相看淚眼 - 鄧麗君

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此詞表現作者離京南下時長亭送別的情景。上片紀別,從日暮雨歇,送別都門,設帳餞行,到蘭舟摧發,淚眼相對,執手告別,依次層層描述離別的場面和雙方惜別的情態,猶如一首帶有故事性的劇曲,展示了令人傷心慘目的一幕。 這與同樣表現離情別緒但出之以比興的唐五代小令是情趣不同的。北宋時柳詞不但都下傳唱,甚至遠及西夏,“凡有井水飲處,即能歌柳詞”(《避暑錄話》)。柳詞盛行於市井巷陌,同他這種明白曉暢、情事俱顯的詞風不無關係。下片述懷,承“念”字而來,設想別後情景。劉熙載《藝概》卷四:“詞有點有染。柳耆卿《雨霖鈴》雲‘多情自古傷離別,更那堪冷落清秋節。念宵酒酲何處,楊柳岸、曉風殘月’ 。上二句點出離別冷落,‘今宵”二句,乃就上二句意染之”。確實,“今宵”二句之所以被推為名句,不僅在於虛中有實,虛景實寫,更因為以景“染”情、融情入景。“今宵酒醒何處”,遙接上片“帳飲”,足見雖然“無緒”卻仍借酒澆愁以致沉醉;“楊柳岸、曉風殘月”,則集中了一系列極易觸動離愁的意象,創造出一個淒清冷落的懷人境界。“此去”以下,以情會景,放筆直寫,不嫌重拙,由“今宵”想到“經年”,由“千里煙波”想到“千種風情”,由“無語凝噎”想到“更與何人說”,回環往復又一氣貫注地抒寫了“相見時難別亦難”的不盡愁思。宋人論詞往往有雅俗之辨,柳詞一向被判為“俗曲”。此詞上片中的“執手相看淚眼”等語,確實淺近俚俗,近於秦樓楚館之曲。但下片虛實相間,情景相生,足以與其他著名的“雅詞”相比,因此堪稱俗不傷雅,雅不避。

詞:柳永(宋)曲:古月 編:陳揚

寒蟬淒切
The cold cicada's sad songs,
對長亭晚
The long night at the gazebo,
驟雨初歇
The stoppage of the sudden downpour,
都門長飲無緒
I drink continuously without emotion,
留戀處
And I miss this place.
蘭舟催發
The boatman is urging me to start the journey.
執手相看泪眼
We hold our hands in tears
竟無語凝噎
Choking without words.
念去去 千里煙波
This separation will be years in great distance,
暮靄沉沉楚天闊
Hard to endure the loneliness while apart.
多情自古傷離別
It has always been sad to separate,
更那堪 冷落清秋節
Especially on the lonely Mid-Autumn season.
啊 今宵酒醒何處?
Ah, where will I be when I awake from my drunkenness?
楊柳岸 曉風殘月!
By the shore of the willows, light breeze accompanies the fading Moon!
此去經年
This leaving will be years.
應是良辰 好景虛設
Auspicious day and beautiful scene such as these are all for naught.
便縱有 千種風情
Even while having endless emotion and affection,
更與何人說
To whom can I disclose?
多情自古傷離別
It has always been sad to separate,
更那堪 冷落清秋節
Especially on the lonely Mid-Autumn season.
啊 今宵酒醒何處?
Ah, where will I be when I awake from my drunkenness?
楊柳岸 曉風殘月!
By the shore of the willows, light breeze accompanies the fading Moon!
此去經年
This leaving will be years.
應是良辰 好景虛設
Auspicious day and beautiful scene such as these are all for naught.
便縱有 千種風情
Even while having endless emotion and affection,
更與何人說
To whom can I disclose?