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宋 Song · 词 Ci lyric

满江红·山居即事

Man Jiang Hong: Living in the Hills

辛弃疾

Xin Qiji

田园Pastoral Life 闲适Leisure Ease

几个轻鸥，来点破、一泓澄绿。
更何处、一双鸂鶒，故来争浴。
细读《离骚》还痛饮，饱看修竹何妨肉。
有飞泉、日日供明珠，三千斛。
春雨满，秧新谷。
闲日永，眠黄犊。
看云连麦垄，雪堆蚕簇。
若要足时今足矣，以为未足何时足。
被野老、相扶入东园，枇杷熟。

A few light gulls come to break the surface of a pool of clear green.
And from where else but here, a pair of mandarin ducks come on purpose to wrangle in the bath.
To read the Li Sao through carefully, and drink deep; to have seen all the tall bamboo — what harm if there is little meat?
There is a flying spring that day by day offers pearls — three thousand measures of them.
Spring rain fills every channel, and the young seedlings stand in new grain.
Leisure days stretch long, and the yellow calves sleep.
I watch the clouds run along the wheat ridges, and snow heaped over the silkworm trays.
If one wants to be satisfied, one is satisfied today; and if you think you are not, when will you ever be?
Old men of the fields come and lead me by the hand into the east garden — the loquats are ripe.

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Meaning

Xin Qiji, retired and living at Lake Dai in Shangrao, wrote this lyric about his life in the hills. It opens on the pond where a few gulls come to break the clear green with a few white strokes, and on a pair of mandarin ducks who come deliberately to splash where they can fight for the water. From there it turns to the poet's own days — reading the Li Sao and drinking, looking at bamboo until he is full, and receiving from a spring a daily offering of three thousand measures of pearls; then to the farm — spring rain in every channel, new seedlings, long idle days and sleeping calves, clouds running over the wheat and snow heaped over the silkworm trays. And it ends on the plain wisdom that whoever wants enough already has enough, and on the old neighbours leading him into the east garden to eat ripe loquats.

几个轻鸥，来点破、一泓澄绿。更何处、一双鸂鶒，故来争浴。细读《离骚》还痛饮，饱看修竹何妨肉。有飞泉、日日供明珠，三千斛。春雨满，秧新谷。闲日永，眠黄犊。看云连麦垄，雪堆蚕簇。若要足时今足矣，以为未足何时足。被野老、相扶入东园，枇杷熟。

Appreciation

[Plain Paraphrase] The poem is a single day in the country, and it is told in the order it happened: birds on the pond, ducks competing, a book and a cup, a spring running, then the fields, then the old men leading him to the garden. [Structure] The two stanzas divide between the world immediately around the house and the world of the fields beyond it, and the turning point is the few characters that close the second stanza, which lift the whole into a statement. [Imagery] The imagery is the ordinary vocabulary of a farm — gulls, mandarin ducks, spring rain, seedlings, calves, wheat ridges, silkworm trays, loquats — and it is given to the poet with almost no filtering. The most memorable lines are the two in which a natural thing is described as a supply: the spring giving pearls, the heaped snow over the silkworm trays. [Tone] Nothing is claimed; the poet does not say that retirement is good. He says what happened and what was there, and that is why the few moral words at the end carry so much weight.

【白话串讲】辛弃疾写《满江红·山居即事》：“几个轻鸥，来点破、一泓澄绿”——“细读《离骚》还痛饮，饱看修竹何妨肉”——“有飞泉、日日供明珠，三千斛”——“春雨满，秧新谷”——“看云连麦垄，雪堆蚕簇”——他写山居。【意象与手法】此词写田园，以闲适写田园，是辛弃疾的名篇。上片写山居：「几个轻鸥，来点破、一泓澄绿。更何处、一双鸂鶒，故来争浴。细读《离骚》还痛饮，饱看修竹何妨肉。有飞泉、日日供明珠，三千斛」写几个轻鸥、来点破、一泓澄绿——写尽轻鸥的点破；下片写闲适：「若要足时今足矣，以为未足何时足。被野老、相扶入东园，枇杷熟」写若要足时今足矣、以为未足何时足——写尽今日的知足。全词以闲适写田园，写尽轻鸥的点破与今日的知足，是辛弃疾的代表作。【情感与主旨】此词写田园，以闲适写田园，是辛弃疾的名篇。此词为辛弃疾闲居带湖时所作，写山居的田园之乐与知足之趣。辛弃疾晚年罢官闲居带湖（今江西上饶），此词写其山居的闲适生活。此词写几个轻鸥，来点破、一泓澄绿；更何处、一双鸂鶒，故来争浴；细读《离骚》还痛饮，饱看修竹何妨肉；有飞泉、日日供明珠，三千斛；春雨满，秧新谷；闲日永，眠黄犊；看云连麦垄，雪堆蚕簇；若要足时今足矣，以为未足何时足；被野老、相扶入东园，枇杷熟。此词写山居：几个轻鸥，来点破、一泓澄绿——写几个轻鸥、来点破、一泓澄绿，写尽轻鸥的点破；更何处、一双鸂鶒，故来争浴——写更何处、一双鸂鶒，故来争浴，写尽鸂鶒的争浴；细读《离骚》还痛饮，饱看修竹何妨肉——写细读《离骚》还痛饮、饱看修竹何妨肉，写尽离骚的痛饮；有飞泉、日日供明珠，三千斛——写有飞泉、日日供明珠，三千斛，写尽飞泉的明珠；春雨满，秧新谷——写春雨满、秧新谷，写尽新谷的秧苗；闲日永，眠黄犊——写闲日永、眠黄犊，写尽黄犊的闲眠；看云连麦垄，雪堆蚕簇——写看云连麦垄、雪堆蚕簇，写尽云连的麦垄；若要足时今足矣，以为未足何时足——写若要足时今足矣、以为未足何时足，写尽今日的知足；被野老、相扶入东园，枇杷熟——写被野老、相扶入东园，枇杷熟，写尽东园的枇杷。全词以闲适写田园——那「细读《离骚》还痛饮」写尽离骚的痛饮，「以为未足何时足」写尽今日的知足，写尽轻鸥的点破与今日的知足，是理解辛弃疾田园词的重要篇章。【名句点睛】常考「细读《离骚》还痛饮，饱看修竹何妨肉」写离骚的痛饮；「若要足时今足矣，以为未足何时足」写今日的知足；以及全词以闲适写田园、以用典写情怀的手法。

Background

Xin Qiji (1140–1207), courtesy name You'an, called himself Jiaxuan, was from Licheng, in present Shandong, and is the greatest of the Southern Song lyricists in the bold manner, paired with Su Shi as the two great masters. He had served in the campaign against the Jin and then spent years in postings and in intervals of retirement; this lyric belongs to his long retirement at Daihu, near present-day Shangrao in Jiangxi, when he was out of office. He never stopped wanting to win back the north, and he could not say so in a poem like this one; what he could do was fill a hillside with the ordinary life he was allowed and let the ordinary life be enough.

此词写田园，以闲适写田园，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，南宋豪放派词人，与苏轼并称「苏辛」。此词为辛弃疾闲居带湖时所作，写山居的田园之乐与知足之趣。辛弃疾晚年罢官闲居带湖（今江西上饶），此词写其山居的闲适生活。此词写几个轻鸥，来点破、一泓澄绿；更何处、一双鸂鶒，故来争浴；细读《离骚》还痛饮，饱看修竹何妨肉；有飞泉、日日供明珠，三千斛；春雨满，秧新谷；闲日永，眠黄犊；看云连麦垄，雪堆蚕簇；若要足时今足矣，以为未足何时足；被野老、相扶入东园，枇杷熟。此词写山居：「几个轻鸥，来点破、一泓澄绿」写几个轻鸥、来点破、一泓澄绿——写尽轻鸥的点破（几个轻鸥，来点破、一泓澄绿）；「更何处、一双鸂鶒，故来争浴」写更何处、一双鸂鶒，故来争浴——写尽鸂鶒的争浴（更何处、一双鸂鶒，故来争浴）；「细读《离骚》还痛饮，饱看修竹何妨肉」写细读《离骚》还痛饮、饱看修竹何妨肉——写尽离骚的痛饮（细读《离骚》还痛饮，饱看修竹何妨肉）；「有飞泉、日日供明珠，三千斛」写有飞泉、日日供明珠，三千斛——写尽飞泉的明珠（有飞泉、日日供明珠，三千斛）；「春雨满，秧新谷」写春雨满、秧新谷——写尽新谷的秧苗（春雨满，秧新谷）；「闲日永，眠黄犊」写闲日永、眠黄犊——写尽黄犊的闲眠（闲日永，眠黄犊）；「看云连麦垄，雪堆蚕簇」写看云连麦垄、雪堆蚕簇——写尽云连的麦垄（看云连麦垄，雪堆蚕簇）；「若要足时今足矣，以为未足何时足」写若要足时今足矣、以为未足何时足——写尽今日的知足（若要足时今足矣，以为未足何时足）；「被野老、相扶入东园，枇杷熟」写被野老、相扶入东园，枇杷熟——写尽东园的枇杷（被野老、相扶入东园，枇杷熟）。全词以闲适写田园，写尽轻鸥的点破与今日的知足，是理解辛弃疾田园词的重要篇章。

Art

Four things are worth noting. First, the opening is a picture drawn with almost no adjectives: 'a few light gulls' break 'a pool of clear green', and the verb of breaking is what makes the whole surface matter. Second, the ducks are given a character — they come on purpose and they come to fight — so the pond is a small theatre. Third, the two half-lines about reading and drinking turn the poet's own history into a country posture: the Li Sao is the poem of a patriot in exile, and drinking through it is a way of holding his feeling without voicing it; and the bamboo with its small concession about meat is a joke about the bodily and the refined. Fourth, the closing is pure proverbial wisdom, delivered flatly, after which the poem does not explain but simply reports the old men taking his hand.

此词的艺术特色可从四个方面解析。其一，以白描写山居。「几个轻鸥」以白描写山居——那「来点破、一泓澄绿」写尽轻鸥的点破，以白描写尽轻鸥的点破。其二，以用典写情怀。「细读《离骚》还痛饮」以用典写情怀——那「离骚」用屈原《离骚》典写情怀，以用典写尽离骚的痛饮。其三，以对仗写田园。「春雨满，秧新谷」以对仗写田园——那「闲日永，眠黄犊」写尽黄犊的闲眠，以对仗写尽新谷的秧苗。其四，以哲理写知足。「以为未足何时足」以哲理写知足——那「何时足」写尽未足的无期，以哲理写尽今日的知足。此外，此词上片写轻鸥的点破，下片写今日的知足，由景及理，正是田园词「以闲写理」的写法。四重手法，使此词以闲适写田园，写尽轻鸥的点破与今日的知足，是辛弃疾的代表作。此词还善于以「更何处、一双鸂鶒，故来争浴」的「故来」写鸂鶒之故来——那「一双鸂鶒，故来争浴」写尽鸂鶒的争浴，正是以故写来，以「故来」写尽鸂鶒的争浴。又善以「看云连麦垄，雪堆蚕簇」的「云连」「雪堆」写田园之盛——看云连麦垄而雪堆蚕簇，正见田蚕丰盛的写照，以「云连」写尽云连的麦垄。

Allusions

The poem is quietly woven from the habits of retired literati. The Li Sao is the long lament of Qu Yuan, the poet who drowned himself rather than serve a corrupt court; to read it slowly and drink is a recognised posture for a man with nowhere to put his loyalty. The tall bamboo recalls the saying that one cannot live in a place without bamboo, and the half-line about meat is the joke — that after looking his fill at the bamboo, he will not mind the table. The gulls recall the old story of the fisher who had nothing to fear once he had forgotten his schemes, and the ducks are the same bird of paired fidelity. The village wine of pork and the old men are the same neighbours who figure in the rustic poetry of the fourth century.

此词的用语深植于田园与闲适传统。「轻鸥」令人想到「轻鸥」写轻鸥的意象——也令人想到「鸥鹭忘机」的意象；「澄绿」令人想到「澄绿」写澄绿水的意象——也令人想到「春来江水绿如蓝」（白居易）的意象；「鸂鶒」令人想到「鸂鶒」写紫鸳鸯的意象——也令人想到「鸂鶒双飞」的意象；「离骚」令人想到「离骚」写屈原《离骚》的意象——也令人想到「痛饮酒，熟读《离骚》」的意象；「修竹」令人想到「修竹」写修竹的意象——也令人想到「不可居无竹」（苏轼）的意象；「麦垄」令人想到「麦垄」写麦垄的意象——也令人想到「麦浪」的意象；「枇杷」令人想到「枇杷」写枇杷的意象——也令人想到「枇杷熟」的意象。全词化用轻鸥、澄绿、鸂鶒、离骚、修竹、麦垄、枇杷的意象典故，以闲适写田园，正是辛弃疾「豪放」而善用典、承田园传统写闲适之本领。「鸂鶒」令人想到「鸂鶒」写紫鸳鸯的意象——也令人想到「鸂鶒浮沉」的意象；「离骚」令人想到「离骚」写《离骚》的意象——也令人想到「痛饮读骚」的意象，以离骚写情怀。

Commentary

Critics have long called this one of the plainest and happiest of Xin Qiji's long lyrics, and have singled out the closing couplet, in which a plain statement about enough is followed by the old men leading him into the garden to eat loquats. Its standing is as a poem in which the great uncompromising writer of the Southern Song says the least he can say and is still unmistakably himself. It belongs beside the poems of returning to the fields, in which the same retreat from office is described in the same unhurried way, and beside the rhapsody on the Red Cliff, in which the same generation of writers finds the same answer to an official life — that the thing worth keeping is not in the office.

此词历来被推为辛弃疾田园词的名篇，也是宋词写山居闲适的代表。历代论者对此词评价极高：清人评此词「以闲适写田园，冲淡自然」；近人更指出「若要足时今足矣，以为未足何时足」写今日的知足，是此词的名句。在词史上，此词的特殊价值在于：它以两片的长调写尽轻鸥的点破与今日的知足——那几个轻鸥，那来点破，那一泓澄绿，那更何处，那一双鸂鶒，那故来争浴，那细读离骚，那还痛饮，那饱看修竹，那何妨肉，那有飞泉，那日日供明珠，那三千斛，那春雨满，那秧新谷，那闲日永，那眠黄犊，那看云连麦垄，那雪堆蚕簇，那若要足时，那今足矣，那以为未足，那何时足，那被野老，那相扶入东园，那枇杷熟，都写尽了辛弃疾笔下的满江红；那「以为未足何时足」更以哲理写尽今日的知足。此词与陶渊明《归园田居》「久在樊笼里，复得返自然」的田园传统一脉相承，可见中国词写田园闲适的传统。对于今日读者，此词是理解辛弃疾田园词的窗口，也是宋词写山居闲适的经典——那今日的知足，穿越千年，仍在诉说着东园的枇杷。

Prosody

Form A ci lyric in the tune Man Jiang Hong, two stanzas词·满江红

Rhyme Rhymes on entering tones — green, bathe, meat, measure, grain, calf, heap, enough, ripe — one rhyme carried through. The entering-tone stops keep the whole lyric brisk and level, which suits a farm rather than a battle.满江红，押「绿」「浴」「肉」「斛」「谷」「犊」「簇」「足」「熟」韵（入声），仄韵到底

Tone pattern The tune is a long, uneven one; here the unevenness works in the poet's favour, because the short parallel clauses of the second stanza can fall hard between the longer lines.此词为满江红词调，押入声仄韵，一韵到底，音节疏朗，正合田园的疏朗。

Reading note The first stanza is the ground immediately around the house: gulls, ducks, the book, the cup, the bamboo, the spring. The second is the year in the fields — rain, seedlings, calves, wheat, silkworms — closed by the saying about enough, and then by the old men and the ripe loquats. The rhyme is one entering-tone rhyme, so every line ends on the same short clipped sound, and the short clauses in the second stanza cut the same way. Read the opening plainly, keep the middle bright, and on the two lines about enough slow down, since the poem's whole weight rests there before it closes on the garden.此词为满江红词调，两片——上片「几个轻鸥，来点破、一泓澄绿。更何处、一双鸂鶒，故来争浴。细读《离骚》还痛饮，饱看修竹何妨肉。有飞泉、日日供明珠，三千斛」；下片「春雨满，秧新谷。闲日永，眠黄犊。看云连麦垄，雪堆蚕簇。若要足时今足矣，以为未足何时足。被野老、相扶入东园，枇杷熟」，押入声仄韵（绿、浴、肉、斛、谷、犊、簇、足、熟），一韵到底，音节疏朗。全词以闲适写田园：上片写轻鸥的点破（几个轻鸥、细读《离骚》还痛饮），下片写今日的知足（若要足时今足矣、被野老相扶入东园）。两片短章，前写山居，后写知足，以「以为未足何时足」写尽今日的知足，正见辛弃疾「豪放」的本色。诵读此词，宜以疏朗的语调读「细读《离骚》还痛饮」的闲适，以冲淡的语调读「以为未足何时足」的知足，结句要读得疏朗而有余韵，方能传达出辛弃疾的冲淡自然。辛弃疾词以「豪放」著称，此词正是其田园词的典范。

Line by line

若要足时今足矣，以为未足何时足

If one wants enough, one has enough today; and if you consider yourself not enough, when will you ever be?

若要足时今足矣，以为未足何时足。

If you want sufficiency, today it is sufficient; if you think it not enough, when will it ever be enough?

此二句是全词写知足的核心，以若要足时今足矣写今足矣，以以为未足何时足写何时足，写尽今日的知足，是千古名句。「若要足时今足矣」写若要足时今足矣——那「若要足时」写若要足时，「今足矣」写今足矣，写尽今日的知足；「以为未足何时足」写以为未足何时足——那「以为未足」写以为未足，「何时足」写何时足，写尽未足的无期。这句的深意在于：它以「若要足时今足矣」的今足矣与「以为未足何时足」的何时足，写尽今日的知足——若要足时今足矣，那「若要足时今足矣」写尽今日的知足——若要足时，正是若论知足的写照，那「今足矣」写尽今日的知足；以为未足何时足，那「以为未足何时足」写尽未足的无期——以为未足何时足，正是未足无期的写照，那「何时足」写尽今日的知足；那「若要足时今足矣」写尽今日的知足，那「以为未足何时足」写尽未足的无期，一写今足，一写未足，写尽今日的知足——今日已知足而常叹未足，正是知足的写照；此二句以今足、未足写尽今日的知足，也为下文的枇杷作铺垫，也让此二句成为全词写知足的核心与千古名句。若换作直说「若要说知足，今天就知足了，如果总以为不知足，那什么时候才知足」，则失其哲理；唯以「若要足时今足矣」写今足矣、「以为未足何时足」写何时足，写尽今日的知足，也让此二句成为全词写知足的核心。

The sufficiency. If you want sufficiency, today it is sufficient; if you think it not enough, when will it ever be enough? The if-you-want-sufficiency-today against the if-you-think-not-enough-when are the contentment verses. To have argued for contentment would be a saying; the if-you-want-sufficiency-today-it-is-sufficient against the if-you-think-it-not-enough-when-will-it-ever-be-enough is the saying.

细读《离骚》还痛饮，饱看修竹何妨肉

To read the Li Sao through carefully and drink deep; to have had one's fill of tall bamboo — what harm if there is little meat on the table?

细读《离骚》还痛饮，饱看修竹何妨肉。

Read the Li Sao closely and drink to it; feast your eyes on tall bamboo—what need is there for meat?

此二句是全词写情怀的核心，以细读《离骚》还痛饮写还痛饮，以饱看修竹何妨肉写何妨肉，写尽离骚的痛饮，是千古名句。「细读《离骚》还痛饮」写细读《离骚》还痛饮——那「细读离骚」写细读离骚，「还痛饮」写还痛饮，写尽离骚的痛饮；「饱看修竹何妨肉」写饱看修竹何妨肉——那「饱看修竹」写饱看修竹，「何妨肉」写何妨肉，写尽修竹的何妨。这句的深意在于：它以「细读《离骚》还痛饮」的还痛饮与「饱看修竹何妨肉」的何妨肉，写尽离骚的痛饮——细读《离骚》还痛饮，那「细读《离骚》还痛饮」写尽离骚的痛饮——细读离骚，正是细读《离骚》的写照，那「还痛饮」写尽离骚的痛饮；饱看修竹何妨肉，那「饱看修竹何妨肉」写尽修竹的何妨——饱看修竹何妨肉，正是饱看竹的写照，那「何妨肉」写尽离骚的痛饮；那「细读《离骚》还痛饮」写尽离骚的痛饮，那「饱看修竹何妨肉」写尽修竹的何妨，一写痛饮，一写修竹，写尽离骚的痛饮——细读离骚而饱看修竹，正是闲适的写照；此二句以痛饮、修竹写尽离骚的痛饮，也为下文的知足作铺垫，也让此二句成为全词写情怀的核心与千古名句。若换作直说「细细读着《离骚》还痛快地喝酒，饱看修竹又何必在乎肉食」，则失其用典；唯以「细读《离骚》还痛饮」写还痛饮、「饱看修竹何妨肉」写何妨肉，写尽离骚的痛饮，也让此二句成为全词写情怀的核心。

The Li Sao. Read the Li Sao closely and drink to it; feast your eyes on tall bamboo—what need is there for meat? The close reading of the Li Sao over wine and the bamboo that replaces meat (the Wang Ziyu allusion) are Xin Qiji's retirement. To have described reading and drinking would be a habit; the read-the-Li-Sao-closely-and-drink-to-it against the feast-your-eyes-on-tall-bamboo-what-need-for-meat is the habit.

Study

Word focus

破 In 'a few light gulls come to break the surface of a pool of clear green', the verb is to break or burst. It is the single stroke that lets the poem open: before the gulls the pond is a flat unbroken green, and after it there is a small wound of white in it. The poet uses it rather than 'cross' or 'touch' because the contrast of still water and sudden white is what he wants the reader to see, and it is the same liking for a small sharp incident that runs through all his country writing. 「几个轻鸥，来点破、一泓澄绿」之「破」字是写山居的关键词，一个「破」字写尽轻鸥的点破。破者，点破、划破也。辛弃疾以「几个轻鸥，来点破、一泓澄绿」写山居，这个「破」字至少有双重意味：其一，写水之破——那「几个轻鸥，来点破、一泓澄绿」写几个轻鸥来点破一泓澄绿，那「破」字写尽轻鸥的点破——点破，正是鸥点水面的写照，那「破」字写尽轻鸥的点破；其二，写静之动——那「破」字更是写动——破，正见静水被破的生机，那「破」字写尽辛弃疾的田园。以「破」字写山居，正是辛弃疾写田园的枢纽——若换作「动」「划」等字，则或失其与「几个轻鸥」「一泓澄绿」的配合，或失其写破的意味；唯「破」字，以几个轻鸥来点破一泓澄绿写尽水波之点破与静水之生机，与「细读《离骚》还痛饮」的痛饮相合，写尽轻鸥的点破，也让「几个轻鸥，来点破、一泓澄绿」成为全词写山居的名句。

足 In the closing couplet, the word means both enough and satisfied. It is the load-bearing word of the whole lyric: enough is what the hillside provides, and satisfied is the state of mind the poet is recommending. It is used twice in one sentence, first as a thing a man can want then as a condition he can be in, and that doubling is what turns a farm sketch into a statement. 「以为未足何时足」之「足」字是写知足的关键词，一个「足」字写尽今日的知足。足者，满足、知足也。辛弃疾以「以为未足何时足」写知足，这个「足」字至少有双重意味：其一，写足之何时——那「以为未足何时足」写以为未足何时足，那「足」字写尽未足的无期——何时足，正是何时满足的写照，那「足」字写尽今日的知足；其二，写心之安——那「足」字更是写安——足，正见知足常安的闲适，那「足」字写尽辛弃疾的闲适。以「足」字写知足，正是辛弃疾写田园的枢纽——若换作「满」「够」等字，则或失其与「以为未足」「何时足」的配合，或失其写足的意味；唯「足」字，以以为未足何时足写尽知足之哲理与知足常安之闲适，与「若要足时今足矣」的今足相合，写尽今日的知足，也让「以为未足何时足」成为全词写知足的名句。