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宋 Song · 词 Ci lyric

南乡子·重九涵辉楼呈徐君猷

Song of the Southern Country - The Ninth Day, at Hanhui Tower, Presented to Xu Junyou

苏轼

Su Shi

重阳Double Ninth Festival 感慨Reflection

霜降水痕收，浅碧鳞鳞露远洲。
酒力渐消风力软，飕飕，破帽多情却恋头。
佳节若为酬，但把清樽断送秋。
万事到头都是梦，休休，明日黄花蝶也愁。

Frost descends, the water's mark recedes; pale-green ripples scale and reveal the distant isle.
The wine's strength slowly fades, the wind grows soft, soughing - my tattered hat, so fond, still clings to my head.
How to repay the fair festival? Only with a clear cup to see the autumn off.
All things in the end are but a dream - enough, enough - tomorrow's yellow blossoms, even the butterflies will mourn.

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Meaning

On the Double Ninth at Hanhui Tower, Su Shi watches frost fall and the water shrink to reveal a distant isle; wine warming, his tattered hat clings fondly to his head. He toasts the festival to see autumn off, then sighs that all is dream and tomorrow's chrysanthemums will be mourned even by butterflies. A composed, faintly melancholy festal lyric.

霜降水痕收，浅碧鳞鳞露远洲。酒力渐消风力软，飕飕，破帽多情却恋头。佳节若为酬，但把清樽断送秋。万事到头都是梦，休休，明日黄花蝶也愁。

Appreciation

[Plain Paraphrase] Frost falls, water recedes, pale-green ripples show the far isle; wine fades, wind soft, soughing, fond tattered hat clings; how repay the festival? only a clear cup sees autumn off; all is dream, enough, tomorrow's yellow blossoms, even butterflies mourn. [Structure] Upper part the ninth-day autumn scene and the drunk hat; lower part the toast and the dream-sigh. [Imagery] 'Frost descends, water recedes' is the classic ninth-day sight; 'tattered hat clings' reverses the Meng Jia hat-falling tale with self-mockery; 'tomorrow's yellow blossoms' coins the idiom for things past their time, closing on gentle sorrow beneath composure.

【白话串讲】苏轼写《南乡子·重九涵辉楼呈徐君猷》：“霜降水痕收，浅碧鳞鳞露远洲”——“酒力渐消风力软，飕飕，破帽多情却恋头”——“万事到头都是梦，休休，明日黄花蝶也愁”——他写重阳——万事到头都是梦。【意象与手法】此词写登临，以感慨写登临，是苏轼的名篇。上片写秋景：「霜降水痕收，浅碧鳞鳞露远洲。酒力渐消风力软，飕飕，破帽多情却恋头」写霜降水痕收、浅碧鳞鳞露远洲、破帽多情却恋头——写尽重九的秋景；下片写感慨：「佳节若为酬，但把清樽断送秋。万事到头都是梦，休休，明日黄花蝶也愁」写万事到头都是梦、明日黄花蝶也愁——写尽登临的感慨。全词以感慨写登临，写尽重九的秋景与登临的感慨，是苏轼的代表作。【情感与主旨】此词写登临，以感慨写登临，是苏轼的名篇。此词写苏轼重九日登涵辉楼，呈黄州太守徐君猷。苏轼谪居黄州时，重九登高，见霜降水落、秋光清浅，饮酒作此词。此词写秋景：霜降水痕收，浅碧鳞鳞露远洲——写霜降水痕收、浅碧鳞鳞露远洲，写尽重九的秋景；酒力渐消风力软，飕飕，破帽多情却恋头——写酒力渐消风力软、破帽多情却恋头，写尽重九的醉态；佳节若为酬，但把清樽断送秋——写佳节若为酬、但把清樽断送秋，写尽重九的酬节；万事到头都是梦，休休，明日黄花蝶也愁——写万事到头都是梦、明日黄花蝶也愁，写尽登临的感慨。全词以感慨写登临——那「霜降水痕收」写尽重九的秋景，「万事到头都是梦」写尽登临的感慨，写尽重九的秋景与登临的感慨，是理解苏轼旷达词的重要篇章。【名句点睛】常考「霜降水痕收，浅碧鳞鳞露远洲」写重九的秋景；「万事到头都是梦，休休，明日黄花蝶也愁」写登临的感慨；以及全词以感慨写登临、以醉写旷达的手法。

Background

Su Shi (1037-1101), the great Northern Song master. This was written on the Double Ninth at Hanhui Tower in Huangzhou, presented to the prefect Xu Junyou, who had befriended him in exile. After the Wutai poetry case he was demoted to Huangzhou, yet met the festival with composure - climbing, drinking, watching the autumn. The poem shows his 'a straw cloak, rain or shine, for life' breast: festal on the surface, with a weighed undertone.

此词写登临，以感慨写登临，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今属四川）人，北宋文学家，唐宋八大家之一。此词写苏轼重九日登涵辉楼，呈黄州太守徐君猷。苏轼谪居黄州时，重九登高，见霜降水落、秋光清浅，饮酒作此词。此词写秋景：「霜降水痕收，浅碧鳞鳞露远洲」写霜降水痕收、浅碧鳞鳞露远洲——写尽重九的秋景（霜降水痕收，浅碧鳞鳞露远洲）；「酒力渐消风力软，飕飕，破帽多情却恋头」写酒力渐消风力软、破帽多情却恋头——写尽重九的醉态（酒力渐消风力软，破帽多情却恋头）；「万事到头都是梦，休休，明日黄花蝶也愁」写万事到头都是梦、明日黄花蝶也愁——写尽登临的感慨（万事到头都是梦，明日黄花蝶也愁）。全词以感慨写登临，写尽重九的秋景与登临的感慨，是理解苏轼旷达词的重要篇章。此词写于苏轼谪居黄州时期。宋神宗元丰年间，苏轼因乌台诗案贬黄州，任团练副使，境遇困顿。重九日登涵辉楼，涵辉楼在黄州，徐君猷时为黄州太守，对苏轼多有照拂。苏轼此时虽处贬谪，却能以旷达自解，重九登高，饮酒观景，作此词呈徐君猷，正见其「一蓑烟雨任平生」的胸襟。

Art

The art has four moves. First, scene for autumn: 'frost descends, water recedes; pale-green ripples' pictures the ninth-day low water. Second, detail for drunkenness: 'tattered hat clings to my head' reverses Meng Jia's hat-falling tale with self-mockery. Third, direct feeling: 'all things are but a dream' states the weight plainly. Fourth, scene for sorrow: 'tomorrow's yellow blossoms, even butterflies mourn' ends with personified grief. Upper the scene, lower the sigh - scene into feeling, the 'parting from the scene' form. Fine craft: the reversed Meng Jia hat shows his 'write jest for seriousness'; the 'tomorrow's yellow blossoms' idiom (first coined here) gives gentle sorrow beneath ease - open yet weighed, his unique stamp.

此词的艺术特色可从四个方面解析。其一，以景起写秋光。「霜降水痕收，浅碧鳞鳞露远洲」以景起写秋光——那「水痕收」「鳞鳞」写尽水落洲露，以景起写尽重九的秋景。其二，以细节写醉态。「破帽多情却恋头」以细节写醉态——那「破帽恋头」写尽帽落而复恋，以细节写尽重九的醉态。其三，以直抒写感慨。「万事到头都是梦」以直抒写感慨——那「都是梦」写尽万事的成空，以直抒写尽登临的感慨。其四，以景写愁。「明日黄花蝶也愁」以景写愁——那「黄花蝶也愁」写尽明日黄花之愁，以景写尽登临的感慨。此外，此词上片写重九的秋景，下片写登临的感慨，由景入情，正是登临词「即景抒情」的写法。四重手法，使此词以感慨写登临，写尽重九的秋景与登临的感慨，是苏轼的代表作。此词还善于以「破帽多情却恋头」的细节写旷达——反用孟嘉落帽之典，帽子恋头而不落，以自嘲的笔调写醉态，正是苏轼以谐写庄的本领。又善以「明日黄花蝶也愁」的拟人收束——黄花、蝶本无知，却以「愁」字写之，正是以景写情的深一层，使旷达之中含沉郁，正见苏轼「旷达而愈沉痛」的独特风格。

Allusions

The language rests on the ninth-day and reflection. 'Frost descends, water recedes' echoes 'autumn water with the sky' (Wang Bo); 'pale-green ripples' Wang Guan's 'water is the eye's wave.' 'Tattered hat clings' reverses Jin's Meng Jia, who lost his hat climbing Longshan on the ninth - Su Shi writes it clinging, a self-mock. 'Clear cup sees autumn off' the wine topos; 'tomorrow's yellow blossoms' the day-after chrysanthemum, later an idiom for things out of season (first sourced here); 'butterflies mourn' Li Qingzhao's 'thinner than yellow blossoms.' The lyric weaves frost, ripples, hat, yellow blossoms into an 'open yet weighed' ninth-day reflection.

此词的用语深植于重九与感慨的传统。「霜降水痕收」令人想到「霜降水痕收」写秋水的意象——也令人想到「落霞与孤鹜齐飞，秋水共长天一色」（王勃）的意象；「浅碧鳞鳞」令人想到「浅碧鳞鳞」写水波的意象——也令人想到「水是眼波横」（王观）的意象；「破帽恋头」令人想到「破帽恋头」用孟嘉落帽之典——晋孟嘉重九登龙山，风吹帽落而不觉，后遂以「落帽」为重九之典，苏轼反用其意，写破帽恋头，也令人想到「破帽多情却恋头」的名句；「清樽断送秋」令人想到「清樽断送秋」写饮酒的意象——也令人想到「把酒问青天」（苏轼）的意象；「明日黄花」令人想到「明日黄花」写节后的意象——明日黄花即重阳节后之菊，后成成语，也令人想到「人比黄花瘦」（李清照）的意象。全词化用霜降、浅碧、破帽、明日黄花的意象，以感慨写登临，正是苏轼「旷达」而善用典、承重九传统写感慨的本领。「破帽多情却恋头」反用孟嘉落帽之典——晋代孟嘉重九登龙山，风吹落帽而不觉，众人传为美谈，后以「落帽」为重九登高之典；苏轼却写破帽恋头而不落，正见其「作个闲人」的自嘲与旷达。又「明日黄花」指重阳节后的菊花，节后无人再赏，故谓黄花蝶也愁，后「明日黄花」演为成语，喻过时之物，此词即其最早出处之一，正见苏轼对成语形成的贡献。

Commentary

Long a Su Shi open-minded classic and a Song ninth-day model, it drew the Qing note 'reflection from the climb, open with a weighed underside,' and modern praise for 'all is dream... tomorrow's yellow blossoms' as its line. Its worth is a Nan Xiang Zi holding the frost scene, the clinging hat, the clear cup, the dream-sigh, the mourning butterflies - the receding water, the fond hat. Set beside his 'Water Melody' (mid-autumn) and Du Mu's ninth-day climb, it shows the festival line. For today it opens his open-minded lyrics and the classic of ninth-day climb - the clinging hat still speaks.

此词历来被推为苏轼旷达词的名篇，也是宋词写重九登临的代表。历代论者对此词评价极高：清人评此词「以感慨写登临，旷达中有沉郁」；近人更指出「万事到头都是梦，休休，明日黄花蝶也愁」写登临的感慨，是此词的名句。在词史上，此词的特殊价值在于：它以双调的南乡子写尽重九的秋景与登临的感慨——那霜降，那水痕，那浅碧，那远洲，那酒力，那风力，那破帽，那清樽，那秋，那梦，那明日黄花，那蝶，都写尽了苏轼笔下的涵辉楼；那「明日黄花蝶也愁」更以景写尽登临的感慨。此词与苏轼《水调歌头》（「明月几时有」）同为中秋重九节令名篇，一写「但愿人长久」的明月（水调歌头），一写「明日黄花蝶也愁」的重九（南乡子）；又与杜牧「尘世难逢开口笑，菊花须插满头归」的重九传统一脉相承，可见宋人写重九的传统。对于今日读者，此词是理解苏轼旷达词的窗口，也是中国词写重九的经典——那恋头的破帽，穿越千年，仍在诉说着登临的感慨。

Prosody

Form Lyric - Song of the Southern Country (Nan Xiang Zi)词·南乡子

Rhyme Nan Xiang Zi, rhyming shou/zhou/tou/chou/qiu/chou (lower level, You category), one rhyme throughout, loose and flowing.押「收」「洲」「头」「酬」「秋」「愁」韵（下平十一尤），一韵到底，音节疏宕

Tone pattern A Nan Xiang Zi, level-tone rhyme throughout, loose and flowing, fitting the reflective ease.此词为南乡子词牌，押平声韵，一韵到底，音节疏宕，正合感慨的疏宕。

Reading note A Nan Xiang Zi, two parts: upper 'frost descends... fond hat clings,' lower 'how repay... butterflies mourn,' rhyming You (shou/zhou/tou/chou/qiu/chou) throughout, loose in sound. Upper the ninth-day scene, lower the dream-sigh, ending on the mourning blossoms - Su Shi's open manner. Read the scene loose, the close open with an echo - his ninth-day lyric model.此词为《南乡子》双调，上片五句、下片四句，共五十六字——「霜降水痕收，浅碧鳞鳞露远洲。酒力渐消风力软，飕飕，破帽多情却恋头。佳节若为酬，但把清樽断送秋。万事到头都是梦，休休，明日黄花蝶也愁」，押「尤」韵（收、洲、头、酬、秋、愁），一韵到底，音节疏宕。全词以感慨写登临：上片写重九的秋景（霜降水痕收、破帽多情却恋头），下片写登临的感慨（万事到头都是梦、明日黄花蝶也愁）。双调短章，上写秋景，下写感慨，以「明日黄花蝶也愁」写尽登临的感慨，正见苏轼「旷达」的本色。诵读此词，宜以疏宕的语调读「霜降水痕收」的秋景，以旷达的语调读「万事到头都是梦」的感慨，结句要读得疏宕而有余韵，方能传达出苏轼的旷达中见沉郁。苏轼词以「豪放旷达」著称，此词正是其重九词的典范。

Line by line

万事到头都是梦，休休，明日黄花蝶也愁

All things in the end are but a dream - enough, enough - tomorrow's yellow blossoms, even the butterflies will mourn.

万事到头都是梦，休休，明日黄花蝶也愁。

All things in the end are a dream—enough, enough! The chrysanthemums past their prime would grieve even a butterfly.

此三句是全词写感慨的核心，以万事到头都是梦写梦，以明日黄花蝶也愁写黄花，写尽登临的感慨，是千古名句。「万事到头都是梦」写万事到头都是梦——那「万事到头」写万事到头，「都是梦」写都是梦，写尽万事的成空；「休休」写休休——那「休休」写休休，写尽罢了的叹息；「明日黄花蝶也愁」写明日黄花蝶也愁——那「明日黄花」写明日黄花，「蝶也愁」写蝶也愁，写尽黄花的迟暮。这句的深意在于：它以「万事到头都是梦」的梦与「明日黄花蝶也愁」的黄花，写尽登临的感慨——万事到头都是梦，那「万事到头都是梦」写尽万事的成空——万事到头，都是一梦，正是人生如梦的写照，那「都是梦」写尽登临的感慨；休休，那「休休」写尽罢了的叹息——罢了罢了，正是一切看开的写照，那「休休」写尽苏轼的旷达；明日黄花蝶也愁，那「明日黄花蝶也愁」写尽黄花的迟暮——明日黄花，连蝶也为之愁，正是节后凋零的写照，那「蝶也愁」写尽黄花的迟暮；那「万事到头都是梦」写尽万事的成空，那「明日黄花蝶也愁」写尽黄花的迟暮，一写梦，一写黄花，写尽登临的感慨——万事如梦而黄花迟暮，正是人生的感慨；此三句以梦、黄花写尽登临的感慨，也让此三句成为全词写感慨的核心与千古名句。若换作直说「人生苦短」，则失其旷达；唯以「万事到头都是梦」写梦、「明日黄花蝶也愁」写黄花，写尽登临的感慨，也让此三句成为全词写感慨的核心。

The dream. All things in the end are a dream—enough, enough! The chrysanthemums past their prime would grieve even a butterfly. The all-things-dream-enough and the chrysanthemums-prime-grieve-butterfly are the resignation. To have been a dream would be a being; the all-things-in-the-end-are-a-dream-enough-enough-the-chrysanthemums-past-their-prime-would-grieve-even-a-butterfly is the being.

霜降水痕收，浅碧鳞鳞露远洲

Frost descends, the water's mark recedes; pale-green ripples scale and reveal the distant isle.

霜降水痕收，浅碧鳞鳞露远洲。

Frost descends, the waterline recedes; pale blue ripples, and distant islets emerge.

此二句是全词写秋景的核心，以霜降水痕收写水落，以浅碧鳞鳞露远洲写洲露，写尽重九的秋景，是千古名句。「霜降水痕收」写霜降水痕收——那「霜降」写霜降，「水痕收」写水痕收，写尽水落的秋景；「浅碧鳞鳞露远洲」写浅碧鳞鳞露远洲——那「浅碧鳞鳞」写浅碧鳞鳞，「露远洲」写露远洲，写尽远洲的显露。这句的深意在于：它以「霜降水痕收」的水落与「浅碧鳞鳞露远洲」的洲露，写尽重九的秋景——霜降水痕收，那「霜降水痕收」写尽水落的秋景——霜降之后，水痕渐收，正是秋深的写照，那「水痕收」写尽秋水的退落；浅碧鳞鳞露远洲，那「浅碧鳞鳞露远洲」写尽远洲的显露——浅碧水波，鳞鳞闪光，远洲显露，正是水落洲出的写照，那「露远洲」写尽远洲的显露；那「霜降水痕收」写尽水落的秋景，那「浅碧鳞鳞露远洲」写尽远洲的显露，一写水，一写洲，写尽重九的秋景——水落洲出，正是重九登高的秋景；此二句以水落、洲露写尽重九的秋景，也为下片的感慨作铺垫，也让此二句成为全词写秋景的核心与千古名句。若换作直说「秋天水落了很多」，则失其画面；唯以「霜降水痕收」写水落、「浅碧鳞鳞露远洲」写洲露，写尽重九的秋景，也让此二句成为全词写秋景的核心。

The frost. Frost descends, the waterline recedes; pale blue ripples, and distant islets emerge. The frost-descends-waterline-recedes and the pale-blue-ripples-islets-emerge are the autumn scene. To have descended would be a descending; the frost-descends-the-waterline-recedes-pale-blue-ripples-and-distant-islets-emerge is the descending.

Study

Word focus

恋 Cling / fond of. In 'my tattered hat, so fond, still clings to my head,' 'lian' reverses Meng Jia's falling hat with a fond, self-mocking openness, voicing Su Shi's easy, jesting composure. 「破帽多情却恋头」之「恋」字是写醉态的关键词，一个「恋」字写尽破帽的恋头。恋者，依恋、留恋也。苏轼以「破帽多情却恋头」写醉态，这个「恋」字至少有双重意味：其一，写帽之恋——那「破帽多情却恋头」写破帽多情却恋头，那「恋」字写尽破帽的恋头——破帽多情，恋着白头，正是帽将落而未落的写照，那「恋」字写尽重九的醉态；其二，写人之旷——那「恋」字更是写旷——多情恋头，正见旷达的自嘲，那「恋」字写尽苏轼的旷达。以「恋」字写醉态，正是苏轼写旷达的枢纽——若换作「黏」「依」等字，则或失其与「破帽」「头」的配合，或失其写恋的意味；唯「恋」字，以破帽多情却恋头写尽破帽的恋头与旷达的自嘲，与「霜降水痕收」的水落相合，写尽重九的醉态，也让「破帽多情却恋头」成为全词写醉态的名句。

休 Enough / cease. In 'all is dream - enough, enough,' 'xiu' is the sigh of letting go, doubled for length, voicing both release and a deep, weighed exclamation, answering the mourning blossoms. 「万事到头都是梦，休休」之「休」字是写感慨的关键词，一个「休」字写尽罢了的叹息。休者，罢了、停止也。苏轼以「万事到头都是梦，休休」写感慨，这个「休」字至少有双重意味：其一，写万事的罢——那「休休」写休休，那「休」字写尽万事的罢了——休休，正是看开万事，那「休」字写尽登临的旷达；其二，写叹息的深——那「休休」更是写深——连用两个休，正见叹息的深长，那「休休」写尽苏轼的感慨。以「休」字写感慨，正是苏轼写旷达的枢纽——若换作「罢」「止」等字，则或失其与「万事」「都是梦」的配合，或失其写休的意味；唯「休休」二字，以万事到头都是梦，休休写尽万事的罢了与叹息的深长，与「明日黄花蝶也愁」的黄花相合，写尽登临的感慨，也让「休休」成为全词写感慨的名句。