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宋 Song · 词 Ci lyric

喜迁莺·花不尽

The, Orioles, Joyfully, Migrating: The, Flowers, Never, Ending

晏殊

Yan Shu

感慨Theme 离别Parting

花不尽，柳无穷，应与我情同。
觥船一棹百分空，何处不相逢。
朱弦悄，知音少，天若有情应老。
劝君看取利名场，今古梦茫茫。

The, flowers, never, ending,
The, willows, never, exhausted,
Should, be, with, my, feelings, the, same.
The, wine, boat, one, oar, the, hundred, percent, empty,
Where, is, there, not, the, meeting, again.
The, zither, strings, silent,
The, connoisseurs, few,
If, the, heaven, has, the, feelings, it, should, grow, old.
I, advise, you, to, look, at, the, field, of, the, fame, and, the, profit,
The, present, and, the, ancient, dreams, vast, and, boundless.

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Meaning

A poem of the parting and the consolation, written by Yan Shu. The flowers never ending, the willows never exhausted, should be with my feelings the same — the parting of the opening. The wine boat one oar the hundred percent empty, where is there not the meeting again — the meeting of the middle. The zither strings silent, the connoisseurs few, if the heaven has the feelings it should grow old — the sorrow of the middle. And the close's I advise you to look at the field of the fame and the profit, the present and the ancient dreams vast and boundless — the close's advice. The poem is the parting and the consolation: the flowers, the wine, and the close's advice.

花不尽，柳无穷，应与我情同。觥船一棹百分空，何处不相逢。朱弦悄，知音少，天若有情应老。劝君看取利名场，今古梦茫茫。

Appreciation

[Plain Paraphrase] The, flowers, never, ending, the, willows, never, exhausted, should, be, with, my, feelings, the, same. The, wine, boat, one, oar, the, hundred, percent, empty, where, is, there, not, the, meeting, again. The, zither, strings, silent, the, connoisseurs, few, if, the, heaven, has, the, feelings, it, should, grow, old. I, advise, you, to, look, at, the, field, of, the, fame, and, the, profit, the, present, and, the, ancient, dreams, vast, and, boundless. [Structure and Thought] The poem moves from the parting of the flowers and the willows with the feelings the same, through the meeting of the wine boat with the sorrow of the zither strings, to the close's the advice of the dreams. [Key Technique] The poem's art is the close of the advice: the zither strings silent the connoisseurs few, and the close's I advise you to look at the field of the fame and the profit the present and the ancient dreams vast and boundless — the parting gathered in the sorrow and the close's advice. [Emotional Tone] Parting, consoling, and philosophical: the poem is the flowers, the wine and the close's advice.

【白话串讲】晏殊写《喜迁莺·花不尽》：“花不尽，柳无穷，应与我情同”——“觥船一棹百分空，何处不相逢”——“朱弦悄，知音少，天若有情应老”——“劝君看取利名场，今古梦茫茫”——他说何处不相逢——劝君看取利名场。【意象与手法】此词写感慨，以离别写感慨，是晏殊的名篇。上阕写花柳：「花不尽，柳无穷，应与我情同。觥船一棹百分空，何处不相逢」写花不尽、柳无穷、应与我情同——写尽何处不相的相逢；下阕写感慨：「朱弦悄，知音少，天若有情应老。劝君看取利名场，今古梦茫茫」写朱弦悄、知音少、天若有情应老——写尽今古梦茫的茫茫。全词以离别写感慨，写尽何处不相的相逢与今古梦茫的茫茫，是晏殊的代表作。【情感与主旨】此词写感慨，以离别写感慨，是晏殊的名篇。此词为晏殊送别之作，写其离别中的感慨与旷达。晏殊此词写其送别时的情怀。此词写花不尽，柳无穷，应与我情同；觥船一棹百分空，何处不相逢；朱弦悄，知音少，天若有情应老；劝君看取利名场，今古梦茫茫。此词写花柳：花不尽，柳无穷，应与我情同——写花不尽、柳无穷、应与我情同，写尽应与我情的情同；觥船一棹百分空，何处不相逢——写觥船一棹百分空、何处不相逢，写尽何处不相的相逢；朱弦悄，知音少，天若有情应老——写朱弦悄、知音少、天若有情应老，写尽天若有情的应老；劝君看取利名场，今古梦茫茫——写劝君看取利名场、今古梦茫茫，写尽今古梦茫的茫茫。全词以离别写感慨——那「何处不相逢」写尽何处不相的相逢，「今古梦茫茫」写尽今古梦茫的茫茫，写尽何处不相的相逢与今古梦茫的茫茫，是理解晏殊感慨词的重要篇章。【名句点睛】常考「花不尽，柳无穷，应与我情同」写应与我情的情同；「劝君看取利名场，今古梦茫茫」写今古梦茫的茫茫；以及全词以离别写感慨、以议论写感慨的手法。

Background

Yan Shu (991-1055), the great poet of the Song, wrote this 'The, Orioles, Joyfully, Migrating: The, Flowers, Never, Ending' of the parting and the consolation — the farewell of the friend. The flowers with the willows, the wine with the zither, and the close's the advice of the dreams — the poem gathers the consolation of the poet, the philosophy of the parting. The poem is one of the famous works of the poet's poems of the parting.

此词写感慨，以离别写感慨，是晏殊的名篇。晏殊（991—1055），字同叔，抚州临川（今江西抚州）人，北宋政治家、文学家，官至宰相，谥元献，世称「晏元献」，北宋词坛大家，与其子晏几道合称「二晏」。此词为晏殊送别之作，写其离别中的感慨与旷达。晏殊此词写其送别时的情怀。此词写花不尽，柳无穷，应与我情同；觥船一棹百分空，何处不相逢；朱弦悄，知音少，天若有情应老；劝君看取利名场，今古梦茫茫。此词写花柳：「花不尽，柳无穷，应与我情同」写花不尽、柳无穷、应与我情同——写尽应与我情的情同（花不尽，柳无穷，应与我情同）；「觥船一棹百分空，何处不相逢」写觥船一棹百分空、何处不相逢——写尽何处不相的相逢（觥船一棹百分空，何处不相逢）；「朱弦悄，知音少，天若有情应老」写朱弦悄、知音少、天若有情应老——写尽天若有情的应老（朱弦悄，知音少，天若有情应老）；「劝君看取利名场，今古梦茫茫」写劝君看取利名场、今古梦茫茫——写尽今古梦茫的茫茫（劝君看取利名场，今古梦茫茫）。全词以离别写感慨，写尽何处不相的相逢与今古梦茫的茫茫，是理解晏殊感慨词的重要篇章。

Art

The poem's art is the art of the consolation. The parting opens: the, flowers, never, ending — the flowers of the never ending; the, willows, never, exhausted — the willows of the never exhausted; should, be, with, my, feelings, the, same — the feelings of the same. The meeting follows: the, wine, boat, one, oar, the, hundred, percent, empty — the wine boat of the hundred percent; where, is, there, not, the, meeting, again — the meeting of the where; the, zither, strings, silent — the zither strings of the silent; the, connoisseurs, few — the few of the connoisseurs; if, the, heaven, has, the, feelings, it, should, grow, old — the heaven of the growing old. And the close gathers the advice: I, advise, you, to, look, at, the, field, of, the, fame, and, the, profit — the field of the fame and the profit; the, present, and, the, ancient, dreams, vast, and, boundless — the dreams of the vast and boundless — the parting, the meeting and the close's advice, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以起兴写花柳。「花不尽」以起兴写花柳——那「柳无穷，应与我情同」写尽应与我情的情同，以起兴写尽应与我情的情同。其二，以旷达写离别。「觥船一棹百分空」以旷达写离别——那「何处不相逢」写尽何处不相的相逢，以旷达写尽何处不相的相逢。其三，以化用写知音。「朱弦悄」以化用写知音——那「天若有情应老」写尽天若有情的应老，以化用写尽天若有情的应老。其四，以议论写感慨。「劝君看取利名场」以议论写感慨——那「今古梦茫茫」写尽今古梦茫的茫茫，以议论写尽今古梦茫的茫茫。此外，此词上阕写何处不相的相逢，下阕写今古梦茫的茫茫，由情及理，正是感慨词「以理入词」的写法。四重手法，使此词以离别写感慨，写尽何处不相的相逢与今古梦茫的茫茫，是晏殊的代表作。又，此词以「花不尽」「柳无穷」起兴，花柳之无尽与离情之无穷相映，物我合写；「觥船一棹百分空」以豪饮写别情之放达，「何处不相逢」一笔荡开，化悲为慰；下阕「朱弦悄，知音少」转写知音零落，化用李贺「天若有情天亦老」，「劝君看取利名场，今古梦茫茫」以议论收束，把眼前离别放入古今大梦之中，正是晏殊「由离别入感慨、由感慨入哲理」的深婉。

Allusions

'The wine boat' (gong chuan) is the wine boat — the boat of the wine, the drinking of the middle; 'the connoisseurs' (zhi yin) are the connoisseurs — the knowers of the sounds, the few of the middle; 'the heaven has the feelings' (tian ruo you qing) is the heaven has the feelings — the feelings of the heaven, the growing old of the middle.

此词的用语深植于感慨与离别传统。「花不尽」令人想到「花不尽」写花长的意象——也令人想到「花开花落两由之」的意象；「柳无穷」令人想到「柳无穷」写柳多的意象——也令人想到「柳暗花明又一村」（陆游）的意象；「情同」令人想到「情同」写情同的意象——也令人想到「应与我情同」的意象；「觥船」令人想到「觥船」写酒船的意象——也令人想到「觥筹交错」的意象；「百分空」令人想到「百分空」写杯空的意象——也令人想到「一饮尽空」的意象；「不相逢」令人想到「不相逢」写相逢的意象——也令人想到「人生何处不相逢」的意象；「朱弦」令人想到「朱弦」写琴弦的意象——也令人想到「朱弦三叹」的意象；「知音」令人想到「知音」写知音的意象——也令人想到「知音少，弦断有谁听」（岳飞）的意象；「天若有情」令人想到「天若有情」写天情的意象——也令人想到「天若有情天亦老」（李贺）的意象；「应老」令人想到「应老」写应老的意象——也令人想到「天若有情天亦老」的意象；「利名场」令人想到「利名场」写名利的意象——也令人想到「争名逐利」的意象；「梦茫茫」令人想到「梦茫茫」写梦的意象——也令人想到「人生如梦」（苏轼）的意象。全词化用花不尽、柳无穷、情同、觥船、百分空、不相逢、朱弦、知音、天若有情、应老、利名场、梦茫茫的意象，以离别写感慨，正是晏殊「温润」而善议论、承晚唐五代词传统写感慨之本领。

Commentary

This poem is one of the famous works of Yan Shu's poems of the parting, quoted for the consolation of its middle and the philosophy of its close. The heaven of the growing old, and the dreams of the vast and boundless, are among the admired passages of the poet's poems. Critics praise the poem's consolation: the parting gathered in the sorrow, to the close's advice.

此词历来被推为晏殊感慨词的名篇，也是宋初词写离别旷达的代表。历代论者对此词评价极高：清人评此词「以离别写感慨，温润超脱」；近人更指出「花不尽，柳无穷，应与我情同」写应与我情的情同，是此词的名句。在词史上，此词的特殊价值在于：它以中调写尽何处不相的相逢与今古梦茫的茫茫——那花不尽，那柳无穷，那应与我情同，那觥船，那一棹，那百分空，那何处，那不相逢，那朱弦悄，那知音少，那天若有情，那应老，那劝君，那看取，那利名场，那今古，那梦茫茫，都写尽了晏殊笔下的喜迁莺花不尽；那「今古梦茫茫」更以议论写尽今古梦茫的茫茫。此词与晏殊《浣溪沙·一向年光有限身》「一向年光有限身」同为感慨名篇，一写「满目山河空念远」的浣溪沙，一写「今古梦茫茫」的喜迁莺；一写惜春，一写送别。两词对读，可见晏殊感慨词的两面。对于今日读者，此词是理解晏殊感慨词的窗口，也是宋初词写离别旷达的经典——那今古梦茫的茫茫，穿越千年，仍在诉说着何处不相的相逢。

Prosody

Form A ci of the tune of the Orioles, Joyfully, Migrating (xijianying)词·喜迁莺

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the consoling philosophy.喜迁莺，上阕押「穷」「同」「逢」，下阕押「老」「茫」（平声东江韵），一韵到底

Tone pattern The cadence is that of the consolation: the level opening with the parting, the turning with the sorrow, and the close's fall with the dreams.此词为喜迁莺中调，押平声韵，一韵到底，音节温润，正合感慨的温润。

Reading note The poem's sound matches its consolation: the cadences of the ci, and the close — 'jin gu meng mang mang' — falls with the boundless, the sound of the philosophy of the parting poet.此词为喜迁莺中调，上下两阕——上阕「花不尽，柳无穷，应与我情同。觥船一棹百分空，何处不相逢」，下阕「朱弦悄，知音少，天若有情应老。劝君看取利名场，今古梦茫茫」，押平韵（穷、同、逢、茫），一韵到底，音节温润。全词以离别写感慨：上阕写何处不相的相逢（花不尽、觥船一棹百分空），下阕写今古梦茫的茫茫（朱弦悄、劝君看取利名场）。中调铺叙，前写花柳，后写感慨，以「今古梦茫茫」写尽今古梦茫的茫茫，正见晏殊「温润」的本色。诵读此词，宜以温润的语调读「应与我情同」的花柳，以旷达的语调读「今古梦茫茫」的感慨，结句要读得温润而有余韵，方能传达出晏殊的温润超脱。晏殊中调以「温润」著称，此词正是其感慨词的典范。

Line by line

花不尽，柳无穷，应与我情同

Flowers without end, willows without bound; surely they share the same feeling as mine.

花不尽，柳无穷，应与我情同。

Flowers unending, willows illimitable; they should be of one feeling with mine.

此三句是全词写花柳的核心，以花不尽写不尽，以柳无穷写无穷，以应与我情同写情同，写尽应与我情的情同，是千古名句。「花不尽」写花不尽——那「花」写花，「不尽」写不尽，写尽花的不尽；「柳无穷」写柳无穷——那「柳」写柳，「无穷」写无穷，写尽柳的无穷；「应与我情同」写应与我情同——那「应与我情」写应与我情，「同」写同，写尽应与我情的情同。这句的深意在于：它以「花不尽」的不尽、「柳无穷」的无穷与「应与我情同」的情同，写尽应与我情的情同——花不尽，那「花不尽」写尽花的不尽——花不尽，正是花开无尽的写照，那「不尽」写尽应与我情的情同；柳无穷，那「柳无穷」写尽柳的无穷——柳无穷，正是柳绿无穷的写照，那「无穷」写尽应与我情的情同；应与我情同，那「应与我情同」写尽应与我情的情同——应与我情同，正是情同花柳的写照，那「情同」写尽应与我情的情同；那「花不尽」写尽花的不尽，那「柳无穷」写尽柳的无穷，那「应与我情同」写尽应与我情的情同，一写不尽，一写无穷，一写情同，写尽应与我情的情同——花开无尽而柳绿无穷，正是情同花柳的写照；此三句以不尽、无穷、情同写尽应与我情的情同，也为下文的觥船作铺垫，也让此三句成为全词写花柳的核心与千古名句。若换作直说「花开不尽柳绿无穷，应该和我的情一样长」，则失其温润；唯以「花不尽」写不尽、「柳无穷」写无穷、「应与我情同」写情同，写尽应与我情的情同，也让此三句成为全词写花柳的核心。

These lines are the flower-and-willow heart of the ci, flowers and willows without end matched to the poet's feeling. 'Flowers without end, willows without bound' piles the spring abundance; 'surely they share my feeling' projects the poet's longing onto the growing things, asking that the endless flowers and willows equal the endless love. The soft 'surely' writes the tender hope that nature might answer the heart. If stated as 'flowers and willows are as endless as my love,' the warmth would fade; only through the two 'without end' and 'share my feeling' does the emotion become tender.

劝君看取利名场，今古梦茫茫

I urge you to look at the arena of fame and gain: past and present, a vast, vague dream.

劝君看取利名场，今古梦茫茫。

I counsel you to gaze on the field of profit and renown; through all ages it is a dim, vast dream.

此二句是全词写感慨的核心，以劝君看取利名场写利名场，以今古梦茫茫写茫茫，写尽今古梦茫的茫茫，是千古名句。「劝君看取利名场」写劝君看取利名场——那「劝君看取」写劝君看取，「利名场」写利名场，写尽劝君看取的利名场；「今古梦茫茫」写今古梦茫茫——那「今古」写今古，「梦茫茫」写梦茫茫，写尽今古的梦茫茫。这句的深意在于：它以「劝君看取利名场」的利名场与「今古梦茫茫」的茫茫，写尽今古梦茫的茫茫——劝君看取利名场，那「劝君看取利名场」写尽劝君看取的利名场——劝君看取利名场，正是看破名利的写照，那「利名场」写尽今古梦茫的茫茫；今古梦茫茫，那「今古梦茫茫」写尽今古的梦茫茫——今古梦茫茫，正是古今如梦的写照，那「茫茫」写尽今古梦茫的茫茫；那「劝君看取利名场」写尽劝君看取的利名场，那「今古梦茫茫」写尽今古的梦茫茫，一写利名场，一写茫茫，写尽今古梦茫的茫茫——看破名利而古今如梦，正是感慨的写照；此二句以利名场、茫茫写尽今古梦茫的茫茫，也让此二句成为全词写感慨的核心与千古名句。若换作直说「劝你看破那名利场，古今都是一场茫茫大梦」，则失其含蓄；唯以「劝君看取利名场」写利名场、「今古梦茫茫」写茫茫，写尽今古梦茫的茫茫，也让此二句成为全词写感慨的核心。

These lines are the reflective heart of the ci, the arena of fame seen as a vague dream. 'I urge you to look' takes the advising tone; 'the arena of fame and gain' names the worldly struggle. 'Past and present, a vast dream' resolves it—all the pursuit of renown through the ages is a vague dream, illusory. The counsel turns the spring melancholy into philosophic detachment. If stated as 'renown is all a dream,' the reserve would vanish; only through 'look at' and 'a vast, vague dream' does the disillusionment become measured.

Study

Word focus

同 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「应与我情同」之「同」字是写花柳关键词，一个「同」字写尽应与我情的情同。同者，相同、相通也。晏殊以「应与我情同」写花柳，这个「同」字至少有双重意味：其一，写情之同——那「应与我情同」写应与我情同，那「同」字写尽应与我情的情同——情同，正是与花柳同其情韵的写照，那「同」字写尽应与我情的情同；其二，写物我之通——那「同」字更是写通——同，正见物我交融的意味，那「同」字写尽晏殊的旷达。以「同」字写花柳，正是晏殊写感慨的枢纽——若换作「齐」「似」等字，则或失其与「应与我情同」「花不尽，柳无穷」的配合，或失其写同的意味；唯「同」字，以应与我情同写尽花柳之无尽与情怀之相通，与「花不尽，柳无穷」的不尽无穷相合，写尽应与我情的情同，也让「应与我情同」成为全词写花柳的名句。

茫 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「今古梦茫茫」之「茫」字是写感慨关键词，一个「茫」字写尽今古的梦茫茫。茫者，茫茫、渺茫也。晏殊以「今古梦茫茫」写感慨，这个「茫」字至少有双重意味：其一，写梦之茫——那「今古梦茫茫」写今古梦茫茫，那「茫」字写尽今古的梦茫茫——茫茫，正是如梦似烟的写照，那「茫」字写尽今古的梦茫茫；其二，写理之远——那「茫」字更是写远——茫，正见看破名利的意味，那「茫」字写尽晏殊的旷达。以「茫」字写感慨，正是晏殊写离别的枢纽——若换作「空」「遥」等字，则或失其与「今古梦茫茫」「劝君看取利名场」的配合，或失其写茫的意味；唯「茫」字，以今古梦茫茫写尽古今之如梦与名利之空幻，与「劝君看取利名场」的利名场相合，写尽今古的梦茫茫，也让「今古梦茫茫」成为全词写感慨的名句。