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五代 Five Dynasties · 词 Ci lyric

思帝乡·春日游

Thinking of the Emperor · Spring Outing

韦庄

Wei Zhuang

爱情love 春思spring longing

春日游，杏花吹满头。
陌上谁家年少，足风流。
妾拟将身嫁与，一生休。
纵被无情弃，不能羞。

Spring outing in the season bright; apricot blossoms blown full on my head.
On the lane, whose young man is this, so gallant and fair?
I would give myself to wed him, and count it a life well spent.
Though he forsake me, cold and heartless, I shall not blush nor repent.

Listen

Meaning

On a spring day I went out to roam, and apricot blossoms drifting on the wind fell thick upon my hair. On the country path, whose young man was this, so gallant and full of charm? I resolved to give myself and marry him, and count it a life fulfilled. Even if this heartless one should cast me aside, I would never blush with shame or regret.

春日里出门游赏，杏花随风纷纷飘落，洒满了头。田间小路上那不知是谁家的少年，真是风流倜傥、神采照人。我暗自思量，要把这一生托付给他，就这样定了，一生也罢。纵然日后被他无情地抛弃，我也决不羞悔。

Appreciation

Written in the first-person voice of a young girl, this lyric is plain in language yet brimming with feeling, close to a folk song. The opening lines, 'Spring outing in the season bright; apricot blossoms blown full on my head,' use the bright spring scene to stir the wish to wander out. 'On the lane, whose young man is this' catches a startled glimpse of a passing youth, and the word 'gallant' captures his charm to the full. The lower stanza, 'I would give myself to wed him, and count it a life well spent,' speaks her pledge in outright words; 'Though he forsake me, cold and heartless, I shall not blush' pushes further with a supposition, writing a love so reckless it heeds no consequence. The poem moves from scene to person, from seeing to resolving, from resolving to infatuation, in three rising steps, and closes on the three words 'not blush' with ringing force.

【白话串讲】 “春日游，杏花吹满头。陌上谁家年少，足风流”——韦庄写一个少女：春日郊游，杏花落满头，看见一个少年郎。“妾拟将身嫁与，一生休”——她当场决定：我要嫁给他，一生一世。五代最勇敢的表白。【意象与手法】全词以少女第一人称口吻直抒胸臆，语言质朴而情致酣畅，近于民歌。起二句「春日游，杏花吹满头」以烂漫春景逗出游兴，「吹满头」三字写杏花扑面、落满发际，春光之盛与游兴之浓一并托出；「陌上谁家年少，足风流」写惊鸿一瞥，「谁家」含惊喜羞涩，「足」字力重千钧，极写少年风神之饱满；下片「妾拟将身嫁与，一生休」以决绝语直抒相许，「一生休」三字斩钉截铁；「纵被无情弃，不能羞」更以假设翻进一层，痴情之深、胆气之壮，令人动容。全词由景及人、由见及决、由决及痴，三层递进，结以「不能羞」三字，淋漓痛快。【情感与主旨】此词写少女春日邂逅少年而大胆自许终身，是五代词中罕见的爱情名篇。韦庄以士大夫之笔写民间女儿心曲，天真烂漫、大胆热烈，突破了花间词多写闺怨相思、女子被动哀怨的旧套，赋予词中女性以主动追求幸福的主体精神。乱世之中，韦庄亲历黄巢之乱与唐室倾覆，半生流离，词中多怀乡忆旧之痛；此篇却一反其道，以明朗生气写青春恋情，愈见其性情之真。【名句点睛】常考「足风流」之炼字、「不能羞」之决绝语气，以及全词由景及人、由见及决、由决及痴的层层推进；「纵被无情弃，不能羞」与汉乐府《上邪》「长命无绝衰」同属以誓言写痴情，可作比较阅读，体会民歌精神在词体中的延续。

Background

Wei Zhuang (c. 836-910), courtesy name Duanji, was a descendant of Wei Yingwu in the fourth generation. A late-Tang graduate, he later entered Shu and served the Former Shu, rising to chancellor. His lyrics, paired with Wen Tingyun as the 'Wen and Wei' of the Hua Jian school, are clear and sprightly where Wen's are ornate. This 'Thinking of the Emperor' (also called 'Ten Thousand Years') writes a girl on a spring outing who meets a youth and boldly declares her love; it was likely written in his early wandering years in the south or before entering Shu, carrying the frankness of folk ballads and giving literati lyrics a bright, living air.

韦庄（约836—910），字端己，京兆杜陵（今陕西西安）人，盛唐诗人韦应物四世孙。他生于晚唐乱世，早年屡试不第，长期漂泊江南，直至乾宁元年（894）年近六十方登进士第，后入蜀依王建，官至前蜀宰相。韦庄词与温庭筠并称「温韦」，同被收入《花间集》，然温词秾丽密致、多写闺阁，韦词则疏朗清俊、多以白描出之。此词写少女春日游春、陌上邂逅少年而大胆自许终身，属其早年漂泊时期托民歌之体的拟作。韦庄亲历黄巢起义与唐室倾覆，半生流离，词中多怀乡忆旧之痛；此篇却一反其道，以天真烂漫之笔写少女情怀，在花间绮艳风气中别具一种明朗生气，可见端己词取材之广、性情之真。乱世中的一点春色，愈显其可贵。韦庄晚年入蜀，位至宰相，然其词多成于中年流寓之时，与温庭筠齐名而实开疏朗一派；《思帝乡》一调敦煌曲子词中已有，韦庄取民间之声入文人之词，是其对词体雅俗交融的贡献。此词虽写欢情，细味亦含乱世行乐、及时相许的时代投影，与其《秦妇吟》之沉痛恰成对照。凡此种种，皆可见一首小词背后涵容的深厚文学史脉络。

Art

Spoken in the girl's own first-person voice, the lyric states her heart directly, its language homely yet its feeling full, near the manner of a folk song. The opening 'Spring outing... apricot blossoms blown full on my head' uses the gay spring to prompt the outing; 'On the lane, whose young man is this' writes a lightning meeting, the word 'gallant' drawing the youth's charm to the full. The lower part, 'I would give myself to wed him, and count it a life well spent,' pledges herself in flat-out words, bold and innocent; 'Though he forsake me, cold and heartless, I shall not blush' turns on a supposition to press deeper, writing a love blind to its own ruin. From scene to person, from sight to resolve, from resolve to passion, three steps rise, and it ends on 'not blush'--limpid and whole-hearted.

全词以少女第一人称口吻直抒胸臆，语言质朴而情致酣畅，近于民歌。起二句「春日游，杏花吹满头」以烂漫春景逗出游兴，「吹满头」不写人摘花、不写花落地，偏写花落满头，人与春俱醉，动态与生机毕现。「陌上谁家年少，足风流」写惊鸿一瞥的邂逅，「谁家」二字含惊喜与羞涩，「足」字极写少年风神之饱满，一瞥之间即已倾心。下片「妾拟将身嫁与，一生休」以决绝之语直抒相许，「一生休」三字斩钉截铁，终身之托不计后果；「纵被无情弃，不能羞」更以假设翻进一层，即使将来被弃亦不羞悔，痴情之深、胆气之壮，令人动容。全词由景及人、由见及决、由决及痴，三层递进，步步紧逼，结以「不能羞」三字，淋漓痛快，如闻其声、如见其人。语言不事雕琢而自有风致，正是民歌本色。与花间诸家惯写楼台绣户不同，此词取景陌上田间，人物声口全用白话，音节短促处如口占，舒缓处如低语；全词不设比兴、不用丽辞，唯以真情一气贯注，故能在短章之中完成从景到人、从见到决的完整抒情，这在以秾丽为尚的花间词中尤显风骨。

Allusions

The lyric uses no obscure allusion, writing the girl's feeling in plain description, yet its roots are clear. 'Thinking of the Emperor' was itself a Tang imperial-music-bureau tune name, often used for palace grievance or love between man and woman; Wei Zhuang turns it about, writing a common girl who actively seeks love, fresh and new. 'Apricot blossoms blown full on my head' borrows the spring-outing image of 'apricot blossoms and spring rain'; 'gallant' carries the sense of a gifted spirit from the old tales of talent and grace. Without leaning on allusion the poem is full of true breath, a representative of the 'folk-song spirit' within the Hua Jian school.

此词无明显征事用典，纯以白描写少女情怀，然渊源有自。词调《思帝乡》本为唐教坊曲名（一名《万斯年》），敦煌曲子词中已有同调之作，多写男女之情，韦庄此词却以民间少女口吻出之，反教坊旧辞之艳冶而为清新。「杏花吹满头」化用「杏花春雨江南」一类春游意象，杏花在古诗中既是春光之象征，亦暗含「红杏枝头春意闹」般的生命活力；「陌上」一语遥接《诗经·郑风》「野有蔓草，零露漙兮，有美一人，清扬婉兮」的邂逅传统，陌上相遇、一见钟情，正是古老的中国爱情母题。「足风流」之「风流」承《世说新语》以才情风神为风流之观念，魏晋风流至此移于少年郎君。全词不假典实而真气弥漫，是花间词中「民间歌辞精神」的典型代表。又「杏花吹满头」与「陌上」诸语，可溯至六朝乐府《西洲曲》「采莲南塘秋」的民歌风调；词中「妾」之自称，亦是古乐府习用，韦庄以之入词，正是「以诗为词」「以民歌入词」的先行实践，为苏轼诸人导夫先路。全词融乐府民歌、六朝小曲与《世说》品藻之语于一炉，而归于白话白描，浑然天成。

Commentary

Modern readers of Wei Zhuang's lyrics often call them 'clear and graceful, learned from folk ballads,' and this 'Thinking of the Emperor' is a prime case. Hu Shi's Anthology of Lyrics praises it for 'writing a girl's heart, bold and direct, rare among literati lyrics'; Zhou Ruchang likewise enjoys its 'one breath from start to finish, as if hearing a tender voice,' judging it a fresh departure within the Hua Jian school, proof of Duanji's small lyric's genuine, lively spirit.

近人论韦庄词，多谓其「清俊温婉，学民间乐府」，此《思帝乡》尤为显例。胡适《词选》称其写少女心情「大胆直率，在文人词中稀有」，正抓住此词异于花间绮艳处；周汝昌先生亦赏其「一气呵成，如闻娇语」，以为花间词中「别开生面」之作。与温庭筠「画屏金鹧鸪」式的密丽相比，韦庄此词纯以口语白描取胜，开后来李煜、晏几道以真率笔法写深情的先声。就爱情词史而言，此词中的少女不再是「终日望君君不至」的被动哀怨者，而是敢爱敢恨、主动自许的形象，其精神直承汉乐府《上邪》「山无陵，江水为竭」的决绝誓言，下启后世戏曲小说中大胆追求爱情的女性形象，在中国词史上自有其独特的地位与价值。又陈廷焯《白雨斋词话》谓韦词「似直而纡，似达而郁」，此词虽以直白见长，然「纵被无情弃」一语已暗含对世情凉薄的预感，直中有郁，正可印证此评。今人读此词，既能见五代词活泼清新的一面，亦能于字缝间读出乱世中人及时相许的苍凉底色，其价值正复多端。由是观之，此词实兼真率之美、直中有郁之思与词史转型之功，洵为五代小令中的上乘之作。

Prosody

Form Lyric, 'Thinking of the Emperor' (also 'Ten Thousand Years'), single-tune 36 characters词·《思帝乡》（一名《万斯年》），单调三十六字

Rhyme Rhymes on 'outing, head, fair, spent, blush' (level-tone you rhyme, one rhyme throughout)押平声尤韵：游、头、流、休、羞，一韵到底

Tone pattern Line lengths three, five, seven, three, five, seven, five; level onset句式以三、五、七字句相间，短长错落，节奏明快；平起，末句「不能羞」以平声收尾

Reading note 'Thinking of the Emperor' is a Tang music-bureau tune, brief and brisk, fit for writing forthright feeling.《思帝乡》为唐教坊曲名，属小令短调，全词三十六字，句式参差（三、五、七字句相间），音节短促明快，正宜抒写率真激切之情。全词一韵到底，押平声尤韵（游、头、流、休、羞），平声舒缓悠长，与少女娓娓道来的口吻相谐；而「休」「羞」二字同韵同收，音节上形成回环，如誓言反复自誓。节奏上，上片「春日游」三字起句，顿挫有力；「杏花吹满头」五字舒展，一收一放；下片「妾拟将身嫁与」七字一气贯注，「一生休」三字猛然顿住，长短句的落差正是情感的落差，读来如闻其声。末句「不能羞」三字以平声收尾，余音袅袅，言尽而情不尽，与小令短促的体式相得益彰。全词声情相凑，是花间小令中声律与情致高度统一的佳作。

Line by line

春日游，杏花吹满头

Spring outing in the season bright; apricot blossoms blown full on my head.

春日里出门游赏，杏花随风纷纷飘落，洒满了头。

Wandering on a spring day, apricot blossoms blow and cover my head.

起笔即是一幅烂漫的春游图。一个「游」字点出时令与行动，春日在诗人笔下不是静态的背景，而是可游可赏的天地；「杏花吹满头」更以「吹」「满」两个动词写尽春之热闹——杏花不是零星飘落，而是纷纷扬扬扑面而来，落满发际肩头，人与花相拥相亲。这一句不写少女容貌，而少女之欢悦、春色之浓酽已跃然纸上。妙处还在以景逗情：春意如此撩人，正是下文邂逅少年、萌生爱意的天然铺垫。「吹满头」三字尤见生趣，若作「杏花开满头」则呆滞，一「吹」字使春风、飞花、少女俱活，动态之中见出满目生机，可谓一字千金。

The opening is a picture of a joyous spring outing. The word 'wandering' fixes the season and the action, spring being not a static backdrop but a world to roam and enjoy. 'Apricot blossoms blow and cover my head' uses the two verbs 'blow' and 'cover' to write the liveliness of spring—the blossoms not falling sparsely but showering over the face, settling on hair and shoulder, person and flower embracing. The line writes no feature of the girl, yet her joy and the depth of spring leap to the page. The art lies in stirring feeling through the scene: the spring warmth thus teasing is the natural preparation for meeting the young man below and the sprouting of love. The three characters 'cover my head' especially show life; 'blow' animates the spring wind, the flying flowers, and the girl at once, a single word worth a thousand pieces of gold.

陌上谁家年少，足风流

On the lane, whose young man is this, so gallant and fair?

田间小路上那不知是谁家的少年，真是风流倜傥、神采照人。

Whose young man is this on the path, so full of grace and charm?

这是少女视角的惊鸿一瞥。「陌上」点出相遇之地，田间小径，平实而亲切；「谁家」二字妙极，既是实问，又是心语——不知是谁家的少年，正写出少女乍见之下的怦然心动与略带羞涩的探问。「足风流」以「足」字总括少年的全部风神，「足」者，充分、饱满之谓也，不曰「有风流」「颇风流」，而曰「足风流」，可见少年风姿之充盈圆满，一瞥之间已令少女倾心。全句无一字写少年容貌服饰，而风流气度自在言外，正是以虚写实的高明处。由春日之景到陌上之人，由景入情，转接自然，而下文「妾拟将身嫁与」的决绝，正由此一瞥生根，情感脉络清晰可寻。

This is the girl's startled, passing glance. 'On the path' fixes the place—a country footpath, plain and familiar. The words 'whose house' are exquisitely chosen: at once a real question and a thought of the heart—not knowing whose young man he is, precisely writing the flutter of first sight and the shy, tentative inquiry. 'So full of grace and charm' uses the word 'full' to sum up all his bearing—'full' meaning abundant and complete, and saying not 'has some charm' but 'full of charm' shows the man's poise brimming over, winning her heart in a single glance. The line writes no feature or dress of him, yet his grace is all within the unsaid, the high art of writing the real through the virtual. From the spring scene to the man on the path, from scene to feeling, the transition is natural, and the resolve of 'I would give myself to him' below takes root precisely in this one glance.

妾拟将身嫁与，一生休

I would give myself to wed him, and count it a life well spent.

我暗自思量，要把这一生托付给他，就这样定了，一生也罢。

I would give myself to him and be done with this life.

这是全词的转折与高潮。「拟」字写心理活动，将少女心中暗许的情思和盘托出；「将身嫁与」四字直白如话，不遮不掩，与花间词中常见的吞吐含蓄迥异。「一生休」三字尤为决绝：一「休」字，一生便这般定下了，不计富贵、不计后果，以一生为注，押在初见一面的少年身上。这里没有「愿得一心人」的期许，没有「白首不相离」的盟誓，有的只是少女天真的孤注一掷，其大胆真率在文人词中罕有其匹。句式上「妾拟将身嫁与」五字一气而下，「一生休」三字顿住，音节短促有力，如击掌为誓，将少女的果决之态写得声情毕肖，也为结句「纵被无情弃」的进一步翻进蓄足了势。

This is the turning and climax of the lyric. The word 'would' writes the inward thought, laying bare the girl's secret vow. 'Give myself to him' is plain as speech, without evasion, utterly unlike the hedging reserve common to Huajian verse. The three words 'be done with this life' are the most resolute: the word 'done' settles a whole lifetime on this, counting not wealth nor consequences, staking an entire life on the young man met at a single glance. There is no hope here of 'winning a true-hearted man,' no vow of 'white heads never parted'—only the naive all-in wager of a girl, a boldness and candor rare in literary lyrics. In syntax, 'I would give myself to him' runs on in one breath, and 'be done with this life' stops short, the rhythm short and forceful like a vow struck on the palm, storing momentum for the further turn of 'even if cast off.'

纵被无情弃，不能羞

Though he forsake me, cold and heartless, I shall not blush nor repent.

纵然日后被他无情地抛弃，我也决不羞悔。

Even if I am cast off heartlessly, I will not be ashamed.

这是全词的点睛之笔，以假设翻进一层，将痴情写到极致。「纵」字领起让步，预先设想最坏的结果——被无情抛弃；「不能羞」三字则断然否定了这种可能带来的悔恨。少女并非不知风险，而是明知可能被弃而依然无悔，正因无悔，更见其爱的纯粹与勇敢。前人写情，多写「悔教夫婿觅封侯」式的追悔，此词却反其道，以「不悔」立言，气概凛然，直承汉乐府《上邪》「我欲与君相知，长命无绝衰」的誓言传统。结句斩钉截铁，掷地有声，使全词的抒情在最高点上戛然而止，余响不绝。由「一生休」的决绝到「不能羞」的无悔，层层递进，少女天真大胆、执着热烈的形象至此完成。

The closing line is the luminous point, pushing devotion to the extreme by a hypothetical turn. The word 'even if' opens the concession, foreseeing the worst outcome—being cast off heartlessly; yet 'I will not be ashamed' flatly denies the regret that would follow. The girl knows the risk, yet knowing she may be abandoned remains unashamed, and precisely because she does not regret, the purity and courage of her love show. Earlier writers of love mostly wrote regrets in the mode of 'I regret bidding my husband seek a fief,' but this lyric turns the way, taking stand on 'no regret,' its bearing lofty, directly inheriting the vow tradition of the Yuefu 'Shangxie'—'I would know you and love you, long may it never end.' The closing is cut like a knife, ringing as it falls, ending the lyric's song at its highest note with an endless echo. From the resolve of 'be done with this life' to the no-regret of 'I will not be ashamed,' advancing layer by layer, the naive, bold, clinging, passionate figure of the girl is at last complete.

Study

Word focus

吹 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「杏花吹满头」之「吹」字，是全词炼字的眼目。若说「落」，则只见花之坠落，不见风之神力；一「吹」字，春风之柔、飞花之盛、扑面之势俱在其中。杏花不是自己飘落，而是被春风殷勤吹送，纷纷扬扬落满少女发际，人与春在刹那间相拥。这个字的妙处有三：一是以动写春，将静态的春光写成活泼泼的流动；二是「吹满头」化被动为主动，花与人相亲，见出少女与春天浑然一体的欢悦；三是为下文铺垫——春意如此撩人，少女心旌摇荡，正是邂逅倾心的心理基础。「吹」字看似寻常，实则千斤，一字而春景、人物、情感俱活，是典型的以动词写生机的炼字佳例。

足 'Gallant' writes the young man's charm to the full; one word worth a thousand, picturing his spirit and also conveying the girl's dazzled, admiring state. 「足风流」之「足」字，以一字总括少年风神，是全词写人的关键。足者，充分、充盈之谓。「足风流」不曰「有」「颇」「多」，而曰「足」，言其风流已到圆满无缺的程度，多一分则溢、少一分则欠。这一个字从少女眼中写出，既是客观的赞叹，更是主观的倾倒——正因为觉得少年风流已「足」，才会一瞥之下便生以身相许之念。写人物而不着一字形容其貌，全凭「足」字虚写，风流气度反而呼之欲出，这是以少总多、以虚写实的妙法。同时「足」字音节响亮，与「风流」二字连读，节奏饱满，恰好传达出少女乍见之下的惊喜与沉醉，炼字与传情合一，可谓字字千钧。

纵 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「纵被无情弃」之「纵」字，是连词，表让步，意即「即使、纵然」，于全词的章法至关紧要。有了「纵」字，下句「不能羞」的决绝才有依托：少女不是不知世情险恶，不是没有预想被弃的可能，而是明知山有虎，偏向虎山行。这个让步连词把情感的层次一下子拉开——先说「妾拟将身嫁与，一生休」的相许，再以「纵」字假设最坏的结局，最后以「不能羞」断然收束，形成「决绝—让步—更决绝」的三级递进，情感的烈度步步攀升。若删去「纵」字，直说「被弃不能羞」，则只余倔强，不见深情中的清醒与勇气。「纵」字看似虚词，实为全词转折的枢纽，其妙正在于以退为进，愈让步愈见其痴。