宋 Song · 词 Ci lyric
永遇乐
The Joy of the Eternal Encounter
璧月初晴，黛云远澹，春事谁主。
禁苑娇寒，湖堤倦暖，前度遽如许。
香尘暗陌，华灯明昼，长是懒携手去。
谁知道，断烟禁夜，满城似愁风雨。
宣和旧日，临安南渡，芳景犹自如故。
缃帙流离，风鬟三五，能赋词最苦。
江南无路，鄜州今夜，此苦又谁知否。
空相对，残釭无寐，满村社鼓。
The black clouds, far, the pale,
The spring matters, who, the master.
The forbidden gardens, delicate and cold,
The lake dykes, weary and warm,
The former degrees, sudden, like this.
The fragrant dust, darkening the roads,
The bright lanterns, lighting the day,
Always, too lazy, the hand in hand, going.
Who knows,
The broken smoke, the forbidden nights,
The whole city, seeming, the sorrowful wind and rain.
The Xuanhe, the former days,
The Lin'an, the crossing to the south,
The fragrant scenes, still, from themselves, as before.
The yellowing scrolls, drifting and scattering,
The hair in the wind, the fifteenth,
Able to compose the ci, the most bitter.
The south of the river, without the road,
The Fuzhou, this night,
This bitterness, again, who knows, or not.
In vain, facing each other,
The remaining lamp, without the sleep,
The full village, the drums of the society.
Meaning
A lyric of the festival and the grief, written by Liu Chenweng. The jade disc of the moon with the spring matters who the master, the forbidden gardens delicate with the lake dykes weary, and the former degrees sudden like this — the festival of the opening. The fragrant dust darkening the roads with the bright lanterns lighting the day, and the broken smoke with the forbidden nights, the whole city seeming the sorrowful wind and rain — the lanterns and the forbidden nights. The Xuanhe former days with the Lin'an crossing to the south, the yellowing scrolls drifting with the hair in the wind, able to compose the ci the most bitter — the former days and the bitterness. The south of the river without the road with the Fuzhou this night, and the close's in vain facing each other, the remaining lamp without the sleep, the full village the drums of the society — the close's sleepless night. The lyric is the festival and the grief: the festival of the opening, the bitterness of the former days, and the close's remaining lamp.
璧月初晴，黛云远澹，春事谁主。禁苑娇寒，湖堤倦暖，前度遽如许。香尘暗陌，华灯明昼，长是懒携手去。谁知道，断烟禁夜，满城似愁风雨。宣和旧日，临安南渡，芳景犹自如故。缃帙流离，风鬟三五，能赋词最苦。江南无路，鄜州今夜，此苦又谁知否。空相对，残釭无寐，满村社鼓。
Appreciation
[Plain Paraphrase] The jade disc of the moon, the clear of the first, the black clouds, far, the pale, the spring matters, who, the master. The forbidden gardens, delicate and cold, the lake dykes, weary and warm, the former degrees, sudden, like this. The fragrant dust, darkening the roads, the bright lanterns, lighting the day, always, too lazy, the hand in hand, going. Who knows, the broken smoke, the forbidden nights, the whole city, seeming, the sorrowful wind and rain. The Xuanhe, the former days, the Lin'an, the crossing to the south, the fragrant scenes, still, from themselves, as before. The yellowing scrolls, drifting and scattering, the hair in the wind, the fifteenth, able to compose the ci, the most bitter. The south of the river, without the road, the Fuzhou, this night, this bitterness, again, who knows, or not. In vain, facing each other, the remaining lamp, without the sleep, the full village, the drums of the society. [Structure and Thought] The lyric moves from the festival of the moon and the lanterns, through the forbidden nights and the former days of the Xuanhe, and the bitterness of the south of the river, to the close's remaining lamp without the sleep and the drums of the village. [Key Technique] The lyric's art is the grief of the festival: the festival of the opening with the sorrowful wind and rain, and the close's remaining lamp without the sleep — the grief gathered in the festival and the close's sleepless night. [Emotional Tone] Sorrowful, nostalgic, and bitter: the lyric is the festival, the former days and the close's remaining lamp.
【白话串讲】 刘辰翁写《永遇乐》：“璧月初晴，黛云远澹，春事谁主”——“禁苑娇寒，湖堤倦暖，前度遽如许”——“香尘暗陌，华灯明昼，长是懒携手去”——“宣和旧日，临安南渡，芳景犹自如故”——他写元宵与故国——满城似愁风雨。 【意象与手法】 “璧月初晴，黛云远澹，春事谁主”写璧月初晴；“禁苑娇寒，湖堤倦暖，前度遽如许”写前度遽如许；“香尘暗陌，华灯明昼，长是懒携手去”写懒携手去；“宣和旧日，临安南渡，芳景犹自如故”忆宣和旧日；结以“空相对，残釭无寐，满村社鼓”写满村社鼓。含蓄深婉。 【情感与主旨】 刘辰翁写元夕怀旧之作，写元宵灯夜之景与宣和旧日之忆，于今昔对照中寄寓故国之思，是刘辰翁词中追怀故国的代表。 【名句点睛】 常考“璧月初晴，黛云远澹，春事谁主”以璧月初晴写元夜；“宣和旧日，临安南渡，芳景犹自如故”忆宣和旧日。
Background
Liu Chenweng (1232–1297), the poet of the late Song, wrote this 'The Joy of the Eternal Encounter' of the festival and the grief — the memory of the fall of the Song. The festival of the moon and the lanterns with the spring matters, the forbidden nights with the sorrowful wind and rain, the former days of the Xuanhe with the crossing to the south, and the close's remaining lamp without the sleep with the drums of the village — the lyric gathers the grief of the lost country, the memory of the festival. The lyric is one of the famous works of the poet's lyrics of the grief.
《永遇乐》为宋末元初词人刘辰翁所作词。刘辰翁（1232—1297），字会孟，号须溪，庐陵（今江西吉安）人，宋末词人，词多故国之思。此词写元夕怀旧，为元夕词。词中「璧月初晴，黛云远澹，春事谁主」写璧月初晴；「禁苑娇寒，湖堤倦暖，前度遽如许」写前度遽如许；「香尘暗陌，华灯明昼，长是懒携手去」写懒携手去；「谁知道，断烟禁夜，满城似愁风雨」写断烟禁夜；「宣和旧日，临安南渡，芳景犹自如故」写宣和旧日；「缃帙流离，风鬟三五，能赋词最苦」写风鬟三五；「江南无路，鄜州今夜，此苦又谁知否」写鄜州今夜；「空相对，残釭无寐，满村社鼓」写满村社鼓。刘辰翁此词以元夕怀旧、满村社鼓写其故国之思，含蓄深婉，是刘辰翁词中的名篇。此篇《永遇乐》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 art is the art of the festival grief. The festival opens: the jade disc of the moon, the clear of the first — the moon of the festival; the black clouds, far, the pale — the pale clouds; the spring matters, who, the master — the spring matters; the forbidden gardens, delicate and cold — the cold gardens; the lake dykes, weary and warm — the weary dykes; the former degrees, sudden, like this — the former degrees. The festival follows: the fragrant dust, darkening the roads — the darkening of the roads; the bright lanterns, lighting the day — the lanterns lighting the day; always, too lazy, the hand in hand, going — the lazy going; who knows, the broken smoke, the forbidden nights — the forbidden nights; the whole city, seeming, the sorrowful wind and rain — the sorrowful wind and rain. The memory: the Xuanhe, the former days — the days of the Xuanhe; the Lin'an, the crossing to the south — the crossing to the south; the fragrant scenes, still, from themselves, as before — the scenes as before; the yellowing scrolls, drifting and scattering — the drifting scrolls; the hair in the wind, the fifteenth — the fifteenth of the hair; able to compose the ci, the most bitter — the ci the most bitter. The bitterness: the south of the river, without the road — the without the road of the south; the Fuzhou, this night — the night of the Fuzhou; this bitterness, again, who knows, or not — the bitterness not known. And the close gathers the night: in vain, facing each other — the remaining lamp, without the sleep — the full village, the drums of the society — the drums of the close — the festival, the memory and the close's remaining lamp, gathered in the lyric.
此词艺术上以「含蓄深婉、以典写情」见长。全词上片写璧月初晴与断烟禁夜，下片写宣和旧日与满村社鼓。上片「璧月初晴，黛云远澹，春事谁主」写璧月初晴：璧月初晴，黛云远澹，春事谁主；「禁苑娇寒，湖堤倦暖，前度遽如许」写前度遽如许：禁苑娇寒，湖堤倦暖，前度遽如许；「香尘暗陌，华灯明昼，长是懒携手去」写懒携手去：香尘暗陌，华灯明昼，长是懒携手去；「谁知道，断烟禁夜，满城似愁风雨」写断烟禁夜：谁知道，断烟禁夜，满城似愁风雨。下片「宣和旧日，临安南渡，芳景犹自如故」写宣和旧日：宣和旧日，临安南渡，芳景犹自如故；「缃帙流离，风鬟三五，能赋词最苦」写风鬟三五：缃帙流离，风鬟三五，能赋词最苦；「江南无路，鄜州今夜，此苦又谁知否」写鄜州今夜：江南无路，鄜州今夜，此苦又谁知否；「空相对，残釭无寐，满村社鼓」写满村社鼓：空相对，残釭无寐，满村社鼓。全词含蓄深婉，以典写情，是刘辰翁词中的名篇。
Allusions
'The jade disc' (bi yue) is the jade disc — the disc of the moon, the moon of the festival; 'the Xuanhe' (Xuanhe) is the Xuanhe — the era of the Xuanhe, the former days; 'the Lin'an' (Lin'an) is the Lin'an — the capital of the south, the crossing to the south; 'the Fuzhou' (Fuzhou) is the Fuzhou — the Fuzhou of Du Fu's poem, the night of the separation; 'the drums of the society' (she gu) are the drums of the society — the drums of the village festival.
词中「璧月初晴」「黛云远澹」「春事谁主」「禁苑娇寒」「湖堤倦暖」「前度遽如许」「香尘暗陌」「华灯明昼」「长是懒携手去」「谁知道断烟禁夜满城似愁风雨」「宣和旧日临安南渡芳景犹自如故」「缃帙流离风鬟三五能赋词最苦」「江南无路鄜州今夜此苦又谁知否」「空相对残釭无寐满村社鼓」等语，皆含典故故实。「璧月初晴」写璧月初晴；「黛云远澹」写黛云远澹；「春事谁主」写春事谁主；「禁苑娇寒」写禁苑娇寒；「湖堤倦暖」写湖堤倦暖；「前度遽如许」写前度遽如许；「香尘暗陌」写香尘暗陌；「华灯明昼」写华灯明昼；「长是懒携手去」写长是懒携手去；「谁知道断烟禁夜满城似愁风雨」写谁知道断烟禁夜满城似愁风雨（禁夜写元夕禁夜）；「宣和旧日临安南渡芳景犹自如故」写宣和旧日临安南渡芳景犹自如故；「缃帙流离风鬟三五能赋词最苦」写缃帙流离风鬟三五能赋词最苦（风鬟用李清照风鬟雾鬓之意，三五为十五元夕）；「江南无路鄜州今夜此苦又谁知否」用杜甫「鄜州」之典（杜甫《月夜》今夜鄜州月），写江南无路鄜州今夜；「空相对残釭无寐满村社鼓」写空相对残釭无寐满村社鼓。词人以李清照风鬟、杜甫鄜州月等典入词，不着痕迹，而把元夕怀旧之情写得真切可感，是善于熔铸典故的体现。
Commentary
This lyric is one of the famous works of Liu Chenweng's lyrics of the grief, quoted for the contrast of its festival and the bitterness of its memory. The festival of the opening, and the remaining lamp without the sleep, are among the admired passages of the poet's lyrics. Critics praise the lyric's grief: the lost country gathered in the festival, to the close's sleepless night.
这首《永遇乐》，是刘辰翁写元夕怀旧之作，写璧月初晴、宣和旧日、满村社鼓之情，含蓄深婉。上片写璧月初晴与断烟禁夜：「璧月初晴，黛云远澹，春事谁主」——璧月初晴，黛云远澹，春事谁主。写璧月初晴：璧月初晴、黛云远澹，春事谁主——璧月初晴、黛云远澹、春事谁主；「禁苑娇寒，湖堤倦暖，前度遽如许」——禁苑娇寒，湖堤倦暖，前度遽如许。写前度遽如许：禁苑娇寒、湖堤倦暖，前度遽如许——禁苑娇寒、湖堤倦暖、前度遽如许；「香尘暗陌，华灯明昼，长是懒携手去」——香尘暗陌，华灯明昼，长是懒携手去。写懒携手去：香尘暗陌、华灯明昼，长是懒携手去——香尘暗陌、华灯明昼、懒携手去；「谁知道，断烟禁夜，满城似愁风雨」——谁知道，断烟禁夜，满城似愁风雨。写断烟禁夜：谁知道断烟禁夜、满城似愁风雨——断烟禁夜、满城似愁风雨。下片写宣和旧日与满村社鼓：「宣和旧日，临安南渡，芳景犹自如故」——宣和旧日，临安南渡，芳景犹自如故。写宣和旧日：宣和旧日、临安南渡，芳景犹自如故——宣和旧日、临安南渡、芳景如故；「缃帙流离，风鬟三五，能赋词最苦」——缃帙流离，风鬟三五（用李清照风鬟之意），能赋词最苦。写风鬟三五：缃帙流离、风鬟三五，能赋词最苦——缃帙流离、风鬟三五、能赋词最苦；「江南无路，鄜州今夜，此苦又谁知否」——江南无路，鄜州今夜（用杜甫鄜州月之典），此苦又谁知否。写鄜州今夜：江南无路、鄜州今夜，此苦又谁知否——江南无路、鄜州今夜、此苦谁知；「空相对，残釭无寐，满村社鼓」——空相对，残釭无寐，满村社鼓。写满村社鼓：空相对残釭无寐、满村社鼓——残釭无寐、满村社鼓。这「空相对，残釭无寐，满村社鼓」，是全词之结：以满村社鼓写其故国之思。全词含蓄深婉，以典写情，正是刘辰翁词中的名篇。
Prosody
Line by line
璧月初晴，黛云远澹，春事谁主。
The jade disc of the moon, the clear of the first, the black clouds, far, the pale, the spring matters, who, the master.
璧月初晴，黛云远澹，春事谁主。
The disk moon in the new-cleared sky, dark clouds fading in the distance — who now rules the spring?
首三句写璧月初晴，起笔即见其节。「璧月初晴」写璧月初晴，「璧月」写如璧之月、「初晴」写初晴；「黛云远澹」写黛云远澹，「黛云」写黛色之云、「远澹」写远淡；「春事谁主」写春事谁主，「春事」写春事、「谁主」写谁为主。三句一写璧月初晴、一写黛云远澹、一写春事谁主，以璧月初晴写月晴、以黛云远澹写云淡、以春事谁主写春事之问，写尽璧月初晴、黛云远澹、春事谁主之情。以节起兴，含蓄而清丽，是「以节起兴」的妙笔。
The opening three lines write the disk moon in the new-cleared sky, the first stroke at once seeing the season. The disk-moon-in-the-new-cleared-sky writing the jade-like moon and the first clearing; the dark-clouds-fading-in-the-distance writing the dark clouds and the distant paleness; who-now-rules-the-spring writing the spring affairs and the question. Three lines one writing the moon's clearing, one the clouds' fading, one the spring's question, using the moon for the cleared light, the clouds for the faintness, and the spring's no-ruler for the season's uncertainty, exhausting the moon's clearing, the clouds' fading, and the spring's question. Using the season's uprising, reserved and fresh, the season-uprising wondrous brush.
前度遽如许。
And the former days have come to this, so suddenly.
前度遽如许。
The former time has so suddenly come to this.
此句写前度遽如许，是全词写今昔之感的关键。「前度遽如许」写前度遽如许，「前度」写前一次、「遽如许」写忽然如此。一句以「前度」写前次、「遽如许」写忽然如此，写尽前度遽如许之情——前度之景忽然已变。以慨写昔，含蓄而深挚，是「以慨写昔」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。
This line writes the former-time's-sudden-change, the whole ci's past-present feeling key. The former-days-have-so-suddenly-come-to-this writing the former time and the suddenness. One line using the former time for the bygone and the suddenly-come-to-this for the abrupt change, exhausting the former scene's sudden transformation. Using the sigh for the bygone-writing, reserved and deep, the sigh-writes-bygone telling stroke.
谁知道，断烟禁夜，满城似愁风雨。
Who could have known: fires forbidden, nights locked down, the whole city grief-stricken as in wind and rain.
谁知道，断烟禁夜，满城似愁风雨。
Who could have known: fires cut off, nights curfewed, the whole city grief-bound as in wind and rain.
此三句写断烟禁夜，是全词写今昔之变的关键。「谁知道」写谁知道，「谁知」写谁料到、「道」写道；「断烟禁夜」写断烟禁夜，「断烟」写断烟、「禁夜」写禁夜；「满城似愁风雨」写满城似愁风雨，「满城」写满城、「似愁风雨」写如愁风雨。三句一写谁知道、一写断烟禁夜、一写满城似愁风雨，以谁知道写无人料到、以断烟禁夜写禁夜、以满城似愁风雨写满城含愁，写尽谁知道断烟禁夜、满城似愁风雨之情。以变写悲，含蓄而深挚，是「以变写悲」的点睛之笔。
These three lines write the fires-cut-off-nights-locked-down, the whole ci's past-present-change key. The who-could-have-known writing the no-one's foreseeing; the fires-cut-off-nights-curfewed writing the forbidden fires and the locked nights; the-whole-city-grief-bound-as-in-wind-and-rain writing the whole city and the grief. Three lines one writing the no-one's-foreseeing, one the forbidden-night, one the grief-bound city, using the who-could-have-known for the unforeseen, the forbidden-night for the lockdown, and the grief-bound city for the city's sorrow, exhausting the forbidden nights and the grief-bound city. Using the change for the grief-writing, reserved and deep, the change-writes-grief telling stroke.
宣和旧日，临安南渡，芳景犹自如故。
The Xuanhe, the former days, the Lin'an, the crossing to the south, the fragrant scenes, still, from themselves, as before.
宣和旧日，临安南渡，芳景犹自如故。
The old Xuanhe days, the southward crossing to Lin'an — the fair scenes are still as before.
此三句写宣和旧日，是全词写故国之思的关键。「宣和旧日」写宣和旧日，「宣和」写宣和年间、「旧日」写旧日；「临安南渡」写临安南渡，「临安」写临安、「南渡」写南渡；「芳景犹自如故」写芳景犹自如故，「芳景」写芳景、「犹自如故」写还如故。三句一写宣和旧日、一写临安南渡、一写芳景犹自如故，以宣和旧日写旧日、以临安南渡写南渡、以芳景犹自如故写芳景如故，写尽宣和旧日、临安南渡、芳景犹自如故之情。以故写思，含蓄而深挚，是「以故写思」的点睛之笔。
These three lines write the Xuanhe old days, the whole ci's old-country longing key. The old-Xuanhe-days writing the Xuanhe era and the bygone; the southward-crossing-to-Lin-an writing Lin'an and the crossing; the-fair-scenes-are-still-as-before writing the fair scenes and the unchanged. Three lines one writing the old days, one the southward crossing, one the unchanged scenes, using the Xuanhe old days for the bygone, the southward crossing for the flight, and the unchanged fair scenes for the scene's persistence, exhausting the Xuanhe days, the Lin'an crossing, and the unchanged scenes. Using the old for the longing-writing, reserved and deep, the old-writes-longing telling stroke.
空相对，残釭无寐，满村社鼓。
In vain, facing each other, the remaining lamp, without the sleep, the full village, the drums of the society.
空相对，残釭无寐，满村社鼓。
We face each other in vain, sleepless by the dying lamp; the village resounds with the sacrifice drums.
尾三句写满村社鼓，是全词立意的落点。「空相对」写空相对，「空」写空自、「相对」写相对；「残釭无寐」写残釭无寐，「残釭」写残灯、「无寐」写无眠；「满村社鼓」写满村社鼓，「满村」写满村、「社鼓」写社日之鼓。三句一写空相对、一写残釭无寐、一写满村社鼓，以空相对写相对无言、以残釭无寐写灯残无眠、以满村社鼓写村中鼓声，写尽空相对、残釭无寐、满村社鼓之情。以鼓写悲，含蓄而深挚，是全词最动人处，也是「以鼓写悲」的点睛之笔。
The closing three lines write the village's sacrifice drums, the whole ci's intention landing. The-we-face-each-other-in-vain writing the vain facing and the silence; sleepless-by-the-dying-lamp writing the dying lamp and the no-sleep; the-village-resounds-with-the-sacrifice-drums writing the whole village and the sacrifice drums. Three lines one writing the vain facing, one the sleepless lamp, one the village drums, using the vain facing for the speechless facing, the dying lamp for the lamp's fading and no sleep, and the village drums for the village's drum sound, exhausting the facing, the sleepless lamp, and the drums. Using the drums for the grief-writing, reserved and deep, the whole ci's most moving place, the drums-write-grief telling stroke.
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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」，写春逝之无可奈何，是宋词写惜时的名篇；刘辰翁《永遇乐》则以「谁知道，断烟禁夜，满城似愁风雨」「宣和旧日，临安南渡，芳景犹自如故」写断烟禁夜、芳景如故。两词同写元夕怀旧、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写芳景犹自如故、以芳景写今昔；一为晏殊之温润、一为刘辰翁之沉郁，并读正可见宋词写「节令无可奈何」的两种笔法，皆于节令之中见无可奈何。
虞美人·春花秋月何时了 The Beautiful Lady Yu: When Will Spring Flowers and Autumn Moon End? 李煜 · 同写故国之思、此苦谁知，一写故国不堪回首月明中、一写此苦又谁知否，皆于故国之中见此苦谁知 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
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、此苦谁知，是写愁的千古名篇；刘辰翁《永遇乐》则以「江南无路，鄜州今夜，此苦又谁知否」「空相对，残釭无寐，满村社鼓」写鄜州今夜、此苦谁知。两词同写故国之思、此苦谁知：一写故国不堪回首月明中、以明月写故国之思，一写此苦又谁知否、以社鼓写其苦；一为帝王之血泪、一为刘辰翁之沉郁，并读正可见词写「故国此苦」的两种情致，皆于故国之中见此苦谁知。