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宋 Song · 词 Ci lyric

祝英台近·晚春

The, Near, of, the, Zhu, the, Ying, the, Terrace, the, Late, Spring

辛弃疾

Xin Qiji

春愁spring / sorrow 闺怨Theme

宝钗分，桃叶渡，烟柳暗南浦。
怕上层楼，十日九风雨。
断肠片片飞红，都无人管，更谁劝、啼莺声住。
鬓边觑，试把花卜归期，才簪又重数。
罗帐灯昏，哽咽梦中语。
是他春带愁来，春归何处，却不解、带将愁去。

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Meaning

A poem of the parting and the sorrow, written by Xin Qiji. The hairpins of the precious hairpins parting, the ford of the leaves of the peach, the misty willows dark the southern shore — the parting of the opening. Fearing to ascend the storied tower, the ten days nine winds and rains — the sorrow of the middle. And the close's it is he the spring bringing the sorrow coming, the spring returning to where, yet not understanding the bringing along the sorrow going — the close's sorrow. The poem is the parting and the sorrow: the parting, the sorrow, and the close's sorrow.

宝钗分，桃叶渡，烟柳暗南浦。怕上层楼，十日九风雨。断肠片片飞红，都无人管，更谁劝、啼莺声住。鬓边觑，试把花卜归期，才簪又重数。罗帐灯昏，哽咽梦中语。是他春带愁来，春归何处，却不解、带将愁去。

Appreciation

[Plain Paraphrase] The, hairpins, of, the, precious, hairpins, parting, the, ford, of, the, leaves, of, the, peach, the, misty, willows, dark, the, southern, shore. Fearing, to, ascend, the, storied, tower, the, ten, days, nine, winds, and, rains. The, heart, breaking, the, petals, of, the, flying, red, no, one, caring, for, them, the, more, who, persuading, the, orioles, the, songs, to, stop. Beside, the, temples, the, peering, trying, to, use, the, flowers, to, divine, the, date, of, the, return, just, inserted, and, again, recounting. The, gauze, curtains, the, lamp, dim, sobbing, the, words, in, the, dreams. It, is, he, the, spring, bringing, the, sorrow, coming, the, spring, returning, to, where, yet, not, understanding, the, bringing, along, the, sorrow, going. [Structure and Thought] The poem moves from the parting of the hairpins with the ford, through the sorrow of the storied tower with the flowers, to the close's the sorrow of the spring bringing. [Key Technique] The poem's art is the close of the sorrow: it is he the spring bringing the sorrow coming, and the close's the spring returning to where yet not understanding the bringing along the sorrow going — the parting gathered in the sorrow and the close's spring. [Emotional Tone] Sorrowful, tender, and longing: the poem is the parting, the flowers and the close's sorrow.

【白话串讲】辛弃疾写《祝英台近·晚春》：“宝钗分，桃叶渡，烟柳暗南浦”——“怕上层楼，十日九风雨”——“断肠片片飞红，都无人管”——“鬓边觑，试把花卜归期，才簪又重数”——“是他春带愁来，春归何处”——他写晚春的闺怨。【意象与手法】此词写伤春，以闺怨写伤春，是辛弃疾的名篇。上片写离别：「宝钗分，桃叶渡，烟柳暗南浦。怕上层楼，十日九风雨。断肠片片飞红，都无人管，更谁劝、啼莺声住」写宝钗分、桃叶渡——写尽离别的南浦；下片写盼归：「鬓边觑，试把花卜归期，才簪又重数。罗帐灯昏，哽咽梦中语。是他春带愁来，春归何处，却不解、带将愁去」写鬓边觑、试把花卜归期——写尽盼归的深情。全词以闺怨写伤春，写尽离别的南浦与盼归的深情，是辛弃疾的代表作。【情感与主旨】此词写伤春，以闺怨写伤春，是辛弃疾的名篇。此词写辛弃疾伤春怀人之作，托闺怨写别情。此词写宝钗分（分钗赠别）、桃叶渡（渡口送别）、烟柳暗南浦（南浦烟柳）；怕上层楼，因十日九风雨；断肠片片飞红，无人管，更无人劝啼莺声住；鬓边觑，试把花卜归期，才簪又重数；罗帐灯昏，哽咽梦中语；是他春带愁来，春归何处，却不解带将愁去。此词写离别：宝钗分，桃叶渡，烟柳暗南浦——写宝钗分、桃叶渡、烟柳暗南浦，写尽离别的南浦；怕上层楼，十日九风雨——写怕上层楼、十日九风雨，写尽怕登的层楼；断肠片片飞红，都无人管，更谁劝、啼莺声住——写断肠片片飞红、都无人管、更谁劝啼莺声住，写尽断肠的飞红；鬓边觑，试把花卜归期，才簪又重数——写鬓边觑、试把花卜归期、才簪又重数，写尽盼归的深情；罗帐灯昏，哽咽梦中语——写罗帐灯昏、哽咽梦中语，写尽梦中的哽咽；是他春带愁来，春归何处，却不解、带将愁去——写是他春带愁来、春归何处、却不解带将愁去，写尽春去的愁。全词以闺怨写伤春——那「烟柳暗南浦」写尽离别的南浦，「却不解带将愁去」写尽盼归的深情，写尽离别的南浦与盼归的深情，是理解辛弃疾伤春词的重要篇章。【名句点睛】常考「宝钗分，桃叶渡，烟柳暗南浦」写离别的南浦；「是他春带愁来，春归何处，却不解、带将愁去」写春去的愁；以及全词以闺怨写伤春、以怨语写愁情的手法。

Background

Xin Qiji (1140-1207), the great poet of the Song, wrote this 'The, Near, of, the, Zhu, the, Ying, the, Terrace, the, Late, Spring' of the parting and the sorrow — the sorrow of the late spring. The parting of the hairpins with the ford, and the close's the sorrow of the spring bringing — the poem gathers the sorrow of the poet, the tenderness of the late spring. The poem is one of the famous works of the poet's poems of the spring.

此词写伤春，以闺怨写伤春，是辛弃疾的名篇。辛弃疾（1140—1207），字幼安，号稼轩，历城（今山东济南）人，南宋词人，与苏轼并称「苏辛」，为豪放词代表。此词写辛弃疾伤春怀人之作，托闺怨写别情。此词写宝钗分（分钗赠别）、桃叶渡（渡口送别）、烟柳暗南浦（南浦烟柳）；怕上层楼，因十日九风雨；断肠片片飞红，无人管，更无人劝啼莺声住；鬓边觑，试把花卜归期，才簪又重数；罗帐灯昏，哽咽梦中语；是他春带愁来，春归何处，却不解带将愁去。此词写离别：「宝钗分，桃叶渡，烟柳暗南浦」写宝钗分、桃叶渡、烟柳暗南浦——写尽离别的南浦（宝钗分，桃叶渡，烟柳暗南浦）；「怕上层楼，十日九风雨」写怕上层楼、十日九风雨——写尽怕登的层楼（怕上层楼，十日九风雨）；「断肠片片飞红，都无人管，更谁劝、啼莺声住」写断肠片片飞红、都无人管、更谁劝啼莺声住——写尽断肠的飞红（断肠片片飞红，都无人管，更谁劝、啼莺声住）；「鬓边觑，试把花卜归期，才簪又重数」写鬓边觑、试把花卜归期、才簪又重数——写尽盼归的深情（鬓边觑，试把花卜归期，才簪又重数）；「罗帐灯昏，哽咽梦中语」写罗帐灯昏、哽咽梦中语——写尽梦中的哽咽（罗帐灯昏，哽咽梦中语）；「是他春带愁来，春归何处，却不解、带将愁去」写是他春带愁来、春归何处、却不解带将愁去——写尽春去的愁（是他春带愁来，春归何处，却不解、带将愁去）。全词以闺怨写伤春，写尽离别的南浦与盼归的深情，是理解辛弃疾伤春词的重要篇章。

Art

The poem's art is the art of the sorrow. The parting opens: the, hairpins, of, the, precious, hairpins, parting — the hairpins of the parting; the, ford, of, the, leaves, of, the, peach — the ford of the leaves of the peach; the, misty, willows, dark, the, southern, shore — the misty willows of the southern shore; fearing, to, ascend, the, storied, tower — the storied tower of the fearing; the, ten, days, nine, winds, and, rains — the ten days of the nine winds and rains; the, heart, breaking, the, petals, of, the, flying, red — the flying red of the heart breaking; no, one, caring, for, them — the no one of the caring; the, more, who, persuading, the, orioles, the, songs, to, stop — the orioles of the persuading the songs; beside, the, temples, the, peering — the temples of the peering; trying, to, use, the, flowers, to, divine, the, date, of, the, return — the flowers of the divining the return; just, inserted, and, again, recounting — the inserted of the again recounting; the, gauze, curtains, the, lamp, dim — the gauze curtains of the lamp dim; sobbing, the, words, in, the, dreams — the words of the sobbing. And the close gathers the sorrow: it, is, he, the, spring, bringing, the, sorrow, coming — the spring of the bringing the sorrow; the, spring, returning, to, where — the returning of the spring; yet, not, understanding, the, bringing, along, the, sorrow, going — the sorrow of the bringing along — the parting, the sorrow and the close's spring, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以地名写离别。「宝钗分，桃叶渡」以地名写离别——那「桃叶渡」写尽渡口的送别，以地名写尽离别的南浦。其二，以怨语写愁情。「怕上层楼」以怨语写愁情——那「怕上」写尽怕登的层楼，以怨语写尽伤春的愁情。其三，以细节写盼归。「试把花卜归期」以细节写盼归——那「花卜归期」写尽卜花的细节，以细节写尽盼归的深情。其四，以怨词写春愁。「却不解、带将愁去」以怨词写春愁——那「不解带将愁去」写尽春的怨怼，以怨词写尽春去的愁。此外，此词上片写离别的南浦，下片写盼归的深情，由别及盼，正是伤春词「以怨写愁」的写法。四重手法，使此词以闺怨写伤春，写尽离别的南浦与盼归的深情，是辛弃疾的代表作。此词还善于以「怕上层楼」的「怕」字写怕登之怯——那「怕上层楼」写尽怕登的层楼，正是以「怕」字写愁怯，以「怕」字写尽伤春的愁情。又善以「才簪又重数」的「又」字写卜花之频——才簪又重数，正见数了又数的盼归，以「又」字写尽盼归的深情。

Allusions

'The ford of the leaves of the peach' (tao ye du) is the ford of the leaves of the peach — the ford of the peach, the parting of the opening; 'the southern shore' (nan pu) is the southern shore — the shore of the south, the willows of the opening — the southern shore of the parting; 'the divine the date of the return' (hua bo) is the divining with the flowers — the divining of the flowers, the return of the middle.

此词的用语深植于伤春与闺怨传统。「宝钗分」令人想到「宝钗分」写分钗赠别的意象——也令人想到「钗分凤凰」的意象；「桃叶渡」令人想到「桃叶渡」写桃叶渡的意象——王献之送爱妾桃叶处，也令人想到「桃叶复桃叶」的意象；「南浦」令人想到「南浦」写送别之地的意象——也令人想到「送君南浦」（江淹）的意象；「飞红」令人想到「飞红」写落花的意象——也令人想到「泪眼问花花不语，乱红飞过秋千去」（欧阳修）的意象；「花卜归期」令人想到「花卜归期」写卜花的意象——也令人想到「为报归期须及早」的意象；「春带愁来」令人想到「春带愁来」写春愁的意象——也令人想到「春风不相识」的意象。全词化用宝钗分、桃叶渡、南浦、飞红、花卜归期、春带愁来的意象，以闺怨写伤春，正是辛弃疾「以文为词」而善怨语、承闺怨传统写愁情之本领。「桃叶渡」典出王献之送爱妾桃叶的故事——也令人想到「桃叶渡头」的意象；「花卜归期」令人想到「花卜」写卜花的意象——也令人想到「数花」的意象，以花卜写盼归的细节。

Commentary

This poem is one of the famous works of Xin Qiji's poems of the spring, quoted for the tenderness of its opening and the depth of its close. The flying red of the heart breaking, and the spring of the bringing the sorrow, are among the admired passages of the poet's poems. Critics praise the poem's sorrow: the parting gathered in the flowers, to the close's spring.

此词历来被推为辛弃疾伤春词的名篇，也是宋词写闺怨伤春的代表。历代论者对此词评价极高：清人评此词「以闺怨写伤春，缠绵深婉」；近人更指出「是他春带愁来，春归何处，却不解、带将愁去」写春去的愁，是此词的名句。在词史上，此词的特殊价值在于：它以九十三字的词写尽离别的南浦与盼归的深情——那宝钗，那分，那桃叶渡，那烟柳，那暗南浦，那怕上，那层楼，那十日九风雨，那断肠，那片片飞红，那都无人管，那更谁劝，那啼莺声住，那鬓边，那觑，那试把，那花卜归期，那才簪又重数，那罗帐，那灯昏，那哽咽梦中语，那是他春，那带愁来，那春归何处，那却不解，那带将愁去，都写尽了辛弃疾笔下的祝英台近；那「却不解带将愁去」更以怨词写尽春去的愁。此词与辛弃疾《摸鱼儿》（「更能消几番风雨」）同为伤春名篇，一写「惜春长怕花开早」的惜春（摸鱼儿），一写「试把花卜归期」的盼归（祝英台近）；又与温庭筠闺怨传统一脉相承，可见宋词写闺怨伤春的传统。对于今日读者，此词是理解辛弃疾伤春词的窗口，也是宋词写闺怨的经典——那不解带愁的春，穿越千年，仍在诉说着盼归的深情。

Prosody

Form A ci of the spring (zhu ying tai jin)词·祝英台近

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the tender sorrow.词牌祝英台近，押「浦」「雨」「住」「数」「语」「去」等韵，仄韵一韵到底

Tone pattern The cadence is that of the sorrow: the level opening with the parting, the turning with the sorrow, and the close's fall with the going.此词为祝英台近，仄韵一韵到底，音节深婉，正合伤春的深婉。

Reading note The poem's sound matches its depth: the cadences of the ci, and the close — 'que bu jie, dai jiang chou qu' — falls with the going, the sound of the sorrow of the spring poet.此词为《祝英台近》词牌，上片八句——「宝钗分，桃叶渡，烟柳暗南浦。怕上层楼，十日九风雨。断肠片片飞红，都无人管，更谁劝、啼莺声住」，下片九句——「鬓边觑，试把花卜归期，才簪又重数。罗帐灯昏，哽咽梦中语。是他春带愁来，春归何处，却不解、带将愁去」，押仄韵（浦、雨、住、数、语、去），一韵到底，音节深婉。全词以闺怨写伤春：上片写离别的南浦（宝钗分、怕上层楼），下片写盼归的深情（试把花卜归期、却不解带将愁去）。词体短章，前写离别，后写盼归，以「却不解带将愁去」写尽春去的愁，正见辛弃疾「以文为词」的本色。诵读此词，宜以深婉的语调读「烟柳暗南浦」的离别，以缠绵的语调读「却不解带将愁去」的春愁，结句要读得深婉而有余韵，方能传达出辛弃疾的缠绵深婉。辛弃疾词以「豪放」著称，此词正是其伤春词的典范。

Line by line

是他春带愁来，春归何处，却不解、带将愁去

It was spring that brought the sorrow; but when spring has gone, where has it gone? It does not understand to take the sorrow away.

是他春带愁来，春归何处，却不解、带将愁去。

It was spring that brought the sorrow in; now spring has gone, whither? Yet it cannot take the sorrow away with it.

此三句是全词写春愁的核心，以是他春带愁来写带愁来，以却不解带将愁去写带将愁去，写尽春去的愁，是千古名句。「是他春带愁来」写是他春带愁来——那「是他春」写是他春，「带愁来」写带愁来，写尽春的带愁；「春归何处」写春归何处——那「春归」写春归，「何处」写何处，写尽春归的何处；「却不解、带将愁去」写却不解带将愁去——那「却不解」写却不解，「带将愁去」写带将愁去，写尽不解的愁去。这句的深意在于：它以「是他春带愁来」的带愁来与「却不解带将愁去」的带将愁去，写尽春去的愁——是他春带愁来，那「是他春带愁来」写尽春的带愁——是他春带愁来，正是春来带愁的写照，那「带愁来」写尽春去的愁；春归何处，那「春归何处」写尽春归的何处——春归何处，正是春去何方的写照，那「何处」写尽春去的愁；那「是他春带愁来」写尽春的带愁，那「却不解带将愁去」写尽不解的愁去，一写春来，一写春去，写尽春去的愁——春来带愁而春去不解带愁，正是怨春不语的写照；此三句以带愁、愁去写尽春去的愁，也让此三句成为全词写春愁的核心与千古名句。若换作直说「春天把愁带来，走了却不把愁带走」，则失其缠绵；唯以「是他春带愁来」写带愁来、「却不解带将愁去」写带将愁去，写尽春去的愁，也让此三句成为全词写春愁的核心。

These three lines are the core of the ci's spring sorrow, 'it was spring that brought the sorrow in' the bringing of sorrow, 'it cannot take the sorrow away' the taking of sorrow, writing the sorrow at spring's departure, a famous line. 'It was spring that brought the sorrow in' - spring came bringing sorrow; 'spring has gone, whither?' - asking where spring has gone; 'it does not understand to take the sorrow away' - spring went but left the sorrow behind. Spring bringing sorrow and spring not taking it away, the portrait of the silent resentment of spring; one line spring coming, one spring going, the sorrow complete. If one said plainly 'spring brought sorrow and left without taking it away,' the lingering tenderness would be lost; only spring that brought the sorrow and did not understand to take it away hold the spring grief.

宝钗分，桃叶渡，烟柳暗南浦

The hairpin broken in two, at the Taoye Ferry; the mist-willows darken the southern shore.

宝钗分，桃叶渡，烟柳暗南浦。

The jeweled hairpin divided, at the Taoye Ferry; misty willows darken the southern bridgehead.

此三句是全词写离别的核心，以宝钗分写宝钗分，以烟柳暗南浦写暗南浦，写尽离别的南浦，是千古名句。「宝钗分」写宝钗分——那「宝钗」写宝钗，「分」写分，写尽宝钗的分赠；「桃叶渡」写桃叶渡——那「桃叶渡」写桃叶渡，写尽渡口的送别；「烟柳暗南浦」写烟柳暗南浦——那「烟柳」写烟柳，「暗南浦」写暗南浦，写尽南浦的烟柳。这句的深意在于：它以「宝钗分」的分钗与「烟柳暗南浦」的南浦，写尽离别的南浦——宝钗分，那「宝钗分」写尽宝钗的分赠——宝钗分，正是分钗赠别的写照，那「分」写尽离别的南浦；桃叶渡，那「桃叶渡」写尽渡口的送别——桃叶渡，正是渡口送别的写照，那「桃叶渡」写尽离别的南浦；那「宝钗分」写尽宝钗的分赠，那「烟柳暗南浦」写尽南浦的烟柳，一写分钗，一写烟柳，写尽离别的南浦——分钗赠别而南浦烟暗，正是送别的情景；此三句以分钗、烟柳写尽离别的南浦，也为下文的怕登楼作铺垫，也让此三句成为全词写离别的核心与千古名句。若换作直说「送别时分了宝钗，在烟柳凄迷的南浦」，则失其词境；唯以「宝钗分，桃叶渡，烟柳暗南浦」写分钗、写南浦，写尽离别的南浦，也让此三句成为全词写离别的核心。

These three lines are the core of the ci's parting, 'the hairpin broken in two' the broken hairpin, 'mist-willows darken the southern shore' the southern shore, writing the parting at the southern shore, a famous line. 'The hairpin broken in two' - the lovers dividing the hairpin as a pledge of parting; 'the Taoye Ferry' - the famous farewell crossing (named for Wang Xianzhi's farewell to his concubine Taoye); 'the mist-willows darken the southern shore' - the southern shore, the classic place of parting, now dim in misty willows. The broken hairpin and the mist-dark southern shore, the scene of farewell; one line the broken pin, one the misty willows, the parting complete. If one said plainly 'at the farewell, the hairpin divided, by the misty willows of the southern shore,' the ci's mood would be lost; only the broken pin, the Taoye Ferry, and the mist-dark southern shore hold the parting.

Study

Word focus

暗 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「烟柳暗南浦」之「暗」字是写离别的关键词，一个「暗」字写尽南浦的烟暗。暗者，暗淡、凄迷也。辛弃疾以「烟柳暗南浦」写离别，这个「暗」字至少有双重意味：其一，写柳之暗——那「烟柳暗南浦」写烟柳暗南浦，那「暗」字写尽南浦的烟暗——暗南浦，正是烟柳凄迷的写照，那「暗」字写尽离别的南浦；其二，写情之暗——那「暗」字更是写暗——暗，正见别情黯淡的写照，那「暗」字写尽伤春的愁情。以「暗」字写离别，正是辛弃疾写伤春的枢纽——若换作「绿」「深」等字，则或失其与「烟柳」「南浦」的配合，或失其写暗的意味；唯「暗」字，以烟柳暗南浦写尽南浦之烟暗与别情之黯淡，与「宝钗分」的分钗相合，写尽离别的南浦，也让「烟柳暗南浦」成为全词写离别的名句。

不解 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「却不解、带将愁去」之「不解」是写春愁的关键词，一个「不解」写尽春的怨怼。不解者，不懂得、不知也。辛弃疾以「却不解带将愁去」写春愁，这个「不解」至少有双重意味：其一，写春之不解——那「却不解带将愁去」写却不解带将愁去，那「不解」写尽春的怨怼——不解带将愁去，正是春不带走愁的写照，那「不解」写尽春去的愁；其二，写情之怨——那「不解」更是写怨——不解，正见怨春不语的深情，那「不解」写尽辛弃疾的缠绵。以「不解」写春愁，正是辛弃疾写伤春的枢纽——若换作「不知」「不晓」等词，则或失其与「春归何处」「带将愁去」的配合，或失其写不解的意味；唯「不解」二字，以却不解带将愁去写尽春之怨怼与怨春之深情，与「是他春带愁来」的带愁相合，写尽春去的愁，也让「却不解带将愁去」成为全词写春愁的名句。