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宋 Song · 词 Ci lyric

西湖月

West Lake Moon

黄子行

Huang Zixing

宋词Song lyric 咏物object-singing 咏梅plum-singing 寄托entanglement (hidden meaning) 孤寂loneliness

初弦月挂林梢，又一番西园，探梅消息。
粉墙朱户，苔枝露蕊，淡匀轻饰。
玉儿应有恨，为怅望东昏相记忆。
便解珮、飞入云阶，长伴此花倾国。
诗腰瘦损刘郎，记立马攀条，倚阑横笛。
少年风味，拈花弄蕊，爱香怜色。
扬州何逊在，试点染吟笺留醉墨。
谩赢得、疏影寒窗，夜深孤寂。

The early crescent hangs on the forest's edge; once more in the western garden I seek news of the plum.
By whitewashed walls and vermilion doors, mossy branches with dewy buds, lightly powdered, softly adorned.
The Jade Lady must bear a grudge, gazing wistfully back, remembering the Lord of the East.
Then she unbuckles her pendant, flies into the cloud-steps, to keep forever company with this flower of fallen states.
The poet's waist grown slender, like the Liu lad, I recall mounting the horse to pluck a branch, leaning on the rail to play the flute.
The flavor of youth: fingering the blossoms, toy with the stamens, loving the fragrance, pitying the hue.
He Xun still lingers in Yangzhou — let me tint the verse-sheet, leaving drunken ink.
In vain I win but a sparse shadow by the cold window, lonely in the deep of night.

Listen

Meaning

A moonlit visit to view the plum blossoms becomes a song of the flower's lonely splendor and the poet's own isolation. Through the figure of the Jade Lady who remembers a lost lord, the plum carries a quiet lament for a fallen former age. The poet likens himself to devoted plum-lovers of old, yet all ends in a cold-window solitude.

在粉白的墙与朱红门之间，苔痕点点的梅枝缀着带露的花蕊，淡淡地匀施着轻妆。那如玉儿般的梅花该是有幽恨的吧，正怅然遥望，忆念着当年的东昏侯。到头来只落得疏落的梅影伴着寒窗，在夜深时一派孤寂。

Appreciation

The lyric animates the plum by personification, weaving it with the poet in a single sorrow. Dense allusions — the Jade Lady, the Eastern Faint Prince, the unbuckled pendant, He Xun, the sparse shadow — build a lone-rugged mood without clutter. Opening in ornate splendor and closing in cold loneliness, it is a late-Song model of 'writing deep sorrow in an ornate brush.'

【白话串讲】黄子行写西湖月：“初弦月挂林梢，又一番西园，探梅消息”。“粉墙朱户，苔枝露蕊”——“玉儿应有恨，为怅望东昏相记忆”——他写探梅与旧事。【意象与手法】梅人双写，以玉儿、东昏、解珮、何逊诸典织成孤峭意境；由探梅、写梅、咏梅终归寒窗孤寂，繁而不乱。【情感与主旨】托梅写名花零落、故朝难望，物我同悲，是宋末遗民咏物词丽而能哀的代表。【名句点睛】「玉儿应有恨，为怅望东昏」以美人喻梅暗寓故国之思；「谩赢得、疏影寒窗」由瑰丽收孤冷，繁华落尽见真淳。

Background

Huang Zixing, styled Xiaoshan, lived at the end of the Song and beginning of the Yuan; his lyrics are collected in Tang Guizhang's Quan Song Ci, with a清峭 style between the Southern Song elegant lyric and the exile poet's bitter plainness. This lyric 'West Lake Moon' is a plum-singing piece: the upper stanza writes moonlit plum-viewing, the plum's posture and its grudge; the lower stanza writes the poet loving and singing the plum, ending in cold-window loneliness. The line 'the Jade Lady must bear a grudge, gazing wistfully back remembering the Lord of the East' uses the Pan Yu'er–Eastern Faint Prince allusion to liken the plum, darkly bearing the fall of a famous flower and the hopelessness of the former lord, in the same path as the late-Song exile poets' 'entrusting sorrow to objects.' 'He Xun in Yangzhou' and 'sparse shadow by cold window' follow the Du Fu, Lin Bu and Jiang Kui plum-singing line. The whole binds the plum's lone purity, the man's loneliness and the dynastic change together; it was likely written at the time of the transition, when the poet was alone and drifting — a representative late-Song plum lyric of double-writing object and self with far-reaching entanglement, also revealing Huang Zixing's manner of writing deep sorrow in an ornate brush.

黄子行，号霄山，宋末元初人，其词见唐圭璋《全宋词》辑录，风格清峭，介乎南宋雅词与遗民清苦之间。《西湖月》此阕为咏梅之作，上片写月下探梅、梅姿与梅恨，下片写诗人爱梅咏梅、终归于寒窗孤寂。词中「玉儿应有恨，为怅望东昏相记忆」以潘玉儿、东昏侯之典拟梅，暗寓名花零落、故主难望之慨，与宋末遗民咏物词「托物寓哀」的取径相通；「扬州何逊」「疏影寒窗」则沿杜甫、林逋、姜夔咏梅一脉。全词将梅之孤洁与人之孤寂、朝代之代谢绾合，约作于易代之际、孤身飘零之时，是宋末咏梅词中物我双写、寄托遥深的代表，亦足窥黄子行以丽笔写沉哀的一格。此词以梅为吟咏主体，而借玉儿东昏之典暗寓故朝之思，在宋末咏梅词中别立一清峭之格。黄子行虽史传不详，然从词中「怅望东昏」「冷烟残月」等语，可味出易代之际文人托物寓哀的普遍心境。其以丽笔写沉哀，较之王沂孙之隐晦、张炎之清空，别有一种秾而能峭的气度。读此词，宜知其非徒咏梅，实借梅以写身世之零落与故国之怅惘，方不负其寄托之深。

Art

This lyric animates the plum by personification, making plum and man interchange without trace. The upper stanza 'by whitewashed walls and vermilion doors, mossy branches with dewy buds, lightly powdered, softly adorned' writes the plum's plain makeup in boudoir colors; 'the Jade Lady must bear a grudge' suddenly figures the plum as a resentful beauty, giving vegetation a temperament; 'then she unbuckles her pendant, flies into the cloud-steps' uses the goddess-unbuckling-pendant allusion to write the plum drifting into the cloud-steps, strange and splendid. The lower stanza 'the poet's waist grown slender, like the Liu lad' compares the poet to himself, 'He Xun still lingers in Yangzhou' compares him to the former plum-singing worthy, 'let me tint the verse-sheet' writes his obsession with the plum, ending in 'in vain I win but a sparse shadow by the cold window, lonely in the deep of night,' moving from ornate to lone. The whole uses allusions like layered embroidery, yet is strung through the thread of 'viewing the plum — writing the plum — singing the plum — the lone plum,' rich yet not chaotic, a model of 'writing deep sorrow in an ornate brush' among short and long tunes. Its structure opens with viewing the plum, continues with singing it, closes with the lone plum, while inserting the Jade Lady, Liu lad and He Xun between, weaving object, self and antiquity; figuring the plum as Jade Lady and goddess gives it human resentment and immortal grace, imagination strange and beautiful; ending in cold-window loneliness moves from splendor to cold, the structure opening and closing grandly.

此词以拟人手法写梅，使梅通人、人通梅，物我交融而无痕迹。上片「粉墙朱户，苔枝露蕊，淡匀轻饰」以闺阁设色写梅之素妆；「玉儿应有恨」忽将梅拟为幽恨美人，赋草木以性情；「便解珮、飞入云阶，长伴此花倾国」更以神女解珮之典写梅之飘入云阶，奇想瑰丽。下片「诗腰瘦损刘郎」以诗人自况，「扬州何逊在」以咏梅前贤自比，「试点染吟笺留醉墨」写爱梅之痴，终以「谩赢得、疏影寒窗，夜深孤寂」收束，由绮入孤。全词用典如叠绣，却以「探梅—写梅—咏梅—孤梅」的脉络贯穿，繁而不乱，是小令长调中「以丽笔写沉哀」的范例。全词以探梅起，以咏梅承，以孤梅结，而中间以玉儿、刘郎、何逊诸人穿插，物我古今交织，繁而不乱。其拟梅为玉儿、为神女，使梅具人之幽恨与仙姿，想象奇丽；终以寒窗孤寂收束，由瑰入冷，章法大开大合。长调最忌散漫，此词以「梅」字一线贯穿，铺叙中自有收束，足见黄子行于长调结构具一定功力，亦见宋末咏物长调章法之缜密。

Allusions

'Jade Lady' refers to Pan Yu'er, favored concubine of Xiao Baojuan, the Eastern Faint Prince of Southern Qi; the History of the South records the Prince carving gold into lotuses for her to walk on, saying 'each step breeds a lotus.' Here the Jade Lady figures the plum, and 'gazing wistfully at the Eastern Faint' figures what the plum remembers (the former lord, the former dynasty), darkly holding the sorrow of fallen and homeless. 'Unbuckling the pendant' uses the tale of Zheng Jiaofu meeting the Han River goddess who unbuckles her pendant to give him (Liexian Zhuan); here it writes the plum like a goddess unbuckling her pendant and flying into the cloud-steps, strange and fresh. 'Liu lad' refers both to Liu Chen meeting the immortals at Tiantai and to Liu Yuxi's Xuandu Temple poems; here 'the poet's waist grown slender' compares the poet's thinness to his deep love of the plum. 'He Xun in Yangzhou' uses Du Fu's 'still like He Xun in Yangzhou' — He Xun was a Liang-dynasty magistrate at Yangzhou whose office had plum he often sang over, becoming a plum-singing story. 'Sparse shadow' is rooted in Lin Bu's 'sparse shadows by the clear shallow water.' These allusions are all plum-singing tradition; the poet reweaves them into his own lone-ruggedness.

「玉儿」指潘玉儿，南齐东昏侯萧宝卷之宠妃，《南史》载东昏凿金为莲令潘妃行其上，谓「步步生莲花」；此处以玉儿喻梅，以「怅望东昏」喻梅之所念（故主、故朝），暗含零落无依之悲。「解珮」用郑交甫汉水遇神女解珮相赠之典（《列仙传》），此处写梅如神女解珮飞入云阶，瑰奇生新。「刘郎」兼指刘晨天台遇仙与刘禹锡玄都观诗，此处「诗腰瘦损」以诗人瘦损自况爱梅之深。「扬州何逊」用杜甫「还如何逊在扬州」——何逊为梁代扬州法曹，廨舍有梅，常吟赏其下，遂成咏梅故实。「疏影」则本林逋「疏影横斜水清浅」。数典皆咏梅传统，经词人重织，自成孤峭。上述玉儿、东昏、解珮、刘郎、何逊、疏影诸典，皆咏梅传统中习用之故实，而黄子行熔铸于一词，各得其宜：以玉儿写梅之怨，以东昏写梅之所念，以解珮写梅之飞，以何逊写己之痴，以疏影写梅之境。宋人咏物重隶事，此词用典之密而能化，正得宋贤之法。学者循典以求，自见梅与古、物与我在词中如何叠印成一片孤峭之境，亦知咏物词之妙，全在使故实皆为我用。

Commentary

Huang Zixing's lyric is found in the Quan Song Ci, and the Qing anthology Ci Zong also records his object-singing works. Modern scholars discussing late-Song plum lyrics mostly revere Jiang Kui, Wang Yisun and Zhang Yan, yet Huang Zixing's 'double-writing plum and man, ornate yet able to grieve' deserves to stand among them. The line 'the Jade Lady must bear a grudge, gazing wistfully at the Eastern Faint' figures the plum as beauty and the former lord as lament, in the same key as Wang Yisun's 'New Moon' 'even with the will to be round, bowing deep, who meets in the fragrant path'; its 'sparse shadow by cold window, lonely in the deep of night' desolation shares the lone-window plum-shadow realm of Jiang Kui's 'now I seek the faint fragrance again, already entered the small window's horizontal scroll.' Today's readers should, amid the splendor of whitewashed walls and cloud-steps, feel the poet's homeless, perilous life and his thought of the former dynasty, to honor the depth of his entanglement. The Ci Zong records Huang's object-singing works, and modern studies of late-Song plum lyrics often mention him. His double-writing plum and man, ornate yet able to grieve, seen beside Jiang Kui's ethereal-clear and Wang Yisun's hidden-austere, reveals the many faces of late-Song plum singing. Beyond the Jiang-Zhang-Wang masters one should keep Huang Zixing's path, to see the full manner of a generation's object-singing lyrics.

黄子行此词见《全宋词》，清人《词综》亦录其咏物诸作。近人论宋末咏梅词，多以姜夔、王沂孙、张炎为宗，而黄子行此类「梅人双写、丽而能哀」之作，实可厕身其间（参近人咏物词研究对宋末「寄托」一体之通论）。此词「玉儿应有恨，为怅望东昏」以美人喻梅、以故主寄慨，与王沂孙《眉妩·新月》「便有团圆意，深深拜，相逢谁在香径」之托喻同调；其「疏影寒窗，夜深孤寂」之凄，与姜夔「算如今、重觅幽香，已入小窗横幅」同一孤窗梅影之境。今人读之，当于粉墙朱户、解珮云阶的瑰丽中，体贴词人孤危无寄的身世与故朝之思，方不负其寄托之深。清人《词综》录黄子行咏物诸作，近人论宋末咏梅词亦每及之。此词梅人双写、丽而能哀，与姜夔之清空、王沂孙之隐涩并观，可见宋末咏梅之多种面目。今之治词史者，于姜张王诸家之外，亦当存黄子行此一路，方见一代咏物词风之全。其以丽笔寓沉哀，尤足证易代之际文人托物自处的普遍心态，文献与审美价值俱未可轻，宜与同期遗民词并读。

Prosody

Form Lyric, long tune (double-mode 'West Lake Moon')词·长调（双调《西湖月》）

Rhyme Throughout in entering-tone oblique rhymes (xi, shi, yi, guo, di, se, mo, ji — all in the 17th Shi-De-Xi division of Ci Lin Zheng Yun), one rhyme to the end.通体入声仄韵（息、饰、忆、国、笛、色、墨、寂，词林正韵第十七部职德锡）

Tone pattern Entering-tone oblique rhyme sustained throughout; the sound-feeling is rugged, knotted, remote and choking.入声仄韵到底，声情峭结幽咽

Reading note The 'West Lake Moon' is a double-mode long tune; Huang Zixing's lyric rhymes throughout in entering tone — xi, shi, yi, guo, di, se, mo, ji all belong to the 17th Shi-De-Xi division of Ci Lin Zheng Yun, one rhyme to the end, its sound-feeling rugged, knotted, remote and choking, most fit for writing a lone, cold, plaintive heart, generating with the moonlit cold plum and cold-window loneliness. In syntax it is long-short and varied: the upper stanza spreads viewing the plum and the plum's grudge in lines of four, five, four, six, seven, four, four; the lower stanza writes singing the plum and loneliness in lines of five, five, four, four, seven, seven, the rhythm from ease to urgency. Among them 'then she unbuckles' and 'in vain I win' use leading characters to turn the long tune from stiffness; the entering-tone rhyme closes short and urgent, like a hurried pipe and plaintive string, matching the vanishing feeling of 'lonely in the deep of night.' The precision of choosing rhyme to embody feeling proves the poet's mastery of the correspondence between music and emotion. Entering-tone rhyme is rugged and knotted, most fit for lone cold plaint; this lyric's eight rhymes are all entering-tone, one rhyme to the end with unbroken breath, like a hurried pipe and plaintive string, generating with the moonlit cold plum and cold-window loneliness. Few long tunes use entering tone; Huang alone chose this rhyme to write the plum's grievance, proving his conscious grasp of sound-feeling. Readers of long tunes often stress level-oblique but neglect the rhyme division, not knowing that among obliques the entering tone especially has a remote-choking effect; this lyric is exactly an example, also showing the Song lyricists' deep labor on music, not merely filling characters by a model.《西湖月》为双调长调，黄子行此阕通体押入声韵，息、饰、忆、国、笛、色、墨、寂皆隶词林正韵第十七部职德锡韵，一韵到底，声情峭结幽咽，最宜写孤冷哀婉之怀，与月下寒梅、寒窗孤寂的凄清意境相生。句式上长短错落，上片以四、五、四、六、七、四、四铺开探梅与梅恨，下片以五、五、四、四、七、七写咏梅与孤寂，节奏由舒而促。其中「便解珮、」「谩赢得、」以领字斡旋，使长调免于板滞；入声韵短促收束，如急管哀弦，与「夜深孤寂」的飘灭之感恰相表里。选韵体情之精，足证词人对音律与情绪对应关系的熟稔。入声韵声情峭结，最宜写孤冷哀婉，此词八韵皆入月屑部，一韵到底而气脉不断，如急管哀弦，与月下寒梅、寒窗孤寂之境相生。长调用入声者较少，黄子行独选此韵以写梅怨，足见其于声情体性之自觉。学者读长调，每重平仄而略韵部，不知仄中之入声尤具幽咽之效，此词正可为例，亦见宋人填词于音律用工之深，非徒按谱填字而已。

Line by line

粉墙朱户，苔枝露蕊，淡匀轻饰。

By whitewashed walls and vermilion doors, mossy branches with dewy buds, lightly powdered, softly adorned — the plum's plain boudoir-like makeup.

在粉白的墙与朱红门之间，苔痕点点的梅枝缀着带露的花蕊，淡淡地匀施着轻妆。

Between the white wall and the red door, the lichened boughs hold dewy buds, faintly and lightly adorned.

此句以闺阁设色之法写梅之素妆，「粉墙朱户」是背景，红白相映，先布下富丽而静谧的庭院；「苔枝露蕊」写梅枝着苔、花含清露，见其幽洁；「淡匀轻饰」四字最妙，将梅拟为淡妆美人，不事浓抹，恰合梅花清雅本色。三句由环境而枝蕊而神韵，层层点染，不着「梅」字而梅已盈纸。这种「以人写花、以花写人」的笔法，是宋人咏物「不即不离」的常法，亦见黄子行设色之雅，于秾丽庭院中独取梅花之清，反差中见精神。

This line writes the plum's plain adornment in the manner of coloring a boudoir. White wall and red door are the background, white against red, first laying a rich, still courtyard. Lichened boughs, dewy buds write the plum boughs in moss and the flowers holding clear dew, showing their seclusion and purity. The four words faintly and lightly adorned are subtlest, comparing the plum to a beauty in light makeup, no heavy painting, exactly matching the plum's elegant nature. The three lines move from setting to bough and bud to spirit, layer by layer, never writing the word plum yet the plum filling the page. This way of writing the flower through a person and the person through a flower is the Song art of object-poem neither too close nor too far, and it shows Huang Zixing's refined coloring: amid the rich courtyard he chooses only the plum's cleanness, drawing spirit from the contrast.

玉儿应有恨，为怅望东昏相记忆。

The Jade Lady must bear a grudge, gazing wistfully back, remembering the Lord of the East — the pivotal line that figures the plum as a beauty mourning a lost lord.

那如玉儿般的梅花该是有幽恨的吧，正怅然遥望，忆念着当年的东昏侯。

The jade-like flower must harbor grief, gazing sadly as it remembers the Lord of Donghun.

此句是全词托喻的关捩。「玉儿」以潘玉儿喻梅，「应有恨」赋梅以人之幽怨，将草木之物性升华为家国之悲——玉儿所怅望的「东昏」，既是故主，亦暗喻已逝的故朝；梅之零落，即玉儿之飘零。一笔双关，物我同悲，正是宋末咏物词「托物寓哀」的典型笔法。词人不明言亡国之痛，而借美人名花之「怅望故主」曲曲传出，含蓄而力重，与辛弃疾「iscusst」之直、王沂孙之隐异曲而同工，最见寄托之深。

This line is the hinge of the ci's allegory. Jade-like compares the plum to Pan Yu'er, and must harbor grief endows the plum with human resentment, raising the plant's nature into the grief of a fallen state: the Donghun whom the jade girl gazes toward is at once the old lord and a hidden metaphor for the dead dynasty; the plum's scattering is the jade girl's drifting. One stroke, double entendre, thing and self grieving together - the typical late-Song art of object-poem lodging sorrow in the thing. The poet never plainly names the pain of a fallen country, but conveys it circuitously through the beauty and the flower gazing toward their old lord, reserved yet weighty - sharing the depth of寄托, with Xin Qiji's directness and Wang Yisun's reticence, each in its key.

谩赢得、疏影寒窗，夜深孤寂。

In vain I win but a sparse shadow by the cold window, lonely in the deep of night — the close that collapses all earlier splendor into cold solitude.

到头来只落得疏落的梅影伴着寒窗，在夜深时一派孤寂。

In vain it wins - only sparse shadows by the cold window, solitary in the deep of night.

结句由前文探梅、写梅、咏梅的热闹笔意，陡然收束于「谩赢得」三字——一切吟赏、一切寄托，终归「疏影寒窗」的孤寂。「谩」字（徒然）最沉，道尽爱梅之痴、咏梅之劳，到头成空。「疏影」本林逋清雅之境，此处着「寒窗」「孤寂」，则清转化为冷，雅转化为哀。全词以瑰丽起、以孤冷收，如繁华落尽见真淳，亦如故国梦回唯余寒窗。此即咏物词「收束处见真际」的范例，于淡语中蓄不尽凄凉，最耐寻味。

The closing, after the lively strokes of seeking, writing and singing the plum, suddenly contracts into the three words in vain it wins - all the chanting, all the allegory, ends in the solitude of sparse shadows by the cold window. The word in vain is heaviest, exhausting the obsession with loving the plum and the labor of singing it, all coming to nothing. Sparse shadow was Lin Bu's clear, elegant realm, yet here, with the cold window and solitude, the clear turns cold and the elegant turns sorrowful. The ci opens in splendor and closes in solitude, like true simplicity seen when splendor has fallen away, or like the cold window left after a dream of the old homeland. This is the model of the object-poem showing its truth at the close, holding endless desolation in plain words, most worth the lingering reading.

Study

Word focus

玉儿 'Jade Lady' is originally Pan Yu'er, the Eastern Faint Prince's favored concubine known for 'each step breeds a lotus'; the poet chooses this name rather than a common beauty to figure the plum's purity and fallen grace, and paired with 'Eastern Faint' it forms a miniature rise-and-fall tale of lord and concubine, so the plum-song secretly holds a dynastic lament. 「玉儿」本南齐潘玉儿之名，东昏侯宠妃，以「步步生莲」著称。词人于此特取「玉儿」而非泛称美人，是以其娇贵零落之身世喻梅：梅如玉儿之洁，玉儿如梅之孤。更妙在「玉儿」与下「东昏」配对，构成一段故主故妃的微型兴亡叙事，使咏梅暗含家国之慨。一词之取，既有色（玉）有声（儿化之婉），更有关捩（托喻）。宋人咏物好以美人拟花（如以昭君喻梅、以玉环喻牡丹），而黄子行独取玉儿东昏，冷僻中见奇警，足见其用典「避熟就生」的匠心。

解珮 'Unbuckling the pendant' uses the tale of Zheng Jiaofu meeting the Han River goddess who unbuckles her pendant to give him; here the plum is likened to a goddess unbuckling her pendant and flying into the cloud-steps, turning falling blossoms into a celestial ascent, strange and splendid, lifting the plum-song out of the common 'withered into mud' trope into a mythic dimension. 「解珮」用郑交甫汉水遇神女解珮相赠之典，本写人神相遇之奇缘。此词「便解珮、飞入云阶，长伴此花倾国」以神女解珮飞升喻梅花之飘落与升腾，将落梅写为天界神女翩然归去，化凋零为飞升，哀婉中见瑰丽。「珮」本佩玉，以玉喻梅之质，以「解」写其飘然而下（或上），动静之间具仙姿。一词之炼，使咏梅脱出「零落成泥」的常套，转入神话维度，与「玉儿」「云阶」「倾国」连成一串美人仙姿的意象群，足见长调铺叙中想象之奇。

疏影 'Sparse shadow' condenses Lin Bu's famous line 'sparse shadows by the clear shallow water,' since the Northern Song the supreme aesthetic emblem of the plum; the closing 'sparse shadow by cold window' takes Lin Bu's elegant image and joins it with 'cold window' and 'lonely,' turning clear elegance into cold grief, linking the poet's personal solitude to a thousand years of plum-singing tradition. 「疏影」本林逋「疏影横斜水清浅，暗香浮动月黄昏」咏梅名句之凝缩，自北宋以来已成梅花之代称与最高审美符号。此词结句「疏影寒窗」以林逋之清雅意象，接「寒窗」「孤寂」，将旷世清赏化为寒士独对，雅境转冷。一词之承，既点明所咏确为梅，又借林逋原型唤起千年咏梅传统，使个人孤寂与千古梅魂相接。宋末咏梅词每以「疏影」「暗香」收束（如姜夔即以此二字为调名），黄子行亦沿其例，足证经典意象在咏物谱系中的强大凝聚力。

西湖月