'a word of take good care, a word of take good care' the repetition of the farewell, the melody of the farewell; and the close, 'in that word of take good care there is the honey-sweet sorrow—Sayonara!' the honey-sweet sorrow, the sweetness and the sorrow in one, the deep feeling of the farewell. The whole poem, with the bowing, the water-lily, the take good care, and the Sayonara, the eternalizing of the instant of the farewell, the perfect fusion of the music, the painting, and the architecture of the Crescent Moon School.

【白话串讲】徐志摩写《沙扬娜拉》：“最是那一低头的温柔，像一朵水莲花不胜凉风的娇羞”——“道一声珍重，道一声珍重，那一声珍重里有蜜甜的忧愁——沙扬娜拉”——他写日本人告别时的温柔。【意象与手法】此为新月派抒情短诗，以「三美」见长：音乐美——「温柔、娇羞、珍重、忧愁」的复沓与押韵；绘画美——「水莲花」的意象如画；建筑美——五句整齐而参差。比喻之精、复沓之妙、矛盾修辞之巧，皆臻化境。【情感与主旨】写异国送别的瞬间：以「一低头的温柔」写东方女性的柔美，以「蜜甜的忧愁」写告别的况味——甜是相聚的余温，愁是离别的开始，一首小诗写尽「最是人间留不住」的怅惘与美好。【名句点睛】常考「最是那一低头的温柔」的定格之美与「蜜甜的忧愁」的矛盾修辞——一个画面定格千古温柔，一组反义写尽别情，是新月派「抒情小诗」的极致。

Background

The poem is a representative short lyric of Xu Zhimo, written in 1924. Xu Zhimo (1897–1931), a native of Haining, Zhejiang, the representative poet of the Crescent Moon School, studied in England and America in his early years, deeply influenced by the English Romantic poetry, advocating that the new poetry should have the three beauties of the 'the beauty of the music, the beauty of the painting, and the beauty of the architecture.' From May to July 1924, Xu Zhimo accompanied the Indian poet Tagore on his visit to Japan, and on the way home wrote the series of eighteen 'Sayonara' poems, this one being the eighteenth (the last), with the note under the title 'For the Japanese maiden.' The series, writing the customs and the impressions of the Japanese journey, this last one writes the farewell to the Japanese maiden, the charm of the bowing and the farewell. The poem, written in the early period of the new poetry, with the exotic title and the refined image, the representative of the early lyric of the Crescent Moon School.

《沙扬娜拉》是徐志摩抒情短诗的代表作，写于1924年。徐志摩（1897—1931），浙江海宁人，新月派代表诗人，曾留学英美，深受英国浪漫主义诗歌影响，主张新诗要有「音乐美、绘画美、建筑美」三美。1924年5月至7月，徐志摩陪同印度诗人泰戈尔访日，归国途中写组诗《沙扬娜拉十八首》，本篇为第十八首（末首），题下原注「赠日本女郎」。「沙扬娜拉」是日语「さようなら」（再见）的音译，徐志摩以之为题，既点明送别之意，又使异国情调扑面而来。此诗所写，是诗人与一位日本女郎告别的瞬间：诗人抓住了女郎「一低头的温柔」与道别时「蜜甜的忧愁」，用一首不足五十字的小诗，写尽东方女性含蓄柔美的风致与异国送别的怅惘。此诗作于徐志摩诗歌创作的鼎盛期，其「三美」主张在此诗中得到完美体现：音乐美（押韵、复沓）、绘画美（水莲花意象）、建筑美（五句的整齐与参差），使之成为中国新诗史上最脍炙人口的短章之一。此诗的背景，还有1920年代中西文化交汇的大语境——泰戈尔访华、东方文化复兴的呼声，使徐志摩对东方女性之美有一种自觉的礼赞，故诗中「低头的温柔」既是写实，也是东方文化「含蓄内敛」之美的象征。

Art

The art is the 'the eternalizing of an instant' and the 'the perfect fusion of the three beauties': the 'the most is' of the bowing pointing out the most moving instant, the image of the water-lily the shyness of the cool breeze, the repetition of the take good care the melody of the farewell, and the close of the Sayonara the exotic flavor—the music, the painting, and the architecture, the model of the Crescent Moon School.

此诗为新月派抒情短诗，艺术上最突出的是「一瞬间的永恒化」与「三美的完美融合」。结构上，全诗五句，起承转合极为精炼：首句「最是那一低头的温柔」以「最是」领起，直接点出全诗最动人的瞬间——不说「她很美」，而说「最是那一低头的温柔」，把整首诗的镜头对准「低头」这一动作，如摄影之定格；次句「像一朵水莲花不胜凉风的娇羞」以比喻展开，水莲花（荷花之一种）的意象兼有洁净与柔弱，「不胜凉风」写其弱不禁风，「娇羞」写其含羞之态——花与人合而为一，女郎即莲花，莲花即女郎；三、四句「道一声珍重，道一声珍重」以复沓写告别，一声又一声，如回音缭绕，把告别写得深情而缠绵；第五句「那一声珍重里有蜜甜的忧愁——沙扬娜拉」以矛盾修辞收束——「蜜甜」与「忧愁」本不相容，却统一于「那一声珍重」之中：蜜甜是相聚的余温、情意的浓度，忧愁是离别的开始、后会无期的怅惘，矛盾的词语写出告别的全部况味；末以「沙扬娜拉」的日语原声收尾，如余韵袅袅，异国情调与离别之情交织。手法上，比喻（水莲花）、复沓（道一声珍重）、矛盾修辞（蜜甜的忧愁）、音译（沙扬娜拉）四法并用，皆服务于「定格一瞬间」的抒情核心——五句小诗，写尽一次告别的千回百转，是新月派「抒情小诗」的极致。

Allusions

The cultural import of the poem is the fusion of the Oriental aesthetics and the exotic charm. First, the image of the 'bowing'—'the most is the tenderness of that bowing of the head'—is the poeticization of the beauty of the 'the lowered brows' and the 'the gathered head' of the Chinese culture: the Buddhism has the 'the Bodhisattva of the lowered brows,' the rites have the 'the rite of the gathered head,' and in the classical Chinese poetry the 'bowing the head' mostly writes the shyness of the woman (as Bai Juyi's 'thousand times the calling and ten thousand times the calling, the shy at last comes out, still holding the pipa half hiding the face'), the 'bowing' of the poem the inheritance of this Oriental beauty; second, the 'water-lily that cannot bear the shyness of the cool breeze'—the water-lily of the Western aesthetic, the image of the delicate and the shy, the fusion of the Oriental shyness and the Western image; and the 'Sayonara' of the close, the Japanese word, the fusion of the three cultures of the Chinese, the Japanese, and the Western, the beauty of the fusion.

此诗的文化内涵，是东方审美与异国风情的交融。其一，「低头」的意象——「最是那一低头的温柔」，是中国文化中「低眉」「敛首」之美的诗化：佛教有「低眉菩萨」，礼教有「敛首之仪」，中国古典诗词中「低头」多写女子之羞（如白居易「千呼万唤始出来，犹抱琵琶半遮面」的犹抱琵琶、李清照「和羞走，倚门回首」的羞走），徐志摩把「低头」与「温柔」相连，正是东方女性含蓄内敛之美的现代书写——一低头，千种风情。其二，「水莲花」的比喻——莲花在东方文化中是高洁的象征（周敦颐「出淤泥而不染」），徐志摩以「水莲花」喻日本女郎，既取其洁净，又取其娇柔；「不胜凉风的娇羞」暗用「弱不禁风」的古典语汇，写出东方女性纤弱柔美的风致。其三，「珍重」一词——中国告别文化中最郑重的叮咛，「一声珍重」凝聚着「劝君更尽一杯酒」的深情与「临行密密缝」的牵挂，徐志摩以「道一声珍重，道一声珍重」的复沓，把这种叮咛写得缠绵往复。其四，「沙扬娜拉」——日语「再见」的音译，是异国情调的点睛：以日语原声作结，如异国的钟声在耳边回响，使中国式的离愁与东瀛的风情交织，正见1920年代中日文化交流的语境。一首小诗，熔东方审美、古典语汇、异国音声于一炉，正是新月派「化欧化古」的典范。

Commentary

The 'Sayonara' is one of the most popular short poems of the history of the Chinese new poetry, its status may be seen from three aspects. In the literary history, this poem is the perfect specimen of the 'three beauties' of the Crescent Moon School: the beauty of the music (the rhyme and the repetition), the beauty of the painting (the image of the water-lily), and the beauty of the architecture (the regularity of the five lines); in the reception, the poem, with its refinement and its exotic charm, has been recited and anthologized by countless readers, the eternal hymn of the farewell of the Chinese new poetry; and in the artistic achievement, the poem, in the five lines, writes the charm of the Japanese maiden and the feeling of the farewell with the tenderness and the grace, the 'honey-sweet sorrow' of the close the eternal famous phrase, the very model of the short lyric of the new poetry.

《沙扬娜拉》是中国新诗史上最脍炙人口的短诗之一，其地位可从三方面看。就文学史言，此诗是新月派「三美」主张的完美标本：音乐美（押韵与复沓）、绘画美（水莲花意象）、建筑美（五句的整齐与参差）在此诗中浑然一体，证明新诗完全可以在自由的形式中建立格律的秩序——它上承闻一多「豆腐干体」的格律探索，下启现代抒情短诗「以一瞬写永恒」的传统，是中国新诗由「破」到「立」的转折点。就艺术成就言，「最是那一低头的温柔」「蜜甜的忧愁」已成为现代汉语的诗性表达——「低头的温柔」把动作化为永恒的画面，「蜜甜的忧愁」以矛盾修辞写出告别的全部况味，这些表达至今仍被反复引用，足见其语言的生命力。就文化意义言，此诗以异国送别为题材，却写出全人类共通的离愁别绪——东瀛的「沙扬娜拉」、中国式的「珍重」、普世的「蜜甜的忧愁」，在五十字内完成跨文化的抒情，是中国新诗「放眼看世界」的见证。此诗与《再别康桥》并称徐志摩抒情诗的双璧：一写西方康桥的告别，一写东瀛女郎的告别，一西一东，共同奠定徐志摩「抒情圣手」的地位。

Prosody

Form Modern free verse (the metrical short lyric of the Crescent Moon School)现代自由诗（新月派格律化抒情短诗）

Rhyme This poem stresses the beauty of the music: the line-ends 'rou' and 'xiu' rhyme on the 'ou,' and the fifth此诗讲究音乐美：句尾「柔」「羞」押「ou」韵，第五句「愁」复归同韵，一韵到底、回环呼应；「道一声珍重，道一声珍重」的复沓如回音缭绕，「温柔、娇羞、珍重、忧愁」四词皆以柔和音节收束，如珠落玉盘，声情缠绵。

Tone pattern The 'the most is the tenderness of that bowing of the head' is soft, the 'the water-lily' is tender, the 'a word of take good care' is reluctant, and the 'Sayonara' is graceful—the whole from the bowing to the farewell, the charm of the farewell carried by the rhyme句式参差而有致：首句九字长句，语气从容，如缓缓展开的画面；次句十一字，以「像」字引出比喻，语气柔婉；三、四句五字短句复沓，语气急切而深情，如连声叮咛；末句长句收束，「蜜甜的忧愁」一顿，「沙扬娜拉」扬起，如一声叹息、余韵袅袅。

Reading note The rhyme and the repetition carry the honey-sweet sorrow, the grace of the farewell.此诗是新月派「音乐美、绘画美、建筑美」三美主张的完美标本，其声律之美可从三方面看。其一，音乐美——全诗押「ou」韵（柔、羞、愁），一韵到底，声韵缠绵柔美，与抒情内容相配；「道一声珍重，道一声珍重」的复沓是全诗声律的枢纽：两次「道一声珍重」，如回音缭绕、如钟声两响，把一次告别写成千回百转的咏叹，声音的重复正对应情感的不舍——越是重复，越是难舍；「温柔」「娇羞」「珍重」「忧愁」四词皆以开口度较小的柔和音节收束，如轻纱拂面、如低语叮咛，与「一低头的温柔」的柔美画面声情相合。其二，绘画美——「水莲花不胜凉风的娇羞」以听觉之韵写视觉之画，声音与画面相生，读来如见一朵莲花在凉风中摇曳。其三，建筑美——全诗五句，长短错落而有内在的节奏秩序：九字、十一字、五字、五字、十四字，如「长—长—短—短—长」的音符序列，起伏有致，收束于末句的悠长。此种「以韵为魂、以复沓为骨」的声律，是徐志摩对闻一多格律主张的创造性发展——他证明：新诗的格律不必是豆腐干式的齐整，而可以是长短参差中的内在韵律。诵读此诗，当以轻柔缠绵之声、依依不舍之情出之，方得「沙扬娜拉」的余韵。

Line by line

最是那一低头的温柔，像一朵水莲花不胜凉风的娇羞，

The most is the tenderness of that bowing of the head, like a water-lily that cannot bear the shyness of the cool breeze, (The opening: the 'the most is' pointing out the most moving instant of the bowing, and the image of the water-lily, the shyness of the cool breeze, the charm of the Japanese maiden.)

最动人的是她那低头的温柔，像一朵水莲花在凉风中不胜娇羞。

Most tender is that lowered head, like a water lotus too shy for the cool breeze,

首两句是全诗的核心画面，也是「一瞬间永恒化」的典范。「最是那一低头的温柔」以「最是」领起，直接点出全诗最动人的瞬间——不写容貌、不写衣着，只写「低头」这一动作，如摄影之定格：一低头，千种风情；「温柔」二字，把低头的神态写成了品格。次句「像一朵水莲花不胜凉风的娇羞」以比喻展开：水莲花（荷花之一种）兼有洁净与柔弱，「不胜凉风」写其弱不禁风，「娇羞」写其含羞之态——花与人合而为一，女郎即莲花、莲花即女郎。此两句的深意在于：其一，「低头」是中国文化中东方女性含蓄之美的最凝练符号——低眉敛首、欲语还羞，一低头间，柔情万种；其二，「不胜凉风的娇羞」既是写实（凉风中含羞而立），又是写意（娇羞如莲花在风中摇曳），虚实之间，把告别的瞬间写成了永恒的画面；其三，「最是」二字有统领全诗之功——以下一切（珍重、忧愁）皆由这「一低头」生发。两句画面，定格千古温柔，是新诗「以少胜多」的极致。

The lowered head. Most tender is that lowered head, like a water lotus too shy for the cool breeze. The lowered head and the water-lotus shyness are the image. To have lowered the head would be a lowering; the most-tender-is-that-lowered-head-like-a-water-lotus-too-shy-for-the-cool-breeze is the lowering.

道一声珍重，道一声珍重，那一声珍重里有蜜甜的忧愁——沙扬娜拉！

a word of take good care, a word of take good care, and in that word of take good care there is the honey-sweet sorrow—Sayonara! (The close: the repetition of the farewell, the honey-sweet sorrow, the sweetness and the sorrow in one, and the Sayonara of the exotic flavor.)

道一声珍重，又道一声珍重，那一声珍重里含着蜜甜的忧愁——再见！

Say farewell, say farewell; in that farewell there is honey-sweet sorrow—sayonara!

后三句写告别的过程与况味，是全诗情感的高潮。「道一声珍重，道一声珍重」以复沓写告别——一声又一声，如回音缭绕，把「珍重」（中国告别文化中最郑重的叮咛）写得缠绵往复，言有尽而情无穷；「那一声珍重里有蜜甜的忧愁」以矛盾修辞收束——「蜜甜」与「忧愁」本不相容，却统一于「那一声珍重」之中：蜜甜是相聚的余温、情意的浓度，忧愁是离别的开始、后会无期的怅惘，矛盾的词语写出告别的全部况味——因为甜蜜过，所以忧愁；因为忧愁着，所以更显甜蜜；「——沙扬娜拉」以日语「再见」的原声收尾，破折号如一声叹息，异国的钟声在耳边回响，把中国式的离愁与东瀛的风情交织在一起。此三句的深意在于：其一，复沓不是重复而是强调——「道一声珍重」的两次道出，把一次告别写成了千回百转的咏叹；其二，「蜜甜的忧愁」是全诗的诗眼，以矛盾修辞写出告别的本质——离别的愁绪因甜蜜的回忆而更浓，甜蜜的回忆因离别的到来而更苦；其三，以「沙扬娜拉」作结，如余韵袅袅，全诗的画面与情感在异国的一声「再见」中定格、消散、回荡。

The farewell. Say farewell, say farewell; in that farewell there is honey-sweet sorrow—sayonara! The repeated farewell and the honey-sweet sorrow and the sayonara are the close. To have said farewell would be a farewell; the say-farewell-say-farewell-in-that-farewell-there-is-honey-sweet-sorrow-sayonara is the farewell.

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Word focus

低头的温柔 The tenderness of the bowing of the head. The phrase of the charm: 'the most is the tenderness of that bowing of the head'—the tenderness of the bowing, the most moving instant of the whole poem, the Oriental beauty of the shyness. 「最是那一低头的温柔」之「低头的温柔」，是全诗的灵魂画面，也是中国新诗中最著名的意象之一。「低头」是一个具体的动作，而「温柔」是一种抽象的气质——徐志摩以「的」字把二者焊接，使动作成为气质的化身：一低头，温柔便从形态中流泻出来。此意象有三层深意：其一，东方美学——中国文化中「低眉」「敛首」是含蓄内敛之美的符号（低眉菩萨的慈悲、和羞走倚门回首的娇态），徐志摩把「低头」与「温柔」相连，正是东方女性「欲语还羞」之美的现代书写；其二，定格之妙——「最是」二字把镜头对准「低头」的一瞬，如摄影之定格、绘画之留白，一瞬成为永恒，这正是抒情诗「以一瞬写永恒」的手法；其三，对比之美——全诗写告别，而最动人的不是「珍重」的言语，而是「低头」的无言——无声胜有声，无言更深情。「低头的温柔」五字，以最具体的动作写最抽象的气质，以最短暂的一瞬写最永恒的美，是新诗炼意的巅峰。

不胜凉风的娇羞 The shyness that cannot bear the cool breeze. The phrase of the image: 'like a water-lily that cannot bear the shyness of the cool breeze'—the water-lily and the cool breeze, the delicacy and the shyness, the charm of the Japanese maiden written with the image. 「像一朵水莲花不胜凉风的娇羞」之「不胜凉风的娇羞」，是全诗比喻的妙笔。「不胜」训承受不住，「凉风」点出季节与环境，「娇羞」写含羞之态——水莲花在凉风中摇曳，似弱不禁风、似含羞带怯，七个字把花与人完全合一。此语的妙处有三：其一，「不胜」二字有古典渊源——苏轼「弱不胜衣」、古典诗词「不胜其力」，以「不胜」写柔弱，正见东方审美对「纤弱柔美」的推崇；其二，风与花的配合——「凉风」是环境的写实（送别的季节、告别的氛围），「不胜凉风」则把花的姿态写得楚楚可怜，风愈凉、花愈娇，环境的凉意与女郎的娇羞互相映衬，离别的清冷与情意的温存交织；其三，比喻的「不即不离」——说像水莲花，却不坐实，只取其「不胜凉风」「娇羞」两点神韵，花耶人耶，浑然莫辨，正是「似与不似之间」的艺术真谛。此语以七字写尽东方女性的柔美，是新月派「绘画美」的典范。

蜜甜的忧愁 The honey-sweet sorrow. The phrase of the feeling: 'there is the honey-sweet sorrow'—the honey-sweet and the sorrow, the sweetness and the sorrow in one, the deep feeling of the farewell, the eternal famous phrase. 「那一声珍重里有蜜甜的忧愁」之「蜜甜的忧愁」，是全诗的诗眼，也是中国新诗中最著名的矛盾修辞。「蜜甜」与「忧愁」本是水火不容的两极——甜是相聚的余温、情意的浓度，愁是离别的开始、后会无期的怅惘；徐志摩以「的」字把二者焊接，让反义在同一词组中并存，正是「oxymoron」（矛盾修辞）的经典运用。此词的深意有四：其一，写告别的本质——离别的愁绪因甜蜜的回忆而更浓，甜蜜的回忆因离别的到来而更苦，甜与愁互为因果、互为底色；其二，写情感的浓度——「那一声珍重」里既有蜜甜（情意之深），又有忧愁（离别之痛），情感不是单一的，而是复杂的综合体，一词写尽千般况味；其三，写东方审美的含蓄——不说「痛苦」「悲伤」，而说「蜜甜的忧愁」，以甜写愁、以柔写痛，正见中国诗歌「哀而不伤」的抒情传统；其四，语言的张力——蜜甜与忧愁互相撕扯，词语内部的张力正是情感内部的张力，读者在咀嚼这组矛盾的词语时，便咀嚼到了告别的全部滋味。四字之妙，妙绝千古，是新诗语言的巅峰。