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宋 Song · 词 Ci lyric

转调满庭芳·芳草池塘

The, Garden, Full, of, the, Fragrance, the, Transposed, the, Pond, of, the, Fragrant, Grass

李清照

Li Qingzhao

感怀memory 春景spring

芳草池塘，绿阴庭院，晚晴寒透窗纱。
玉钩金锁，管是客来唦。
寂寞尊前席上，惟愁海角天涯。
能留否？
酴醾落尽，犹赖有梨花。
当年曾胜赏，生香熏袖，活火分茶。
极目犹龙骄马，流水轻车。
不怕风狂雨骤，恰才称、煮酒笺花。
如今也，不成怀抱，得似旧时那？

芳草池塘，绿阴庭院，晚晴寒透窗纱。
玉钩金锁，管是客来唦。
寂寞尊前席上，惟愁海角天涯。
能留否？酴醾落尽，犹赖有梨花。
当年曾胜赏，生香熏袖，活火分茶。
极目犹龙骄马，流水轻车。
不怕风狂雨骤，恰才称、煮酒笺花。
如今也，不成怀抱，得似旧时那？

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Meaning

A poem of the memory and the sorrow, written by Li Qingzhao. The fragrant grass the pond, the green shade the courtyard, the evening clearing the cold seeping through the window gauze — the scene of the opening. Lonely before the goblet on the seats, only worrying the corners of the sea the ends of the earth — the sorrow of the middle. And the close's now also, not becoming the feelings the embrace, able to resemble the old times that — the close's sorrow. The poem is the memory and the sorrow: the scene, the memory, and the close's sorrow.

芳草池塘，绿阴庭院，晚晴寒透窗纱。玉钩金锁，管是客来唦。寂寞尊前席上，惟愁海角天涯。能留否？酴醾落尽，犹赖有梨花。当年曾胜赏，生香熏袖，活火分茶。极目犹龙骄马，流水轻车。不怕风狂雨骤，恰才称、煮酒笺花。如今也，不成怀抱，得似旧时那？

Appreciation

[Plain Paraphrase] The, fragrant, grass, the, pond, the, green, shade, the, courtyard, the, evening, clearing, the, cold, seeping, through, the, window, gauze. The, jade, hook, the, gold, lock, it, must, be, the, guests, coming, ah. Lonely, before, the, goblet, on, the, seats, only, worrying, the, corners, of, the, sea, the, ends, of, the, earth. Can, it, be, kept, the, roses, all, fallen, still, relying, on, the, pear, flowers. In, those, years, once, the, surpassing, enjoyment, the, living, fragrance, fumigating, the, sleeves, the, living, fire, sharing, the, tea. The, gazing, to, the, farthest, the, still, the, dragon, the, proud, horses, the, flowing, water, the, light, carriages. Not, fearing, the, wind, wild, the, rain, violent, just, then, fitting, the, boiling, the, wine, the, writing, the, flowers. Now, also, not, becoming, the, feelings, the, embrace, able, to, resemble, the, old, times, that. [Structure and Thought] The poem moves from the scene of the pond with the courtyard, through the sorrow of the lonely with the worrying, to the close's the sorrow of the old times. [Key Technique] The poem's art is the close of the sorrow: the roses all fallen still relying on the pear flowers, and the close's now also not becoming the feelings the embrace able to resemble the old times that — the memory gathered in the contrast and the close's sorrow. [Emotional Tone] Lonely, reminiscent, and sorrowful: the poem is the scene, the memory and the close's sorrow.

【白话串讲】李清照写《转调满庭芳·芳草池塘》：“芳草池塘，绿阴庭院，晚晴寒透窗纱”——“寂寞尊前席上，惟愁海角天涯”——“能留否？酴醾落尽，犹赖有梨花”——“当年曾胜赏，生香熏袖，活火分茶”——她写今昔之叹。【意象与手法】此词写怀旧，以愁绪写怀旧，是李清照的名篇。上阕写寂寞：「芳草池塘，绿阴庭院，晚晴寒透窗纱。玉钩金锁，管是客来唦。寂寞尊前席上，惟愁海角天涯。能留否？酴醾落尽，犹赖有梨花」写芳草池塘、绿阴庭院、晚晴寒透窗纱——写尽晚晴寒透的窗纱；下阕写怀旧：「当年曾胜赏，生香熏袖，活火分茶。极目犹龙骄马，流水轻车。不怕风狂雨骤，恰才称、煮酒笺花。如今也，不成怀抱，得似旧时那」写当年曾胜赏、生香熏袖、活火分茶——写尽生香熏袖的分茶。全词以愁绪写怀旧，写尽晚晴寒透的窗纱与生香熏袖的分茶，是李清照的代表作。【情感与主旨】此词写怀旧，以愁绪写怀旧，是李清照的名篇。此词为李清照晚年所作，写其忆当年胜赏而伤今朝寂寥。李清照南渡后，此词写其怀旧伤今。此词写芳草池塘，绿阴庭院，晚晴寒透窗纱；玉钩金锁，管是客来唦；寂寞尊前席上，惟愁海角天涯；能留否？酴醾落尽，犹赖有梨花；当年曾胜赏，生香熏袖，活火分茶；极目犹龙骄马，流水轻车；不怕风狂雨骤，恰才称、煮酒笺花；如今也，不成怀抱，得似旧时那。此词写寂寞：芳草池塘，绿阴庭院，晚晴寒透窗纱——写芳草池塘、绿阴庭院、晚晴寒透窗纱，写尽晚晴寒透的窗纱；玉钩金锁，管是客来唦——写玉钩金锁、管是客来唦，写尽玉钩金锁的客来；寂寞尊前席上，惟愁海角天涯——写寂寞尊前席上、惟愁海角天涯，写尽惟愁海角的天涯；能留否？酴醾落尽，犹赖有梨花——写能留否、酴醾落尽、犹赖有梨花，写尽犹赖有梨花的酴醾落尽。下阕写怀旧：当年曾胜赏，生香熏袖，活火分茶——写当年曾胜赏、生香熏袖、活火分茶，写尽生香熏袖的分茶；极目犹龙骄马，流水轻车——写极目犹龙骄马、流水轻车，写尽流水轻车的骄马；不怕风狂雨骤，恰才称、煮酒笺花——写不怕风狂雨骤、恰才称、煮酒笺花，写尽煮酒笺花的风狂雨骤；如今也，不成怀抱，得似旧时那——写如今也、不成怀抱、得似旧时那，写尽不成怀抱的如今。全词以愁绪写怀旧——那「晚晴寒透窗纱」写尽晚晴寒透的窗纱，「不成怀抱，得似旧时那」写尽不成怀抱的如今，写尽晚晴寒透的窗纱与生香熏袖的分茶，是理解李清照怀旧词的重要篇章。【名句点睛】常考「芳草池塘，绿阴庭院，晚晴寒透窗纱」写晚晴寒透的窗纱；「如今也，不成怀抱，得似旧时那」写不成怀抱的如今；以及全词以愁绪写怀旧、以今昔对比写愁的手法。

Background

Li Qingzhao (1084-c. 1155), the great poet of the Song, wrote this 'The, Garden, Full, of, the, Fragrance, the, Transposed, the, Pond, of, the, Fragrant, Grass' of the memory and the sorrow — the sorrow of the memory in the years of the widowhood. The scene of the pond with the courtyard, and the close's the sorrow of the old times — the poem gathers the sorrow of the poet, the memory of the past. The poem is one of the famous works of the poet's poems of the memory.

此词写怀旧，以愁绪写怀旧，是李清照的名篇。李清照（1084—约1155），号易安居士，齐州章丘（今山东济南）人，宋代女词人，婉约词派代表，有「千古第一才女」之称。此词为李清照晚年所作，写其忆当年胜赏而伤今朝寂寥。李清照南渡后，此词写其怀旧伤今。此词写芳草池塘，绿阴庭院，晚晴寒透窗纱；玉钩金锁，管是客来唦；寂寞尊前席上，惟愁海角天涯；能留否？酴醾落尽，犹赖有梨花；当年曾胜赏，生香熏袖，活火分茶；极目犹龙骄马，流水轻车；不怕风狂雨骤，恰才称、煮酒笺花；如今也，不成怀抱，得似旧时那。此词写寂寞：「芳草池塘，绿阴庭院，晚晴寒透窗纱」写芳草池塘、绿阴庭院、晚晴寒透窗纱——写尽晚晴寒透的窗纱（芳草池塘，绿阴庭院，晚晴寒透窗纱）；「玉钩金锁，管是客来唦」写玉钩金锁、管是客来唦——写尽玉钩金锁的客来（玉钩金锁，管是客来唦）；「寂寞尊前席上，惟愁海角天涯」写寂寞尊前席上、惟愁海角天涯——写尽惟愁海角的天涯（寂寞尊前席上，惟愁海角天涯）；「能留否？酴醾落尽，犹赖有梨花」写能留否、酴醾落尽、犹赖有梨花——写尽犹赖有梨花的酴醾落尽（能留否？酴醾落尽，犹赖有梨花）。下阕写怀旧：「当年曾胜赏，生香熏袖，活火分茶」写当年曾胜赏、生香熏袖、活火分茶——写尽生香熏袖的分茶（当年曾胜赏，生香熏袖，活火分茶）；「极目犹龙骄马，流水轻车」写极目犹龙骄马、流水轻车——写尽流水轻车的骄马（极目犹龙骄马，流水轻车）；「不怕风狂雨骤，恰才称、煮酒笺花」写不怕风狂雨骤、恰才称、煮酒笺花——写尽煮酒笺花的风狂雨骤（不怕风狂雨骤，恰才称、煮酒笺花）；「如今也，不成怀抱，得似旧时那」写如今也、不成怀抱、得似旧时那——写尽不成怀抱的如今（如今也，不成怀抱，得似旧时那）。全词以愁绪写怀旧，写尽晚晴寒透的窗纱与生香熏袖的分茶，是理解李清照怀旧词的重要篇章。

Art

The poem's art is the art of the sorrow. The scene opens: the, fragrant, grass, the, pond — the fragrant grass of the pond; the, green, shade, the, courtyard — the green shade of the courtyard; the, evening, clearing, the, cold, seeping, through, the, window, gauze — the cold of the window gauze; the, jade, hook, the, gold, lock — the jade hook of the gold lock; it, must, be, the, guests, coming, ah — the guests of the coming; lonely, before, the, goblet, on, the, seats — the lonely of the goblet; only, worrying, the, corners, of, the, sea, the, ends, of, the, earth — the worrying of the corners of the sea; can, it, be, kept — the keeping of the can; the, roses, all, fallen — the roses of the all fallen; still, relying, on, the, pear, flowers — the pear flowers of the relying. The memory follows: in, those, years, once, the, surpassing, enjoyment — the surpassing enjoyment of those years; the, living, fragrance, fumigating, the, sleeves — the living fragrance of the fumigating; the, living, fire, sharing, the, tea — the living fire of the sharing the tea; the, gazing, to, the, farthest, the, still, the, dragon, the, proud, horses — the proud horses of the gazing; the, flowing, water, the, light, carriages — the light carriages of the flowing water; not, fearing, the, wind, wild, the, rain, violent — the wind wild of the not fearing; just, then, fitting, the, boiling, the, wine, the, writing, the, flowers — the boiling the wine of the writing the flowers. And the close gathers the sorrow: now, also, not, becoming, the, feelings, the, embrace — the feelings the embrace of the not becoming; able, to, resemble, the, old, times, that — the old times of the able to resemble — the scene, the memory and the close's sorrow, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以写景写寂寞。「芳草池塘」以写景写寂寞——那「晚晴寒透窗纱」写尽晚晴寒透的窗纱，以写景写尽晚晴寒透的窗纱。其二，以白描写客来。「玉钩金锁」以白描写客来——那「管是客来唦」写尽玉钩金锁的客来，以白描写尽玉钩金锁的客来。其三，以今昔对比写愁。「当年曾胜赏」以今昔对比写愁——那「如今也，不成怀抱」写尽不成怀抱的如今，以今昔对比写尽不成怀抱的如今。其四，以设问写寂寥。「能留否」以设问写寂寥——那「得似旧时那」写尽得似旧时的问，以设问写尽不成怀抱的如今。此外，此词上阕写晚晴寒透的窗纱，下阕写生香熏袖的分茶，由今及昔，正是怀旧词「以今写昔」的写法。四重手法，使此词以愁绪写怀旧，写尽晚晴寒透的窗纱与生香熏袖的分茶，是李清照的代表作。此外，此词还善于以「玉钩金锁，管是客来唦」的「管是」写客来之猜测——那「管是」写尽管是的猜测，正是以猜写客，以「客来唦」写尽玉钩金锁的客来。又善以「极目犹龙骄马，流水轻车」的「极目」写极目之骄马——极目犹龙骄马，正见极目望马的写照，以「流水轻车」写尽流水轻车的骄马。

Allusions

'The fragrant grass the pond' (fang cao chi tang) is the fragrant grass the pond — the grass of the pond, the scene of the opening — the allusion of the Xie the Lingyun: 'the pond of the spring, the grass growing, the green'; 'the jade hook' (yu gou) is the jade hook — the hook of the jade, the curtain of the middle; 'the living fire' (huo huo) is the living fire — the fire of the living, the tea of the memory; 'the roses' (tu mi) are the roses — the roses of the all fallen, the falling of the middle.

此词的用语深植于怀旧与愁绪传统。「芳草池塘」令人想到「芳草池塘」写芳草的意象——谢灵运池塘生春草，也令人想到「池塘生春草」的意象；「绿阴」令人想到「绿阴」写绿阴的意象——也令人想到「绿阴幽草胜花时」的意象；「窗纱」令人想到「窗纱」写窗纱的意象——也令人想到「一窗纱」的意象；「玉钩金锁」令人想到「玉钩金锁」写帘钩的意象——也令人想到「玉钩斜」的意象；「酴醾」令人想到「酴醾」写荼蘼花的意象——也令人想到「开到荼蘼花事了」的意象；「梨花」令人想到「梨花」写梨花的意象——也令人想到「梨花落后清明」的意象；「生香」令人想到「生香」写生香的意象——也令人想到「暗香浮动月黄昏」（林逋）的意象；「活火」令人想到「活火」写活火的意象——也令人想到「活火新泉」的意象；「分茶」令人想到「分茶」写分茶的意象——宋人茶道，也令人想到「分茶点茶」的意象。全词化用芳草池塘、绿阴、窗纱、玉钩金锁、酴醾、梨花、生香、活火、分茶的意象典故，以愁绪写怀旧，正是李清照「婉约」而善白描、承怀旧传统写愁绪之本领。

Commentary

This poem is one of the famous works of Li Qingzhao's poems of the memory, quoted for the beauty of its opening and the depth of its close. The roses of the all fallen, and the old times of the able to resemble, are among the admired passages of the poet's poems. Critics praise the poem's sorrow: the memory gathered in the contrast, to the close's change.

此词历来被推为李清照怀旧词的名篇，也是宋词写晚年寂寥的代表。历代论者对此词评价极高：清人评此词「以愁绪写怀旧，婉约深挚」；近人更指出「如今也，不成怀抱，得似旧时那」写不成怀抱的如今，是此词的名句。在诗歌史上，此词的特殊价值在于：它以长调写尽晚晴寒透的窗纱与生香熏袖的分茶——那芳草，那池塘，那绿阴，那庭院，那晚晴，那寒透窗纱，那玉钩，那金锁，那管是客来唦，那寂寞，那尊前席上，那惟愁，那海角天涯，那能留否，那酴醾，那落尽，那犹赖有梨花，那当年，那曾胜赏，那生香，那熏袖，那活火，那分茶，那极目，那犹龙骄马，那流水，那轻车，那不怕，那风狂雨骤，那恰才称，那煮酒，那笺花，那如今也，那不成怀抱，那得似旧时那，都写尽了李清照笔下的转调满庭芳芳草池塘；那「得似旧时那」更以设问写尽不成怀抱的如今。此词与李清照《声声慢·寻寻觅觅》「寻寻觅觅，冷冷清清」同为晚年名篇，一写「怎一个愁字了得」的声声慢，一写「得似旧时那」的转调满庭芳；一写秋，一写春。两词对读，可见李清照晚年词的两面。对于今日读者，此词是理解李清照怀旧词的窗口，也是宋词写晚年寂寥的经典——那不成怀抱的如今，穿越千年，仍在诉说着晚晴寒透的窗纱。

Prosody

Form A ci of the memory (man ting fang)词·转调满庭芳

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the reminiscent sorrow.转调满庭芳，上阕押「纱」「唦」「涯」「花」，下阕押「茶」「车」「花」「那」（麻韵），一韵到底

Tone pattern The cadence is that of the sorrow: the level opening with the scene, the turning with the memory, and the close's fall with the that.此词为转调满庭芳长调，押平声韵，一韵到底，音节婉转，正合愁绪的婉转。

Reading note The poem's sound matches its regret: the cadences of the ci, and the close — 'de si jiu shi na' — falls with the that, the sound of the sorrow of the memory poet.此词为转调满庭芳长调，上下两阕——上阕「芳草池塘，绿阴庭院，晚晴寒透窗纱。玉钩金锁，管是客来唦。寂寞尊前席上，惟愁海角天涯。能留否？酴醾落尽，犹赖有梨花」，下阕「当年曾胜赏，生香熏袖，活火分茶。极目犹龙骄马，流水轻车。不怕风狂雨骤，恰才称、煮酒笺花。如今也，不成怀抱，得似旧时那」，押麻韵（纱、唦、涯、花、茶、车、那），一韵到底，音节婉转。全词以愁绪写怀旧：上阕写晚晴寒透的窗纱（芳草池塘、惟愁海角天涯），下阕写生香熏袖的分茶（当年曾胜赏、得似旧时那）。长调铺叙，前写寂寞，后写怀旧，以「得似旧时那」写尽不成怀抱的如今，正见李清照「婉约」的本色。诵读此词，宜以婉转的语调读「晚晴寒透窗纱」的窗纱，以深挚的语调读「得似旧时那」的如今，结句要读得婉转而有余韵，方能传达出李清照的婉约深挚。李清照长调以「婉约」著称，此词正是其怀旧词的典范。

Line by line

芳草池塘，绿阴庭院，晚晴寒透窗纱

Fragrant grass by the pond, green shade in the courtyard; the evening chill of the cleared sky strikes through the window gauze.

芳草池塘，绿阴庭院，晚晴寒透窗纱。

Fragrant grasses by the pond, green shade in the courtyard; the evening chill after rain pierces the window gauze.

此三句是全词写寂寞的核心，以芳草池塘写池塘，以绿阴庭院写庭院，以晚晴寒透窗纱写窗纱，写尽晚晴寒透的窗纱，是千古名句。「芳草池塘」写芳草池塘——那「芳草」写芳草，「池塘」写池塘，写尽芳草的池塘；「绿阴庭院」写绿阴庭院——那「绿阴」写绿阴，「庭院」写庭院，写尽绿阴的庭院；「晚晴寒透窗纱」写晚晴寒透窗纱——那「晚晴寒透」写晚晴寒透，「窗纱」写窗纱，写尽晚晴寒透的窗纱。这句的深意在于：它以「芳草池塘」的池塘、「绿阴庭院」的庭院与「晚晴寒透窗纱」的窗纱，写尽晚晴寒透的窗纱——芳草池塘，那「芳草池塘」写尽芳草的池塘——芳草池塘，正是芳草满池的写照，那「池塘」写尽晚晴寒透的窗纱；绿阴庭院，那「绿阴庭院」写尽绿阴的庭院——绿阴庭院，正是绿阴满院的写照，那「庭院」写尽晚晴寒透的窗纱；晚晴寒透窗纱，那「晚晴寒透窗纱」写尽晚晴寒透的窗纱——晚晴寒透窗纱，正是晚晴寒气的写照，那「窗纱」写尽晚晴寒透的窗纱；那「芳草池塘」写尽芳草的池塘，那「绿阴庭院」写尽绿阴的庭院，那「晚晴寒透窗纱」写尽晚晴寒透的窗纱，一写池塘，一写庭院，一写窗纱，写尽晚晴寒透的窗纱——芳草池塘而晚晴寒透，正是寂寞的写照；此三句以池塘、庭院、窗纱写尽晚晴寒透的窗纱，也为下文的客来作铺垫，也让此三句成为全词写寂寞的核心与千古名句。若换作直说「芳草池塘，绿阴庭院，晚晴寒气透进窗纱」，则失其婉约；唯以「芳草池塘」写池塘、「绿阴庭院」写庭院、「晚晴寒透窗纱」写窗纱，写尽晚晴寒透的窗纱，也让此三句成为全词写寂寞的核心。

These three lines are the core of the ci's loneliness, 'fragrant grass by the pond' the pond, 'green shade in the courtyard' the courtyard, 'the evening chill of the cleared sky strikes through the window gauze' the window gauze, writing the evening chill through the gauze, a famous line. 'Fragrant grass by the pond' - the pond full of fragrant grass; 'green shade in the courtyard' - the courtyard deep in green shade; 'the evening chill of the cleared sky strikes through the window gauze' - the evening chill piercing the gauze. The pond of fragrant grass, the courtyard of green shade, the gauze pierced by evening chill, the portrait of loneliness; one line the pond, one the courtyard, one the gauze, the solitude complete. If one said plainly 'fragrant grass by the pond, green shade in the courtyard, evening chill through the gauze,' the grace would be lost; only the pond, the courtyard, the window gauze hold the loneliness.

如今也，不成怀抱，得似旧时那

Nowadays, alas, my heart can never again be as it was in the old days.

如今也，不成怀抱，得似旧时那。

And now, can my heart ever again be as it was in the old days?

此三句是全词写怀旧的核心，以如今也写如今，以不成怀抱写怀抱，以得似旧时那写旧时，写尽不成怀抱的如今，是千古名句。「如今也」写如今也——那「如今」写如今，「也」写也，写尽如今的也；「不成怀抱」写不成怀抱——那「不成」写不成，「怀抱」写怀抱，写尽不成的怀抱；「得似旧时那」写得似旧时那——那「得似旧时」写得似旧时，「那」写那，写尽得似旧时的那。这句的深意在于：它以「如今也」的如今、「不成怀抱」的怀抱与「得似旧时那」的旧时，写尽不成怀抱的如今——如今也，那「如今也」写尽如今的也——如今也，正是如今之际的写照，那「如今」写尽不成怀抱的如今；不成怀抱，那「不成怀抱」写尽不成的怀抱——不成怀抱，正是怀抱难成的写照，那「怀抱」写尽不成怀抱的如今；得似旧时那，那「得似旧时那」写尽得似旧时的那——得似旧时那，正是怎似旧时的写照，那「旧时」写尽不成怀抱的如今；那「如今也」写尽如今的也，那「不成怀抱」写尽不成的怀抱，那「得似旧时那」写尽得似旧时的那，一写如今，一写怀抱，一写旧时，写尽不成怀抱的如今——如今之际而怀抱难成，正是怀旧的写照；此三句以如今、怀抱、旧时写尽不成怀抱的如今，也让此三句成为全词写怀旧的核心与千古名句。若换作直说「如今啊，心怀难成，怎么比得上旧时呢」，则失其深挚；唯以「如今也」写如今、「不成怀抱」写怀抱、「得似旧时那」写旧时，写尽不成怀抱的如今，也让此三句成为全词写怀旧的核心。

These three lines are the core of the ci's nostalgia, 'nowadays' the present, 'my heart can never again' the heart, 'be as it was in the old days' the old days, writing the present heart that cannot be as before, a famous line. 'Nowadays, alas' - the present moment; 'my heart can never again' - the heart that cannot be gathered; 'be as it was in the old days' - how can it be like the old days? The present moment and the heart that cannot be as before, the portrait of nostalgia; one line the present, one the heart, one the old days, the longing complete. If one said plainly 'now my heart cannot be as it was,' the depth would be lost; only the present, the unquiet heart, and the old days hold the nostalgia.

Study

Word focus

寒 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「晚晴寒透窗纱」之「寒」字是写寂寞关键词，一个「寒」字写尽晚晴寒透的窗纱。寒者，寒冷、清寒也。李清照以「晚晴寒透窗纱」写寂寞，这个「寒」字至少有双重意味：其一，写气之寒——那「晚晴寒透窗纱」写晚晴寒透窗纱，那「寒」字写尽晚晴寒透的窗纱——寒透，正是寒气透纱的写照，那「寒」字写尽晚晴寒透的窗纱；其二，写心之寒——那「寒」字更是写寒——寒，正见心境凄寒的寂寥，那「寒」字写尽李清照的愁绪。以「寒」字写寂寞，正是李清照写怀旧的枢纽——若换作「凉」「冷」等字，则或失其与「晚晴寒透」「窗纱」的配合，或失其写寒的意味；唯「寒」字，以晚晴寒透窗纱写尽窗纱之寒透与心境之凄寒，与「芳草池塘」的池塘相合，写尽晚晴寒透的窗纱，也让「晚晴寒透窗纱」成为全词写寂寞的名句。

旧 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「得似旧时那」之「旧」字是写怀旧关键词，一个「旧」字写尽得似旧时的那。旧者，旧时、往昔也。李清照以「得似旧时那」写怀旧，这个「旧」字至少有双重意味：其一，写时之旧——那「得似旧时那」写得似旧时那，那「旧」字写尽得似旧时的那——旧时，正是往昔之时的写照，那「旧」字写尽得似旧时的那；其二，写情之恋——那「旧」字更是写恋——旧，正见眷恋往昔的深情，那「旧」字写尽李清照的愁绪。以「旧」字写怀旧，正是李清照写愁绪的枢纽——若换作「昔」「往」等字，则或失其与「得似旧时」「那」的配合，或失其写旧的意味；唯「旧」字，以得似旧时那写尽旧时之往昔与眷恋之深情，与「如今也，不成怀抱」的如今相合，写尽得似旧时的那，也让「得似旧时那」成为全词写怀旧的名句。