宋 Song · 词 Ci lyric
姜夔·点绛唇·丁未冬过吴松作
Rouge Lip · Written on Passing Wusong in Winter, Dingwei Year
燕雁无心，太湖西畔随云去。
数峰清苦，商略黄昏雨。
第四桥边，拟共天随住。
今何许？
凭阑怀古，残柳参差舞。
Drift past the west shore of the Taihu with the clouds.
A few peaks, clear and bitter,
Seem to plan together the dusk rain.
By the Fourth Bridge
I would dwell with Tian-sui.
What is the world now?
Leaning on the rail, I brood on the past—
Ragged willows dance, uneven, in the wind.
Meaning
The northern swallows and wild geese, without guile, follow the clouds along the west shore of Taihu. A few peaks stand clear and bitter, as if consulting together about the dusk rain. By the Fourth Bridge, I would dwell with Lu Guimeng (Master Tian-sui) of the Tang in retirement. What age is this now? Leaning on the rail and brooding on the past, the broken willows dance uneven in the wind.
北来的燕雁毫无机心，沿着太湖西岸随着流云远远飞去。几座山峰清寂愁苦，仿佛正聚在一起商量黄昏时的一场冷雨。第四桥边，我多想与唐代的天随子陆龟蒙相伴隐居。如今又是什么时代、什么光景呢？倚着栏杆怀想古往今来，只见残败的柳枝在风中参差起舞。
Appreciation
This lyric is famed for its 'clear and sparse, lofty and elegant' manner, good at lending things feeling through personification. The opening 'Swallow-geese without a care' writes the birds' freedom, contrasting the man's care. This was written in winter of the Dingwei year (1187) of Southern Song, when Jiang Kui travelled from Huzhou to Suzhou and passed Wusong. Exams often focus on: the diction 'plan together', personifying the peaks about to rain, vivid and novel, often the core of appreciation; the imagery and feeling, where 'a few peaks, clear and bitter' is double-edged, writing the mountain's look and the poet's mood; the use of allusion, where 'Tian-sui' means Lu Guimeng, whose reclusive aim unlocks the lower part; the close, 'ragged willows dance uneven', ending feeling with scene, long in echo, often tested for 'words spent yet meaning endless'. Answers must hold the double sense of 'clear' style and the poet's drifting life and care for his state.
【白话串讲】 “燕雁无心，太湖西畔随云去”——姜夔过吴松：大雁无心，随云去了。“数峰清苦，商略黄昏雨”——几座山峰清瘦寂寞，商量着下一场黄昏雨。“今何许？凭阑怀古，残柳参差舞”——他凭栏怀古，残柳在风里舞。 【意象与手法】 本词以「清空骚雅」著称，善用拟人赋物以传情。起句「燕雁无心，太湖西畔随云去」写飞禽之自在，以「无心」反衬人之有心；「数峰清苦，商略黄昏雨」把静物写活，山峰如含愁绪，彼此「商量」落雨，炼字奇绝。下片「拟共天随住」用陆龟蒙典故，将隐逸理想化为具体空间；「今何许？凭阑怀古」以苍茫设问转出怀古之思，结句「残柳参差舞」以景结情，不直说悲慨而悲慨自见。全词意象瘦劲疏朗，情感含而不露，典型体现姜夔「如野云孤飞，去留无迹」的清空境界。 【情感与主旨】 此词作于南宋淳熙十四年丁未（1187）冬，姜夔自湖州往苏州，途经吴松（今江苏苏州吴江一带）时所作。姜夔终身布衣，漂泊江湖，以清客身份寄食于人，吴松一带是唐代陆龟蒙隐居之地，词人仰慕其高洁，故有「拟共天随住」之想。时值南宋偏安，朝政昏暗，北伐无望，士人多寄慨于山水。姜夔借过吴松之机，以清空之笔写身世飘零与家国之忧，篇幅虽短而沉郁深远，为其早年名作之一。 【名句点睛】 常考「数峰清苦，商略黄昏雨」的拟人炼字之妙，如何化静为动、以物传情；「拟共天随住」用典而不着痕迹，将隐逸之志落到实处；结句「残柳参差舞」以景结情、含而不露的写法；以及全词「清空骚雅」的词风特征，与白石其他作品（如《暗香》《疏影》）的互证关系。
Background
This was written in winter of the Dingwei year (1187) of Southern Song, when Jiang Kui travelled from Huzhou to Suzhou and passed Wusong (now Wujiang, Jiangsu). Then a courtless wanderer for life, he drifted the rivers and lakes. At Wusong the Tang poet Lu Guimeng (style Tian-sui) had retired; Jiang Kui admired his loftiness and so wrote 'I would dwell with Tian-sui'. That year the Southern Song court was dark, the northern expedition hopeless, and men of letters lodged their sighs in landscape. Using his pass at Wusong, Jiang Kui wrote his drifting life and care for his state in a clear brush; short yet deep, it is an early famous piece.
此词作于南宋孝宗淳熙十四年丁未（1187）冬，姜夔自湖州往苏州，途经吴松（今江苏苏州吴江区一带）时所作，题中「丁未冬过吴松」即点明时地。姜夔一生未入仕途，终身布衣，以清客身份漂泊江湖，靠友人周济与鬻文为生，词中屡见江湖羁旅之感。吴松一带是唐代诗人陆龟蒙（号天随子）曾经隐居之地，龟蒙高蹈不仕、放浪江湖，深为姜夔所仰慕，故词人于此地自然生出「拟共天随住」的联想。时值南宋中期，朝廷偏安一隅，北伐屡屡无望，主和势力盘踞朝堂，士人报国无门，多寄慨于山水清音。姜夔此词篇幅虽短，却在过吴松的行程中，以清空之笔把身世飘零、家国隐忧与对前贤的追慕熔铸于一炉，沉郁深远而不落痕迹，被视为其早年词风成熟期的代表作之一，也是理解白石「清空骚雅」词风不可绕过的一篇小令。姜夔幼年随父宦游汉阳，十四岁丧父后依姊居于山阳，成年后屡试不第，遂绝意科场，一生未仕，辗转依人于湖州、杭州、苏州、金陵之间，其《扬州慢》《点绛唇》诸作皆作于江湖往来之中。吴松地处太湖之滨、运河之畔，自古为南北水陆要冲，宋代以降尤为文人南来北往必经之地；丁未冬词人自湖州启程往苏州，一路舟行，正值岁暮天寒，客子情怀与山水清景相激荡，遂有此篇。题中「丁未」为干支纪年，宋人词作以干支纪岁者常见，此词即以其确切系年成为白石早年行迹考订的重要坐标。
Art
This lyric is famed for its 'clear and sparse, lofty and elegant' manner, good at lending things feeling through personification. The opening 'Swallow-geese without a care' writes the birds' freedom, contrasting the man's care; 'A few peaks, clear and bitter, seem to plan the dusk rain' brings the still peaks alive, as if burdened with sorrow, 'planning' the rain—a wondrous, strange stroke. The lower part's 'I would dwell with Tian-sui' uses Lu Guimeng's allusion, turning the reclusive ideal into a concrete place. The close 'ragged willows dance uneven' ends feeling with scene, not stating the grief yet the grief shows. The whole lyric's images are spare and lean, feeling held not shown—typifying Jiang Kui's 'clear' realm of 'a lone wild cloud flying, leaving no trace'.
本词最突出的艺术特色是「清空骚雅」，即以清劲瘦硬的意象、含蓄不露的笔法写深沉的情思。起句「燕雁无心，太湖西畔随云去」写北来的燕雁随云远去，用「无心」二字点出飞禽的自在无累，实为反衬人之有心——人有家国之思、身世之感，故不能如燕雁般洒脱。次韵「数峰清苦，商略黄昏雨」以拟人赋物：山峰本是无情之物，词人却以「清苦」状其清瘦萧瑟，以「商略」写其似在商量落雨，化静为动、化物为情，是全词最见功力的两句。下片「第四桥边，拟共天随住」把隐逸理想落实到具体空间，用典而不觉；「今何许？凭阑怀古」以一声苍茫的设问转出怀古之思，结句「残柳参差舞」以景结情，不直说悲慨而悲慨自见。全词意象瘦劲疏朗，情感含而不露，恰如后世所评姜夔词「如野云孤飞，去留无迹」，于四十余字的小令中营造出清空悠远的境界。词之上片写景、下片怀古，层次分明而气脉贯通：上片以燕雁、太湖、寒峰、黄昏雨营造清冷之境，下片由第四桥、天随子、凭阑、残柳转入怀古与伤今，景与情、古与今两两对照。用语上，「拟」「何许」等虚字的使用极见匠心：「拟」写愿望之悬拟，欲隐未隐；「何许」以问代叹，把时空的苍茫感凝聚于二字。全词无一艳词丽句，而于清冷中见沉挚，正是白石「骚雅」之旨——以雅正之笔写幽微之情，不涉俚俗，不落纤巧。结句「残柳参差舞」以舞字收束，冷中有动，余韵绵长，令读者于词外想见词人倚栏独立、临风怅望的身影，是「以景结情」的极致。
Allusions
The core allusion is 'Tian-sui', the Tang man of letters Lu Guimeng, who styled himself Master Tian-sui and retired at Wusong Fuli, author of the 'Lize Collected Works'. Jiang Kui admired his lofty wind and wished to retire with him, hence 'I would dwell with Tian-sui'. The 'Fourth Bridge' is the Ganquan Bridge outside Wujiang city, where Lu Guimeng's traces remain—both real and allusive. Also 'swallow-geese' melts Du Mu's 'swallow-geese go down to Yangzhou' and Du Fu's 'through ten thousand miles, autumn's lament, ever the guest'—not a fixed allusion but inheriting the poetic line. The whole lyric uses allusion without seam, melting history into scene-speech, fitting both place and feeling, showing Jiang Kui's skill with reference, free of stiff piling.
词中用典最核心者为「天随」，指唐代文学家陆龟蒙。陆龟蒙字鲁望，自号天随子，曾隐居吴松甫里（今江苏苏州吴中区甪直一带），著有《笠泽丛书》《甫里集》，与皮日休并称「皮陆」，其人不慕荣利、躬耕自给，是姜夔心目中高洁隐士的典范，故词人过其旧地而欲「拟共天随住」，以「拟」字写出向往与踌躇相兼的复杂心态。「第四桥」即吴江城外之甘泉桥，为陆龟蒙遗迹所在，实景与典实合一，既切地理又切情怀。此外，「燕雁」意象承古诗传统，杜牧诗中有「燕雁下扬州」的写法，杜甫「万里悲秋常作客」的羁旅之感亦暗寓其中，非专典而承诗统。全词用典不着痕迹，融史实于景语，既切地又切情，见出姜夔使事之妙，绝无生硬堆垛之弊。「天随」之号出自陆龟蒙自号，取《庄子》「顺物自然」「无待」之义，龟蒙以之自况，谓一任天时物候、随遇而安；姜夔用其号而不名其人，正以「天随」二字本身即含随顺自然的人格理想，故「拟共天随住」一语双关，既写欲与龟蒙同隐，亦写欲效其随顺自然之态。陆龟蒙隐居甫里时，自置茶园、躬耕著述，《笠泽丛书》为小品杂著，《甫里集》收其诗文，其《耒耜经》诸作皆写田园躬耕之趣，与姜夔「布衣清客」的处境颇有相通之处。此外「太湖西畔」亦暗含松陵唱和之联想，晚唐皮日休、陆龟蒙唱和于吴江，有《松陵集》，吴松一带遂成文人雅集的文学圣地，白石过此，其怀古之情实兼怀人与怀地。
Commentary
Clear and sparse, lofty and elegant, is Jiang Kui's true colour. Chen Tingzhuo in 'White Rain Studio Lyric Talk' said of him 'a lone wild cloud flying, leaving no trace'. The modern Xia Chengtao, in his 'Chronological Notes on Jiang Baishi's Lyrics', dates this lyric to the winter of Dingwei, an early piece brooding on Lu Guimeng at Wusong. Though Wang Guowei mocked it as 'high in manner yet not one word hits home', the two lines 'a few peaks, clear and bitter, seem to plan the dusk rain' have long been praised by critics as 'strange yet ever more fine', showing its artistic tension.
此词历来被视为姜夔「清空」词风的典型标本。清人陈廷焯《白雨斋词话》论白石词谓其「如野云孤飞，去留无迹」，正可移评此篇：全词四十余字，无一字道破悲愁，而身世之感、家国之忧尽在景物之中。近人夏承焘《姜白石词编年笺校》考订此词作于丁未冬，系白石早年过吴松怀陆龟蒙之作，为编年研究提供了坚实依据。王国维《人间词话》虽讥姜夔「格调虽高，然无一语道着」，对其情真意切处有所保留，但「数峰清苦，商略黄昏雨」二句自来为论者所称，被许以「诞而弥工」——以「诞」言其想象之奇崛，以「工」言其炼字之精到，足见此二句的艺术张力。在词史脉络上，此词上承苏轼以诗为词、周邦彦典丽精工之绪，下启南宋后期骚雅词派（如史达祖、吴文英、王沂孙）的写法，是理解「清空骚雅」词风不可绕过的一篇小令。张炎《词源》论词标举「清空」，谓「词要清空，不要质实」，以白石为典范；周济《宋四家词选》亦列白石于「清刚」一脉。此词在历代词选中屡见著录，朱彝尊《词综》、陈廷焯《词则》皆收之，足见其传诵之广。从接受史看，「数峰清苦，商略黄昏雨」二句最为人称道，明清词话品评白石者几乎无不拈出此二句，或赏其拟人之工，或叹其意境之清，可见其艺术魅力历久不衰。对于今日读者，此词又是理解宋词「小令体制、清空风格、用典手法」三位一体的理想范本：四十余字之间，写景、用典、怀古、抒情四者兼备而浑然无迹，正可借以把握白石词乃至南宋雅词的基本风貌。
Prosody
Line by line
燕雁无心，太湖西畔随云去
The swallows and wild geese are without care; along the western shore of Lake Tai, they follow the clouds away.
北来的燕雁毫无机心，沿着太湖西岸随着流云远远飞去。
The swallows and geese, all without design, follow the drifting clouds away along the western shore of Lake Tai.
「燕雁无心」四字是全词立骨之笔。「无心」本是形容飞禽的自然无累，词人拈来置于篇首，既写眼前实景——太湖西畔燕雁随云远去的寥廓画面，又暗伏反衬：燕雁可以无心而去，人却有家国之思、身世之感，欲去不能、欲住不得。一个「随」字写出物我相忘的洒脱，实则是以物之自由反照人之拘牵。此句由实入虚，从眼前之景宕开一层，为下文「数峰清苦」的移情作好铺垫，也为全词「清空」的基调定下冷色调：云、雁、湖、山，皆清远疏淡，不见浓艳之笔，而羁旅之慨已含于景中，是全词「以景起兴、景中寓情」的典范开篇。
The four words without care are the backbone of the ci. Without care by nature describes the birds' natural ease, and the poet places it at the head, writing at once the real sight — the swallows and geese drifting off with the clouds along Lake Tai's western shore, the vast picture — and the hidden foil: the birds may leave without care, and the man carries the longing for the lost land and the fate of his own house, unable to leave and unable to stay. The word follow writes the ease of thing and self forgetting each other, in truth setting the man's bondage against the bird's freedom. The line moves from the real to the imagined, opening a layer beyond the present scene, storing ground for the projecting of feeling onto the few lean peaks below, and setting the cold tone for the ci's lucidity: clouds, geese, lake, hills, all clear and spare, no rich brush, and the travel's sigh already within the scene, the model opening of rising on scene and feeling hidden in scene.
数峰清苦，商略黄昏雨
A few peaks, clear and bitter, seem to plan together the dusk rain.
几座山峰清寂愁苦，仿佛正聚在一起商量黄昏时的一场冷雨。
A few peaks, lean and austere, seem to discuss the evening rain.
此二句为千古名句，妙在以拟人赋物而全不费力。「清苦」本以写人，移以状峰，既画出冬日山峰清瘦萧瑟、寒云低压的形貌，又暗含词人清贫愁苦的心境，物我双关；「商略」本指商议，词人却说山峰在「商量」黄昏时的一场雨，把静物写得仿佛有思虑、有语言，化静为动、化无情为有情，想象奇崛而不失分寸。黄昏、冷雨、清峰，层层渲染出一派苍寒寂寥的气象，与词人过吴松时的心境暗暗相通。王国维讥白石「无一语道着」，然此二句恰以不道破为高：悲愁不着一字，而尽在清苦之峰、欲雨之天的氛围之中，故论者许以「诞而弥工」，是白石拟人炼字的巅峰笔墨。
These two lines are the famous couplet, the beauty in personifying the object without effort. Lean and austere by nature written of men, and applied to the peaks, drawing at once the winter peaks' gaunt bleakness, the cold clouds pressing low, and the poet's own poor, bitter heart, the thing and self double-edged; discuss by nature means to consult, and the poet says the peaks are discussing the evening rain, writing the still objects as if they had thought and speech, turning stillness to motion, the feelingless to the feeling, the imagination daring and yet measured. Dusk, cold rain, lean peaks, layer on layer rendering a vast, cold, lonely atmosphere, secretly answering the poet's mood as he crossed Wusong. Wang Guowei mocked Jiang Kui as never once hitting the mark, and yet these two lines are precisely the height of the not-hitting: grief and sorrow not named once, and all within the lean peaks and the rain-threatening sky, hence critics grant it the more wondrous for its daring, the summit of Jiang Kui's personifying word-craft.
第四桥边，拟共天随住
By the Fourth Bridge, I would wish to dwell with Tian Sui.
第四桥边，我多想与天随子陆龟蒙相伴隐居。
By the Fourth Bridge, I long to dwell in seclusion with Tian Sui, Lu Guimeng.
「第四桥」即吴江甘泉桥，是陆龟蒙当年隐居之地，「拟共天随住」以「拟」字写愿望之悬拟：词人面对前贤遗迹，生出欲与之同隐的追慕。「天随」二字用典极活，既点出陆龟蒙其人，又暗含「天随」之号所象征的随顺自然、放浪江湖的人格理想。此句将抽象的隐逸情怀落实为「共住」的具体空间想象，仿佛跨越数百年与古人比邻而居，亲切而有深致。然而「拟」字又透出无奈：词人身在江湖而心系魏阙之忧，欲隐而不能全然忘世，故「拟共」终成悬想。两句由景入情，由怀古转出归隐之思，为结句的苍茫一问蓄势，见出白石用典使事不着痕迹的功力。
The Fourth Bridge is the Ganquan Bridge of Wujiang, where Lu Guimeng once lived in seclusion; I would wish to dwell with Tian Sui writes, with the word would, the wishful imagining: facing the relic of the ancient worthy, the poet longs to dwell in seclusion with him. The word Tian Sui uses the allusion most freely, naming Lu Guimeng and carrying the ideal of the nickname's meaning — following nature, roaming the rivers and lakes. The line grounds the abstract reclusive feeling in the concrete space of dwelling together, as if crossing the centuries to be neighbor to the ancients, warm and yet deep. And yet the word would breathes helplessness: the poet in the rivers and lakes and yet his heart on the court, wishing for seclusion and yet unable to forget the world, hence the would-be dwelling remains a fantasy. Two lines from scene to feeling, from the mourning of the past to the thought of retirement, storing force for the closing vast question, showing Jiang Kui's art of the allusion without a trace.
今何许？凭阑怀古，残柳参差舞
What is the world now? Leaning on the rail, I brood on the past—ragged willows dance uneven in the wind.
如今又是什么时代、什么光景呢？倚着栏杆怀想古往今来，只见残败的柳枝在风中参差起舞。
What age is this now? Leaning on the rail, I mourn the past; the withered willows, ragged, dance in the wind.
「今何许」三字以设问振起全篇：既问今夕何夕、此地何地，更问当世为何等世道，语极简而意极重，怀古伤今之情喷薄欲出。「凭阑怀古」点明题旨，是全词唯一直接表露心迹之处，然亦仅止于「怀古」二字，不言所怀何事。结句「残柳参差舞」以景结情：残柳本已衰败，偏在风中参差起舞，舞姿凌乱而无依，恰似词人飘零的身世与无望的时局。「舞」字以动写衰，冷中带凄，将满怀悲慨尽收于一幅摇曳的残柳图中，含而不露、余味不尽，是姜夔「以景结情」手法的典型体现，也是全词情感的最后凝聚。
The three words what age is this now? rise in the question over the whole ci: asking at once what night, what place, and what age is this world, the words few and the weight heavy, the grief for the present and the past bursting forth. Leaning on the rail, I mourn the past names the theme, the only place the ci speaks its heart directly, and yet it stops at the two words mourn the past, saying not what is mourned. The close, the withered willows, ragged, dance in the wind ends feeling in scene: the withered willows already spent, and yet dancing raggedly in the wind, the dance disordered and forlorn, like the poet's drifting fate and the hopeless age. The word dance writes decline through motion, cold with desolation, gathering the whole breast of grief into the swaying picture of the withered willows, contained and unspoken, the aftertone unending, the typical showing of Jiang Kui's ending feeling in scene, the final gathering of the ci's emotion.
残柳参差舞
The withered willows, ragged, dance in the wind.
残败的柳枝在风中参差起舞。
The withered willow branches, ragged and uneven, dance in the wind.
「残柳参差舞」五字收束全词，是全篇情感的最后凝聚。「残」字点出时令之暮与景物之衰，「参差」写柳枝长短不齐、凌乱摇曳之态，「舞」字以动写静，给衰败的景物注入了不安的动感——柳本无知，而词人眼中之柳仿佛在寒风中无可奈何地挣扎起舞，恰如词人自身在江湖与时局中飘零无依。三字层层递进，由残而参差而舞，把怀古的怅惘、身世的凄凉与对时世的隐忧一并织入画面。以景结情，不着一字议论，而情味自深，正合白石「野云孤飞，去留无迹」的清空之境。此句与「数峰清苦」首尾呼应，一峰一柳，皆清瘦萧瑟之物，共同构成全词清空疏淡的意象系统。
The five withered willows, ragged, dance in the wind close the whole ci, the final gathering of its feeling. The word withered names the season's evening and the object's decay; ragged writes the willow branches' uneven, disordered swaying; dance writes stillness through motion, pouring an uneasy motion into the spent scene — the willow by nature mindless, and in the poet's eyes as if helplessly struggling to dance in the cold wind, precisely like the poet himself drifting, unbefriended, in the rivers and lakes and the age. Three words advancing layer on layer, from withered to ragged to dance, weaving the wistfulness for the past, the bleakness of the fate, and the hidden grief for the times into the picture. Ending feeling in scene, not one word of argument, and the feeling self-deep, precisely matching Jiang Kui's clear realm of the wild cloud flying alone, coming and going without a trace. The line echoes the few lean peaks at the opening, peak and willow, both lean and bleak, together composing the lucid, spare imagery system of the ci.
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Both by Baishi: both write deep feeling in a lean, clear brush—confirm his 'lone wild cloud' lyric realm.
《暗香·旧时月色》与《点绛唇·丁未冬过吴松作》同出白石手笔，皆以清空瘦劲之笔写幽微之怀。《暗香》咏梅而寄身世聚散之感，词境幽冷；此词过吴松而怀陆龟蒙，兼寓羁旅与时忧。二词一长调一短令，体制迥异，然在「以景结情、含而不露」的写法上如出一辙：《暗香》结以「几时见得」，此词结以「残柳参差舞」，皆不道破悲慨而悲慨自见。合而观之，可互证白石「如野云孤飞，去留无迹」的词境，亦可见其长调之铺叙与短令之凝练各臻其妙。
姜夔·疏影·苔枝缀玉 Sparse Shadow · Jade Twigs Adorned with Snow 姜夔 · 同/题材（咏物寄慨） Same / theme (chanting object, lodging feeling)Both chant objects and lodge the feeling of his life; read with this lyric's past-brooding feeling.
《疏影·苔枝缀玉》与《点绛唇·丁未冬过吴松作》一咏梅、一写景，皆以物色寄身世之慨。《疏影》托梅写家国之思与美人之迟暮，用典繁密而意象幽深；此词写太湖寒峰、残柳，意象疏朗而情思内敛。二者并读，可见白石词两种不同的经营方式：长调咏物重铺排用事，短令写景重凝练造境；而「不道破」的含蓄精神则一以贯之。同咏「清苦」之物（梅、柳皆岁寒之物），正见出词人清贫自守、冷眼看世的人格底色，两词互文，最宜合参。
姜夔·念奴娇·闹红一舸 Charm of a Maiden Singer · A Boat Amid the Red 姜夔 · 同/手法（清空写景） Same / technique (clear scene-writing)Both write the Wu-region rivers and lakes in a clear brush; compare his regional writing.
《念奴娇·闹红一舸》写吴兴荷塘之盛，与《点绛唇·丁未冬过吴松作》同以清空笔法写吴地江湖之景，可参看白石的地域书写。所异者，《闹红一舸》写夏日荷花之闹，色调明丽而生机盎然；此词写冬日寒峰残柳，色调清冷而情思萧瑟，一热一冷、一盛一衰，恰成对照。二词并观，可见白石既能写景之盛，亦能写景之衰，而无论盛衰，皆以清空之笔出之，不黏滞于物象，故能「去留无迹」。这种超越物象、直摄神理的写法，正是白石词区别于婉约诸家的高境。