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宋 Song · 词 Ci lyric

鹧鸪天·代人赋

Partridge in the Sky: Written in Place of Another

辛弃疾

Xin Qiji

爱情Love 愁思sorrow

晚日寒鸦一片愁。
柳塘新绿却温柔。
若教眼底无离恨，不信人间有白头。
肠已断，泪难收。
相思重上小红楼。
情知已被山遮断，频倚阑干不自由。

The cold crows of the evening sun, one piece, the sorrow.
The willow pond, the new green, yet, tender and soft.
If, teaching, the eyes, below, no, the parting grief,
Not believing, the human world, having, the white heads.
The bowels, already, broken, the tears, hard, to hold.
The mutual longing, again, ascending, the small red tower.
Knowing, clearly, already, by the mountains, cut off, hidden,
Frequently, leaning, the railings, not, free, the self.

Listen

Meaning

A lyric of the parting and the longing, written by Xin Qiji. The cold crows of the evening sun with the sorrow, the willow pond with the new green yet tender — the scene of the opening. If teaching the eyes below no parting grief, not believing the human world having the white heads — the parting grief of the belief. The bowels already broken with the tears hard to hold, the mutual longing again ascending the small red tower — the longing of the tower. And the close's knowing clearly already by the mountains cut off hidden, frequently leaning the railings not free the self — the close's leaning. The lyric is the parting and the longing: the cold crows, the white heads, and the close's leaning the railings.

夕阳晚照，寒鸦归飞，眼前一片愁绪；柳塘边的新柳却一片嫩绿，温柔多情。倘若眼前没有离愁别恨，我就不相信人间会有白头。柔肠已断，眼泪难收；怀着相思，又一次登上小红楼。明明知道视线已被远山遮断，却还是身不由己地一次次倚着阑干眺望。

Appreciation

[Plain Paraphrase] The cold crows of the evening sun, one piece, the sorrow. The willow pond, the new green, yet, tender and soft. If, teaching, the eyes, below, no, the parting grief, not believing, the human world, having, the white heads. The bowels, already, broken, the tears, hard, to hold. The mutual longing, again, ascending, the small red tower. Knowing, clearly, already, by the mountains, cut off, hidden, frequently, leaning, the railings, not, free, the self. [Structure and Thought] The lyric moves from the cold crows and the tender willows, through the white heads and the tears, and the mutual longing ascending the tower, to the close's mountains cutting off the hidden, the frequent leaning of the railings. [Key Technique] The lyric's art is the close of the leaning: the mountains cut off hidden of the close, and the frequent leaning of the railings — the longing gathered in the hidden and the close's leaning. [Emotional Tone] Sorrowful, deep, and longing: the lyric is the parting grief, the tower and the close's railings.

【白话串讲】辛弃疾写鹧鸪天代人赋：“晚日寒鸦一片愁。柳塘新绿却温柔”。“若教眼底无离恨，不信人间有白头”——“肠已断，泪难收。相思重上小红楼”——“情知已被山遮断，频倚阑干不自由”——他写离别。【意象与手法】以景起兴（晚日寒鸦），以乐景衬哀（柳塘新绿却温柔）；「若教……不信……」的假设句法翻出新意，无理而妙。过片三字短句「肠已断，泪难收」顿挫直抒；结以「频倚阑干不自由」，以态写情，将痴情写到极处。【情感与主旨】代闺中思妇抒写离愁别恨：相思之深足以催人白头，明知无望仍倚阑眺望。稼轩于豪放之外，此词以婉约之笔写尽痴情，亦或寄寓自身志不得伸的孤愤。【名句点睛】「若教眼底无离恨，不信人间有白头」为千古名句：以假设立论，将离恨与白头结为因果，无理而妙，把一己离愁升华为人间普遍经验。

Background

Xin Qiji (1140–1207), the great patriotic poet of the Song, wrote this 'Partridge in the Sky: Written in Place of Another' of the parting and the longing — the sorrow of the separation. The cold crows with the tender willows, the white heads with the broken bowels, and the close's mountains cutting off the hidden, the frequent leaning of the railings — the lyric gathers the sorrow of the parting, the deep longing. The lyric is one of the famous works of the poet's lyrics of the parting.

辛弃疾（1140—1207），字幼安，号稼轩，历城（今山东济南）人，南宋豪放词宗。此词题为「代人赋」，是代闺中思妇抒写离愁别恨之作。辛弃疾生长于金人统治下的北方，青年时率众南归，本欲北伐中原、恢复故土，然南归后却长期被朝廷投闲置散，屡遭排挤，壮志难酬。此词虽代他人立言，然稼轩一生「一饭不忘君」、忧时念乱之心，往往于代人言情中隐然可见——写思妇之离恨，亦未尝不是写志士之孤愤。具体作年已不可确考，一般认为作于辛弃疾南归后长期闲居带湖（今江西上饶）一带的时期，或即其闲居词中之婉约一脉。全词以「愁」字起、以「不自由」结，上片写景抒情，下片写登楼倚阑之态，将离愁写得缠绵深至，与稼轩豪放词风迥异，可见其「能刚能柔」的大家风范。李清照之后，辛弃疾此作是宋代「代人赋」闺情词中极见功力的一篇。全词篇幅虽短，而写景、说理、叙事、言情兼备，愁情一线贯穿，是稼轩婉约词中不可多得的名篇，亦为词史「代人赋」一体之翘楚。

Art

The lyric's art is the art of the parting longing. The scene opens: the cold crows of the evening sun, one piece, the sorrow — the cold crows of the sorrow; the willow pond, the new green, yet, tender and soft — the tender willows of the pond. The belief follows: if, teaching, the eyes, below, no, the parting grief — the no parting grief of the eyes; not believing, the human world, having, the white heads — the white heads of the world; the bowels, already, broken, the tears, hard, to hold — the broken bowels; the mutual longing, again, ascending, the small red tower — the ascending of the small red tower. And the close gathers the leaning: knowing, clearly, already, by the mountains, cut off, hidden — the hidden of the mountains; frequently, leaning, the railings, not, free, the self — the leaning of the railings — the scene, the longing and the close's leaning, gathered in the lyric.

此词之妙，在以景起情、以理翻情、以态写情，层层深入。起拍「晚日寒鸦一片愁」以景起兴：夕阳西下、寒鸦归飞，正是日暮思归之时，而「一片愁」三字直点词眼，情由景生。次句「柳塘新绿却温柔」陡转：柳塘新绿，春意温柔，以乐景衬哀情——春色愈温柔，愈见离人之孤独，且「却」字一转，写出愁人对春景的敏感与拒斥。过片前「若教眼底无离恨，不信人间有白头」以假设句翻出新意：若不亲历离恨，便不会相信人间真有白头——将离恨与白头结为因果，无理而妙，是千古名句。下片转入动作与情态：「肠已断，泪难收」以三字短句顿挫直抒，语急情促；「相思重上小红楼」之「重」字，写相思之反复无已；「情知已被山遮断，频倚阑干不自由」以明知不可而仍倚阑干收束，将痴情写到极处。全词由外景到内心、由理念到姿态，一气流走而层次分明，是婉约词中「以健笔写柔情」的典范。写景则清丽，说理则精警，言情则深挚，兼得婉约词之长，而自有稼轩清刚之气，后之论者谓其「于豪放之外，别树一帜」，此词即其婉约一帜的典型。

Allusions

'The cold crows' (han ya) are the cold crows — the crows of the evening, the sorrow; 'the white heads' (bai tou) are the white heads — the heads of the white, the parting grief; 'the small red tower' (xiao hong lou) is the small red tower — the tower of the red, the ascending of the longing; 'the railings' (lan gan) are the railings — the leaning of the close, the not free of the self.

此词不事典故，而以意象与日常语写情，然细味之，皆有传统可寻。其一，「晚日寒鸦」：日暮寒鸦，自古为羁旅思归之景，王昌龄《长信秋词》「寒鸦飞数点，流水绕孤村」写寒鸦与孤村，温庭筠「鸦背夕阳多」写暮色，辛弃疾以「寒鸦」配「晚日」，「一片愁」随之而出。其二，「柳塘」：柳为赠别之木，古人折柳送别，「柳」与「留」谐音；柳塘新绿，本属春景，而于离人眼中，柳色愈新愈惹离思。其三，「小红楼」：闺阁之代称，唐宋词中「楼上愁」「独倚楼」为思妇典型场景，李白《菩萨蛮》「暝色入高楼，有人楼上愁」、温庭筠《望江南》「独倚望江楼」皆其先声。其四，「山遮断」：山遮望眼，是思妇望归的经典意象，欧阳修《踏莎行》「平芜尽处是春山，行人更在春山外」写行人已在春山之外，辛弃疾反用其意，写明知山遮断而仍倚阑干。其五，词牌「鹧鸪天」本身：鹧鸪鸟鸣声凄切，俗谐「行不得也哥哥」，词牌名与离愁别绪天然相合。凡此种种，皆化用无痕，正是稼轩「以故为新」的手段。

Commentary

This lyric is one of the famous works of Xin Qiji's lyrics of the parting, quoted for the depth of its longing and the leaning of its close. The white heads of the parting grief, and the railings not free the self, are among the admired passages of the poet's lyrics. Critics praise the lyric's depth: the parting gathered in the belief, to the close's leaning.

辛弃疾以豪放词雄视两宋，而此词以婉约之笔代写闺情，足见其风格之多面。前人论稼轩词「肝肠似火，色貌如花」，正谓其豪放之中自有深情、柔情之内亦含风骨——此词写思妇离愁，缠绵深至而不失清刚，即是明证。词史上「代人赋」一体源远流长：花间词人多代女子言情，柳永、晏几道皆工于此道；辛弃疾此作却能于传统题材中翻出新意——「若教眼底无离恨，不信人间有白头」以理语写情，将离愁提升到人生经验的普遍层面，遂成千古名句，为历代选本所必录。全词由「晚日寒鸦」之景到「倚阑干不自由」之态，愁之深、情之痴、思之无已，层层写来，而始终不离一个「愁」字，章法严谨，情致深婉。后人或以稼轩闺情词为「英雄气短」，然细读此词，正见其「能刚能柔」的大家气象——能写金戈铁马者，亦能写相思入骨。后世闺情词写倚楼望归者，多不出温、韦、柳、晏之范围，而稼轩此词以「理语翻新」出之，遂成别调。今人读此词，犹能于「不自由」三字中，体会那份情到深处的身不由己与无可奈何。

Prosody

Form A short ci lyric of the parting (ci diao)双调五十五字，前段四句三平韵，后段五句三平韵（鹧鸪天正体）

Rhyme The lyric rhymes on the level and the oblique of the group — the cadence of the short ci that carries the deep sorrow.通押平声「尤」韵：上片「愁」「柔」「头」，下片「收」「楼」「由」，皆属《词林正韵》第十二部（尤侯部），一韵到底，韵脚疏朗而声情低回，正合离愁别恨之旨。

Tone pattern The cadence is that of the longing: the level opening with the scene, the turning with the belief, and the close's fall with the leaning of the railings.上片四句七言，下片起二句三字短句（肠已断，泪难收）顿挫入拍，后接七言二句收束；句式「七七七七／三三七七七」，长短错落，前舒后促，声情随情转。

Reading note The lyric's sound matches its depth: the cadences of the short ci, and the close — 'pin yi lan gan bu zi you' — falls with the not free, the sound of the leaning of the longing.《鹧鸪天》为词中常用小令调，双调五十五字，前段四句、后段五句，句句或隔句押平声韵。此调声情和婉流丽，最宜抒写离愁别绪与闲适情怀，晏几道、苏轼、辛弃疾皆多佳作。辛弃疾此词用韵尤见功力：上片「愁」「柔」「头」与下片「收」「楼」「由」六韵，皆属《词林正韵》第十二部尤侯韵，一韵到底，韵脚疏密相间——七言句末押韵处声情舒展，三字句「泪难收」处声情顿促，韵与情相生。句式上，前段四句七言，如四支律句，节拍平稳；过片「肠已断，泪难收」换以三字对句，如琵琶急拨，声情陡变，是全词声律之关捩；后段复归七言，以「频倚阑干不自由」的长句缓缓收束，一急一缓，正合情感由爆发到沉潜的过程。此外「鹧鸪天」调名取自鹧鸪鸟，其鸣声凄切、俗谐「行不得也哥哥」，调名本身即与离别相关，词人择此调写离愁，可谓声情与词情天然相合。

Line by line

晚日寒鸦一片愁。

The setting sun, chill crows — one whole expanse of grief.

夕阳晚照，寒鸦归飞，眼前一片凄凉愁绪。

The evening sun and returning chill crows make a scene of utter desolation and grief.

起拍七字，以景起兴，奠定全词基调。「晚日」写时间：夕阳西下，正是鸟归人归、最易牵动离思的黄昏时分；「寒鸦」写物象：暮色中归飞的乌鸦，本是无情之物，而「寒」字赋予其凄清之感——鸦且知归，而离人未归，物我对照，愁从中来。「一片愁」三字直点词眼，不说「我愁」，而说眼前晚日寒鸦「一片愁」，将主观之情外化为客观之景，愁绪遂弥漫天地之间。稼轩善以景语开篇：「更能消几番风雨」之怅惘、「郁孤台下清江水」之悲慨，皆以一景而定全篇声情；此句以「晚日寒鸦」起「一片愁」，起笔即见离愁之浓重，为后文「白头」「肠断」预伏根苗。

The opening raises feeling through scenery in seven characters, fixing the ci's keynote. 'The evening sun' writes time: the sun sinking, the dusk when birds and men return and parting thoughts are most stirred. 'Chill crows' writes object: crows flying home in the dusk, originally unfeeling, yet the word 'chill' gives them desolation — crows know to return, yet the parting traveler does not, thing and self set off, grief arising. 'One whole expanse of grief' directly names the eye of the ci: it does not say 'I grieve' but that the evening sun and chill crows before the eyes are 'one whole expanse of grief,' projecting subjective feeling onto objective scenery, until sorrow fills all heaven and earth. Jiaxuan excels at opening with scenic words: the melancholy of 'how many more storms can it bear,' the grief of 'below the Yugu Terrace, the clear river' — each fixes the whole piece's voice through one scene. This line raises 'one whole expanse of grief' through 'evening sun, chill crows,' showing at the first stroke the weight of parting sorrow, planting the seed for the later 'white head' and 'broken bowels.'

柳塘新绿却温柔。

By the willow pond the new green is yet so tender.

柳塘边新生的嫩柳一片新绿，却显得那样温柔多情。

Beside the willow pond, the fresh green of new buds seems so tender and warm.

此句承接上句，而笔锋一转，以乐景反衬哀情。「柳塘新绿」写春景：春水池塘，新柳初绿，正是生机盎然之时；「温柔」二字，将新绿柳色写得情致缠绵——柳条依依，如人脉脉含情。然着一「却」字，顿生转折之妙：如此温柔的春色，在离人眼中非但不能解愁，反更衬出自身之孤独——柳尚知春、知温柔，而人独对离恨，春色愈好，离愁愈深。此即古典诗学「以乐景写哀，一倍增其哀」之法。且「柳」本关别情：古人折柳赠别，柳塘新绿，正是当年送别之地，触景愈增离思。两句一愁一温、一哀一乐，对照映发，情致深婉，为全词定下「哀而不伤、怨而不怒」的基调。

This line follows the last yet turns the brush, using joyful scenery to set off sorrow. 'By the willow pond the new green' writes spring scenery: the pond in spring water, new willows just green, the time of teeming life. 'Tender' writes the new green willow color as feelingful — willow branches trailing, as if people's quiet affection. Yet one word 'yet' gives the turn: such tender spring scenery, in the eyes of the parting traveler, cannot dissolve grief but rather sets off his solitude — willows know spring and tenderness, while the man alone faces parting; the fairer the spring, the deeper the sorrow. This is precisely the classic poetics of 'writing sorrow through joyful scenery, doubling the sorrow.' Moreover, the 'willow' naturally links parting: ancients broke a willow sprig at farewell; the willow pond fresh green is precisely the place of that year's sending off, touching the scene and redoubling longing. Two phrases, one grief one tenderness, one sorrow one joy, setting each other off, the feeling delicate — fixing the ci's keynote of 'sorrowful without wounding, resentful without anger.'

若教眼底无离恨，不信人间有白头。

If, teaching, the eyes, below, no, the parting grief, not believing, the human world, having, the white heads.

倘若眼前没有离愁别恨，我就不相信人间会有白发。

If parting sorrow were not before my eyes, I would not believe that people ever grow white-haired.

此为全词名句，以假设句翻出新意，无理而妙。「若教眼底无离恨，不信人间有白头」：若使眼中没有离恨，我便不信人间真有白头——言下之意，白头正由离恨催生，离恨之深，足以使人一夜白头。此语本属夸张之词，然以「若教……不信……」的假设对举出之，便觉理直气壮、无可辩驳：离恨若除，则白头可免；白头既见，则离恨可知。李白《秋浦歌》「白发三千丈，缘愁似个长」以白发写愁之长，辛弃疾此句以白头证离恨之深，同一机杼而更富理趣。两句对仗工稳（若教对不信、眼底对人间、离恨对白头），语虽浅近而意极深挚，将一己之离愁升华为人间之普遍经验，遂成千古传诵的至情至理之语。

This is a famous line of the ci, turning a new thought through a hypothetical sentence, unreasonable yet exquisite. 'If parting sorrow were not before my eyes, I would not believe that people ever grow white-haired': if there were no parting grief before the eyes, I would not believe the human world truly has white heads — the implication being that white heads are bred of parting grief, whose depth can turn one white overnight. The words are hyperbole, yet put through the hypothetical parallel 'if... I would not believe...' they feel unanswerable: remove parting grief, and white heads need not come; seeing white heads, parting grief is known. Li Bai's 'A thousand fathoms of white hair, for grief as long' writes the length of sorrow through white hair; Xin's line proves the depth of parting grief through white heads, the same method yet richer in reason. The two are tightly parallel (if against believe-not, before the eyes against the human world, parting grief against white head), the words plain yet the meaning deep, sublimating one man's parting sorrow into the universal experience of humanity — hence a cherished line of utmost feeling and reason.

肠已断，泪难收。

Bowels already broken, tears hard to hold.

柔肠已经断裂，眼泪难以收止（悲伤到了极点）。

My bowels are already broken, and the tears I cannot stop (sorrow at its extreme).

过片六字，以三字短句顿挫直抒，是全词情感之爆发点。「肠已断」写情之痛极：古人以「断肠」状悲伤之极，江淹《别赋》「黯然销魂者，唯别而已矣」，白居易「一夜乡心五处同」之肠断皆同此意；「泪难收」写悲之难制：泪既流出，欲收不得。两句两用「已」「难」，将无可奈何之状写得入木三分。从句式看，三字对三字，节奏短促紧迫，如泣如诉，与上片七言句的舒徐形成顿挫，正是词中「换头」处声情之变；从情脉看，上句「若教」的假设之谈，至此跌入「肠断泪难收」的实境，理想与现实的落差，尽在这六个字中。稼轩豪放词中偶现婉约之笔，此六字最见其柔情似水的一面。

The head-turning opening of six characters, three-beat short phrases speaking directly, is the ci's explosion of feeling. 'Bowels already broken' writes grief at its extreme: ancients used 'broken bowels' for utmost sorrow, as Jiang Yan's 'the dark and soul-shaking is parting alone,' and Bai Juyi's 'one night, homesick heart in five places'; 'tears hard to hold' writes grief hard to control: tears once flowing cannot be gathered back. The two use 'already' and 'hard' to write the helplessness to the quick. In syntax, three characters against three, the rhythm short and urgent, like weeping, forming a cadenced contrast with the upper stanza's flowing seven-character lines — the voice change at the ci's 'head turn.' In feeling, the hypothetical talk of 'if' above falls into the actual state of 'broken bowels, tears hard to hold'; the gap between ideal and reality is all in these six characters. Jiaxuan's bold ci occasionally shows a restrained stroke, and these six best show his tender, water-like side.

情知已被山遮断，频倚阑干不自由。

Knowing, clearly, already, by the mountains, cut off, hidden, frequently, leaning, the railings, not, free, the self.

明明知道视线已被远山遮断，却还是身不由己地一次次倚着阑干眺望。

Well I know the sight is already blocked by the distant hills, yet again and again I lean on the railing, powerless to stop.

结拍以「明知不可而为之」写痴情，是全文情感之归结。「情知已被山遮断」：明明知道归人的身影早被远山遮断，望也望不见——「情知」二字，写出思妇的清醒；而「频倚阑干不自由」，却仍一次次身不由己地倚阑远望——「频」字写次数之密、相思之切，「不自由」三字写痴情之不由自主：明知无望，偏要倚望，正是情到深处、身不由己的写照。欧阳修《踏莎行》「平芜尽处是春山，行人更在春山外」，写春山之外更有人，望之不及；辛弃疾此句反写明知山遮断而仍倚阑，望之不已——一写距离之远，一写痴情之执，异曲同工。以「不自由」收束全词，离恨之深、相思之痴、无奈之重，尽在此三字，余韵不尽。

The close writes dotage through 'knowing it cannot be yet doing it anyway,' the conclusion of the ci's feeling. 'Well I know the sight is already blocked by the distant hills': the figure of the one returning is long blocked by far hills, and gazing will not bring it — 'well I know' writes the waiting woman's clear-sightedness. Yet 'again and again I lean on the railing, powerless to stop': still, helpless, she leans and gazes — 'again and again' writes the frequency and keenness of longing, 'powerless' writes the involuntariness of dotage: knowing it hopeless, yet still leaning and gazing, the portrait of feeling at its deepest, the body beyond control. Ouyang Xiu's 'at the green plain's edge are spring hills, and the traveler is beyond the spring hills' writes a person beyond the hills, out of gaze; Xin's line reverses it — knowing the hills block the sight, yet still leaning, gazing without end; one writes the distance, the other the fixation of dotage, the two reaching the same by different roads. Closing the ci on 'powerless' gathers the depth of parting grief, the madness of longing, the weight of helplessness into these three characters, the aftertone unending.

Study

Word focus

愁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「晚日寒鸦一片愁」之「愁」字，是全词词眼，统摄上下两片。此字之妙，在不说「人愁」而说「一片愁」：将主观之情移入客观之景，使晚日、寒鸦乃至整个黄昏世界都浸染愁色，愁绪遂由一人之怀扩展为天地间弥漫的情绪——这正是古典诗学「以我观物，故物皆着我之色彩」的体现。且「一片」二字状愁之弥漫无涯，非一缕、非半片，而是铺天盖地，与下片「频倚阑干」的反复无已遥相呼应。全词写离恨、写白头、写肠断、写泪难收，皆自「愁」字生发；结句「不自由」三字，更将「愁」写到身不由己的深处。一「愁」立骨，通篇皆活，稼轩炼字之精，于此可见。

却 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「柳塘新绿却温柔」之「却」字，是转折之枢机，最见词心。柳塘新绿，本是乐景，着一「却」字，遂生三层转折：其一，写景之转——由「晚日寒鸦」的愁景转入「柳塘新绿」的春景，画面由暗转明；其二，情感之转——春色虽好，而离人无心赏玩，「却」字透出对春景的疏离与拒斥，乐景反成哀情之衬；其三，语气之转——「却温柔」如一声叹息：这般温柔的春色，偏偏照见孤独的离人。一个「却」字，将景与情、乐与哀扭结一处，顿挫生姿，正是词家所谓「虚字传神」。若删此字，则两句平列，情景两分，韵味全失。

重 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「相思重上小红楼」之「重」字，写相思之反复，是全词情态之眼。重者，再一次也。登楼本为望远，望而不见则下楼；而复又上楼，再望而再不见——「重上」二字，写出相思如何驱遣着思妇一次次登上红楼，明知无望而身不由己。「重」字与下句「频倚阑干」之「频」互相映照：一写登楼之反复，一写倚阑之频仍，合观则思妇整日登楼倚阑、望眼欲穿的痴态宛然在目。且「小红楼」配「重上」，语气缠绵低回，正合「代人赋」代言体之柔婉。着一「重」字，则相思之无已、等待之漫长、希望之渺茫，皆在不言之中，是词眼所在。

不自由 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「频倚阑干不自由」之「不自由」三字，是全词情感之归结，亦最见稼轩词心深处。不自由者，身不由己、情难自禁之谓也：明明知道山遮望断，明明知道无望，却仍频频倚阑——理智管不住痴情，清醒拗不过相思，此之谓不自由。这三字的分量在于：它把离愁从「悲伤」提升到「身不由己」的存在层面——相思不是选择，而是无从摆脱的宿命。稼轩一生志在恢复而投闲置散，「不自由」三字，或亦暗含其身不由己的处境之慨。以「不自由」收束全词，则前面写景之愁、理语之奇、肠断泪收之痛，尽归于此三字之中，结得极重，味得极永。