宋 Song · 词 Ci lyric
念奴娇·登建康赏心亭呈史留守致道
Niannu Jiao: Climbing Jiankang's Shangxin Pavilion, Presented to Prefect Shi Zhidao
我来吊古，上危楼、赢得闲愁千斛。
虎踞龙蟠何处是，只有兴亡满目。
柳外斜阳，水边归鸟，陇上吹乔木。
片帆西去，一声谁喷霜竹。
却忆安石风流，东山岁晚，泪落哀筝曲。
儿辈功名都付与，长日惟消棋局。
宝镜难寻，碧云将暮，谁劝杯中绿。
江头风怒，朝来波浪翻屋。
Where is the crouching tiger, coiled dragon? Only the rise and fall fill the eye.
Beyond the willows the slanting sun; by the water homing birds; on the ridge the wind through tall trees.
A single sail goes west; who blows a note on the frost-bamboo flute?
Then I recall Anxi's elegance—late at Dongshan, tears falling to a plaintive zither song.
The younger generation's glory is all bestowed; the long day but dissolves in a chess game.
The precious mirror is hard to find; green clouds near dusk—who urges the green in the cup?
At the river's head the wind rages; at dawn the waves overturn the roof.
Meaning
Climbing Jiankang's Shangxin Pavilion, the poet surveys a former capital and finds only the relics of rise and fall. Through the allusion to the statesman Xie An he voices his own frustration at being idle while the realm is in peril, closing on raging waves that figure a precarious age.
我来吊古，上危楼、赢得闲愁千斛。虎踞龙蟠何处是，只有兴亡满目。柳外斜阳，水边归鸟，陇上吹乔木。片帆西去，一声谁喷霜竹。却忆安石风流，东山岁晚，泪落哀筝曲。儿辈功名都付与，长日惟消棋局。宝镜难寻，碧云将暮，谁劝杯中绿。江头风怒，朝来波浪翻屋。
Appreciation
[Plain Paraphrase] The lyric begins with a climb and a burden of idle grief, then asks where the famed strategic 'tiger-dragon' terrain has gone, answered by 'only rise and fall fill the eye'. Willow, slanting sun, homing birds and wind in the trees paint a desolate scene; a lone sail and a distant flute sound the note of parting. The lower stanza turns to Xie An—his elegance, his late-life tears at a zither song, his leaving glory to the younger men and idling over chess—then to an unfindable mirror and approaching dusk, and ends on raging river wind and waves that overturn roofs. [Structure] Upper stanza: scene and the sense of historical ruin. Lower stanza: allusion and the poet's own stalled career, capped by natural turmoil. [Imagery] The 'tiger-dragon' terrain, homing birds and frost-bamboo flute build a mood of loss; the closing waves embody political danger.
【白话串讲】 辛弃疾写《念奴娇·登建康赏心亭呈史留守致道》：“我来吊古，上危楼、赢得闲愁千斛”——“虎踞龙蟠何处是，只有兴亡满目”——“柳外斜阳，水边归鸟，陇上吹乔木”——“儿辈功名都付与，长日惟消棋局”——他登赏心亭吊古——赢得闲愁千斛。 【意象与手法】 此词写登建康赏心亭吊古的感慨，以景写兴亡，以典故写感慨，是辛弃疾的名篇。上阕写登楼吊古：「我来吊古」写我来吊古，「上危楼、赢得闲愁千斛」写上危楼赢得闲愁千斛，「虎踞龙蟠何处是」写虎踞龙蟠何处是，「只有兴亡满目」写只有兴亡满目，「柳外斜阳，水边归鸟，陇上吹乔木」写柳外斜阳水边归鸟陇上吹乔木，「片帆西去，一声谁喷霜竹」写片帆西去一声谁喷霜竹；下阕写感慨：「却忆安石风流，东山岁晚，泪落哀筝曲」写却忆安石风流东山岁晚泪落哀筝曲，「儿辈功名都付与，长日惟消棋局」写儿辈功名都付与长日惟消棋局，「宝镜难寻，碧云将暮，谁劝杯中绿」写宝镜难寻碧云将暮谁劝杯中绿，「江头风怒，朝来波浪翻屋」写江头风怒朝来波浪翻屋。全词以景写兴亡、以典故写感慨，写尽吊古的感慨，是辛弃疾的代表作。 【情感与主旨】 此词写登建康赏心亭吊古的感慨，以景写兴亡，以典故写感慨，是辛弃疾的名篇。此词作于宋孝宗乾道四年（1168）前后，辛弃疾任建康通判时，登建康赏心亭呈史致道（史正志，时任建康留守）而作。此词写吊古：我来吊古，上危楼、赢得闲愁千斛——写我来吊古、上危楼、赢得闲愁千斛；虎踞龙蟠何处是，只有兴亡满目——写虎踞龙蟠（金陵形胜）何处是，只有兴亡满目；柳外斜阳，水边归鸟，陇上吹乔木——写柳外斜阳、水边归鸟、陇上风吹乔木；片帆西去，一声谁喷霜竹——写片帆西去，一声笛（霜竹即笛）谁吹；却忆安石风流，东山岁晚，泪落哀筝曲——用谢安（安石）之典，写忆谢安风流、东山岁晚、泪落哀筝曲；儿辈功名都付与，长日惟消棋局——写儿辈功名都付与，长日惟消棋局；宝镜难寻，碧云将暮，谁劝杯中绿——写宝镜难寻、碧云将暮、谁劝杯中绿；江头风怒，朝来波浪翻屋——写江头风怒、朝来波浪翻屋。全词以景写兴亡——那「只有兴亡满目」写尽兴亡满目，「江头风怒，朝来波浪翻屋」写尽风波的凶险；以典故写感慨——那谢安（安石）的典故写尽英雄迟暮的感慨，写尽吊古的感慨，是理解辛弃疾爱国词的重要篇章。 【名句点睛】 常考「虎踞龙蟠何处是，只有兴亡满目」写兴亡的感慨；「却忆安石风流，东山岁晚，泪落哀筝曲」用谢安之典写英雄迟暮；「江头风怒，朝来波浪翻屋」写风波的凶险；「宝镜难寻，碧云将暮」写迟暮的感慨；以及全词以景写兴亡、以典故写感慨的手法。
Background
Xin Qiji (1140–1207), the Southern Song patriot-lyricist of the heroic-abandon school, wrote this around 1168 while serving as assistant prefect of Jiankang (modern Nanjing), and presented it to the defending prefect Shi Zhidao (Shi Zhengzhi). Nanjing, capital of six dynasties, was the natural stage for meditation on rise and fall. Excluded from the northern expedition he advocated, Xin used the climb to voice both historical lament and personal frustration at a court that left a hero with nothing but 'idle grief'.
此词写登建康赏心亭吊古的感慨，以景写兴亡，以典故写感慨，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，南宋伟大的爱国词人，与苏轼并称「苏辛」，是宋词豪放派的代表。此词作于宋孝宗乾道四年（1168）前后，辛弃疾任建康（今南京）通判时，登建康赏心亭呈史致道（史正志，时任建康留守）而作。此词写吊古：「我来吊古，上危楼、赢得闲愁千斛」写我来吊古、上危楼、赢得闲愁千斛；「虎踞龙蟠何处是，只有兴亡满目」写虎踞龙蟠（金陵形胜）何处是，只有兴亡满目；「柳外斜阳，水边归鸟，陇上吹乔木」写柳外斜阳、水边归鸟、陇上风吹乔木；「片帆西去，一声谁喷霜竹」写片帆西去，一声笛（霜竹即笛）谁吹；「却忆安石风流，东山岁晚，泪落哀筝曲」用谢安之典写忆谢安风流、东山岁晚、泪落哀筝曲——谢安晚年被猜忌，桓伊弹筝作歌以讽，谢安泣下；「儿辈功名都付与，长日惟消棋局」写儿辈功名都付与，长日惟消棋局——谢安「围棋赌墅」之事，写英雄无事可做的闲愁；「宝镜难寻，碧云将暮，谁劝杯中绿」写宝镜难寻、碧云将暮、谁劝杯中绿；「江头风怒，朝来波浪翻屋」写江头风怒、朝来波浪翻屋。全词以景写兴亡，以典故写感慨，写尽吊古的感慨，是理解辛弃疾爱国词的重要篇章。
Art
Four devices carry the poem. First, it opens by 'mourning the ancients', the climb and 'thousand measures of idle grief' establishing a heavy, personal register. Second, it writes rise and fall through scene—the famous 'tiger-dragon' terrain asked after and answered by 'only rise and fall fill the eye', dissolving grand geography into historical emptiness. Third, it turns feeling into allusion: Xie An's elegance, his late-life tears at a zither song, and his leaving glory to the young while idling at chess figure a hero with no work to do. Fourth, it closes on wind and waves—'precious mirror hard to find, green clouds near dusk' write late life, and 'waves overturn the roof' write peril. These four moves make the lyric a meditation on ruin and frustration, quintessential Xin Qiji.
此词的艺术特色可从四个方面解析。其一，以吊古开篇。「我来吊古，上危楼、赢得闲愁千斛」以吊古开篇——那「我来吊古」写尽吊古的来意，「上危楼、赢得闲愁千斛」写尽闲愁的沉重，以吊古开篇写尽吊古的感慨。其二，以景写兴亡。「虎踞龙蟠何处是，只有兴亡满目。柳外斜阳，水边归鸟，陇上吹乔木」以景写兴亡——那「虎踞龙蟠何处是」写尽形胜的消逝，「只有兴亡满目」写尽兴亡的满目，以景写尽兴亡的感慨。其三，以典故写感慨。「却忆安石风流，东山岁晚，泪落哀筝曲。儿辈功名都付与，长日惟消棋局」以典故写感慨——那谢安（安石）的典故写尽英雄迟暮、泪落哀筝，「儿辈功名都付与」写尽功名付与儿辈，以典故写尽英雄迟暮的感慨。其四，以风浪收束。「宝镜难寻，碧云将暮，谁劝杯中绿。江头风怒，朝来波浪翻屋」以风浪收束——那「宝镜难寻，碧云将暮」写尽迟暮，「江头风怒，朝来波浪翻屋」写尽风波的凶险，以风浪收束，写尽时局的凶险。四重手法，使此词以景写兴亡、以典故写感慨，写尽吊古的感慨，是辛弃疾的代表作。
Allusions
The diction is steeped in the tradition of mourning the past. 'Mourn the ancients' echoes Wang Anshi's 'Six Dynasties' lines; 'high tower' and 'thousand measures of grief' recall Li Qingzhao's 'cannot bear so much sorrow'. 'Crouching tiger, coiled dragon' cites the old praise of Nanjing's terrain ('Zhong mountain dragon-coiled, stone city tiger-crouched'). 'Homing birds' recalls Tao Yuanming; 'frost-bamboo' is a flute. The Xie An allusion is central: his retirement at Dongshan, the tears he shed when Huan Yi sang a warning zither song at a banquet, and his 'leaving glory to the young' at the chess game—all evoke a hero sidelined by suspicion. 'Waves overturn the roof' answers Su Shi's 'startling waves slap the shore'. Xin fuses terrain, Xie An, chess, mirror and waves into one lament.
此词的用语深植于吊古与英雄感慨的传统。「我来吊古」令人想到「吊古」写凭吊古迹的意象——「六朝旧事随流水，但寒烟衰草凝绿」（王安石），也令人想到「吊古伤今」的传统；「上危楼、赢得闲愁千斛」令人想到「危楼」写高楼的意象，也令人想到「闲愁千斛」写闲愁极重的意象——「载不动许多愁」（李清照）；「虎踞龙蟠何处是」令人想到「虎踞龙蟠」写金陵形胜的典故——「钟阜龙蟠，石城虎踞」，也令人想到「何处是」写何处是的意象；「只有兴亡满目」令人想到「兴亡」写兴衰的意象——「六朝兴废事」，也令人想到「满目」写满目的意象；「柳外斜阳」令人想到「斜阳」写夕阳的意象——「斜阳草树，寻常巷陌」，也令人想到「柳外」写柳外的意象；「水边归鸟」令人想到「归鸟」写归巢之鸟的意象——「飞鸟相与还」（陶渊明），也令人想到「水边」写水边的意象；「陇上吹乔木」令人想到「陇上」写田垄的意象，也令人想到「乔木」写高树的意象——「故国乔木」；「片帆西去」令人想到「片帆」写孤帆的意象——「孤帆远影碧空尽」，也令人想到「西去」写西去的意象；「一声谁喷霜竹」令人想到「喷霜竹」写吹笛的意象——霜竹指笛，也令人想到「谁喷」写谁吹的意象；「却忆安石风流」用谢安之典——谢安字安石，东晋名相，隐居东山，风流潇洒，令人想到「谢安」写东山再起的典故，也令人想到「风流」写风流的意象；「东山岁晚」令人想到「东山」写谢安隐居之地的意象——「东山再起」，也令人想到「岁晚」写岁末的意象；「泪落哀筝曲」用桓伊弹筝之典——谢安晚年被猜忌，桓伊弹筝作歌「为君既不易，为臣良独难」以讽，谢安泣下，令人想到「哀筝」写哀筝的意象，也令人想到「泪落」写落泪的意象；「儿辈功名都付与」令人想到「儿辈功名」写谢安围棋赌墅、儿辈破敌的典故——「小儿辈遂已破贼」，也令人想到「都付与」写都交付的意象；「长日惟消棋局」令人想到「棋局」写下棋的意象——谢安弈棋的典故，也令人想到「长日惟消」写长日消磨的意象；「宝镜难寻」令人想到「宝镜」写宝镜的意象——「破镜重圆」的典故，也令人想到「难寻」写难寻的意象；「碧云将暮」令人想到「碧云」写碧云的意象——「碧云天，黄叶地」（范仲淹），也令人想到「将暮」写将暮的意象；「谁劝杯中绿」令人想到「杯中绿」写绿酒的意象——「绿蚁新醅酒」，也令人想到「谁劝」写谁劝的意象；「江头风怒」令人想到「江头」写江边的意象，也令人想到「风怒」写风怒的意象；「朝来波浪翻屋」令人想到「波浪翻屋」写波浪汹涌的意象——「惊涛拍岸，卷起千堆雪」（苏轼），也令人想到「翻屋」写波浪翻涌如屋的意象。全词化用虎踞龙蟠、谢安、东山、哀筝、棋局、宝镜、波浪翻屋的典故与意象，以景写兴亡、以典故写感慨，正是辛弃疾「豪放悲壮」而善用典、承吊古传统写感慨的本领。
Commentary
This is ranked among Xin Qiji's finest meditation-on-the-past lyrics and a Southern Song classic. Critics call it 'scene writing rise and fall, allusion writing lament, heroic and solemn'. Its lines 'where is the tiger-dragon… only rise and fall fill the eye' and the Xie An passage are quoted as peaks. With his 'Shuilong Yin: Jiankang' ('none understands my climbing heart') it forms a pair of Jiankang climb-lyrics—one bitter, one historical. For readers it is a gateway to Xin's patriotic song-lyrics and to the Chinese lyric's treatment of heroic frustration.
此词历来被推为辛弃疾吊古词的名篇，也是南宋词的代表作。历代论者对此词评价极高：清人评此词「以景写兴亡、以典故写感慨，豪放悲壮」；近人更指出「虎踞龙蟠何处是，只有兴亡满目」写兴亡，「却忆安石风流，东山岁晚，泪落哀筝曲」用谢安之典写英雄迟暮，是此词的名句。在词史上，此词的特殊价值在于：它以十二句的长调写尽登建康赏心亭吊古的感慨——那吊古的来意，那千斛的闲愁，那虎踞龙蟠的何处是，那兴亡满目的只有，那柳外的斜阳，那水边的归鸟，那陇上的乔木，那西去的片帆，那谁喷的霜竹，那安石的风流，那东山的岁晚，那泪落的哀筝，那儿辈的功名，那棋局的消磨，那难寻的宝镜，那将暮的碧云，那杯中绿，那江头的风怒，那翻屋的波浪，都写尽了辛弃疾吊古的感慨；那「却忆安石风流，东山岁晚，泪落哀筝曲」更写尽英雄迟暮的感慨。此词与辛弃疾《水龙吟·登建康赏心亭》（「把吴钩看了，栏杆拍遍」）同为登建康赏心亭名篇，一写「无人会、登临意」的悲愤，一写「只有兴亡满目」的兴亡；又与谢安「东山再起」的典故一脉相承，可见辛弃疾对英雄的追慕。对于今日读者，此词是理解辛弃疾吊古词的窗口，也是中国词写英雄感慨的经典——那泪落的哀筝曲，穿越千年，仍在诉说着英雄迟暮的感慨。
Prosody
Line by line
虎踞龙蟠何处是，只有兴亡满目
Where is the crouching tiger, coiled dragon? Only the rise and fall fill the eye.
虎踞龙蟠的形胜何处是？只有兴亡满目。
Where is that tiger-crouching, dragon-coiling site? Only rise and fall fills the eyes.
此联是全词写兴亡的核心，以虎踞龙蟠写形胜，以兴亡满目写感慨，是千古名句。「虎踞龙蟠何处是」写虎踞龙蟠的形胜何处是——那「虎踞龙蟠」用金陵形胜之典（钟阜龙蟠，石城虎踞），「何处是」以反问写何处是，写尽形胜的消逝；「只有兴亡满目」写只有兴亡满目——那「只有兴亡」写只有兴亡，「满目」写满目，写尽兴亡的满目。这句的深意在于：它以「虎踞龙蟠何处是」的反问与「只有兴亡满目」的满目，写尽兴亡的感慨——虎踞龙蟠的形胜何处是？那「虎踞龙蟠」用金陵形胜之典写尽金陵的形胜——钟阜龙蟠、石城虎踞，本是金陵的形胜；如今何处是？那「何处是」以反问写尽形胜的消逝——形胜犹在，而气运已衰；只有兴亡满目，那「只有兴亡满目」写尽兴亡的满目——登高远望，唯有兴亡的历史满目，那「兴亡满目」写尽历史的沧桑；那「虎踞龙蟠何处是」写尽形胜的消逝，那「只有兴亡满目」写尽兴亡的满目，一写形胜，一写兴亡，写尽登高吊古的兴亡感慨——虎踞龙蟠的形胜，如今只见兴亡满目，正是建康（六朝古都）兴亡历史的写照；此联开篇即写尽兴亡，为全词写吊古定下基调。若换作直说「金陵繁华不再了」，则失其用典；唯以「虎踞龙蟠何处是」的反问写形胜、「只有兴亡满目」写兴亡，写尽兴亡的感慨，也让此联成为全词写兴亡的核心与千古名句。
The site. Where is that tiger-crouching, dragon-coiling site? Only rise and fall fills the eyes. The tiger-crouching-dragon-coiling-where and the rise-and-fall-fills-eyes are the opening. To have crouched and coiled would be a crouching; the where-is-that-tiger-crouching-dragon-coiling-site-only-rise-and-fall-fills-the-eyes is the crouching.
江头风怒，朝来波浪翻屋
At the river's head the wind rages; at dawn the waves overturn the roof.
江头风怒，朝来波浪翻涌如屋。
At the river's head the wind rages; morning waves surge as high as houses.
此二句是全词的收束，以风怒写风波，以翻屋写凶险，写尽时局的凶险，是千古名句。「江头风怒」写江头风怒——那「江头」写江边，「风怒」写风怒，写尽江头风怒的汹涌；「朝来波浪翻屋」写朝来波浪翻涌如屋——那「朝来波浪」写早来的波浪，「翻屋」写波浪翻涌如屋，写尽波浪的凶险。这句的深意在于：它以「江头风怒」的风怒与「朝来波浪翻屋」的翻屋，写尽时局的凶险——江头风怒，那「江头风怒」写尽江头风怒的汹涌——风起江头，怒号汹涌；朝来波浪翻涌如屋，那「朝来波浪翻屋」写尽波浪翻涌如屋的凶险——波浪翻涌，高如屋宇，那「翻屋」写尽波浪的凶险；那「风怒」写尽风的汹涌，那「翻屋」写尽浪的凶险，一写风，一写浪，写尽时局的凶险——这江头的风怒、翻屋的波浪，正是时局凶险的写照：南宋偏安，金兵虎视，正是风雨飘摇的时局；此二句以风浪收束，写尽时局的凶险，也让此二句成为全词收束的千古名句。若换作直说「时局很危险」，则失其意象；唯以「江头风怒」写风怒、「朝来波浪翻屋」写翻屋，写尽时局的凶险，也让此二句成为全词的收束。
The storm. At the river's head the wind rages; morning waves surge as high as houses. The river's-head-wind-rages and the morning-waves-surge-houses are the close. To have raged would be a raging; the at-the-river's-head-the-wind-rages-morning-waves-surge-as-high-as-houses is the raging.
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In 'Shuilong Yin' Xin writes 'I look at the Wu hook, pat the railing—none understands my climbing heart', a bitter lament. Here he writes 'only rise and fall fill the eye' and the Xie An passage, a historical one. One voices homesick anger, the other late-life sorrow; together they show the range of his Jiankang climb-lyrics.
辛弃疾《水龙吟·登建康赏心亭》「把吴钩看了，栏杆拍遍，无人会、登临意」写登建康赏心亭的悲愤，是辛弃疾的名篇。此词《念奴娇·登建康赏心亭呈史留守致道》则「虎踞龙蟠何处是，只有兴亡满目」「却忆安石风流，东山岁晚，泪落哀筝曲」写登建康赏心亭吊古的感慨。同为辛弃疾登建康赏心亭，一写「把吴钩看了」的悲愤（水龙吟），一写「只有兴亡满目」的兴亡（念奴娇）；一以「休说鲈鱼堪脍」写乡愁，一以「泪落哀筝曲」写迟暮。两词对读，可见辛弃疾登建康赏心亭词的丰富。
菩萨蛮·书江西造口壁 Pusa Man: Written on the Wall at Zaokou, Jiangxi 辛弃疾 · 同辛弃疾写兴亡国事，一造口一赏心亭 Both write on the realm's peril—one at Zaokou, one at the pavilion.The 'Pusa Man' ('below Yugu terrace, clear river water—how much traveller's tears within') writes national disaster. This lyric writes 'only rise and fall fill the eye' and 'waves overturn the roof'. One meets tears with faith ('green mountains cannot block'), the other meets ruin with danger; both show Xin's obsession with the imperilled realm.
辛弃疾《菩萨蛮·书江西造口壁》「郁孤台下清江水，中间多少行人泪」写国难，是辛弃疾的名篇。此词《念奴娇·登建康赏心亭呈史留守致道》则「只有兴亡满目」「江头风怒，朝来波浪翻屋」写兴亡与时局。同为辛弃疾写兴亡国事，一写「中间多少行人泪」的国难（造口壁），一写「只有兴亡满目」的兴亡（念奴娇）；一以「青山遮不住」写信心，一以「波浪翻屋」写凶险。两词对读，可见辛弃疾写兴亡国事的执着。