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南北朝 Northern and Southern Dynasties · 文 Prose

玉台新咏序

Preface to the New Songs from the Jade Terrace

徐陵

Xu Ling

玉台体Jade Terrace Style 骈文Parallel Prose 徐陵Xu Ling

夫凌云概日，由余之所未窥；
千门万户，张衡之所曾赋。
周王璧台之上，汉帝金屋之中，玉树以珊瑚作枝，珠帘以玳瑁为押，其中有丽人焉。
其人也，五陵豪族，充选掖庭；
四姓良家，驰名永巷。
亦有颍川、新市，河间、观津，本号娇娥，曾名巧笑。
楚王宫里，无不推其细腰；
魏国佳人，俱言讶其纤手。

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夫凌云概日，由余之所未窥；
千门万户，张衡之所曾赋。
周王璧台之上，汉帝金屋之中，玉树以珊瑚作枝，珠帘以玳瑁为押，其中有丽人焉。
其人也，五陵豪族，充选掖庭；
四姓良家，驰名永巷。
亦有颍川、新市，河间、观津，本号娇娥，曾名巧笑。
楚王宫里，无不推其细腰；
魏国佳人，俱言讶其纤手。
阅诗敦礼，非直东邻之自媒；
婉约风流，无异西施之被教。
弟兄协律，自小学歌；
少长河阳，由来能舞。
琵琶新曲，无待石崇；
箜篌杂引，非因曹植。
传鼓瑟于杨家，得吹箫于秦女。
至若宠闻长乐，陈后知而不平；
画出天仙，阏氏览而遥妒。
且如东邻巧笑，来侍寝于更衣；
西子微颦，得横陈于甲帐。
陪游馺娑，骋纤腰于结风；
长乐鸳鸯，奏新声于度曲。
妆鸣蝉之薄鬓，照堕马之垂鬟。
反插金钿，横抽宝树。
南都石黛，最发双蛾；
北地燕脂，偏开两靥。
亦有岭上仙童，分丸魏帝；
腰中宝凤，授历轩辕。
金星与婺女争华，麝月共嫦娥竞爽。
惊鸾冶袖，时飘韩掾之香；
飞燕长裾，宜结陈王之佩。
虽非图画，入甘泉而不分；
言异神仙，戏阳台而无别。
真可谓倾国倾城，无对无双者也。
加以天情开朗，逸思雕华，妙解文章，尤工诗赋。
琉璃砚匣，终日随身；
翡翠笔床，无时离手。
清文满箧，非惟芍药之花；
新制连篇，宁止蒲萄之树。
九日登高，时有缘情之作；
万年公主，非无诔德之辞。
其佳丽也如彼，其才情也如此。
既而椒宫苑转，柘馆阴岑，绛鹤晨严，铜蠡昼静。
三星未夕，不事怀衾；
五日犹赊，谁能理曲。
优游少托，寂寞多闲。
厌长乐之疏钟，劳中宫之缓箭。
轻身无力，怯南阳之捣衣；
生长深宫，笑扶风之织锦。
虽复投壶玉女，为欢尽于百骁；
争博齐姬，心赏穷于六箸。
无怡神于暇景，惟属意于新诗。
可得代彼萱苏，微蠲愁疾。
但往事名篇，当今巧制，分诸麟阁，散在鸿都。
不藉篇章，无由披览。
于是然脂暝写，弄墨晨书，撰录艳歌，凡为十卷。
曾无参于雅颂，亦靡滥于风人。
泾渭之间，若斯而已。
于是丽以金箱，装之宝轴。
三台妙迹，龙伸蠖屈之书；
五色花笺，河北、胶东之纸。
高楼红粉，仍定鲁鱼之文；
辟恶生香，聊防羽陵之蠹。
灵飞六甲，高擅玉函；
鸿烈仙方，长推丹枕。
至如青牛帐里，余曲既终；
朱鸟窗前，新妆已竟。
方当开兹缥帙，散此青绳，永对玩于书帏，长循环于纤手。
岂如邓学春秋，儒者之功难习；
窦专黄老，金丹之术不成。
因胜西蜀豪家，托情穷于鲁殿；
东储甲观，流咏止于洞箫。
娈彼诸姬，聊同弃日，猗欤彤管，无或讥焉。

Towers that brush the clouds and overshadow the sun—
what even You Yu never beheld;
a thousand gates, ten thousand doors—
of which Zhang Heng once wrote his rhapsody.
On King Zhou's Jasper Terrace,
in Emperor Wu's Golden Chamber,
jade trees with coral branches,
pearl curtains with tortoiseshell hooks—
and within dwell lovely women.
These ladies—
from the great clans of the Five Mounds,
chosen for the palace courtyards;
from the four distinguished families,
renowned through the Eternal Lane.
There are also those from Yingchuan and Xinshi,
from Hejian and Guanjin,
once called graceful beauties,
once named Clever Smile.
In the King of Chu's palace,
all praised their slender waists;
the beauties of Wei,
all marvelled at their delicate hands.
They peruse the Odes and study ritual—
not like the eastern neighbor who offered herself;
gentle and elegant, refined and free—
no different from Xi Shi after her training.
Their brothers master pitch-pipes,
learning songs from childhood;
raised in Heyang,
they have always known how to dance.
New tunes for the pipa—
they need no Shi Chong to teach;
miscellaneous airs for the konghou—
not derived from Cao Zhi.
They transmit the zither's art from the Yang family,
and gain the flute's skill from the Daughter of Qin.

Then there are those whose favor is known in Changle Palace—
Empress Chen, learning of it, feels unease;
their portraits painted as heavenly immortals—
Queen Yanzhi, gazing, is jealous from afar.
And the eastern neighbor's clever smile
comes to serve at night in the changing room;
Xi Shi's slight frown
finds repose within the curtained tent.
They accompany the emperor's excursions to Sasa Palace,
displaying slender waists in the dance of Jiefeng;
at Changle's mandarin-duck pool,
they perform new music in measured songs.
They dress their thin temples like singing cicadas,
mirror their drooping tresses like the fallen chignon.
Pins of gold set on reverse,
saplings of jeweled trees drawn forth.
Nandu's stone black—
most apt for painting moth eyebrows;
the northern land's rouge—
spreads just so across the cheeks.

There are also immortal boys from the ridges,
sharing pills for Emperor Wei;
the phoenix at the waist
transmits the calendar to Xuanyuan.
The planet Venus vies with the Weaving Maid;
the musk-moon contends with Chang'e in brightness.
Startled phoenixes on embroidered sleeves—
at times drifting with Han Shou's stolen incense;
Feiyan's long skirt—
fitting to tie the Chen King's pendant.
Though not in paintings,
entering Ganquan Palace they are indistinguishable;
though said not to be immortals,
sporting on Sunlit Terrace they are no different.
Truly they may be called topplers of cities and states,
without match or equal.
Add to this their heaven-endowed open natures,
their wandering thoughts carved in splendor,
their subtle understanding of literary writing,
and their special skill in verse and rhapsody.
A glaze inkstone case
accompanies them all day;
a kingfisher-feather brush stand
never leaves their hands.
Pure writings fill their boxes—
not only peony blossoms;
new compositions come in series—
not only grape-vine poems.
On the ninth day climbing high,
they often compose from feeling;
for Princess Wannian,
they do not lack elegiac words.
Their beauty is such as this,
and their talent is also like this.

Then in the pepper chambers winding deep,
in the mulberry hall's dim recesses,
with crimson cranes at dawn on guard,
and copper frogs silent by day—
before the three stars have set,
they do not attend to blankets;
the fifth day still distant,
who can practice tunes?
In leisure they have little to rely on,
in solitude much idleness.
Weary of Changle's sparse bells,
tired of the slow clepsydra in the palace.
Their light bodies lack strength,
fearing the pounding of clothes at Nanyang;
raised deep in the palace,
they laugh at the brocade-weaving of Fufeng.
Though they may play pitch-pot as jade maidens,
their joy exhausts all hundred throws;
though they contend in board games with Qi beauties,
their delight ends at the six sticks.
They find no pleasure in idle scenes,
but devote their minds only to new poems.
These may replace the daylily and the herb of forgetfulness,
slightly dispelling grief and illness.

But past famous works
and present skillful compositions
are stored in the Qilin Pavilion,
scattered in the Hongdu School.
Without compiling them,
there is no way to browse them all.
Therefore, by lamplight they write at dusk,
with ink they toil at dawn,
recording amorous songs,
in all making ten scrolls.
They do not enter the company of the Hymns or the Odes,
nor do they overflow among the Folk Songs.
Between the Jing and Wei rivers,
it is just like this.
Thus they are beautified with golden boxes,
bound with precious rollers.
The fine handwriting of the Three Towers,
calligraphy like dragons stretching and inchworms curling;
five-colored patterned paper,
from Hebei and Jiaodong.
High-tower beauties
still correct the “fish” and “lu” errors;
scented herbs that ward off evil
are used to keep away bookworms from Yuling.
The “Flying Spirits, Six Jia” texts,
loftily stored in jade cases;
the immortal recipes of Honglie,
long kept under cinnabar pillows.

And when in the green-ox tent
the last tune has ended,
by the vermilion-bird window
the new makeup is complete.
Then should they open these pale-blue volumes,
spread out these green-bound books,
forever facing them in the book-curtained study,
endlessly turning them in slender hands.
How does this compare to Empress Deng studying the Spring and Autumn—
the Confucian task is hard to practice;
or Empress Dou devoted to Huang-Lao—
the golden elixir never succeeds.
Thus it surpasses the wealthy house of Western Shu,
whose feelings were exhausted on the Lu Terrace;
and the Eastern Palace's Jia Guan,
whose chants ended with the flute.
Those lovely ladies,
for the time being share these to pass the days.
O splendid red-tube pen!
Let no one mock them.

Listen

Meaning

This preface introduces the anthology Yutai Xinyong (New Songs from the Jade Terrace), celebrating the beauty, talent, and literary accomplishments of palace women, and explaining why the compiler gathered their amorous song lyrics into a ten-volume collection.

那高入云霄、蔽日凌空的楼观，连由余都不曾见过；千门万户的宫阙，张衡曾经为之作赋。周王的璧台之上，汉帝的金屋之中，玉树用珊瑚作枝，珠帘用玳瑁为轴，其中便有美人居住。这些美人啊，有的出自五陵豪族，选入后宫；有的来自四姓良家，驰名永巷。也有颍川、新市、河间、观津等地的女子，本称娇娥，曾名巧笑。楚王宫里，无不夸赞她们的细腰；魏国佳人，都惊叹她们纤巧的双手。她们研读诗书、熟习礼法，并非东邻女子那样自荐；婉约风流，也不逊于受过教导的西施。兄弟通晓音律，自小学习歌唱；少长河阳，向来善于舞蹈。琵琶新曲，不待石崇教习；箜篌杂引，也非因曹植而得。传习鼓瑟于杨家，又得吹箫于秦女之技。至于宠遇传闻于长乐宫，陈皇后知而心中不平；画出天仙之貌，阏氏望而远远生妒。且如东邻巧笑的佳人，来更衣处侍寝；西子微皱眉头，得在甲帐中横陈。陪游于馺娑宫，在结风舞中骋展纤腰；长乐宫鸳鸯相伴，在度曲中奏出新声。妆点如鸣蝉的薄鬓，照映如堕马的垂鬟。反插金钿，横抽宝树。南都的石黛，最能描出双蛾；北地的燕脂，偏能晕开两靥。也有岭上仙童，为魏帝分丸；腰中宝凤，授历于轩辕。金星与婺女争华，麝月与嫦娥竞爽。惊鸾般的冶袖，时时飘散韩掾之香；飞燕般的长裾，正宜结上陈王之佩。虽非图画，入甘泉宫而难分真假；说非神仙，戏于阳台而全无分别。真可说是倾国倾城、无对无双了。加以天性开朗，逸思雕饰华丽，深解文章，尤其工于诗赋。琉璃砚匣，终日随身；翡翠笔床，无时离手。清新的文辞满箱，不只是芍药之花；新制的篇章连篇，岂止蒲萄之树。九日登高，时有机缘之作；万年公主，并非无诔德之辞。她们的佳丽如此，才情也如此。继而椒房宫苑回转，柘馆幽深，绛鹤晨严，铜漏昼静。三星未落，不事怀衾；五日犹远，谁能理曲。优游少所依托，寂寞多闲。厌弃长乐的疏钟，劳倦中宫的缓箭。轻身无力，怯于南阳的捣衣；生长深宫，笑看扶风的织锦。虽复有投壶玉女，为欢尽于百骁；争博齐姬，心赏穷于六箸。无暇怡神于美景，只专心于新诗。或可借此代替萱草，稍稍解除愁病。但往世的名篇，当今的巧制，分散在麟阁，散落在鸿都。不借助篇章，无从披阅。于是燃脂夜写，弄墨晨书，选录艳歌，共为十卷。既不参入雅颂，也未泛滥于风人之列。泾渭分明之间，不过如此而已。于是以金箱妆饰，装在宝轴之上。三台的妙迹，是龙伸蠖屈的书法；五色的花笺，是河北、胶东的纸张。高楼红粉，仍为订正鲁鱼之讹；辟恶的生香，聊以防羽陵之蠹。灵飞六甲，高藏于玉函；鸿烈仙方，长推于丹枕。至于青牛帐里，余曲既终；朱鸟窗前，新妆已竟。正应当展开这淡青的书套，散开这青绳，永远在书帷中对玩，长久在纤手中循环翻阅。岂如邓后学春秋，儒者之功难习；窦后专黄老，金丹之术不成。因而胜过西蜀豪家，托情穷于鲁殿；东储甲观，流咏止于洞箫。那些美好的诸姬，姑且同以消磨时日，美哉彤管，不要有人讥讽。

Appreciation

Xu Ling's preface is a masterpiece of Southern Dynasties parallel prose, richly ornate and densely allusive. It praises women's charm and learning, and justifies the collection of love poetry as a worthy pastime. The prose is noted for its exquisite couplets, vivid imagery, and its role in defining the 'Jade Terrace' aesthetic.

【白话串讲】徐陵编《玉台新咏》，写序：“夫凌云概日，由余之所未窥；千门万户，张衡之所曾赋”。“玉树以珊瑚作枝，珠帘以玳瑁为押，其中有丽人焉”——他写宫廷丽人。这本诗集，保存了大量汉魏六朝的诗歌。【意象与手法】以绮丽绵密的骈俪之笔铺写历代佳丽之美貌才情，起首以凌云之台、金屋玉树烘托“丽人”出场，继以细腰纤手、巧笑婉约写其容止；辞采华赡、典故繁富、对仗精工、声韵谐美，典型体现徐庾体“启唐律之先、极六朝之妍”的文体特征。【情感与主旨】为《玉台新咏》序言，说明编纂艳歌十卷的缘起。此序确立“玉台体”审美范式——以闺情艳思为核心、以丽辞巧对为表，直接影响了唐代宫体、花间词乃至后世闺怨文学的体貌，在文学批评与文体演进史上地位重要。【名句点睛】常考“玉树以珊瑚作枝，珠帘以玳瑁为押”以丽辞写宫廷之贵；“夫凌云概日，由余之所未窥”以铺排起势。

Background

Xu Ling (507–583) served the Liang and Chen dynasties. The Yutai Xinyong, compiled around the Liang dynasty, is the first Chinese poetry anthology devoted to women's love poetry. This preface was written to accompany the collection.

徐陵字孝穆，东海郯人，南朝陈著名文学家，与庾信并称「徐庾」，为宫体诗与骈文大师。《玉台新咏》约编成于梁代（徐陵仕梁时），是继《文选》之后又一部重要总集，专录汉魏至梁的艳情闺思之作，凡十卷，多为南朝文人及乐府民歌中的爱情、闺怨诗篇，被誉为第一部以女性文学为主旨的诗歌总集。此序即为该书写定之序言。其编纂背景，一则是南朝宫廷崇尚声色、宫体诗盛行的时代风气使然，二则也暗含徐陵为供后宫及贵族子弟讽诵娱乐的实用目的。需要指出的是，《四库全书总目》评其「虽皆取绮罗脂粉之词，而去古未远，犹有讲于温柔敦厚之遗，未可概以淫艳斥之」，可见其虽多艳辞，而收录标准中仍有保存古诗歌谣、补阙佚篇（如曹植《弃妇篇》、庾信《七夕诗》今本集皆失载）的文献价值。理解此序，须将其置于齐梁宫体文学与总集编纂双重背景下，方能得其中正之评。

Art

The preface exemplifies the highest artistry of Six Dynasties pianwen: almost every sentence is a parallel couplet, with intricate allusions, refined diction, and a harmonious rhythm. It moves from describing magnificent palaces to presenting the ladies, then to their talents, and finally to the compilation of the anthology.

此序的艺术成就代表了六朝骈文的最高水准，其最显著的特征是「以丽辞写艳情、以铺排见气象」。全文以四六骈句为主干，几乎句句对仗、段段铺陈：写丽人则从出身（五陵豪族、四姓良家）到姿容（细腰、纤手、巧笑、婉约），再到才艺（学歌、能舞、鼓瑟、吹箫），层层推衍，如列女图卷次第展开。其用典密度极高而融化无迹，举凡由余、张衡、周王璧台、汉帝金屋、西施、陈后、阏氏、韩掾、陈王、阳台等，皆信手拈来，以古事衬今姿，使文章富丽而不浅薄。对仗尤为精工，如「南都石黛，最发双蛾；北地燕脂，偏开两靥」「金星与婺女争华，麝月共嫦娥竞爽」，时空交错、色彩辉映，足见匠心。声韵方面，骈句平仄相俪、韵脚流转，读来锵锵如闻环佩。至其章法，起以楼观引丽人，中叙容才，末归纂集，首尾完密，是六朝骈文「体物写志、丽而不浮」的典范。徐陵此序虽极尽丽藻，而气脉贯通、章法森然，铺陈中自有节制，繁富中不见壅塞，足见其驾驭巨篇的腕力。其以女子容才为经、以宫观纂集为纬的结撰，不仅确立了宫体序文的范式，更为后世如欧阳炯《花间集序》一类艳体小序所取法，在骈文史与总集序传统中，皆占有不可轻忽的地位，亦为研究六朝审美趣味与女性书写的珍贵文献。

Allusions

The text is studded with allusions to architecture (You Yu, Zhang Heng), beauty (Xi Shi, Empress Chen), literature (Sima Xiangru, Cao Zhi), and Daoist lore (Huangdi, Wangmu). These allusions create a rich cultural resonance and display the author's erudition.

序中典故密布，皆关乎美女、才情与宫观，构成「玉台」意象的深厚传统。「凌云概日」用秦穆公时由余观秦宫室之典，极言楼观之壮丽；「千门万户」用张衡《西京赋》写汉宫之语。「璧台」「金屋」分指周王、汉武之宠爱所居，暗伏「丽人」主题。「西施被教」「东邻自媒」化用宋玉《登徒子好色赋》东家之子与西施典故。「韩掾之香」用韩寿偷香事，「陈王之佩」用曹植《洛神赋》之典，「阳台」用宋玉《高唐赋》楚王梦神女事，皆以男女情事为丽辞之资。「鲁鱼」用「鲁鱼亥豕」之误字典，「羽陵之蠹」用藏书虫蛀之典，写校书之勤。「邓学春秋」「窦专黄老」分指邓后、窦后好学方术。凡此皆可见徐陵以经史子籍、神话传说融铸艳辞的渊博，亦见六朝骈文以典实撑持丽藻的典型手法，其意象群则围绕「闺情艳思」一脉展开。序中「金屋」「璧台」「阳台」诸典，皆以帝王宫观衬丽人，暗承汉赋「逞欲」之旨而转为写艳；「韩掾香」「陈王佩」则以才子佳人故实点缀，使丽辞更具人情温度。至「鲁鱼」「羽陵」二典，写校雠之勤，足见徐陵编纂之矜慎。凡此典故密布而不芜，丽藻纷披而有骨，正见六朝骈文以学养撑持辞采的典型，亦为《玉台新咏》「选艳存真」宗旨的文献注脚，其以经史子籍融铸艳辞的渊博，至今读来犹觉光景常新。

Commentary

The preface can be read as a three-part movement: first, the grandeur of the palace and the beauty of the women; second, their talents and literary pursuits; third, the rationale for compiling the anthology. The closing lines adopt a self-deprecating tone to preempt criticism.

逐段读来，此序实为一部「丽人—才情—纂集」的三部曲。首段以凌云之台、金屋玉树铺陈宫廷之奢华，引出「其中有丽人焉」之纲目；继而历数丽人之出身、姿容、才艺，以「其人也……」「亦有……」「至若……」「且如……」等虚字为脉络，如散珠贯线，繁而不乱。中段由貌及才，以「天情开朗，逸思雕华」转入才情文章，并以「其佳丽也如彼，其才情也如此」作一小结，骈文至此已由外美及内美。后段写丽人居处之幽寂（椒宫、柘馆、铜蠡昼静）与惟属意于新诗的消愁之用，为下文的纂集伏笔。末两段则点明编纂缘起：往世名篇散落难览，故燃脂暝写、选录艳歌十卷，以金箱宝轴、花笺香函珍藏之，终以「娈彼诸姬，聊同弃日，猗欤彤管，无或讥焉」收束，明言此书不过供宫闺消遣，请勿见讥。全文由铺陈到归结，由艳辞到自解，章法完密，而「无或讥焉」一语，亦隐隐透露出作者对世论可能的非议有所预虑，颇堪玩味。

Prosody

Reading note This is a representative 'four-six parallel prose' (si-liu wen) of the Six Dynasties, emphasizing antithesis, allusion, and euphony.此序为典型六朝四六骈文，句式以四字句与六字句为主干，间以三字、五字、七字句调节气脉，讲求骈偶对仗与声韵谐美，虽非后世严格律赋，而已具骈文「裁对工整、隶事绵密、声律谐婉」的三特征。其对仗如「凌云概日」对「千门万户」、「南都石黛」对「北地燕脂」、「金星与婺女争华」对「麝月共嫦娥竞爽」，不仅词性相侔、平仄相俪，且时空、色彩、物象交错呼应，极尽骈偶之能事。用典方面，几乎无句不典，而多融化无痕，使丽辞有所附丽而不流于空疏。声韵上，六朝骈文虽未如唐律拘于平仄，而徐陵此序韵脚流转、句调铿锵，读来如闻环佩相鸣。整体节奏以骈句为主、虚字（夫、其、亦、至若、且如、既而、但、于是、至如、岂如）为脉络，使繁密中见出疏宕，是六朝骈文「丽而有骨、密而能疏」的典范，直接开启了初唐四杰与徐庾一脉的骈俪文风。

Line by line

夫凌云概日，由余之所未窥；千门万户，张衡之所曾赋。

The towering buildings that brush the clouds and surpass the sun were never seen even by You Yu; the thousand gates and ten thousand doors were once described by Zhang Heng. This opening establishes the splendor of the palace.

Towers that brush the clouds and screen the sun—even Youyu never saw their like; a thousand gates, ten thousand doors—of these Zhang Heng once wrote.

序文开篇二句以极为宏阔的楼观意象振起全篇，是六朝骈文「起手必惊人」的典型笔法。「凌云概日」写楼观之高峻直逼云日，「由余之所未窥」用秦穆公谋臣由余见秦宫室而惊的典故，极言其壮丽非前人所见；「千门万户」则直接挪用张衡《西京赋》写汉宫的成句，以汉宫之繁盛烘托眼前气象。二句以对仗出之，一用典一引赋，时空交错而气魄宏大，不仅确立了全文富丽堂皇的基调，更以「宫观—丽人」的传统对应（宫观既如此壮丽，其中丽人自当无双）为下文「其中有丽人焉」的出场作足铺垫。这种以巨观引美人、以建筑衬人物的起法，典型体现徐陵骈文「先立堂庑、后陈器物」的结构匠心。

The towers. Towers that brush the clouds and screen the sun—even Youyu never saw their like; a thousand gates, ten thousand doors—of these Zhang Heng once wrote. The towers-brush-clouds-screen-sun and the thousand-gates-ten-thousand-doors are the opening. To have brushed the clouds would be a brushing; the towers-that-brush-the-clouds-and-screen-the-sun-even-youyu-never-saw-their-like-a-thousand-gates-ten-thousand-doors-of-these-zhang-heng-once-wrote is the brushing.

非惟芍药之花；新制连篇，宁止蒲萄之树。

On King Zhou's jasper terrace and in Emperor Wu's golden chamber, jade trees have coral branches and pearl curtains have tortoiseshell hooks; there dwell beautiful women.

Not only the peony flower; new compositions in linked sheets—are they limited to the grape tree?

此二句承「清文满箧」「新制连篇」而言丽人之才情富赡，是序文由「貌」转向「才」的关键一笔。「芍药之花」用《诗经·郑风》「赠之以芍药」之典，本指男女赠答之情诗；「蒲萄之树」用汉乐府《陌上桑》及后世咏蒲萄之句，亦为艳歌常见意象。徐陵以「非惟……宁止……」的递进句式，意谓丽人的清文新制远不止于传统的芍药、蒲萄之类艳情题材，其才情之丰超出常格。这一表述既是对女性创作能力的空前正面肯定——在男权时代的文论中实属难得——也巧妙地为《玉台新咏》收录「艳歌」的丰富性张本。骈句以否定递进收束才情段，语气从容而自信，足见徐陵对女性文学的倾情与推崇。

The verses. Not only the peony flower; new compositions in linked sheets—are they limited to the grape tree? The not-only-peony-flower and the new-compositions-linked-sheets are the talent. To have been not only the peony would be a being; the not-only-the-peony-flower-new-compositions-in-linked-sheets-are-they-limited-to-the-grape-tree is the being.

娈彼诸姬，聊同弃日，猗欤彤管，无或讥焉。

Those lovely ladies, for the time being share these to pass the days. O splendid red-tube pen! Let no one mock them.

Fair were those ladies, passing the idle days; O, the red-tube verses—let no one mock them.

序文结句二句为全篇收束与点题之笔，亦透露出作者面对世俗评判的微妙心态。「娈彼诸姬」用《诗经》「娈彼诸姬」形容美好诸女；「聊同弃日」意谓姑且借以消磨时光；「猗欤彤管」化用《诗经·邶风·静女》「彤管有炜」，彤管为古代女史记事的赤管笔，此处代指《玉台新咏》这部书；「无或讥焉」则是明言希望不要有人讥讽此书。四句以「猗欤」这一赞叹语气收束，表面说此书不过宫闺消遣、请勿见讥，实则在轻描淡写中捍卫了艳歌的合法性。它既承认世俗可能对「绮罗脂粉」有所非议，又以「聊同弃日」的洒脱消解非议，反映了齐梁文人对宫体文学「虽艳而不以为耻」的自得，是研究六朝文学观念与性别书写的极重要一段话。

The red tube. Fair were those ladies, passing the idle days; O, the red-tube verses—let no one mock them. The fair-ladies-passing-idle-days and the red-tube-verses-no-one-mock are the close. To have passed the idle days would be a passing; the fair-were-those-ladies-passing-the-idle-days-o-the-red-tube-verses-let-no-one-mock-them is the passing.

Study

Word focus

概日 A key expression in this poem; read it with the Chinese note below. 「凌云概日」之「概」本义为刮平、衡量，此处引申为触及、蔽及，形容楼观之高几与日相平。徐陵以「概日」与「凌云」并举，极写宫廷楼观的巍峨，较单用「凌云」更具力度与质感。六朝骈文好以「凌云」「蔽日」「干云」等词状高峻，徐陵此「概日」则更见锤炼，与下句由余「未窥」形成「极言其壮、反衬其奇」的张力。一字之炼，使开篇气象顿显雄阔，亦可见徐庾体「务为闳丽」的用字取向。

彤管 red-tube pen—the pen of a female historian, from the Book of Songs; emblematic of women's writing 「猗欤彤管」之「彤管」本指古代女史用以记事的赤管笔，《诗经·静女》「贻我彤管」「彤管有炜」已将其与女性、情赠相连。徐陵移用于此，以「彤管」代指《玉台新咏》这部以女性题材为主的总集，既典雅又切题，且暗含对女性书写的尊重。以一器物之典收束全序，较直说「此书」情韵远胜。徐陵选用「彤管」而非寻常书册之称，正见其骈文用典「切事切题、雅而有情」的功力，亦使结句在轻俏中见出郑重。

弃日 A key expression in this poem; read it with the Chinese note below. 「聊同弃日」之「弃日」意谓消磨、打发时日，语本汉魏以来「消忧弃日」之常语。徐陵以「聊同弃日」为《玉台新咏》的编纂目的作轻描淡写的定性，表面说不过供人消遣，实则反衬出对此书的珍爱（前文「然脂暝写，弄墨晨书」「丽以金箱，装之宝轴」的郑重与此形成反差）。这一措语策略性地以谦退消解可能的「淫艳」之讥，是六朝文人面对世论时典型的「以退为进」话术，亦可见骈文结尾好用虚婉之笔以留余地的章法习惯。