宋 Song · 词 Ci lyric
满江红
To the Tune 'Man Jiang Hong'
试问琵琶，胡沙外、怎生风色。
最苦是、姚黄一朵，移根仙阙。
王母欢阑琼宴罢，仙人泪满金盘侧。
听行宫、半夜雨淋铃，声声歇。
彩云散，香尘灭。
铜驼恨，那堪说。
想男儿慷慨，嚼穿龈血。
回首昭阳离落日，伤心铜雀迎秋月。
算妾身、不愿似天家，金瓯缺。
The bitterest of all is that single Yao-yellow bloom, uprooted into the immortal palace.
When the Queen Mother's joy is over and her jade banquet ends, the immortals weep beside the golden basin.
Listen — in the traveling palace at midnight, the rain rings the bells, sound after sound dying away.
The colored clouds scatter; the fragrant dust is no more.
The bronze camel's sorrow — how can it be told?
Think of men of valor in their fury, gnashing their gums until the blood ran.
Looking back, Zhaoyang palace slips away with the setting sun; heartbroken, the Bronze Sparrow terrace greets the autumn moon.
For my part, I would not be like the imperial house — its golden vessel broken.
Meaning
This lyric is written in the voice of a palace lady (traditionally said to be on behalf of Lady Wang, Wen Tianxiang's wife, mourning the fallen dynasty) lamenting the ruin of the Southern Song. Through the peony torn from its immortal root, the immortals' tears at the golden basin, the rain-ringing bells of the traveling palace, and the bronze camel of the fallen capital, it records the capture of the imperial household after the Mongol conquest. The closing vow — 'I would not be like the imperial house, its golden vessel broken' — turns private grief into a pledge of loyalty: better death than living beneath a shattered realm. The tone is tragic and fiercely restrained.
试问琵琶，胡沙外、怎生风色。最苦是、姚黄一朵，移根仙阙。王母欢阑琼宴罢，仙人泪满金盘侧。听行宫、半夜雨淋铃，声声歇。彩云散，香尘灭。铜驼恨，那堪说。想男儿慷慨，嚼穿龈血。回首昭阳离落日，伤心铜雀迎秋月。算妾身、不愿似天家，金瓯缺。
Appreciation
[Plain Paraphrase] The speaker asks the pipa what sights lie beyond the northern sands — the road of exile into barbarian dust. The cruellest loss is a single Yao-yellow peony, a priceless root torn from the celestial palace and carried north. The immortals' banquet ends in tears beside the golden basin; in the traveling palace at midnight, rain rings the bells until each sound dies. The colored clouds scatter, the fragrant dust dies; the bronze camel's sorrow — the emblem of a fallen capital — cannot be told. She pictures men of valor gnashing their gums to blood, and turns to look at Zhaoyang palace sinking with the sun while the Bronze Sparrow terrace greets the autumn moon. Her own resolution closes the poem: she refuses to end like the imperial house, its golden vessel broken. [Structure] The upper stanza moves from scene to sound — the exiled bloom, the ended feast, the midnight bells; the lower stanza moves from ruin to resolve — clouds scattered, camel grief unspeakable, and a final vow. [Imagery] Every image is a relic of fallen dynasties — the peony of the palace, the golden basin of the Han bronze immortal, the bells of the fleeing Tang emperor, the camel of Luoyang — so that personal sorrow is written as the sorrow of all lost courts.
【白话串讲】 文天祥写《满江红》：“试问琵琶，胡沙外、怎生风色”——“最苦是、姚黄一朵，移根仙阙”——“听行宫、半夜雨淋铃，声声歇”——“彩云散，香尘灭。铜驼恨，那堪说”——他写亡国之恨——铜驼恨那堪说。 【意象与手法】 “试问琵琶，胡沙外、怎生风色”以琵琶写被掳之悲；“最苦是、姚黄一朵，移根仙阙”以姚黄移根写后妃被掳；“听行宫、半夜雨淋铃，声声歇”用雨淋铃典；“彩云散，香尘灭。铜驼恨，那堪说”以铜驼写亡国之恨；结以“算妾身、不愿似天家，金瓯缺”写不愿山河破碎。慷慨悲壮。 【情感与主旨】 文天祥写感怀抒愤之作，借王昭君、姚黄等意象写南宋亡国、后妃被掳之痛与山河破碎之恨，以“不愿似天家金瓯缺”写对亡国的悲愤，是文天祥词中的血泪之作。 【名句点睛】 常考“彩云散，香尘灭。铜驼恨，那堪说”以铜驼写亡国之恨；“算妾身、不愿似天家，金瓯缺”以金瓯缺写山河破碎。
Background
Wen Tianxiang (1236–1283), courtesy name Songrui, literary name Wenshan, was from Luling in Jizhou (present-day Ji'an, Jiangxi). The most famous loyalist of the Southern Song, he led resistance against the Mongol Yuan armies, was captured in 1279, refused submission for three years, and was executed in 1283; his 'Song of Righteous Strength' and 'Passing by Lingdingyang' remain monuments of Chinese loyalty. This lyric is traditionally read as written in the persona of a captive consort — some say on behalf of his wife Lady Wang after the dynasty's fall — mourning the capture of the imperial family and the loss of the realm. Its diction borrows the lament of every fallen house of Chinese history: the peony transplanted into barbarian hands, the bronze camel of Luoyang, the rain-ringing bells of the Tang emperor's flight. The poem is thus both a private elegy and a national dirge.
《满江红》为南宋名臣文天祥所作词。文天祥（1236—1283），字宋瑞，号文山，吉州庐陵（今江西吉安）人，南宋民族英雄、诗人。此词写感怀抒愤，为代王夫人作。词中「试问琵琶，胡沙外、怎生风色」写试问琵琶；「最苦是、姚黄一朵，移根仙阙」写移根仙阙；「王母欢阑琼宴罢，仙人泪满金盘侧」写仙人泪满金盘；「听行宫、半夜雨淋铃，声声歇」写雨淋铃；「彩云散，香尘灭。铜驼恨，那堪说」写铜驼恨；「想男儿慷慨，嚼穿龈血」写嚼穿龈血；「回首昭阳离落日，伤心铜雀迎秋月」写昭阳离落日；「算妾身、不愿似天家，金瓯缺」写不愿似天家。文天祥此词以感怀抒愤、不愿似天家写其忠愤之情，慷慨悲壮，是文天祥词中的名篇。此篇《满江红》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 lyric's power lies in 'singing wrath through allusion' — every line borrows a ruin from the past to magnify the present one. The upper stanza stages three scenes of loss: the Yao-yellow bloom, the treasure of the garden, uprooted into the immortal palace (here standing for the barbarian court), writes the abduction of the empress; the Queen Mother's feast ending, with the immortals weeping beside the golden basin, uses the Han legend of the bronze immortal carried away, tears brimming on the golden plate, to figure the toppling of a dynasty; and the 'rain-ringing bells' of the traveling palace recall Emperor Xuanzong of Tang, who, fleeing to Shu, heard the rain strike the bells and composed the melody 'Rain-Ringing Bell' — the sound of an emperor's exile. The lower stanza compresses ruin into two four-character lines — 'The colored clouds scatter; the fragrant dust is no more' — then voices the unspeakable 'bronze camel's sorrow' (the camels of Luoyang, overgrown with brambles after the capital fell), a fury of 'gums gnashed to blood' (Zhang Xun, dying at Suiyang), and the twin images of Zhaoyang palace in the setting sun and the Bronze Sparrow terrace in the autumn moon. The closing vow, spoken in the persona of the consort — 'I would not be like the imperial house, its golden vessel broken' — breaks the mask of the female voice and speaks Wen Tianxiang's own resolve: he will not live beneath a shattered realm.
此词艺术上以「慷慨悲壮、以典抒愤」见长。全词上片写试问琵琶与移根仙阙，下片写铜驼恨与不愿似天家。上片「试问琵琶，胡沙外、怎生风色」写试问琵琶：试问琵琶，胡沙外、怎生风色；「最苦是、姚黄一朵，移根仙阙」写移根仙阙：最苦是、姚黄一朵，移根仙阙；「王母欢阑琼宴罢，仙人泪满金盘侧」写仙人泪满金盘：王母欢阑琼宴罢，仙人泪满金盘侧；「听行宫、半夜雨淋铃，声声歇」写雨淋铃：听行宫、半夜雨淋铃，声声歇。下片「彩云散，香尘灭。铜驼恨，那堪说」写铜驼恨：彩云散，香尘灭，铜驼恨，那堪说；「想男儿慷慨，嚼穿龈血」写嚼穿龈血：想男儿慷慨，嚼穿龈血；「回首昭阳离落日，伤心铜雀迎秋月」写昭阳离落日：回首昭阳离落日，伤心铜雀迎秋月；「算妾身、不愿似天家，金瓯缺」写不愿似天家：算妾身、不愿似天家，金瓯缺。全词慷慨悲壮，以典抒愤，是文天祥词中的名篇。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 lyric is a tapestry of dynastic laments. 'The pipa beyond the barbarian sands' points to Wang Zhaojun, carried off to the Xiongnu and playing her pipa on the road — the archetype of the court lady in exile. 'Yao-yellow' is the most prized peony of Luoyang; the 'single bloom' torn from the immortal palace is the captive empress — the rarest flower of the realm carried north. 'The Queen Mother's jade banquet' and 'the immortals' tears beside the golden basin' fuse the banquet of the Western Queen Mother with the Han tale of the golden basin of dew borne by the bronze immortal, who wept as the dynasty fell. 'Rain-ringing bells' (yu lin ling) is the melody Emperor Xuanzong of Tang composed when, fleeing the An Lushan rebellion, he heard the rain strike the bells of his traveling palace. 'The bronze camel' is the pair of bronze camels set before the Luoyang palace gate; after the Jin fell they stood among brambles — the standard emblem of a ruined capital. 'Gums gnashed to blood' records Zhang Xun, defending Suiyang to the death, who in his fury gnashed his teeth until they broke and blood flowed. 'Zhaoyang' was the palace of the Han favorite; 'the Bronze Sparrow terrace' was Cao Cao's tower of beauties — both mean fallen palaces. 'Golden vessel' (jin ou) means the territory of an intact state; its 'crack' is the loss of the realm.
词中「试问琵琶胡沙外怎生风色」「最苦是姚黄一朵移根仙阙」「王母欢阑琼宴罢仙人泪满金盘侧」「听行宫半夜雨淋铃声声歇」「彩云散香尘灭铜驼恨那堪说」「想男儿慷慨嚼穿龈血」「回首昭阳离落日伤心铜雀迎秋月」「算妾身不愿似天家金瓯缺」等语，皆含典故故实。「试问琵琶胡沙外怎生风色」用昭君出塞之典（琵琶写昭君马上琵琶），写试问琵琶胡沙外怎生风色；「最苦是姚黄一朵移根仙阙」写最苦是姚黄一朵移根仙阙（姚黄为牡丹名品）；「王母欢阑琼宴罢仙人泪满金盘侧」用王母瑶池宴、金铜仙人承露盘之典，写王母欢阑琼宴罢仙人泪满金盘侧；「听行宫半夜雨淋铃声声歇」用雨淋铃之典（唐玄宗雨中闻铃制雨淋铃曲），写听行宫半夜雨淋铃声声歇；「彩云散香尘灭铜驼恨那堪说」用铜驼之典（洛阳铜驼荆棘），写彩云散香尘灭铜驼恨那堪说；「想男儿慷慨嚼穿龈血」用嚼龈之典（张巡守睢阳嚼齿龈血），写想男儿慷慨嚼穿龈血；「回首昭阳离落日伤心铜雀迎秋月」用昭阳宫、铜雀台之典，写回首昭阳离落日伤心铜雀迎秋月；「算妾身不愿似天家金瓯缺」用金瓯之典（金瓯写国土完整），写算妾身不愿似天家金瓯缺。词人以昭君琵琶、雨淋铃、张巡嚼齿、金瓯等典入词，不着痕迹，而把感怀抒愤之情写得慷慨淋漓，是善于熔铸典故的体现。
Commentary
Wen Tianxiang's 'Man Jiang Hong' occupies a singular place in the lyric tradition: it is the Song lyric of national catastrophe, written after the Mongol conquest of the south, and it speaks — through the mask of a captive consort — the unnamable sorrow of the fallen court. Anthologists have always paired it with Li Yu's 'Yu the Beautiful' as the two supreme laments for lost states — one the blood-tears of the last ruler, the other the tragic resolve of the loyalist minister. The lines 'The bronze camel's sorrow — how can it be told?' and 'I would not be like the imperial house, its golden vessel broken' are the most quoted of his lyric work; the latter in particular has been read as the lyrical counterpart of his death in 1283, a vow made in advance. Because the voice is a woman's, later readers debated whether Wen Tianxiang wrote it for his wife Lady Wang after the dynasty's fall; the conjecture itself shows how completely the persona's grief and the poet's loyalty have fused. In the history of the ci, it stands as the point where the delicate genre of the banquet lyric was made to carry the weight of a nation's dirge.
这首《满江红》，是文天祥写感怀抒愤之作，写试问琵琶、铜驼恨那堪说、不愿似天家之情，慷慨悲壮。上片写试问琵琶与移根仙阙：「试问琵琶，胡沙外、怎生风色」——试问琵琶（用昭君琵琶之典），胡沙外、怎生风色。写试问琵琶：试问琵琶、胡沙外怎生风色——试问琵琶、胡沙怎生风色；「最苦是、姚黄一朵，移根仙阙」——最苦是、姚黄一朵（写姚黄牡丹），移根仙阙。写移根仙阙：最苦是姚黄一朵、移根仙阙——姚黄一朵、移根仙阙；「王母欢阑琼宴罢，仙人泪满金盘侧」——王母欢阑琼宴罢（用王母瑶池宴之典），仙人泪满金盘侧（用金铜仙人承露盘之典）。写仙人泪满金盘：王母欢阑琼宴罢、仙人泪满金盘侧——王母琼宴罢、仙人泪满金盘；「听行宫、半夜雨淋铃，声声歇」——听行宫、半夜雨淋铃（用雨淋铃之典），声声歇。写雨淋铃：听行宫半夜雨淋铃、声声歇——行宫雨淋铃、声声歇。下片写铜驼恨与不愿似天家：「彩云散，香尘灭。铜驼恨，那堪说」——彩云散，香尘灭，铜驼恨（用洛阳铜驼之典），那堪说。写铜驼恨：彩云散香尘灭、铜驼恨那堪说——彩云散香尘灭、铜驼恨难说；「想男儿慷慨，嚼穿龈血」——想男儿慷慨，嚼穿龈血（用张巡嚼齿之典）。写嚼穿龈血：想男儿慷慨、嚼穿龈血——男儿慷慨、嚼穿龈血；「回首昭阳离落日，伤心铜雀迎秋月」——回首昭阳（用昭阳宫之典）离落日，伤心铜雀（用铜雀台之典）迎秋月。写昭阳离落日：回首昭阳离落日、伤心铜雀迎秋月——昭阳离落日、铜雀迎秋月；「算妾身、不愿似天家，金瓯缺」——算妾身、不愿似天家，金瓯缺（用金瓯之典）。写不愿似天家：算妾身不愿似天家、金瓯缺——妾身不愿似天家、金瓯缺。这「算妾身、不愿似天家，金瓯缺」，是全词之结：以不愿似天家写其忠愤。全词慷慨悲壮，以典抒愤，正是文天祥词中的名篇。
Prosody
Line by line
试问琵琶，胡沙外、怎生风色。
Ask the pipa: beyond the barbarian sands, what kind of scene lies there?
试问琵琶，胡沙外、怎生风色。
I ask of the pipa: beyond the barbarian sands, what is the weather?
首二句写试问琵琶，起笔即见其慨。「试问琵琶」写试问琵琶，用昭君琵琶之典写试问琵琶；「胡沙外、怎生风色」写胡沙外怎生风色，「胡沙外」写胡沙之外、「怎生风色」写怎样的风色。两句一写试问琵琶、一写胡沙外怎生风色，以试问琵琶写问琵琶、以胡沙外怎生风色写胡沙风色，写尽试问琵琶、胡沙外怎生风色之情。以典起兴，慷慨而苍凉，是「以典起兴」的妙笔。
The opening two lines write the asking of the pipa, the sigh present at the first stroke. I ask of the pipa writes the asking, using Wang Zhaojun's pipa allusion; beyond the barbarian sands, what is the weather? writes the weather beyond the sands — the beyond-the-sands the frontier, the what-is-the-weather the climate. Two lines, one the pipa's asking, one the sands' weather, writing the asking through the allusion, the frontier weather through the phrase, exhausting the asking and the frontier's climate. Rising on the allusion, impassioned and bleak, precisely the wondrous brush of rising on the allusion.
最苦是、姚黄一朵，移根仙阙。
The bitterest of all is that single Yao-yellow bloom, uprooted into the immortal palace.
最苦是、姚黄一朵，移根仙阙。
The bitterest thing: one flower of the Yao yellow, its roots transplanted to the heavenly palace.
此二句写移根仙阙，是全词以花写慨的关键。「最苦是、姚黄一朵」写最苦是姚黄一朵，「最苦是」写最苦的是、「姚黄一朵」写一朵姚黄（姚黄为牡丹名品）；「移根仙阙」写移根仙阙，「移根」写移根、「仙阙」写仙阙。两句一写最苦是姚黄一朵、一写移根仙阙，以姚黄一朵写牡丹、以移根仙阙写移根，写尽最苦是姚黄一朵、移根仙阙之情。以花写慨，慷慨而深婉，是「以花写慨」的点睛之笔。
These two lines write the transplanted roots, the key of the ci's writing the sigh through the flower. The bitterest thing: one flower of the Yao yellow writes the bitterest — the bitterest the most grief, the one Yao-yellow flower (the Yao yellow the famous peony strain); its roots transplanted to the heavenly palace writes the transplantation — the transplanting the moving of roots, the heavenly palace the imperial precinct. Two lines, one the bitterest Yao-yellow flower, one the transplant to the palace, writing the peony through the flower, the transplant through the moving, exhausting the bitterest flower and the transplantation. Writing the sigh through the flower, impassioned and deep, precisely the telling stroke of writing the sigh through the flower.
听行宫、半夜雨淋铃，声声歇。
Listen — in the traveling palace at midnight, the rain rings the bells, sound after sound dying away.
听行宫、半夜雨淋铃，声声歇。
Listening at the temporary palace, midnight, the rain on the bells, sound after sound dying.
此三句写雨淋铃，是全词以典写声的关键。「听行宫、半夜雨淋铃」写听行宫半夜雨淋铃，用雨淋铃之典写听行宫半夜雨淋铃；「声声歇」写声声歇，「声声」写一声声、「歇」写停歇。三句一写听行宫半夜雨淋铃、一写声声歇，以雨淋铃写雨声铃、以声声歇写声声断，写尽听行宫半夜雨淋铃、声声歇之情。以声写悲，慷慨而悲凉，是「以声写悲」的点睛之笔。
These three lines write the rain-on-the-bell, the key of the ci's writing sound through allusion. Listening at the temporary palace, midnight, the rain on the bells writes the midnight rain-bell, using the rain-on-the-bell allusion; sound after sound dying writes the sound's ending — the sound-after-sound the repeated note, the dying the stop. Three lines, one the midnight rain-bell listening, one the dying notes, writing the rain-and-bell through the allusion, the broken notes through the dying, exhausting the listening and the fading. Writing grief through sound, impassioned and bleak, precisely the telling stroke of writing grief through sound.
铜驼恨，那堪说。
The bronze camel's sorrow — how can it be told?
铜驼恨，那堪说。
The bronze camel's grief — how can it be told?
此二句写铜驼恨，是全词以典写恨的关键。「铜驼恨」写铜驼恨，用洛阳铜驼之典写铜驼恨；「那堪说」写那堪说，「那堪」写怎堪、「说」写言说。两句一写铜驼恨、一写那堪说，以铜驼恨写铜驼之恨、以那堪说写不堪言说，写尽铜驼恨、那堪说之情。以典写恨，慷慨而悲凉，是「以典写恨」的点睛之笔。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。
These two lines write the bronze camel's grief, the key of the ci's writing grief through allusion. The bronze camel's grief writes the bronze camel, using the Luoyang bronze camel allusion; how can it be told? writes the unbearable telling — the how-can the hardly-bear, the tell the speaking. Two lines, one the bronze camel grief, one the unbearable telling, writing the bronze camel's grief through the allusion, the untellable through the how-can, exhausting the grief and the silence. Writing grief through allusion, impassioned and bleak, precisely the telling stroke of writing grief through allusion. This line in the few words exhausts the deep meaning, feeling and charm both supreme, precisely the poem's telling stroke. Its hidden waves between the words, the turns within the plainness, require the repeated savouring to grasp its heart.
算妾身、不愿似天家，金瓯缺。
For my part, I would not be like the imperial house — its golden vessel broken.
算妾身、不愿似天家，金瓯缺。
Think of me: I will not be like the royal house, the golden basin broken.
尾三句写不愿似天家，是全词立意的落点。「算妾身、不愿似天家」写算妾身不愿似天家，「算妾身」写想我身、「不愿似天家」写不愿像天家；「金瓯缺」写金瓯缺，用金瓯之典写金瓯缺。三句一写算妾身不愿似天家、一写金瓯缺，以不愿似天家写不愿学天家、以金瓯缺写金瓯之缺，写尽算妾身不愿似天家、金瓯缺之情。以典写志，慷慨而坚毅，是全词最动人处，也是「以典写志」的点睛之笔。
The last three lines write the not-being-like the royal house, the landing of the ci's theme. Think of me: I will not be like the royal house writes the self and the refusal — the think-of-me the self-reference, the not-like the royal house the refusal of the imperial line; the golden basin broken writes the golden basin, using the golden-basin allusion. Three lines, one the refusal of the royal house, one the broken basin, writing the refusal through the not-like, the break through the allusion, exhausting the self-refusal and the broken realm. Writing the will through allusion, impassioned and steadfast, the ci's most moving place, and the telling stroke of writing the will through allusion.
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Yan Shu's 'Huanxi Sha' ('Helpless, the flowers fall away; as if known before, the swallows return') writes the melancholy of time passing, a Song classic of cherished springs. Wen Tianxiang's 'Man Jiang Hong' answers with 'The colored clouds scatter; the fragrant dust is no more — the bronze camel's sorrow, how can it be told?' Both write helpless lament: one over falling flowers and returning swallows, one over the bronze camel and the broken golden vessel; one is Yan Shu's mild regret, the other Wen Tianxiang's tragic fury — together they show the Song lyric's two registers of lament.
晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写离愁感怀，是宋词写惜时的名篇；文天祥《满江红》则以「彩云散，香尘灭。铜驼恨，那堪说」「算妾身、不愿似天家，金瓯缺」写铜驼恨、不愿似天家。两词同写离愁感怀、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写铜驼恨那堪说、以铜驼写亡国之恨；一为晏殊之温润、一为文天祥之悲壮，并读正可见宋词写「感怀无可奈何」的两种笔法，皆于感怀之中见无可奈何。
虞美人·春花秋月何时了 Yu the Beautiful: When Will the Flowers and Moon Be Ended 李煜 · 同写故国之思、不堪回首，一写故国不堪回首月明中、一写回首昭阳离落日伤心铜雀迎秋月，皆于故国之中见不堪回首 Both write of a lost country, unbearable to recall — one 'my country, unbearable to look back in the moonlight,' one 'looking back, Zhaoyang palace slips away with the setting sun.'Li Yu's 'Yu the Beautiful' ('Last night in the small tower another east wind — my country, unbearable to look back in the moonlight') is the immortal lament of the last ruler for his lost state. Wen Tianxiang's 'Man Jiang Hong' answers with 'Looking back, Zhaoyang palace slips away with the setting sun; heartbroken, the Bronze Sparrow terrace greets the autumn moon.' Both write of a lost country unbearable to recall: Li Yu writes it directly, in blood and tears; Wen Tianxiang writes it through the relics of fallen palaces, in allusive masks. One is the blood-tears of the captive emperor; the other the tragic resolve of the loyalist minister — together they are the two summits of the lyric of national catastrophe.
李煜《虞美人·春花秋月何时了》「小楼昨夜又东风，故国不堪回首月明中」，写故国之思、不堪回首，是写愁的千古名篇；文天祥《满江红》则以「回首昭阳离落日，伤心铜雀迎秋月」「算妾身、不愿似天家，金瓯缺」写昭阳离落日、不愿似天家。两词同写故国之思、不堪回首：一写故国不堪回首月明中、以明月写故国之思，一写回首昭阳离落日伤心铜雀迎秋月、以昭阳铜雀写故国；一为帝王之血泪、一为忠臣之悲壮，并读正可见词写「故国不堪回首」的两种情致，皆于故国之中见不堪回首。