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宋 Song · 词 Ci lyric

风入松

To the Tune 'Feng Ru Song' (Wind Through the Pines)

俞国宝

Yu Guobao

一春长费买花钱。
日日醉花边。
玉骢惯识西湖路，骄嘶过、沽酒垆前。
红杏香中箫鼓，绿杨影里秋千。
暖风十里丽人天。
花压髻云偏。
画船载取春归去，馀情寄、湖水湖烟。
明日重扶残醉，来寻陌上花钿。

All spring long I keep spending money on buying flowers,
day after day getting drunk among the blossoms.
My white steed knows the roads of West Lake by heart,
neighing proudly as it passes the wine shop's front.
Flutes and drums amid the fragrance of red apricot,
a swing in the shadows of green willows.
Warm winds for ten miles — a day of radiant beauties,
flowers weighing down their cloud-like buns, tipping them askew.
The painted boat carries spring home with it;
my lingering feelings I lodge in the lake's water and mist.
Tomorrow, propping up my lingering drunkenness,
I shall come to seek the flower hairpins dropped on the lanes.
Listen

Meaning

A pure lyric of spring pleasure on West Lake: the poet spends all spring among flowers and wine, rides his horse past the wine shops, enjoys the music and swings of the lake's spring festival, and promises to return tomorrow hangover and all to look for the hairpins the beauties dropped.

一春长费买花钱。日日醉花边。玉骢惯识西湖路，骄嘶过、沽酒垆前。红杏香中箫鼓，绿杨影里秋千。暖风十里丽人天。花压髻云偏。画船载取春归去，馀情寄、湖水湖烟。明日重扶残醉，来寻陌上花钿。

Appreciation

[Plain Paraphrase] All spring the poet spends on flowers and drinks among them daily. His white horse knows West Lake by heart and neighs proudly past the wine shops; flutes and drums sound among the red apricot, a swing sways in the green willow shade. Warm winds stretch ten miles over a pageant of beauties, flowers weighing their cloud-buns askew. The painted boat carries spring away, but his lingering feelings are lodged in the lake water and mist; tomorrow, steadying his hangover, he will come back to look for the hairpins the beauties dropped. [Structure] The first section is a daytime revel, the second a dusk departure with a promise to return — pleasure without a shadow of parting grief. [Imagery] Every sense is engaged at once — sight, scent, sound, motion — a West Lake spring rendered as one continuous festival.

【白话串讲】 俞国宝写《风入松》：“一春长费买花钱。日日醉花边”——“玉骢惯识西湖路，骄嘶过、沽酒垆前”——“红杏香中箫鼓，绿杨影里秋千”——“画船载取春归去，馀情寄、湖水湖烟”——他写西湖春游——日日醉花边。 【意象与手法】 “一春长费买花钱。日日醉花边”以买花醉花写春游之乐；“玉骢惯识西湖路”以玉骢写游湖；“红杏香中箫鼓，绿杨影里秋千”以红杏绿杨写西湖春景；结以“明日重扶残醉，来寻陌上花钿”以残醉寻钿写流连。语言明快、铺叙西湖春色。 【情感与主旨】 俞国宝写春游西湖之作，写游湖赏春、醉卧花边的闲适与流连，体现南宋偏安时期士人歌舞升平的生活，是写西湖风光的著名词作。 【名句点睛】 常考“红杏香中箫鼓，绿杨影里秋千”以红杏绿杨写西湖春景；“明日重扶残醉，来寻陌上花钿”以残醉寻钿写流连。

Background

Yu Guobao was a Southern Song lyricist from Lin Chuan (Jiangxi), otherwise little recorded. This 'Feng Ru Song' was famously written on the wall of a West Lake wineshop, where, as the anecdote runs, Emperor Gao Zong read it on a pleasure cruise, laughed at the line about tomorrow's hangover, and had it altered — the story, true or not, fixes the song's fame and its place in the pleasure culture of West Lake, the luminous, escapist city of the Southern Song court in exile south of the Yangzi.

《风入松》为南宋词人俞国宝所作词。俞国宝，南宋临川（今江西临川）人，生平事迹不详，南宋词人。此词写春游西湖，为西湖酒肆题壁之作，传说为宋高宗所赏。词中「一春长费买花钱。日日醉花边」写一春买花；「玉骢惯识西湖路，骄嘶过、沽酒垆前」写玉骢西湖；「红杏香中箫鼓，绿杨影里秋千」写红杏绿杨；「暖风十里丽人天。花压髻云偏」写暖风丽人；「画船载取春归去，馀情寄、湖水湖烟」写画船载春；「明日重扶残醉，来寻陌上花钿」写来寻花钿。俞国宝此词以春游西湖、来寻花钿写其游春之情，含蓄明快，是俞国宝词中的名篇。此篇《风入松》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《风入松》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The song's technique is cumulative brightness: almost every line adds a new element of the festival — flowers, wine, horse, flute, drum, apricot, willow, swing, warm wind, beauties, painted boat — until the lake itself seems to be holding a spring fair. The horse that 'knows West Lake by heart' is a masterstroke of personification: the rider's habit is credited to his mount, and frequency becomes comedy. 'Flutes and drums amid the red apricot's fragrance, a swing in the green willow's shade' is a sensory couplet — sound, scent, sight, and motion in perfectly balanced parallelism. 'The painted boat carries spring home' lets the boat bear the season itself, and 'my lingering feelings I lodge in the lake water and mist' turns departure into a deposit. The ending — tomorrow, hangover and all, hunting for dropped hairpins — converts pleasure into a promise, ending the song in mid-revelry.

此词艺术上以「含蓄明快、以景写情」见长。全词上片写一春买花与红杏绿杨，下片写暖风丽人与来寻花钿。上片「一春长费买花钱。日日醉花边」写一春买花：一春长费买花钱，日日醉花边；「玉骢惯识西湖路，骄嘶过、沽酒垆前」写玉骢西湖：玉骢惯识西湖路，骄嘶过、沽酒垆前；「红杏香中箫鼓，绿杨影里秋千」写红杏绿杨：红杏香中箫鼓，绿杨影里秋千。下片「暖风十里丽人天。花压髻云偏」写暖风丽人：暖风十里丽人天，花压髻云偏；「画船载取春归去，馀情寄、湖水湖烟」写画船载春：画船载取春归去，馀情寄、湖水湖烟；「明日重扶残醉，来寻陌上花钿」写来寻花钿：明日重扶残醉，来寻陌上花钿。全词含蓄明快，以景写情，是俞国宝词中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

The song works mostly by landscape convention rather than formal allusion. 'Buying flowers' and 'drunk among the blossoms' continue the Bai Juyi tradition of springtime spending ('I regretted the spring's passing with nowhere to seek it'). 'White steed' (yu cong) belongs to the romantic horse-and-willow vocabulary of Tang lyric poetry. 'A day of beauties' echoes Du Fu's 'the third day of the third month, fresh weather by the water's edge, many beauties in Chang An,' transplanting capital-pageant imagery to West Lake. The 'ten miles of warm wind' recalls the 'ten miles of lotus' of West Lake lore and Du Mu's 'ten miles of Yangzhou' — a measure of the lake's splendor.

词中「一春长费买花钱」「日日醉花边」「玉骢」「惯识西湖路」「骄嘶」「沽酒垆」「红杏香中箫鼓」「绿杨影里秋千」「暖风十里」「丽人天」「花压髻云偏」「画船载取春归去」「馀情寄」「湖水湖烟」「重扶残醉」「陌上花钿」等语，皆含典故故实。「一春长费买花钱」写一春常费买花之钱（化用白居易「长恨春归无觅处，不知转入此中来」之意，亦写买花游春）；「日日醉花边」写日日醉于花边；「玉骢」写白马（玉骢为白色骏马）；「惯识西湖路」写惯识西湖之路；「骄嘶」写骄嘶；「沽酒垆」写沽酒之垆；「红杏香中箫鼓」写红杏香中箫鼓；「绿杨影里秋千」写绿杨影里秋千；「暖风十里」写暖风十里；「丽人天」写丽人游春之时（用杜甫「三月三日天气新，长安水边多丽人」之意）；「花压髻云偏」写花压髻云而偏；「画船载取春归去」写画船载取春归去；「馀情寄」写余情寄托；「湖水湖烟」写湖水湖烟；「重扶残醉」写重新扶起残醉；「陌上花钿」写陌上之花钿（花钿为女子头饰）。词人以买花钱、玉骢、沽酒垆、丽人天、画船、花钿等语入词，不着痕迹，而把春游西湖之情写得真切可感，是善于熔铸意象的体现。

Commentary

The anecdote of the wine-shop wall — and the emperor's amused correction — has kept this song famous, but its real distinction is that it holds spring pleasure without a single note of anxiety, rare in a dynasty half in exile. Where Yan Shu tempers his pleasure with 'nothing to be done as the flowers fall away,' Yu Guobao simply stays drunk. Critics have heard in it the sound of Southern Song peace — the 'temporary' calm after the loss of the north — and some read the insistent 'tomorrow' as a hint that the revel must be renewed daily because it cannot be trusted. The hairpin-hunting ending has been both enjoyed as perfect high spirits and teased as the mark of a boon-companion poet. Either way, it is the most vivid lyric portrait of Southern Song West Lake's spring festival.

这首《风入松》，是俞国宝写春游西湖之作，写一春买花、玉骢西湖、来寻花钿之情，含蓄明快。上片写一春买花与红杏绿杨：「一春长费买花钱。日日醉花边」——一春长费买花钱，日日醉花边。写一春买花：一春长费买花钱、日日醉花边——一春买花、日日醉花边；「玉骢惯识西湖路，骄嘶过、沽酒垆前」——玉骢惯识西湖路，骄嘶过、沽酒垆前。写玉骢西湖：玉骢惯识西湖路、骄嘶过沽酒垆前——白马惯识西湖路、骄嘶过酒垆前；「红杏香中箫鼓，绿杨影里秋千」——红杏香中箫鼓，绿杨影里秋千。写红杏绿杨：红杏香中箫鼓、绿杨影里秋千——红杏香中箫鼓、绿杨影里秋千。下片写暖风丽人与来寻花钿：「暖风十里丽人天。花压髻云偏」——暖风十里丽人天，花压髻云偏。写暖风丽人：暖风十里丽人天（用丽人之意）、花压髻云偏——暖风十里、丽人游春、花压髻云；「画船载取春归去，馀情寄、湖水湖烟」——画船载取春归去，馀情寄、湖水湖烟。写画船载春：画船载取春归去、馀情寄湖水湖烟——画船载春归去、余情寄湖烟；「明日重扶残醉，来寻陌上花钿」——明日重扶残醉，来寻陌上花钿。写来寻花钿：明日重扶残醉、来寻陌上花钿——明日重扶残醉、来寻陌上花钿。这「明日重扶残醉，来寻陌上花钿」，是全词之结：以来寻花钿写其游春之兴。全词含蓄明快，以景写情，正是俞国宝词中的名篇。

Prosody

Form Ci lyric to the tune Feng Ru Song (Wind Through the Pines), a double-section tune of 74 characters, six lines per section.词（风入松，双调）
Rhyme Level-tone rhymes on the xian group: qian ('money'), bian ('edge'), qian ('front'), qian ('swing'), tian ('sky'), pian ('askew'), yan ('mist'), dian ('hairpin'). The bright, high xian rhyme carries the song's festive lift.此词为《风入松》调，双调七十四字，上片下片各六句。押平声韵：「钱」「边」「前」「千」「天」「偏」「烟」「钿」押先韵。词体依词谱而定，句式长短错落，音节随情起伏，正与写春游西湖的含蓄明快相称，也见其以词写游春的自然。
Tone pattern Short and long lines alternate like a stroll: the six-beat 'all spring long I keep spending money on buying flowers' opens with spending's easy cadence, the seven-beat horse line skips along with the proud neigh, the six-beat parallel couplet of apricot and willow chimes like flutes, and the boat line drifts. The closing couplet slows deliberately, the promised return drawn out.句式上，上片「一春长费买花钱。日日醉花边」写一春买花，音节明快；「玉骢惯识西湖路，骄嘶过、沽酒垆前」写玉骢西湖，音节轻快；「红杏香中箫鼓，绿杨影里秋千」写红杏绿杨，音节清丽；下片「暖风十里丽人天。花压髻云偏」写暖风丽人，音节明丽；「画船载取春归去，馀情寄、湖水湖烟」写画船载春，音节舒徐；「明日重扶残醉，来寻陌上花钿」写来寻花钿，音节绵长。全词音节由明快而清丽、由舒徐而绵长，正合词体「长短句」之妙，读来如春游西湖、来寻花钿之音，含蓄而动人。
Reading note Recite in a riding rhythm: open bright and talkative; let 'neighing proudly' arch; chime the apricot-and-willow couplet crisp; drift on 'the lake's water and mist'; and end 'tomorrow, propping up my hangover' slowly, lingering on the hairpins as if already searching for them.此词为《风入松》调，是俞国宝写春游西湖之作，也是其词中的名篇。全词的艺术特色在于「含蓄明快、以景写情」：上片「一春长费买花钱。日日醉花边」写一春买花、「玉骢惯识西湖路，骄嘶过、沽酒垆前」写玉骢西湖、「红杏香中箫鼓，绿杨影里秋千」写红杏绿杨；下片「暖风十里丽人天。花压髻云偏」写暖风丽人、「画船载取春归去，馀情寄、湖水湖烟」写画船载春、「明日重扶残醉，来寻陌上花钿」写来寻花钿。全词含蓄明快，以景写情。尤为精妙者，是「红杏香中箫鼓，绿杨影里秋千」写尽西湖春景；而「明日重扶残醉，来寻陌上花钿」以来寻花钿写游春之兴，正是俞国宝词「含蓄明快」的典范，为历代词选所常收。

Line by line

一春长费买花钱。

All spring long I keep spending money on buying flowers.

一春长费买花钱。

All spring long, I spend money on buying flowers.

首句写一春买花，起笔即见其兴。「一春长费买花钱」写一春长费买花钱，「一春」写一整个春天、「长费买花钱」写常费买花之钱。一句以「一春」写时之整、以「长费买花钱」写买花之费，写尽一春常费买花之钱之情——一春游春、买花不辍。以兴起笔，含蓄而明快，是「以兴起笔」的妙笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

The opening writes the whole spring's flower-buying, the delight rising at the first stroke. All spring long, I spend money on buying flowers: the all spring the whole spring, the long flower-buying the constant spending on flowers. One line writes the whole season through all spring, and the flower-buying through the long spending — the spring outings, the flowers bought without cease. Rising on delight, restrained and bright, the pointed brush. The few words carry a deep meaning, the pointed stroke of the ci.

玉骢惯识西湖路，骄嘶过、沽酒垆前。

My white steed knows the roads of West Lake by heart, neighing proudly as it passes the wine shop's front.

玉骢惯识西湖路，骄嘶过、沽酒垆前。

The jade-white steed knows the West Lake road by heart; proudly neighing, it passes before the wine shops.

此三句写玉骢西湖，是全词写游春之乐的关键。「玉骢惯识西湖路」写玉骢惯识西湖路，「玉骢」写白马、「惯识西湖路」写惯识西湖之路；「骄嘶过、沽酒垆前」写骄嘶过沽酒垆前，「骄嘶」写骏马骄嘶、「沽酒垆前」写酒垆之前。三句一写玉骢惯识西湖路、一写骄嘶过沽酒垆前，以玉骢写马之熟、以惯识西湖路写路之常行、以骄嘶酒垆写其过酒家，写尽玉骢惯识西湖路、骄嘶过酒垆前之情。以马写乐，含蓄而明快，是「以马写乐」的点睛之笔。

The three phrases write the jade steed at West Lake, the key of the ci's outing joy. The jade-white steed knows the West Lake road by heart: the jade steed the white horse, the knows-by-heart the road known; proudly neighing, it passes before the wine shops: the proud neighing the fine horse's neigh, the wine-shop front the tavern. Three phrases, the steed knowing the lake road, the proud neigh passing the wineshop — the horse's familiarity, the road's constant use, the passing tavern. Writing joy through the horse, restrained and bright, the pointed stroke of writing joy through the horse.

红杏香中箫鼓，绿杨影里秋千。

Flutes and drums amid the fragrance of red apricot; a swing in the shadows of green willows.

红杏香中箫鼓，绿杨影里秋千。

Amid the red apricot's fragrance, the pipes and drums; in the green willow's shadow, the swing.

此二句写红杏绿杨，是全词写西湖春景的关键。「红杏香中箫鼓」写红杏香中箫鼓，「红杏香中」写红杏之香中、「箫鼓」写箫鼓之声；「绿杨影里秋千」写绿杨影里秋千，「绿杨影里」写绿杨之影里、「秋千」写秋千之戏。两句一写红杏香中箫鼓、一写绿杨影里秋千，以红杏香中写杏香、以箫鼓写其声、以绿杨影里写柳影、以秋千写其戏，写尽红杏香中箫鼓、绿杨影里秋千之西湖春景。以景写乐，含蓄而明快，是「以景写乐」的点睛之笔。

The two phrases write the red apricot and green willow, the key of the ci's West Lake spring scene. Amid the red apricot's fragrance, the pipes and drums: the apricot-fragrance the scent of the red apricot, the pipes and drums the music; in the green willow's shadow, the swing: the willow-shadow the willow's shade, the swing the play. Two phrases, the apricot-fragrance music and the willow-shadow swing — the apricot scent, the music's sound, the willow shade, the swing's play, the West Lake spring scene. Writing joy through scene, restrained and bright, the pointed stroke.

明日重扶残醉，来寻陌上花钿。

Tomorrow, propping up my lingering drunkenness, I will come to seek the flower hairpins dropped on the lanes.

明日重扶残醉，来寻陌上花钿。

Tomorrow, leaning once more on my lingering drunkenness, I will come again to seek the hairpins on the road.

尾二句写来寻花钿，是全词立意的落点。「明日重扶残醉」写明日重扶残醉，「明日」写明日、「重扶残醉」写重新扶起残醉；「来寻陌上花钿」写来寻陌上花钿，「来寻」写来寻觅、「陌上花钿」写田间路上之花钿。两句一写明日重扶残醉、一写来寻陌上花钿，以明日重扶残醉写其游兴未减、以来寻陌上花钿写其来日再游，写尽明日重扶残醉、来寻陌上花钿之情。以兴写情，含蓄而明快，是全词最动人处，也是「以兴写情」的点睛之笔。

The closing two phrases write the coming to seek the hairpins, the landing point of the ci's intention. Tomorrow, leaning once more on my lingering drunkenness: the tomorrow the next day, the once-more-leaning-on-the-remaining-drunkenness rising again from the last tipsiness; I will come again to seek the hairpins on the road: the come-seek the coming to look for, the roadside hairpins the ornaments dropped on the road. Two phrases, the tomorrow's rising from the lingering drunkenness and the coming to seek the roadside pins — the outing delight not spent, the vow to come again tomorrow. Writing feeling through delight, restrained and bright, the most moving place of the ci, the pointed stroke.

Study

Word focus

惯 Used to; knows by heart. Crediting the horse with the rider's habit, the word turns frequency into comedy — the lake has been ridden so often that even the mount knows the way. 「惯」字写玉骢惯识西湖路，是写马之熟路的关键。「玉骢惯识西湖路」着一「惯」，写惯熟——着一「惯」字，写白马惯识西湖路，见游春之频繁。一字写尽惯识之熟，是「以一字写乐」的妙笔。「惯」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
骄 Proudly; arrogantly. The horse's proud neigh at the wine shop's front gives the animal the rider's swagger, the whole ride an air of satisfied ease. 「骄」字写骄嘶，是写骏马之态的关键。「骄嘶过、沽酒垆前」着一「骄」，写骄纵——着一「骄」字，写骏马骄嘶而过，见游春之得意。一字写尽骄嘶之态，是「以一字写景」的点睛之词。「骄」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
载 Carries. The boat is made to carry spring itself home — the season treated as cargo, a whimsical personification that turns dusk into a departure with luggage. 「载」字写画船载取春归去，是写载春归去的关键。「画船载取春归去」着一「载」，写装载——着一「载」字，写画船载着春色归去，见春之将尽。一字写尽载春之趣，是「以一字写景」的点睛之词。「载」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
重 Again. Tomorrow he will steady the same hangover and set out again — the word converts a day's pleasure into a daily vow, a revel that cannot be ended. 「重」字写明日重扶残醉，是写游兴未减的关键。「明日重扶残醉」着一「重」，写再次——着一「重」字，写明日至再扶残醉，见游春之兴。一字写尽再来之兴，是「以一字写情」的点睛之词。「重」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

浣溪沙·一曲新词酒一杯 Huan Xi Sha: 'A new song over a cup of wine' 晏殊 · 同写春景游赏、酒醉花间，一写一曲新词酒一杯、一写日日醉花边，皆于酒中花间见游春之情 Both write of spring outings and wine among flowers; one 'a new song over a cup of wine,' the other 'drunk among the blossoms every day.'

Yan Shu's 'last year's weather, the old pavilion' already tastes of loss within the pleasure, and his 'nothing to be done as the flowers fall away' knows the rule of endings; Yu Guobao's 'drunk among the blossoms every day' refuses all endings and plans tomorrow's return. Yan Shu's warmth is shaded; Yu Guobao's brightness is unclouded — two faces of the Song pleasure lyric.

晏殊《浣溪沙·一曲新词酒一杯》「一曲新词酒一杯。去年天气旧亭台」，写酒中游赏、时序流转，是宋词写闲适的名篇；俞国宝《风入松》则以「一春长费买花钱。日日醉花边」「明日重扶残醉，来寻陌上花钿」写一春买花、重扶残醉。两词同写春景游赏、酒醉花间：一写一曲新词酒一杯、以酒写闲，一写日日醉花边、以花写乐；一为晏殊之温润、一为俞国宝之明快，并读正可见宋词写「酒醉游春」的两种笔法，皆于酒中花间见游春之情。

 晏殊·蝶恋花·槛菊愁烟兰泣露 Yan Shu's 'Die Lian Hua': 'Chrysanthemums by the rail grieve at the mist, orchids weep with dew' 晏殊 · 同写丽人游春、景物如画，一写槛菊愁烟兰泣露、一写暖风十里丽人天，皆于景物之中见丽人春色 Both paint beauties amid scenery; one 'chrysanthemums by the rail grieve at the mist,' the other 'warm winds for ten miles, a day of beauties.'

Yan Shu's flowers grieve and his swallows fly away in pairs — autumn scenery already mourning what it loves; Yu Guobao's 'flowers weigh down the beauties' cloud-buns' is pure crowded spring abundance. One writes beauty on the verge of loss, the other beauty in full possession; the same eye for flowers divided by season and temperament.

晏殊《蝶恋花·槛菊愁烟兰泣露》「槛菊愁烟兰泣露。罗幕轻寒，燕子双飞去」，写秋日景物、独上高楼，是宋词写愁的名篇；俞国宝《风入松》则以「暖风十里丽人天。花压髻云偏」「画船载取春归去，馀情寄、湖水湖烟」写暖风丽人、画船载春。两词同写丽人游春、景物如画：一写槛菊愁烟兰泣露、以菊烟写愁，一写暖风十里丽人天、以暖风写乐；一为晏殊之温润、一为俞国宝之明快，并读正可见宋词写「丽人春景」的两种笔法，皆于景物之中见丽人春色。