
侠骨•丹心•镜空:三境
十年一剑铭心志
春宵苦短已深秋
弱水三千君在侧
侠骨柔情终不离
十年一日秋夜寒
千山暮雪望君还
纵使老翼穿寒暑
丹心终作葬雁人
香尘飘零岁自流
生前身后无执求
但使心神映明镜
葬花守情两皆空
注笔:
1 “十年磨一剑”——是长期的磨砺与坚守;情以志坚。年轻、芳华、最美好的时光 一—转眼已走到深秋。
“弱水三千,只取一瓢”是守情,是爱的坚贞;“君在侧”,是已经相伴相守。
“侠骨柔情”是有志、有担当,有爱、有守,终不离弃。
2 “十年一日秋夜寒”,是在漫长岁月里,夜复一夜,年复一年的熬过。
“千山”是不可跨越的距离;“暮雪”是时间已晚、人已渐老、希望将尽。“盼君还”,是等待中的无望。“纵使老翼穿寒暑”,即便是年华已老,我仍在飞、仍在等, 仍在经历岁月轮回 —— 这是“执着”的最高点。
“葬雁人”:我终究只是那个等不到、只能埋葬爱情的人。这里引用了金词人元好问的《雁丘词》见证孤雁殉情,和葬雁的典故:
“问世间,情是何物,直教生死相许。”
“葬雁人”的本质是:见证至死之情,却无法参与其中的人;也是爱而不得、等不到,最终只能为这段情作结的人。
3 “香尘”是花谢之后,芳华、美好时光、情意与执着所残留的余韵;“岁自流”是岁月不等人,是自然的流转,一切美好终将归于流逝。“生前身后”,是完全放下 —— 在生之时,乃至身后,都不再执着得失。
“葬雁人”——承元好问的《雁丘词》对孤雁之专情与殉情,以第三者之身,生出惋惜与感同身受;
“葬花人”——见于曹雪芹的《红楼梦》中林黛玉借花自喻,对美之流逝的怜惜;
“守情”——即“弱水三千”,对情的专一与执守。
无论是葬雁、葬花,还是守情,“两皆空”并非否定它们的价值,而是:它们再深、再真,也终究归于无常。
c.h.e.f andy
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published on 19.3.2026
侠骨•丹心•镜空:三境 Chivalric Bone · Crimson Heart · Mirror-Emptiness: Three Realms
Ten years, one sword—my will etched deep within;
A fleeting spring night—already late autumn.
Of three thousand streams, I chose but one—you by my side;
With chivalric spirit and tender heart, I never depart.
Ten years as one day — through long autumn nights;
Across a thousand mountains, in twilight snow, I await your return.
Though these old wings have weathered summer and winter,
My crimson heart — I am the one who buries the geese.
Fragrant dust drifts as the years flow on;
In life and beyond—cling to nothing, seek nothing.
Let the spirit reflect a lucid mirror,
To bury flowers, to guard love—both, in the end, fade into emptiness.
Notes
The three stanzas trace three realms of love: guarding love, devotion unto death, emptiness.
1 “Ten years to forge a single sword” signifies long discipline and steadfast endurance; love stands firm because the will is firm. Youth and its finest moments pass swiftly—already deep into autumn.
“Of the three thousand streams, I choose but one” speaks of singular devotion;
“you by my side” means love already fulfilled in companionship.
“Chivalric spirit and tender heart” refer to one who bears resolve and responsibility, yet also love and guardianship—thus never abandoning nor departing.
2 “Ten years as one day — through long autumn nights” portrays a life of waiting endured in solitude; “a thousand mountains in twilight snow” suggests insurmountable distance, the lateness of the hour, and hope nearly spent. “awaiting your return” expresses a waiting already touched by despair.
“Though these old wings have weathered summer and winter” — even as the years pass, I go on flying, go on waiting, enduring the cycles of time — the height of devotion.
“The one who buries the geese” — I am the one whose love goes unrequited, the one who can only lay it to rest.
This alludes to Jin Dynasty poet, lyricist元好问’s《雁丘词》which depicts the devotion and tragic end of a lone goose: Ask the world: what is love, that it compels devotion unto life and death?
Here, the “burier of geese” is one who witnesses love unto death, yet cannot partake in it — one whose loves go unrequited, who waits in vain, and in the end becomes the one who buries that love.
3 “Fragrant dust” is the lingering trace of beauty, youth, and affection; “the years flow on” reminds that time waits for no one.
“In life and beyond” means that throughout one’s whole existence, and even after, there is no attachment to gain or loss.
“The burier of geese” continues the allusion to 元好问, bearing witness to love as an outsider;
“The one who buries the flowers”—from Dream of the Red Chamber by Cao Xueqin, where Lin Daiyu, likening herself to fallen blossoms, laments the transience of beauty;
“guarding love”— echoing “of the three thousand streams, taking but one,” denotes fidelity and unwavering devotion.
Whether burying geese, burying flowers, or guarding love— “both are empty” does not deny their truth or depth. Rather, it is through feeling and then seeing through: Even love at its deepest ultimately returns to impermanence.