宋 Song · 词 Ci lyric
欧阳修·浪淘沙·把酒祝东风
Wave-Washing Sands · Raising a Cup to Pray to the East Wind
浪淘沙·把酒祝东风把酒祝东风，且共从容。
垂杨紫陌洛城东。
总是当时携手处，游遍芳丛。
聚散苦匆匆，此恨无穷。
今年花胜去年红。
可惜明年花更好，知与谁同？
'Stay with me a while, at ease.'
Drooping willows, a violet path—east of Luoyang town.
This was ever the place we walked hand in hand,
Roaming through every thicket of flowers.
Meeting and parting are bitterly hurried;
This regret of mine has no end.
This year's flowers outshine last year's red.
But next year's blooms will be fairer still—
Who, I wonder, will be with me then?
Meaning
I raise the cup and pray to the east wind, to linger with me a while at ease. Drooping willows and a violet path, east of Luoyang city. That was ever the place where we walked hand in hand, roaming all the flower thickets. Meeting and parting are bitterly hurried; this regret is endless. This year's flowers outshine last year's red. But next year's flowers will be fairer still—who, I wonder, will share them with me?
举起酒杯，祝祷东风，且一同从容流连。垂杨紫陌，洛城之东。那里总是当日携手之处，我们游遍了花丛。聚散苦于太匆匆，此恨无穷。今年的花比去年的更红。可惜明年的花会更好，又知与谁同赏？
Appreciation
The upper part's 'Raising a cup, I pray to the east wind; stay with me a while, at ease' addresses the east wind as a person, full of charm; 'Drooping willows, a violet path—east of Luoyang town' names the place, 'roaming through every thicket of flowers' writes the full delight. This is a spring farewell at Luoyang, written about Ouyang Xiu's time in the Luoyang staff or after a feast with friends. The upper part writes the joy of 'raising a cup to the east wind' and 'roaming every thicket'. Exams often test the personification and charm of 'raising a cup, I pray to the east wind; stay with me a while, at ease', and the contrast and 'writing sorrow in joy' of 'this year's flowers outshine last year's red' and 'next year's blooms will be fairer still'.
【白话串讲】 “把酒祝东风，且共从容”——欧阳修举起酒杯，请东风慢一点。“聚散苦匆匆，此恨无穷”——聚散太匆匆。“今年花胜去年红。可惜明年花更好，知与谁同”——明年的花更好，可那时谁还和我一起看？ 【意象与手法】 上片「把酒祝东风，且共从容」以拟人对东风致辞，饶有情趣；「垂杨紫陌洛城东」点地，「游遍芳丛」写尽兴。下片「聚散苦匆匆」直抒，「今年花胜去年红」以花之盛反衬人之散；「可惜明年花更好，知与谁同」三句翻进，由今思明，以乐景写哀，将惜别与人生聚散之叹融为一体，语似平淡而情致悠长。 【情感与主旨】 此词为欧阳修春日洛城惜别之作，约作于其洛阳幕府时期（天圣、明道间，欧阳修任西京留守推官，与尹洙、梅尧臣等游宴洛阳）或此后与友人离别时。上片写「把酒祝东风」「游遍芳丛」的欢聚；下片叹「聚散苦匆匆，此恨无穷」，以「今年花胜去年红」「可惜明年花更好，知与谁同」写对聚散无常的怅惘。全词语浅情深，于平淡中见深远，是六一居士婉约小令的代表。 【名句点睛】 中高考赏析：①「把酒祝东风，且共从容」的拟人手法与情趣；②「今年花胜去年红」「明年花更好」的对比与以乐写哀；③「知与谁同」的设问收束之妙。
Background
This is a spring farewell at Luoyang, written about Ouyang Xiu's time in the Luoyang staff or after a feast with friends. The upper part writes the joy of 'raising a cup to the east wind' and 'roaming every thicket'; the lower part sighs 'meeting and parting are bitterly hurried; this regret is without end', and with 'this year's flowers outshine last year's red' and 'next year's blooms will be fairer still—who will be with me' writes the ache of parting's uncertainty. The whole lyric is shallow in word yet deep in feeling, distant in the plain—a representative graceful little lyric of the Master of the Six One Studio.
欧阳修（1007—1072），字永叔，号醉翁，晚号六一居士，吉州永丰人，北宋诗文革新运动领袖，「唐宋八大家」之一，与韩愈、柳宗元、苏轼并称。天圣八年（1030）欧阳修中进士，次年任西京（洛阳）留守推官，在洛阳度过了他一生中最快意的一段时光：与尹洙、梅尧臣、谢绛等文人诗酒唱和，游赏洛阳名园，留下了许多欢聚的记忆。此词即作于其洛阳时期或此后与洛阳友人离别之际，具体背景一说为送别友人（或即梅尧臣、尹洙之一）而作，一说为春日重游洛阳旧地、追忆当年游宴而作。上片写「把酒祝东风」「游遍芳丛」的当日欢聚，下片叹「聚散苦匆匆」「知与谁同」的今日离别，由欢入悲，由今忆昔。洛阳是北宋文人雅集的重要舞台，洛城东的紫陌芳丛、垂杨酒宴，是欧阳修青春岁月的象征；此词既写与友人的惜别，也暗含对逝去青春的追悼——人间的欢聚总是匆匆，花事年年更好，而同行之人却渐行渐远，这是欧阳修从洛阳时代的繁华走向宦海浮沉后，对人生聚散无常的深沉感悟，也是宋初小令由「花间尊前」走向「自抒性情」的过渡之作。
Art
The upper part's 'Raising a cup, I pray to the east wind; stay with me a while, at ease' addresses the east wind as a person, full of charm; 'Drooping willows, a violet path—east of Luoyang town' names the place, 'roaming through every thicket of flowers' writes the full delight. The lower part's 'Meeting and parting are bitterly hurried' speaks straight; 'this year's flowers outshine last year's red' sets the blossom's abundance against the man's scattering; 'But next year's blooms will be fairer still—who, I wonder, will be with me' turns further, from now to next year, writing sorrow in a happy scene, blending the farewell with the sigh of life's meetings and partings. The words seem plain yet the feeling lingers.
此词艺术之妙，在「以乐景写哀情」的章法与「语浅情深」的笔致。上片写欢聚：起句「把酒祝东风，且共从容」以拟人手法对东风致辞——举起酒杯，祝祷东风，且与我一同从容游赏。「祝」字把东风写成可与之共饮的朋友，饶有情趣；「从容」二字写流连之态，仿佛时光可以慢些走。次句「垂杨紫陌洛城东」点出地点：垂杨夹道、紫陌红尘的洛城之东，是当日携手游春之处；「总是当时携手处，游遍芳丛」写尽兴——这芳丛，总是当日携手同游的地方，我们曾游遍了每一处花丛。「总是」二字暗含追忆的怅惘：芳丛依旧是当年的芳丛，而携手的人已不再是当年的人了。下片陡转写离悲：「聚散苦匆匆，此恨无穷」直抒聚散之恨，以「匆匆」对「无穷」，苦字贯之；「今年花胜去年红」以乐景写哀——今年的花比去年更红，花事一年盛于一年，而人却一年少于一年；「可惜明年花更好，知与谁同」三句翻进：可叹明年的花会更好，却又知与谁一同赏玩？由今推明，由花及人，以花之愈盛写人之愈散，乐景哀情，对照鲜明。全词由欢入悲、由实入虚，语似平淡而情致悠长，正是欧词「深婉不迫」的本色。
Allusions
The lyric uses no obscure allusion. 'Raising a cup, I pray to the east wind' melts Sikong Tu's line 'At dusk I raise a cup to pray to the east wind: stay a while' into the lyric, made more flowing by the Master of Six One; 'violet path' means the road by the imperial capital's outskirts, from Tang poets like Li Bai; 'Luoyang town' is Luoyang. The whole lyric piles nothing, good at melting Tang lines into present speech, writing the sigh of meeting and parting in ordinary images—light words, deep feeling, most showing the 'deep and gentle, not pressing' manner of Ouyang's little lyrics.
此词用典极淡而点化精妙。「把酒祝东风」化用司空图《酒泉子》「黄昏把酒祝东风，且从容」成句——欧阳修将司空图原句点化为「且共从容」，添一「共」字，把东风从「被祝的对象」升华为「共游的伴侣」，拟人色彩更浓，流丽之气更胜，是典型的「点铁成金」；「垂杨紫陌」之「紫陌」指帝都郊野的道路，语出唐人诗（如刘禹锡「紫陌红尘拂面来」），写洛阳东郊的繁华道路，暗含京洛风物的贵气；「芳丛」即花丛，六朝以来诗文中常以「芳丛」写春日花事。全词的核心意象「花」更有深意：古人以「花」喻欢聚、喻青春、喻美好事物（如「年年岁岁花相似，岁岁年年人不同」），欧阳修以「今年花胜去年红」「明年花更好」的递进写花事之盛，反衬人事之衰，正是对这一母题的精妙运用。全词不事堆垛，善融唐人诗句为今语，以寻常意象写聚散之慨，淡语深情，最见欧公小令「深婉不迫」之风神，也是北宋词人「以诗为词」前夜，小令向诗学习语言技巧的生动例证。
Commentary
On this lyric the Song said 'the grace of Six One is seen here'. The modern Feng Xu said 'Ouyang Xiu's lyrics, with Yan Shu, come from the Southern Tang, yet are deeper and gentler'. This lyric melts Sikong Tu's line, adding a sway. The close 'who, I wonder, will be with me' leaves a long echo; the Ming critic Shen Jifei called it 'lingering without end', and Qing scholars praised it as 'most shallow, most plain, yet feeling is deep'.
此词历代评价极高，被视为欧阳修婉约小令的代表作。宋人以为「六一风流，于此可见」——把酒祝东风的情趣、游遍芳丛的尽兴、知与谁同的怅惘，正是六一居士风流蕴藉的人格写照。近人冯煦《蒿庵论词》谓「欧阳文忠词，与元献（晏殊）同出南唐，而深婉过之」——欧词承南唐冯延巳一脉，而于深婉之中更见清疏，此词正是明证。此词点化司空图诗句而自出新境，历来为词话家所称引，以为「化腐朽为神奇」的范例；「知与谁同」一结，明人沈际飞评其「悠悠不尽」，清人先著《词洁》称其「极浅极淡，而情自深」——以最平淡的语言写最深沉的情感，正是欧词高出流辈处。此词在文学史上的价值，在于它以小令之体完成了「聚散无常」母题的经典表达：以花事之盛衰写人事之聚散，由今年、明年的时间推衍，把一次具体的离别升华为对人生聚散的普遍感叹，其「以乐景写哀」的手法，上承《诗经》「昔我往矣，杨柳依依」的反衬传统，下启苏轼「人有悲欢离合，月有阴晴圆缺」的哲思，是中国词史上惜别词的经典之作。
Prosody
Line by line
把酒祝东风，且共从容
Raising a cup, I pray to the east wind: 'Stay with me a while, at ease.'
举起酒杯，祝祷东风，且一同从容流连。
Raising the cup, I toast the east wind: stay, and linger here with me.
起句以拟人手法对东风致辞，是全词情趣的所在。「把酒祝东风」——举起酒杯，祝祷东风：东风本是自然之物，词人却把它当作可以祝祷、可以对话的知己，「祝」字赋予东风以人格，也赋予了这场春日游宴以庄重与深情；「且共从容」——且与我一同从容流连，一个「共」字，把东风从被祝的对象升华为同游的伴侣，仿佛连春风都舍不得让时光匆匆。此句化用司空图《酒泉子》「黄昏把酒祝东风，且从容」而添一「共」字，拟人色彩更浓，情趣更胜。更深一层，「祝东风」实是祝春光——词人希望春光慢些走，希望欢聚慢些散，这「从容」的祈愿，正为下片「聚散苦匆匆」的悲叹埋下伏笔：越是祈愿从容，越是明白匆匆难留。
The opening personifies the east wind in address, the ci's charm's place. Raising the cup, I toast the east wind — raising the cup, toasting the east wind: the east wind by nature the natural thing, and the poet treating it as the toastable, conversing friend, the word toast personifying the east wind, and giving this spring outing feast the solemnity and the deep feeling; stay, and linger here with me — and with me linger on, the one word together, elevating the east wind from the toastee to the fellow roamer, as if even the spring wind cannot bear the time's haste. This line borrows Sikong Shu's the dusk holding the cup and toasting the east wind, and the lingering, adding the word together, the personification stronger, the charm the greater. The deeper layer, the toasting the east wind in truth the toasting the spring — the poet wishing the spring slower, the gathering slower to disperse, this lingering wish precisely storing the ground for the second stanza's meeting-and-parting-bitterly-haste sigh: the more the wishing-to-linger, the more the knowing the haste's non-keeping.
垂杨紫陌洛城东。总是当时携手处，游遍芳丛
By the drooping willows and the purple road, east of Luoyang: always the place where we walked hand in hand, roaming through every fragrant grove.
垂杨紫陌，洛城之东。那里总是当日携手之处，我们游遍了花丛。
The drooping willows and the purple road, east of Luoyang. Always the place where we once walked hand in hand, roaming through every fragrant grove.
此三句点地叙事，写尽当日欢聚之盛。「垂杨紫陌洛城东」写景：垂杨夹道、紫陌红尘的洛城之东，是春日的胜游之地——「垂杨」写柳色之新，「紫陌」写道路之华，七个字画出一幅京洛春游图；「总是当时携手处」转入追忆：这芳丛，总是当日携手同游的地方——「总是」二字既是实写（每一处都是旧游之地），也是虚写（处处都唤起旧游之忆），今昔在此叠合；「游遍芳丛」写尽兴——我们曾游遍了每一处花丛，一个「遍」字写尽情之酣畅与游之尽致。此三句的妙处在于「以欢写悲」：越是写游遍芳丛的尽兴，越反衬出今日「知与谁同」的孤独；「当时」二字轻轻一点，欢聚已成往事，为下片的离悲蓄足了势。
These three lines name the place and narrate, exhausting that day's gathering splendor. The drooping willows and the purple road, east of Luoyang writes the scene: the willow-lined, purple-road-dust east Luoyang, the spring's fair roaming place — the drooping willow's fresh green, the purple road's splendor, seven characters drawing a Luoyang spring-roaming picture; always the place where we once walked hand in hand turns to the memory: this fragrant grove, always the old hand-in-hand roaming place — the two words always, at once the fact (every place the old roaming ground) and the void (every place evoking the old roaming memory), the present and the past here fused; roaming through every fragrant grove writes the thoroughness — we once roamed through every flower grove, the one word through writing the joy's fullness and the roaming's thoroughness. The wonder of these three lines in writing grief through joy: the more the roaming-through-every-grove thoroughness, the more it sets off today's and-with-whom-the-same solitude; the two words that day lightly touching, the gathering already the past, storing the full force for the second stanza's parting grief.
聚散苦匆匆，此恨无穷
Meeting and parting, alas, too fleeting; this grief is without end.
聚散苦于太匆匆，此恨无穷。
Meeting and parting are bitter in their haste; this grief has no end.
此二句直抒聚散之恨，是全词情感由欢转悲的枢纽。「聚散苦匆匆」——人间聚散，苦在太匆匆：聚也匆匆，散也匆匆，欢聚的时光总是太短，离别的时刻总是太快，一个「苦」字写尽对这「匆匆」的无奈与怨怅；「此恨无穷」——这聚散之恨，没有穷尽：恨的不仅是今日之别，更是古往今来所有的离别，是人生聚散无常的普遍之恨。此二句的妙处在于「以小见大」：由一次具体的送别，上升到对人生聚散规律的感叹，「无穷」二字把个人之恨扩为普泛之恨，语短而意长。在章法上，此二句是上片「从容」「游遍」的猛然收束——前文越是写欢聚之从容，此处的「匆匆」越见沉重；越是写游遍之尽兴，此处的「无穷」越见深长，先扬后抑，对比鲜明，是欧词「深婉不迫」中见顿挫的典范。
These two lines directly utter the meeting-parting grief, the ci's emotional turn from joy to grief's hinge. Meeting and parting, alas, too fleeting — the human meeting and parting, the bitterness in the haste: the meeting hasty, the parting hasty, the gathering time always too short, the parting moment always too soon, the one word bitter exhausting the helplessness and the grievance at this haste; this grief is without end — this meeting-parting grief, without end: the grief not only of today's parting, but of all the partings through the ages, the universal grief of life's meeting-parting inconstancy. The wonder of these two lines in the small-seen-as-great: from one concrete seeing-off, rising to the sigh at the universal law of meeting and parting, the two words without end expanding the personal grief to the universal, the words short and the meaning long. In craft, these two lines are the first stanza's lingering and roaming-through's sudden close — the above the more the lingering gathering, here the haste the heavier; the more the roaming's thoroughness, here the without-end the deeper, the rise and the fall, the contrast sharp, the model of Ouyang's deep-grace-without-pressure pause.
今年花胜去年红
This year's flowers outshine last year's red.
今年的花比去年的更红。
This year's flowers are redder than last year's.
此句以乐景写哀，是全词章法最精妙处。「今年花胜去年红」——今年的花，比去年开得更红：花事一年盛于一年，春光一年好于一年，这是客观的写景，也是乐景的极写。然而此句的深意在于「以花之盛反衬人之衰」：花是年年更红，人却年年更散——去年赏花的人，今年已有人离去；今年的花开得更盛，赏花的人却更少。花之愈盛，愈衬出聚之愈难、人之愈稀，乐景之中，哀情自见。此句还是全词时间结构的关键：由「去年」（暗含）到「今年」再到下句的「明年」，三年的时间链条由此展开，聚散之恨在时间的推移中被层层放大。若单看此句，只是寻常春景；置于全词之中，则是「以乐景写哀情」的点睛之笔，与下句「可惜明年花更好」构成递进，把惜别之情推向高潮。
This line writes grief through delighted scene, the ci's most exquisite craft. This year's flowers are redder than last year's — this year's flowers, redder than last: the flower bloom year on year, the spring year on year, this the objective scene, and the delighted scene's extreme. And this line's deep meaning in the flower's lushness setting off the man's decline: the flower redder year on year, and the man more scattered year on year — last year's flower watchers, this year some gone; this year's flowers bloom lusher, and the flower watchers fewer. The lusher the flower, the more it sets off the harder the meeting and the fewer the men, the delighted scene and the grief self-seen. This line is also the ci's time structure's key: from last year (implicit) to this year to the below's next year, the three-year time chain hence unfolding, the meeting-parting grief layer on layer amplified in the time's turning. If this line alone, the ordinary spring scene; placed in the whole ci, precisely the telling stroke of writing grief through delighted scene, with the below's what-a-pity-next-year's-flowers-even-fairer forming the progression, pushing the parting feeling to the peak.
可惜明年花更好，知与谁同
But next year's blooms will be fairer still—who, I wonder, will be with me?
可惜明年的花会更好，又知与谁同赏？
What a pity next year's flowers will be even fairer; and with whom shall I enjoy them?
结句三句翻进，是全词情感的最高潮。「可惜明年花更好」——可叹明年的花会更好：由今年推及明年，花事将一年盛于一年，这本是可喜之事，却以「可惜」冠之——花越好，越可惜，因为「知与谁同」：又知与谁一同赏玩呢？此句的妙处有三：一是「以喜写悲」——花之愈好本是喜事，却因无人同赏而成憾事，乐景哀情，反差强烈；二是「由今推明」——不写今日之散，而写明年之孤，把离别的悲哀延伸到未来，余恨绵长；三是「设问收束」——「知与谁同」以问句作结，不答而答：无人同赏，唯有独对。此句化用「年年岁岁花相似，岁岁年年人不同」的母题而更进一层：花不仅相似，而且更好；人不仅不同，而且更少。以问收束，余韵悠然，正是「悠悠不尽」的深婉之境。
The close three lines turn in further, the ci's emotional highest tide. What a pity next year's flowers will be even fairer — the sigh that next year's flowers will be fairer: from this year to next, the flower bloom year on year, by nature the welcome thing, and yet crowned by the what a pity — the fairer the flower, the more the pity, because and with whom shall I enjoy them? The wonder of this line threefold: first, writing grief through joy — the flower's fairness by nature the joy, and yet the no fellow-admiring turning it to regret, the delighted scene and the grief, the contrast sharp; second, from the present to next — not writing today's parting, but next year's solitude, extending the parting grief to the future, the after-grief long; third, closing in the question — and with whom shall I enjoy them? closing in the question, the answer within the non-answer: no fellow watcher, only the lone facing. This line borrows the year-after-year-the-flowers-are-alike, year-after-year-the-men-are-different motif and yet one layer further: the flowers not only alike, but fairer; the men not only different, but fewer. Closing in the question, the aftertone leisurely, precisely the endless deep-grace realm.
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Both by Ouyang Xiu: one writes the traveller's parting sorrow, one a Luoyang farewell—both deep and gentle.
《踏莎行·候馆梅残》「候馆梅残，溪桥柳细，草薰风暖摇征辔……平芜尽处是春山，行人更在春山外」与《浪淘沙·把酒祝东风》同为欧阳修的婉约离愁名篇，而视角与笔致有别。《踏莎行》从游子角度写离愁：候馆梅残、溪桥柳细，写行旅途中的春色，终以「行人更在春山外」的递进写相思之远，笔致空灵，以「春山外」的想象写无尽之愁；《浪淘沙》从送别角度写聚散：把酒祝东风、游遍芳丛，写洛城欢聚的春色，终以「知与谁同」的设问写聚散之恨，笔致深婉，以「明年花更好」的推衍写无穷之恨。两词一写「离」之远、一写「聚」之短，同出欧公之手而各臻其妙，并读可见六一居士于婉约词的全面造诣，也可看到宋初小令写离愁的两种经典模式。
玉楼春·尊前拟把归期说 Jade Tower Spring · Before the Cup I Mean to Name the Date of Return 欧阳修 · 同出欧公写离情之作，可参看其小令情致 Same (author / parting feeling)Both write parting feeling; compare Ouyang's little-lyric charm.
《玉楼春·尊前拟把归期说》「尊前拟把归期说，未语春容先惨咽……人生自是有情痴，此恨不关风与月」与《浪淘沙·把酒祝东风》同为欧阳修写离情的名篇，而一深婉一警策，可见欧词的两副笔墨。《玉楼春》写送别宴上的「未语先咽」，以「人生自是有情痴，此恨不关风与月」的议论写情之本质，语含哲理，警策动人，是欧词「深婉中有豪放」的代表；《浪淘沙》写春日游宴后的聚散之叹，以「今年花胜去年红」「知与谁同」的对比写情之推移，语极平淡，深婉不迫。一以议论写情（情痴与风月无关），一以景物写情（花好人散），同为离情而取径不同，并读可见欧阳修小令情致的多样性与丰富性，也可把握宋初词由「应歌」向「言志」过渡的轨迹。
御街行·秋日怀旧 Walking the Imperial Street · Autumn Day Recalling the Past 范仲淹 · 同属宋初婉约小令写聚散之慨，可比较其异同 Same (Song / graceful / parting and recalling)Both early-Song graceful little lyrics writing the sigh of meeting and parting—compare.
范仲淹《御街行·秋日怀旧》「纷纷坠叶飘香砌，夜寂静，寒声碎……酒入愁肠，化作相思泪」与《浪淘沙·把酒祝东风》同属宋初婉约小令，同写怀人聚散之慨，而季节情调各异。范词写秋日怀旧：纷纷坠叶、夜静寒声，以秋声写相思之碎，终以「酒入愁肠，化作相思泪」直写愁情，凄清悲凉；欧词写春日惜别：垂杨紫陌、芳丛花红，以春色写聚散之叹，终以「知与谁同」设问收束，深婉悠长。一秋一春、一碎一圆、一直写一含蓄，可见宋初婉约词在范、欧笔下的不同风貌：范词以「愁肠泪」见其刚直中的凄楚，欧词以「祝东风」见其风流中的深婉。两词并读，正是理解宋初小令由南唐余韵走向北宋新声的关键对照。