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宋 Song · 词 Ci lyric

虞美人·有美堂赠述古

The, Beauty, of, the, Yu: At, the, Hall, of, the, Beauty, Presented, to, the, Shugu

苏轼

Su Shi

山水Landscape 送别Farewell

湖山信是东南美，一望弥千里。
使君能得几回来？
便使尊前醉倒更徘徊。
沙河塘里灯初上，水调谁家唱。
夜阑风静欲归时，惟有一江明月碧琉璃。

湖山信是东南美，一望弥千里。
使君能得几回来？便使尊前醉倒更徘徊。
沙河塘里灯初上，水调谁家唱。
夜阑风静欲归时，惟有一江明月碧琉璃。

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Meaning

A lyric of the lake and the farewell, written by Su Shi. The lake and the mountains indeed of the southeast the beauty, one look stretching the thousand li — the beauty of the opening. The governor able to obtain the how many returns, even making the cups drunk to the fall more lingering — the lingering of the middle. In the pond of the sand the river the lamps just rising, the tune of the Water the song of whom the singing — the scenes of the middle. And the close's the night deep the wind still the time of the wishing to return, only having the one river the bright moon the green glass — the close's moon. The lyric is the lake and the farewell: the beauty, the lingering, and the close's moon.

湖山信是东南美，一望弥千里。使君能得几回来？便使尊前醉倒更徘徊。沙河塘里灯初上，水调谁家唱。夜阑风静欲归时，惟有一江明月碧琉璃。

Appreciation

[Plain Paraphrase] The, lake, and, the, mountains, indeed, of, the, southeast, the, beauty, one, look, stretching, the, thousand, li. The, governor, able, to, obtain, the, how, many, returns, even, making, the, cups, drunk, to, the, fall, more, lingering. In, the, pond, of, the, sand, the, river, the, lamps, just, rising, the, tune, of, the, Water, the, song, of, whom, the, singing. The, night, deep, the, wind, still, the, time, of, the, wishing, to, return, only, having, the, one, river, the, bright, moon, the, green, glass. [Structure and Thought] The lyric moves from the beauty of the lake and the mountains with the thousand li, through the lingering of the cups with the lamps, to the close's the moon of the green glass. [Key Technique] The lyric's art is the close of the moon: the night deep the wind still the time of the wishing to return, and the close's only having the one river the bright moon the green glass — the lake gathered in the lingering and the close's moon. [Emotional Tone] Beautiful, lingering, and clear: the lyric is the beauty, the farewell and the close's moon.

【白话串讲】苏轼写《虞美人·有美堂赠述古》：“湖山信是东南美，一望弥千里”——“使君能得几回来？便使尊前醉倒更徘徊”——“沙河塘里灯初上，水调谁家唱”——“夜阑风静欲归时，惟有一江明月碧琉璃”——他在有美堂赠陈襄——一江明月碧琉璃。【意象与手法】此词写送别，以山水写送别，是苏轼的名篇。上片写湖山：「湖山信是东南美，一望弥千里。使君能得几回来？便使尊前醉倒更徘徊」写湖山信是东南美、一望弥千里——写尽湖山的壮美；下片写明月：「沙河塘里灯初上，水调谁家唱。夜阑风静欲归时，惟有一江明月碧琉璃」写沙河塘里灯初上、水调谁家唱——写尽明月的清景。全词以山水写送别，写尽湖山的壮美与明月的清景，是苏轼的代表作。【情感与主旨】此词写送别，以山水写送别，是苏轼的名篇。此词写苏轼在杭州有美堂赠别陈襄（字述古）。陈襄知杭州，与苏轼相得，后调任他处，苏轼于有美堂（在杭州吴山，取欧阳修「地有湖山美」句意）钱别。此词写湖山信是东南之美，一望弥千里；使君（指陈襄）能得几回来，便使尊前醉倒更徘徊；沙河塘里灯初上，水调谁家唱；夜阑风静欲归时，惟有一江明月如碧琉璃。此词写湖山：湖山信是东南美，一望弥千里——写湖山信是东南美、一望弥千里，写尽湖山的壮美；使君能得几回来？便使尊前醉倒更徘徊——写使君能得几回来、便使尊前醉倒更徘徊，写尽送别的留恋；沙河塘里灯初上，水调谁家唱——写沙河塘里灯初上、水调谁家唱，写尽塘灯的景致；夜阑风静欲归时，惟有一江明月碧琉璃——写夜阑风静欲归时、惟有一江明月碧琉璃，写尽明月的清景。全词以山水写送别——那「湖山信是东南美」写尽湖山的壮美，「惟有一江明月碧琉璃」写尽明月的清景，写尽湖山的壮美与明月的清景，是理解苏轼送别词的重要篇章。【名句点睛】常考「湖山信是东南美，一望弥千里」写湖山的壮美；「夜阑风静欲归时，惟有一江明月碧琉璃」写明月的清景；以及全词以山水写送别、以景结写别情的手法。

Background

Su Shi (1037-1101), the great poet of the Song, wrote this 'The, Beauty, of, the, Yu: At, the, Hall, of, the, Beauty, Presented, to, the, Shugu' of the lake and the farewell — the farewell of the Hangzhou to the Chen Xiang. The beauty of the lake and the mountains, the lingering of the cups, and the close's the moon of the green glass — the lyric gathers the sorrow of the poet, the beauty of the farewell. The lyric is one of the famous works of the poet's lyrics of the farewell.

此词写送别，以山水写送别，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今四川眉山）人，北宋文学家，唐宋八大家之一，与父洵、弟辙合称「三苏」，与黄庭坚并称「苏黄」，与辛弃疾并称「苏辛」。此词写苏轼在杭州有美堂赠别陈襄（字述古）。陈襄知杭州，与苏轼相得，后调任他处，苏轼于有美堂（在杭州吴山，取欧阳修「地有湖山美」句意）钱别。此词写湖山信是东南之美，一望弥千里；使君（指陈襄）能得几回来，便使尊前醉倒更徘徊；沙河塘里灯初上，水调谁家唱；夜阑风静欲归时，惟有一江明月如碧琉璃。此词写湖山：「湖山信是东南美，一望弥千里」写湖山信是东南美、一望弥千里——写尽湖山的壮美（湖山信是东南美，一望弥千里）；「使君能得几回来？便使尊前醉倒更徘徊」写使君能得几回来、便使尊前醉倒更徘徊——写尽送别的留恋（使君能得几回来？便使尊前醉倒更徘徊）；「沙河塘里灯初上，水调谁家唱」写沙河塘里灯初上、水调谁家唱——写尽塘灯的景致（沙河塘里灯初上，水调谁家唱）；「夜阑风静欲归时，惟有一江明月碧琉璃」写夜阑风静欲归时、惟有一江明月碧琉璃——写尽明月的清景（夜阑风静欲归时，惟有一江明月碧琉璃）。全词以山水写送别，写尽湖山的壮美与明月的清景，是理解苏轼送别词的重要篇章。

Art

The lyric's art is the art of the moon. The beauty opens: the, lake, and, the, mountains, indeed, of, the, southeast, the, beauty — the lake and the mountains of the beauty; one, look, stretching, the, thousand, li — the thousand li of the stretching; the, governor, able, to, obtain, the, how, many, returns — the governor of the returns; even, making, the, cups, drunk, to, the, fall, more, lingering — the cups of the lingering. The scenes follow: in, the, pond, of, the, sand, the, river, the, lamps, just, rising — the lamps of the rising; the, tune, of, the, Water, the, song, of, whom, the, singing — the song of the Water. And the close gathers the moon: the, night, deep, the, wind, still, the, time, of, the, wishing, to, return — the night deep of the wishing to return; only, having, the, one, river, the, bright, moon, the, green, glass — the green glass of the moon — the beauty, the lingering and the close's moon, gathered in the lyric.

此词的艺术特色可从四个方面解析。其一，以直抒写湖山。「湖山信是东南美」以直抒写湖山——那「信是东南美」写尽湖山的壮美，以直抒写尽湖山的壮美。其二，以反问写留恋。「使君能得几回来」以反问写留恋——那「几回来」写尽难再的留恋，以反问写尽送别的留恋。其三，以白描写塘灯。「沙河塘里灯初上」以白描写塘灯——那「灯初上」写尽塘灯的初上，以白描写尽塘灯的景致。其四，以景结写明月。「惟有一江明月碧琉璃」以景结写明月——那「明月碧琉璃」写尽明月的澄澈，以景结写尽明月的清景。此外，此词上片写湖山的壮美，下片写明月的清景，由湖及江，正是送别词「以景写别」的写法。四重手法，使此词以山水写送别，写尽湖山的壮美与明月的清景，是苏轼的代表作。此词还善于以「使君能得几回来」的反问写别后难逢——那「几回来」写尽重逢的难期，正是以反问写别情，以反问写尽送别的留恋。又善以「沙河塘里灯初上」的「初上」写华灯之始——灯初上，正见灯火初明的夜景，以「初上」写尽塘灯的景致。

Allusions

'The hall of the beauty' (you mei tang) is the hall of the beauty — the hall of the Youmei, the gift of the opening; 'the pond of the sand the river' (sha he tang) is the pond of the sand the river — the pond of the Shahe, the lamps of the middle; 'the tune of the Water' (shui diao) is the tune of the Water — the tune of the Water, the singing of the middle.

此词的用语深植于送别与山水传统。「湖山」令人想到「湖山」写湖山的意象——也令人想到「湖光山色」的意象；「东南美」令人想到「东南美」写东南的意象——有美堂取欧阳修「地有湖山美」句意，也令人想到「东南形胜」（柳永）的意象；「使君」令人想到「使君」写太守的意象——也令人想到「使君莫忘霅溪女」的意象；「沙河塘」令人想到「沙河塘」写杭州塘市的意象——也令人想到「灯火沙河塘」的意象；「水调」令人想到「水调」写水调歌的意象——也令人想到「水调歌头」的意象；「碧琉璃」令人想到「碧琉璃」写碧琉璃的意象——也令人想到「玉壶光转」的意象。全词化用湖山、东南美、使君、沙河塘、水调、碧琉璃的意象，以山水写送别，正是苏轼「以诗为词」而善写景、承送别传统写别情之本领。「有美堂」取欧阳修《有美堂记》「湖山信美，莫若江南」之意——苏轼以「湖山信是东南美」写有美堂胜景；「水调」令人想到「水调歌」写歌曲的意象——也令人想到苏轼《水调歌头》的意象，以水调写塘上的歌声。

Commentary

This lyric is one of the famous works of Su Shi's lyrics of the farewell, quoted for the beauty of its opening and the clearness of its close. The thousand li of the stretching, and the green glass of the moon, are among the admired passages of the poet's lyrics. Critics praise the lyric's beauty: the lake gathered in the lingering, to the close's moon.

此词历来被推为苏轼送别词的名篇，也是宋词写杭州湖山的代表。历代论者对此词评价极高：清人评此词「以山水写送别，清旷自然」；近人更指出「夜阑风静欲归时，惟有一江明月碧琉璃」写明月的清景，是此词的名句。在词史上，此词的特殊价值在于：它以五十六字的词写尽湖山的壮美与明月的清景——那湖山，那信是东南美，那一望，那弥千里，那使君，那能得几回来，那便使，那尊前醉倒，那更徘徊，那沙河塘里，那灯初上，那水调，那谁家唱，那夜阑，那风静，那欲归时，那惟有一江，那明月，那碧琉璃，都写尽了苏轼笔下的虞美人；那「惟有一江明月碧琉璃」更以景结写尽明月的清景。此词与苏轼《饮湖上初晴后雨》（「水光潋滟晴方好」）同为写杭州湖山名篇，一写「淡妆浓抹总相宜」的西湖（饮湖上），一写「惟有一江明月碧琉璃」的有美堂（虞美人）；又与柳永《望海潮》「东南形胜」的杭州意象一脉相承，可见宋词写杭州的传统。对于今日读者，此词是理解苏轼送别词的窗口，也是宋词写杭州湖山的经典——那一江明月的澄澈，穿越千年，仍在诉说着送别的留恋。

Prosody

Form A lyric of the tune of the Beauty of the Yu (ci)词·虞美人

Rhyme The lyric rhymes on the level of the group — the cadence of the ci that carries the clear farewell.词牌虞美人，押「美」「里」「回」「徊」「上」「唱」「时」「璃」等韵，平仄互押

Tone pattern The cadence is that of the moon: the level opening with the beauty, the turning with the lingering, and the close's fall with the glass.此词为虞美人，平仄互押，音节清旷，正合送别的清旷。

Reading note The lyric's sound matches its clearness: the cadences of the ci, and the close — 'wei you yi jiang ming yue bi liu li' — falls with the glass, the sound of the beauty of the lake poet.此词为《虞美人》词牌，上片四句——「湖山信是东南美，一望弥千里。使君能得几回来？便使尊前醉倒更徘徊」，下片四句——「沙河塘里灯初上，水调谁家唱。夜阑风静欲归时，惟有一江明月碧琉璃」，押仄韵（美、里、上、唱）而转平韵（回、徊、时、璃），平仄互押，音节清旷。全词以山水写送别：上片写湖山的壮美（湖山信是东南美、便使尊前醉倒更徘徊），下写明月的清景（沙河塘里灯初上、惟有一江明月碧琉璃）。词体短章，前写湖山，后写明月，以「惟有一江明月碧琉璃」写尽明月的清景，正见苏轼「以诗为词」的本色。诵读此词，宜以清旷的语调读「一望弥千里」的湖山，以悠然的语调读「惟有一江明月碧琉璃」的明月，结句要读得清旷而有余韵，方能传达出苏轼的清旷自然。苏轼词以「旷达」著称，此词正是其送别词的典范。

Line by line

夜阑风静欲归时，惟有一江明月碧琉璃

As the night wanes, the wind stills, and the hour to return - only a river of bright moon, green as glass.

夜阑风静欲归时，惟有一江明月碧琉璃。

When the night grows late, the wind falls, and it is time to go home, there is only a river of moonlight, green as glazed glass.

此二句是全词写明月的核心，以夜阑风静欲归时写欲归时，以惟有一江明月碧琉璃写碧琉璃，写尽明月的清景，是千古名句。「夜阑风静欲归时」写夜阑风静欲归时——那「夜阑风静」写夜阑风静，「欲归时」写欲归时，写尽夜阑的欲归；「惟有一江明月碧琉璃」写惟有一江明月碧琉璃——那「惟有一江明月」写惟有一江明月，「碧琉璃」写碧琉璃，写尽明月的澄澈。这句的深意在于：它以「夜阑风静欲归时」的欲归时与「惟有一江明月碧琉璃」的碧琉璃，写尽明月的清景——夜阑风静欲归时，那「夜阑风静欲归时」写尽夜阑的欲归——夜阑风静，正是夜深风定的写照，那「欲归时」写尽明月的清景；惟有一江明月碧琉璃，那「惟有一江明月碧琉璃」写尽明月的澄澈——惟有一江明月，正是唯余明月的写照，那「碧琉璃」写尽明月的清景；那「夜阑风静欲归时」写尽夜阑的欲归，那「惟有一江明月碧琉璃」写尽明月的澄澈，一写夜阑，一写明月，写尽明月的清景——夜深人散而明月澄澈，正是别后的清景；此二句以夜阑、明月写尽明月的清景，也让此二句成为全词写明月的核心与千古名句。若换作直说「夜深了，只剩一轮明月照在江上，像碧绿的琉璃」，则失其空灵；唯以「夜阑风静欲归时」写欲归时、「惟有一江明月碧琉璃」写碧琉璃，写尽明月的清景，也让此二句成为全词写明月的核心。

These two lines are the core of the ci's bright moon - a famous line. 'As the night wanes, the wind stills, and the hour to return' the deep night, the settled wind; 'only a river of bright moon, green as glass' the limpid moonlight. The revel dispersed, the moon alone on the river, clear as green glass - the after-parting clarity, airy and pure.

湖山信是东南美，一望弥千里

The lake and hills are truly the beauty of the southeast; one gaze stretches a thousand li.

湖山信是东南美，一望弥千里。

Lake and hills are indeed the beauty of the southeast; one glance spreads a thousand li.

此二句是全词写湖山的核心，以湖山信是东南美写东南美，以一望弥千里写弥千里，写尽湖山的壮美，是千古名句。「湖山信是东南美」写湖山信是东南美——那「湖山信是」写湖山信是，「东南美」写东南美，写尽湖山的壮美；「一望弥千里」写一望弥千里——那「一望」写一望，「弥千里」写弥千里，写尽一望的千里。这句的深意在于：它以「湖山信是东南美」的东南美与「一望弥千里」的弥千里，写尽湖山的壮美——湖山信是东南美，那「湖山信是东南美」写尽湖山的壮美——湖山信是，正是湖山果是的写照，那「东南美」写尽湖山的壮美；一望弥千里，那「一望弥千里」写尽一望的千里——一望弥千里，正是纵目千里的写照，那「弥千里」写尽湖山的壮美；那「湖山信是东南美」写尽湖山的壮美，那「一望弥千里」写尽一望的千里，一写湖山，一写一望，写尽湖山的壮美——湖山信美而一望千里，正是登高望远的写照；此二句以湖山、一望写尽湖山的壮美，也为下文的留恋作铺垫，也让此二句成为全词写湖山的核心与千古名句。若换作直说「杭州的湖光山色真是东南最美的，一望无际」，则失其雄浑；唯以「湖山信是东南美」写东南美、「一望弥千里」写弥千里，写尽湖山的壮美，也让此二句成为全词写湖山的核心。

These two lines are the core of the ci's lake-and-hill grandeur - a famous line. 'The lake and hills are truly the beauty of the southeast' the confirmed beauty; 'one gaze stretches a thousand li' the wide prospect. The confirmed beauty and the thousand-li gaze - the grandeur of the high look-out, priming the lingering attachment below.

Study

Word focus

弥 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「一望弥千里」之「弥」字是写湖山的关键词，一个「弥」字写尽一望的千里。弥者，满、遍也。苏轼以「一望弥千里」写湖山，这个「弥」字至少有双重意味：其一，写望之弥——那「一望弥千里」写一望弥千里，那「弥」字写尽一望的千里——弥千里，正是满目千里的写照，那「弥」字写尽湖山的壮美；其二，写景之阔——那「弥」字更是写阔——弥，正见湖山的壮阔，那「弥」字写尽苏轼的旷达。以「弥」字写湖山，正是苏轼写送别的枢纽——若换作「满」「极」等字，则或失其与「一望」「千里」的配合，或失其写弥的意味；唯「弥」字，以一望弥千里写尽一望之千里与湖山之壮阔，与「湖山信是东南美」的湖山相合，写尽湖山的壮美，也让「一望弥千里」成为全词写湖山的名句。

惟 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「惟有一江明月碧琉璃」之「惟」字是写明月的关键词，一个「惟」字写尽明月的独存。惟者，只有、独也。苏轼以「惟有一江明月碧琉璃」写明月，这个「惟」字至少有双重意味：其一，写月之惟——那「惟有一江明月碧琉璃」写惟有一江明月碧琉璃，那「惟」字写尽明月的独存——惟有一江明月，正是唯余明月的写照，那「惟」字写尽明月的清景；其二，写情之深——那「惟」字更是写深——惟，正见别后唯月相伴的深情，那「惟」字写尽苏轼的旷达。以「惟」字写明月，正是苏轼写送别的枢纽——若换作「独」「只」等字，则或失其与「一江明月」「碧琉璃」的配合，或失其写惟的意味；唯「惟」字，以惟有一江明月碧琉璃写尽明月之独存与别后之深情，与「夜阑风静欲归时」的欲归相合，写尽明月的清景，也让「惟有一江明月碧琉璃」成为全词写明月的名句。