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宋 Song · 词 Ci lyric

卜算子·咏梅

Ode to the Plum Blossom (to the Tune of Busuanzi)

陆游

Lu You

咏物Chanting of Objects 品格Moral Integrity

驿外断桥边，寂寞开无主。
已是黄昏独自愁，更着风和雨。
无意苦争春，一任群芳妒。
零落成泥碾作尘，只有香如故。

Beside the broken bridge, outside the post,
Lonely she blooms, with none to care or boast.
At dusk she saddens in her lonely grief,
And worse, the wind and rain add to her brief.
She does not vie for spring with blossoms fair,
Let other flowers envy if they dare.
Though trampled into mud and ground to dust,
Her fragrance, as before, remains in trust.

Listen

Meaning

The plum blossom grows in isolation beside a broken bridge outside a post station, blooming alone without appreciation. Already sorrowful at dusk, it endures additional onslaught from wind and rain. It has no desire to compete with other flowers for spring's favor, allowing them to envy. Even when it falls, is ground into mud and dust, its fragrance remains unchanged, symbolizing unyielding integrity.

驿站之外、断桥旁边，梅花寂寞地开放，无人欣赏、无人作主。已是对着黄昏独自伤愁，偏又遭受凄风苦雨的摧残。它并不想苦苦与百花争夺春光，任凭群芳如何嫉妒也毫不在意。纵使凋零飘落、碾作泥土化为尘埃，那一缕清香却依然如故，不改分毫。

Appreciation

The first stanza depicts the plum's loneliness and suffering: blooming in a desolate place, unattended, adding sorrow from dusk and rain. The second stanza highlights its character: unwilling to vie for spring, indifferent to jealousy, and preserving its fragrance even when crushed. The poem uses the plum as a metaphor for the poet's own life, a classic example of expressing ambition through object description.

【白话串讲】陆游一生最爱梅花，也一生像梅花：开在没人理会的断桥边，被风雨打、被群芳妒，却依然“零落成泥碾作尘，只有香如故”。这首咏梅，写的是他自己。【意象与手法】全词咏物而不滞于物，以拟人贯穿：梅之“寂寞”“愁”“无意”“一任”，皆人之情态【情感与主旨】陆游生当南宋，毕生以抗金恢复为志，却屡遭主和派排挤打压，仕途坎坷、壮志难伸。此词约作于其晚年闲居之时，借咏梅以自况【名句点睛】常考托物言志（借物抒情）手法；“无意苦争春，一任群芳妒”的孤高不争；“零落成泥碾作尘，只有香如故”的坚贞与递进写法

Background

Lu You (1125–1210) lived during the Southern Song dynasty, a period of conflict with the Jin dynasty. He was a passionate advocate for recovering lost territories but was repeatedly sidelined by the peace faction. This poem, likely written in his later years, uses the plum blossom as a self-portrait: banished to a remote place, suffering setbacks, yet maintaining unwavering virtue and patriotic spirit.

此词为陆游晚年闲居之作，约作于其罢官归乡、退居山阴（今浙江绍兴）时期。陆游生当南宋，自幼受家庭爱国熏陶，毕生以抗金恢复中原为志，却屡遭主和派排挤打压，仕途坎坷，几度起复几度黜落，晚年更闲废故里，壮志难伸。南宋朝廷偏安一隅，主战之声常被压制，志士多抱孤愤。陆游一生作梅花诗词数十首，梅乃其人格之化身。此词借驿外断桥之梅，写其虽遭摧残、寂寞无主，却宁碎不污、清香不改的孤高气节，实为自身身世与操守之自况。词牌《卜算子》本唐教坊曲，音节急促，宜写幽怨孤洁之情，与梅之清绝相宜。在文学传统上，咏梅自林逋「疏影横斜」以隐逸为美，至陆游则以节操为魂，至南宋末更成遗民气节之象征，此词正处于由物趣转向人格寄托的关键一环。毛泽东后有同调同题之作反其意而用之，亦见此词影响之深。陆游生当南宋，自幼受家庭爱国熏陶，毕生以抗金恢复为志，却屡遭主和派排挤，仕途坎坷，晚年更闲废故里，壮志难伸。此词借驿外断桥之梅写其虽遭摧残、寂寞无主，却宁碎不污、清香不改的孤高气节，实为身世与操守之自况。南宋末更成遗民气节象征。陆游咏梅诸作中此篇最见风骨，与其位卑未敢忘忧国、一身报国有万死之诗句同一肝胆；梅之摧残而不改香，恰是其屡黜屡奋、老而弥坚生命姿态的凝练写照，宜与诗人晚年纪梦抒怀诸作合参。

Art

The poem is rich in personification: the plum is 'lonely', 'sorrowful', 'unwilling to compete', and 'letting others envy'. The setting of 'broken bridge' and 'post station' emphasizes its desolation. The final couplet uses a progressive structure—from falling to grinding to dust—to contrast physical destruction with the lasting fragrance, a powerful symbol of spiritual endurance.

此词咏物而不滞于物，通篇以拟人贯穿，托物言志，章法浑成。上片写梅之处境与遭际：「驿外断桥边，寂寞开无主」点明生长之地荒僻无人，暗喻志士见弃于朝；「已是黄昏独自愁，更着风和雨」以「黄昏」「风雨」加倍写其孤苦摧残，拟人入骨，梅即人、人即梅。下片写梅之品格：「无意苦争春，一任群芳妒」以不争写其超脱，「群芳」暗喻趋炎附势之辈；结以「零落成泥碾作尘，只有香如故」层层递进——由花落而至成泥、至被碾为尘，摧残愈甚而「香如故」愈显坚贞，将坚守之意推向极致。全词意象集中（驿、桥、黄昏、风雨、泥、尘、香），对比鲜明（寂寞与群芳、摧残与清香），语言朴素而力重千钧。以「香如故」三字收束，余味悠长，是咏物词中物我合一的典范。全词咏物而不滞于物，通篇以拟人贯穿，托物言志，章法浑成。上片写处境遭际，黄昏风雨加倍写孤苦；下片写品格，无意苦争春以不争写超脱，结以零落成泥碾作尘只有香如故层层递进，由花落而成泥至碾为尘，摧残愈甚而香如故愈显坚贞，将坚守之意推向极致，物我合一。词之语言看似平易实则字字经心：上片层层递困，下片层层显格，困与格相激，压抑愈深而坚守愈明，这种反衬结构使短章具有极强的情感张力，足称小令中的沉郁之作。

Allusions

The imagery of 'broken bridge' and 'post station' evokes desolate scenes in Tang poetry. The 'jealousy of other flowers' alludes to the tradition, dating back to Qu Yuan's Li Sao, of using floral envy to represent slander against virtuous officials. The 'fragrance as before' continues the common metaphor of plum fragrance for moral purity, seen in Lin Bu's famous poem.

梅之文化意象源远流长。《诗经·召南·摽有梅》以梅写婚恋时序，尚无关节操；至六朝陶渊明咏菊、林逋「梅妻鹤子」，梅始为隐逸高洁之象征。陆游此词承林逋「疏影横斜水清浅，暗香浮动月黄昏」之清绝，而更重其「凌寒独自开」的坚贞（王安石句），将梅由隐士之趣转为志士之节。词中「群芳」语本《楚辞》以香草美人喻君子小人之传统，「妒」字暗用《离骚》「众女嫉余之蛾眉兮」的党人嫉妒之意，群芳之妒即朝中小人倾轧的隐喻。「零落成泥碾作尘」化用唐人「零落成泥」之意而加「碾作尘」一层，极写摧残之酷。字词训诂上，「驿」指驿站，古时官道歇马之所，荒僻冷落；「着」同「著」，遭受之意（更着风和雨即更遭风雨）；「一任」犹任凭。诸处用字皆浅近而意远，体现陆词「清空一气」而寄托深微的特点。梅之意象自诗经、陶渊明、林逋一脉，至陆游则以节操为魂。群芳语本楚辞香草美人喻君子小人之传统，妒字暗用离骚众女嫉余之蛾眉的党人嫉妒之意；零落成泥碾作尘化用唐人诗意而加碾作尘一层，极写摧残之酷。驿指荒僻驿站，着同著、遭受，一任犹任凭，诸处用字浅近而意远。又，零落成泥意象与古来惜花伤春传统相接，而陆词以香如故翻案，将伤逝转为守节，是化柔婉为刚健的关键一笔，亦见宋人咏物重寄托的时代风尚。

Commentary

Critics praise this poem as a masterpiece among plum blossom poems. Ming critic Shen Jifei commented: 'Song poets mostly write about the plum’s purity, but this one writes about its backbone.' Mao Zedong’s 'Busuanzi: Ode to the Plum' deliberately reverses the tone, turning sadness into joy, showing the influence of Lu You's poem.

此词为陆游咏梅诸作中最脍炙人口者，自南宋以来即与林逋「山园小梅」并称咏梅双璧，而一主隐逸、一主节操，旨趣各异。南宋末遗民诗人（如谢枋得、郑思肖）多借梅抒亡国之痛，此词「只有香如故」的坚贞意象成为气节符号，影响深远。明人杨慎、清人刘熙载论词，皆推许其「标格之高」「寄托之远」。近世因陆游爱国诗人身份，此词更被视为人格写照，「零落成泥碾作尘，只有香如故」常与文天祥「留取丹心照汗青」并提，象征知识分子在逆境中守持操守。毛泽东《卜算子·咏梅》「待到山花烂漫时，她在丛中笑」明言「反其意而用之」，以梅花写乐观奉献，从反面印证了陆词的经典地位与可对话性。今中学教材多选此词，作为托物言志与爱国气节的范文。此词为陆游咏梅诸作中最脍炙人口者，与林逋山园小梅并称双璧而一主隐逸一主节操。南宋末遗民诗人多借梅抒亡国之痛，此词只有香如故成为气节符号。明杨慎、清刘熙载皆推其寄托之远。今常与文天祥留取丹心照汗青并提，中学教材多选为托物言志与爱国气节之范文。此词之后梅花作为气节象征的地位愈固，元明以降题画诗、咏物词多沿其脉；其只有香如故更与留取丹心、要留清白在人间并列为中华士人精神操守的三重经典表述，在文化记忆中具有恒久的象征力量。

Prosody

Form Ci poem to the tune of Busuanzi (double stanza, forty-four characters, oblique rhyme)词·卜算子（双调四十四字）

Rhyme Rhymes with words from the fourth rhyme group of the classical rhyming system: 主, 雨, 妒, 故.此词上片押遇韵（主、雨，古音同部），下片押遇韵（妒、故，同部），上下片各四句两仄韵，一韵到底，声情孤峭清绝，宜写幽洁。

Tone pattern Two stanzas, each with four lines and two oblique rhymes; the first stanza describes circumstances, the second states character.双调四十四字，上下片各四句两仄韵，句式以五言为主，间以「已是」「更着」「无意」「一任」等二字领，节奏简古顿挫。

Reading note The poem uses the plum to express the poet's feelings: though in adversity, his integrity remains unchanged. The final line 'only the fragrance as before' is an oath of character, a model for object-chanting ci.《卜算子》调短韵促，音节清峭，最宜抒写孤洁幽怨之情，与梅花清绝之格相得益彰。陆游此词上下片皆两仄韵，韵脚稀疏而声情凝重，「主、雨、妒、故」一以贯之，如孤梅独放，不依繁管。句式以五言为主，看似平淡，却以「已是」「更着」「无意」「一任」等虚字斡旋其间，使简古中见流转。上片写境之惨（驿外、断桥、黄昏、风雨），下片写格之坚（不争、一任、香如故），声情由抑转扬，至「故」字收束，余韵清远。依调写梅，物我交融，是短调小令托物言志的典范。卜算子调短韵促，音节清峭，最宜抒孤洁幽怨之情，与梅花清绝之格相得益彰。上下片皆两仄韵，韵脚稀疏而声情凝重，主、雨、妒、故一以贯之，如孤梅独放。句式以五言为主，以已是、更着、无意、一任等虚字斡旋其间，使简古中见流转，上片写境之惨，下片写格之坚，声情由抑转扬，依调写梅，物我交融。

Line by line

驿外断桥边，寂寞开无主。

Beside the broken bridge outside the post, the plum blossoms in solitude, unattended and unowned. This depicts its loneliness and implies the poet's own lack of recognition.

驿站之外、断桥旁边，梅花寂寞地开放，无人欣赏、无人作主。

Beyond the post station, by the broken bridge, it blooms in solitude, no one to admire or tend it.

起笔二句写梅之生长环境，亦是身世之喻。「驿外断桥边」以荒僻冷落之地写梅之被人弃置，驿站本为过客歇脚之所，断桥更见荒凉，暗喻志士投闲置散、无位可安；「寂寞开无主」五字，花之孤独与人之孤寂交融，「无主」既言无人欣赏照料，亦暗指报国无门、壮志无人识。梅本高洁，却生于荒陬，愈显其不遇之悲。短短十二字未着一情字而情自深，为下文风雨摧残与清香不改铺设了凄清的基调，起笔便见托物言志之妙。

The opening two lines write the plum's growing place, and the figure of the poet's lot. Beyond the post station, by the broken bridge, it blooms in solitude, no one to admire or tend it writes through the desolate, cold place the plum's being discarded — the post station the traveler's lodging, the broken bridge the more desolate, secretly figuring the loyalist set aside, idle and without place. In solitude, uncared for fuses the flower's loneliness and the man's; uncared for at once says no one to admire and secretly no gate to serve the country, no one to know the ambition. The plum, by nature lofty, and yet growing in the desolate corner, the grief of the unrecognized the deeper. Twelve brief characters without one word of feeling and the feeling already deep, preparing the cold tone for the later wind and rain and the unchanged fragrance, the object-as-purpose brush visible at the opening.

零落成泥碾作尘，只有香如故。

Fallen to mud, ground to dust, only her fragrance remains as before. This uses progressive destruction to highlight that even when physical form is gone, spiritual essence persists.

纵使凋零飘落、碾作泥土化为尘埃，那一缕清香却依然如故，不改分毫。

Even if it falls into the mud and is ground to dust, its fragrance remains, as before.

此二句为全词之骨，亦是千古绝唱。词人连用「零落」「成泥」「碾作尘」三层递转，将梅所受摧残写到极致——不仅凋谢，且被碾为尘土，毁灭性的打击一层深过一层；而在这毁灭的尽头，却以「只有香如故」一转，清香不改、本色长存。这种「愈摧愈贞」的递进写法，把坚守气节的意志推向惊心动魄的高度。一个「只」字见孤绝，一个「故」字见恒久。它既是梅之物理（花香不随形灭），更是人之精神（操守不随境遇改），物我合一，力透纸背，是托物言志的至高之笔。

The two lines are the bone of the ci and the immortal lay. The poet chains the three advances of fallen, into mud, ground to dust, writing the plum's ruin to the extreme — not only shed, but ground to dust, the destroying blow deeper layer by layer; and at the end of the destruction, the turn of its fragrance remains, as before, the fragrance unchanged, the native color enduring. This advancing writing the more ruined the more steadfast pushes the will to keep integrity to the heart-stirring height. The single only writes the lone extremity, the as-before the constancy. It is at once the plum's nature (the fragrance not ending with the form) and the man's spirit (the integrity not changed by the lot), thing and self one, the force through the paper, the highest stroke of the object-as-purpose style.

Study

Word focus

碾 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「碾作尘」之「碾」字，是全词力度最强的一字。梅之零落尚是自然的凋谢，而成泥已是摧残，「碾作尘」则更进一步——以碾压之力将落花化为飞尘，是外力的极致毁灭。这个动词带来强烈的痛感与压迫感，将上文「风和雨」的摧残具象化、加重化。正因有此一字，后文「香如故」的坚贞才获得足够的反差与重量：形体被碾为尘而香气不改，外毁内守的张力达到顶点。一字而见命运之酷与操守之坚，炼字之工令人惊心。

无意 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「无意苦争春」之「无意」二字，写出梅（亦即词人）的根本姿态——并非不能争，而是根本不屑于争。它与下句「一任群芳妒」呼应：群芳（趋炎附势者）的嫉妒与排挤，在「无意」者眼中不过任其去耳，毫不动心。这二字是全词超脱品格的支点，表明词人所守并非争名于朝，而是内在节操的不可移易。与「苦争」对照，「无意」愈显清高。它使梅之形象由被动受欺转为主动守拙，人格主体性强，是托物言志中点睛的一笔。