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宋 Song · 词 Ci lyric

沁园春·再到期思卜筑

Qinyuanchun: Returning Again to Qisi to Choose a Building Site

辛弃疾

Xin Qiji

隐逸Reclusion 田园Pastoral

一水西来，千丈晴虹，十里翠屏。
喜草堂经岁，重来杜老；
斜川好景，不负渊明。
老鹤高飞，一枝投宿，长笑蜗牛戴屋行。
平章了，待十分佳处，著个茅亭。
青山意气峥嵘，似为我归来妩媚生。
解频教花鸟，前歌后舞；
更催云水，暮送朝迎。
酒圣诗豪，可能无势，我乃而今驾驭卿。
清溪上，被山灵却笑，白发归耕。

A stream comes from the west, a thousand yards of rainbow in clear sky, ten li of emerald screen.
I rejoice that the thatched hall has lasted the year - Du the Elder comes again; the fair scene of Sloping Creek does not fail Yuanming.
An old crane flies high and roosts on a single branch; long I laugh at the snail that carries its house on its back.
The reckoning is settled: at the finest spot of all, I will set a thatched pavilion.
The green hills are lofty in spirit and temper; they seem to grow more lovely because I have come home.
They know how to bid the flowers and birds sing before and dance behind; they urge the clouds and streams to speed me at dusk and greet me at dawn.
Wine sage and poetry hero - you may have no power at all, and still it is I who now drive you.
On the clear stream, the mountain spirit laughs at me instead: white-haired, I come home to the plough.

Listen

Meaning

The lyric records Xin Qiji's return to Qisi, near his estate at Daihu in Shangrao, to choose a spot for a thatched pavilion. The first stanza surveys the landscape - a western stream, a rainbow, ten li of green hills - and settles, with a laugh at the snail that carries its own house, on the place where a pavilion should stand. The second stanza personifies the hills, which seem to grow lovelier at his homecoming and welcome him with birds, clouds and water. The poem ends in self-mockery: the mountain spirit laughs at the white-haired man who has come home to plough.

一水西来，千丈晴虹，十里翠屏。喜草堂经岁，重来杜老；斜川好景，不负渊明。老鹤高飞，一枝投宿，长笑蜗牛戴屋行。平章了，待十分佳处，著个茅亭。青山意气峥嵘，似为我归来妩媚生。解频教花鸟，前歌后舞；更催云水，暮送朝迎。酒圣诗豪，可能无势，我乃而今驾驭卿。清溪上，被山灵却笑，白发归耕。

Appreciation

[Plain Paraphrase] Xin Qiji returns to Qisi to pick a site for a pavilion. A stream arrives from the west, a rainbow arches, the green hills stand like a screen; the place has outlasted the year and welcomes him back, and he decides where the thatched pavilion shall go. The second half makes the landscape his host: the hills put on beauty for his return and order flowers, birds, cloud and water to attend him. [Structure] The upper stanza moves from grand survey to practical decision - from rainbow and screen of hills to the single perch and the single pavilion. The lower stanza moves from the hills' welcome to the poet's own answer, ending with the mountain spirit's laugh. [Imagery] The scale is deliberately heroic: a thousand yards of rainbow, ten li of green - a general's eye turned on a garden. Against that grandeur stand two small figures, the old crane content with one branch and the snail that carries its shell, and the contrast between them is the poem's wit: the man who once commanded armies now needs only one branch and one pavilion.

【白话串讲】辛弃疾写《沁园春·再到期思卜筑》：“一水西来，千丈晴虹，十里翠屏”——“喜草堂经岁，重来杜老；斜川好景，不负渊明”——“青山意气峥嵘，似为我归来妩媚生”——他再到期思卜筑——青山为我归来妩媚。【意象与手法】此词写田园，以旷达写田园，是辛弃疾的名篇。上阕写卜筑：「一水西来，千丈晴虹，十里翠屏。喜草堂经岁，重来杜老；斜川好景，不负渊明。老鹤高飞，一枝投宿，长笑蜗牛戴屋行。平章了，待十分佳处，著个茅亭」写一水西来、千丈晴虹、十里翠屏——写尽十里翠屏的晴虹；下阕写山水：「青山意气峥嵘，似为我归来妩媚生。解频教花鸟，前歌后舞；更催云水，暮送朝迎。酒圣诗豪，可能无势，我乃而今驾驭卿。清溪上，被山灵却笑，白发归耕」写青山意气峥嵘、似为我归来妩媚生——写尽归来妩媚的青山。全词以旷达写田园，写尽十里翠屏的晴虹与归来妩媚的青山，是辛弃疾的代表作。【情感与主旨】此词写田园，以旷达写田园，是辛弃疾的名篇。此词为辛弃疾再到期思（江西上饶带湖之期思）卜筑茅亭而作，写其归隐田园的旷达与自得。辛弃疾罢官居上饶，经营带湖、瓢泉别业，此词写其再到期思择地筑亭。此词写一水西来，千丈晴虹，十里翠屏；喜草堂经岁，重来杜老；斜川好景，不负渊明；老鹤高飞，一枝投宿，长笑蜗牛戴屋行；平章了，待十分佳处，著个茅亭；青山意气峥嵘，似为我归来妩媚生；解频教花鸟，前歌后舞；更催云水，暮送朝迎；酒圣诗豪，可能无势，我乃而今驾驭卿；清溪上，被山灵却笑，白发归耕。此词写卜筑：一水西来，千丈晴虹，十里翠屏——写一水西来、千丈晴虹、十里翠屏，写尽十里翠屏的晴虹；喜草堂经岁，重来杜老；斜川好景，不负渊明——写喜草堂经岁、重来杜老；斜川好景、不负渊明，写尽草堂的杜老；老鹤高飞，一枝投宿，长笑蜗牛戴屋行——写老鹤高飞、一枝投宿、长笑蜗牛戴屋行，写尽高飞的投宿；平章了，待十分佳处，著个茅亭——写平章了、待十分佳处、著个茅亭，写尽十分佳处的茅亭。下阕写山水：青山意气峥嵘，似为我归来妩媚生——写青山意气峥嵘、似为我归来妩媚生，写尽归来妩媚的青山；解频教花鸟，前歌后舞；更催云水，暮送朝迎——写解频教花鸟、前歌后舞；更催云水、暮送朝迎，写尽云水的朝迎；酒圣诗豪，可能无势，我乃而今驾驭卿——写酒圣诗豪、可能无势、我乃而今驾驭卿，写尽驾驭的山灵；清溪上，被山灵却笑，白发归耕——写清溪上、被山灵却笑、白发归耕，写尽白发的归耕。全词以旷达写田园——那「十里翠屏」写尽十里翠屏的晴虹，「白发归耕」写尽白发的归耕，写尽十里翠屏的晴虹与归来妩媚的青山，是理解辛弃疾田园词的重要篇章。【名句点睛】常考「一水西来，千丈晴虹，十里翠屏」写十里翠屏的晴虹；「青山意气峥嵘，似为我归来妩媚生」写归来妩媚的青山；以及全词以旷达写田园、以拟人写山水的手法。

Background

Xin Qiji (1140-1207), courtesy name You'an, styled Jiaxuan, was a native of Licheng in present-day Jinan, Shandong, and the greatest of the Southern Song heroic-style lyricists. He is paired with Su Shi as Su-Xin, and with Li Qingzhao as the two Ans of Jinan. A determined advocate of recovering the north, he spent long years dismissed from office, living at Shangrao in Jiangxi, where he developed the estates of Daihu and Piaoquan. This lyric belongs to that retirement: he has come back to Qisi to choose the site for a thatched pavilion. The landscape described is real enough, but every choice in it is also a judgement about how a displaced man should live - and the closing image of white hair returning to the plough carries both the relief of homecoming and the bitterness of a soldier who will never lead an army again.

此词写田园，以旷达写田园，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」，与李清照并称「济南二安」。此词为辛弃疾再到期思（江西上饶带湖之期思）卜筑茅亭而作，写其归隐田园的旷达与自得。辛弃疾罢官居上饶，经营带湖、瓢泉别业，此词写其再到期思择地筑亭。此词写一水西来，千丈晴虹，十里翠屏；喜草堂经岁，重来杜老；斜川好景，不负渊明；老鹤高飞，一枝投宿，长笑蜗牛戴屋行；平章了，待十分佳处，著个茅亭；青山意气峥嵘，似为我归来妩媚生；解频教花鸟，前歌后舞；更催云水，暮送朝迎；酒圣诗豪，可能无势，我乃而今驾驭卿；清溪上，被山灵却笑，白发归耕。此词写卜筑：「一水西来，千丈晴虹，十里翠屏」写一水西来、千丈晴虹、十里翠屏——写尽十里翠屏的晴虹（一水西来，千丈晴虹，十里翠屏）；「喜草堂经岁，重来杜老；斜川好景，不负渊明」写喜草堂经岁、重来杜老；斜川好景、不负渊明——写尽草堂的杜老（喜草堂经岁，重来杜老）；「青山意气峥嵘，似为我归来妩媚生」写青山意气峥嵘、似为我归来妩媚生——写尽归来妩媚的青山（青山意气峥嵘，似为我归来妩媚生）；「清溪上，被山灵却笑，白发归耕」写清溪上、被山灵却笑、白发归耕——写尽白发的归耕（清溪上，被山灵却笑，白发归耕）。全词以旷达写田园，写尽十里翠屏的晴虹与归来妩媚的青山，是理解辛弃疾田园词的重要篇章。

Art

Four methods shape the piece. First, the landscape is described in heroic scale: thousand yards of rainbow, ten li of emerald screen, a stream arriving from the west - the vocabulary of a commander applied to a garden. Second, allusion establishes the ancestry of retirement: the thatched hall invokes Du Fu, Sloping Creek invokes Tao Yuanming's excursion, so that his own retreat is placed in a lineage. Third, personification animates the hills: they have spirit and temper, they grow lovely for his sake, they command birds to sing and clouds to greet him, turning the whole valley into a host. Fourth, self-mockery closes the poem, the mountain spirit laughing at the white-haired ploughman. Two further touches matter: the old crane content with a single branch is a self-portrait of a man who now asks for very little, and the long laugh at the snail carrying its house is a joke at his own expense, since the snail - like a man building pavilions - is burdened by the shelter it owns.

此词的艺术特色可从四个方面解析。其一，以壮景写田园。「千丈晴虹，十里翠屏」以壮景写田园——那「一水西来」写尽西来的流水，以壮景写尽十里翠屏的晴虹。其二，以用典写归隐。「重来杜老；斜川好景，不负渊明」以用典写归隐——那「杜老」「渊明」用杜甫、陶渊明典写归隐，以用典写尽草堂的杜老。其三，以拟人写山水。「青山意气峥嵘」以拟人写山水——那「似为我归来妩媚生」写尽归来妩媚的青山，以拟人写尽归来妩媚的青山。其四，以自嘲写归耕。「白发归耕」以自嘲写归耕——那「被山灵却笑」写尽山灵的却笑，以自嘲写尽白发的归耕。此外，此词上阕写十里翠屏的晴虹，下阕写归来妩媚的青山，由景及情，正是田园词「以旷写闲」的写法。四重手法，使此词以旷达写田园，写尽十里翠屏的晴虹与归来妩媚的青山，是辛弃疾的代表作。此词还善于以「老鹤高飞，一枝投宿」的「一枝投宿」写鹤之栖止——那「老鹤高飞」写尽高飞的老鹤，正是以鹤自比，以「一枝投宿」写尽十分佳处的茅亭。又善以「长笑蜗牛戴屋行」的「长笑」写蜗牛之负壳——长笑蜗牛戴屋行，正见蜗牛负壳的写照，以「长笑」写尽辛弃疾的旷达。

Allusions

The language is rooted in the pastoral and reclusive tradition. The thatched hall points to Du Fu's cottage at Chengdu; Du the Elder is Du Fu himself, the poet who built and returned to his thatched hall. Sloping Creek recalls Tao Yuanming's excursion to Xiechuan, and Yuanming is Tao Yuanming, the patron saint of returning to the fields. Roosting on a single branch comes from the Zhuangzi, where the wren nesting in a deep forest needs no more than one branch - the classic image of wanting little. The snail carrying its house puns on the word for a humble dwelling, a snail-shell hut. Wine sage and poetry hero belong to the familiar vocabulary of the drinking recluse. By weaving these together Xin Qiji places one man's pavilion among a company of the greatest recluses in Chinese literature, and then, in the last line, lets the mountain spirit laugh at him for it.

此词的用语深植于田园与旷达传统。「草堂」令人想到「草堂」写草堂的意象——杜甫草堂，也令人想到「草堂春睡足」的意象；「杜老」令人想到「杜老」写杜甫的意象——也令人想到「杜工部」的意象；「斜川」令人想到「斜川」写斜川的意象——陶渊明《游斜川》，也令人想到「斜川之游」的意象；「渊明」令人想到「渊明」写陶渊明的意象——也令人想到「采菊东篱下」的意象；「一枝投宿」令人想到「一枝投宿」写一枝栖息的意象——《庄子》「鹪鹩巢于深林，不过一枝」，也令人想到「鹪鹩一枝」的意象；「蜗牛戴屋」令人想到「蜗牛戴屋」写蜗牛负壳的意象——也令人想到「蜗庐」的意象。全词化用草堂、杜老、斜川、渊明、一枝投宿、蜗牛戴屋的意象典故，以旷达写田园，正是辛弃疾「豪放」而善用典、承田园传统写旷达之本领。「一枝投宿」令人想到「一枝投宿」写一枝栖息的意象——也令人想到「鹪鹩一枝」的意象；「蜗牛戴屋」令人想到「蜗牛戴屋」写蜗牛负壳的意象——也令人想到「蜗庐」的意象，以蜗牛写归隐。

Commentary

The lyric is counted among Xin Qiji's finest pastoral pieces and is a standard example of the Song treatment of retirement and building. Qing critics praised it as pastoral writing done with openness and self-possession; modern readers single out the hills that grow lovely at his return as the signature line. Its special value lies in what it does with scale: a long heroic tune, normally used for grand and martial subjects, is spent on choosing the site of a thatched pavilion, and the disproportion is exactly the point. The piece stands in the lineage of Tao Yuanming's returning home, yet it is unmistakably a soldier's poem. For readers today it is the clearest approach to Xin Qiji's retirement lyrics: the white-haired ploughman on the clear stream still speaks across the centuries of a man making a home out of a defeat.

此词历来被推为辛弃疾田园词的名篇，也是宋词写卜筑归隐的代表。历代论者对此词评价极高：清人评此词「以旷达写田园，雄放自得」；近人更指出「青山意气峥嵘，似为我归来妩媚生」写归来妩媚的青山，是此词的名句。在诗歌史上，此词的特殊价值在于：它以长调写尽十里翠屏的晴虹与归来妩媚的青山——那一水西来，那千丈晴虹，那十里翠屏，那喜草堂经岁，那重来杜老，那斜川好景，那不负渊明，那老鹤高飞，那一枝投宿，那长笑蜗牛戴屋行，那平章了，那待十分佳处，那著个茅亭，那青山意气峥嵘，那似为我归来妩媚生，那解频教花鸟，那前歌后舞，那更催云水，那暮送朝迎，那酒圣诗豪，那可能无势，那我乃而今驾驭卿，那清溪上，那被山灵却笑，那白发归耕，都写尽了辛弃疾笔下的再到期思卜筑；那「白发归耕」更以自嘲写尽白发的归耕。此词与陶渊明《归去来兮辞》「归去来兮，田园将芜胡不归」的归田传统一脉相承，可见中国词写田园的传统。对于今日读者，此词是理解辛弃疾田园词的窗口，也是宋词写卜筑归隐的经典——那白发的归耕，穿越千年，仍在诉说着期思的茅亭。

Prosody

Form Song lyric to the long tune Qinyuanchun, in two stanzas词·沁园春

Rhyme Level-tone rhyme in the geng-qing group sustained throughout: screen, Yuanming, go, pavilion in the first stanza; born, greet, you, plough in the second. One rhyme is carried from beginning to end.沁园春，上阕押「屏」「明」「行」「亭」，下阕押「生」「迎」「卿」「耕」（庚青韵），一韵到底

Tone pattern As a long tune with level-tone rhyme carried throughout, the music is broad and forceful, matching the heroic ease of the sentiment.此词为沁园春长调，押平声韵，一韵到底，音节雄放，正合旷达的雄放。

Reading note The upper stanza runs from the western stream and rainbow through the thatched hall and the crane to the decision about the pavilion; the lower stanza runs from the hills' lofty temper through flowers, birds, cloud and water to the closing laugh at the white-haired ploughman. As a long tune it allows generous enumeration, and the short four-character phrases break up the sweeping lines so that the music keeps changing pace. In reading, the hills should be declaimed with force and the final line with wry lightness, ending on a note that is at once self-mocking and unbroken. The piece shows the heroic manner that Xin Qiji brought even to a pastoral subject.此词为沁园春长调，上下两阕——上阕「一水西来，千丈晴虹，十里翠屏。喜草堂经岁，重来杜老；斜川好景，不负渊明。老鹤高飞，一枝投宿，长笑蜗牛戴屋行。平章了，待十分佳处，著个茅亭」，下阕「青山意气峥嵘，似为我归来妩媚生。解频教花鸟，前歌后舞；更催云水，暮送朝迎。酒圣诗豪，可能无势，我乃而今驾驭卿。清溪上，被山灵却笑，白发归耕」，押庚青韵（屏、明、行、亭、生、迎、卿、耕），一韵到底，音节雄放。全词以旷达写田园：上阕写十里翠屏的晴虹（一水西来、著个茅亭），下阕写归来妩媚的青山（青山意气峥嵘、白发归耕）。长调铺叙，前写卜筑，后写归耕，以「白发归耕」写尽白发的归耕，正见辛弃疾「豪放」的本色。诵读此词，宜以雄放的语调读「青山意气峥嵘」的山水，以自得的语调读「白发归耕」的归耕，结句要读得雄放而有余韵，方能传达出辛弃疾的旷达自得。辛弃疾长调以「豪放」著称，此词正是其田园词的典范。

Line by line

青山意气峥嵘，似为我归来妩媚生

The green hills are lofty in spirit and temper; they seem to grow more lovely because I have come home.

青山意气峥嵘，似为我归来妩媚生。

The green mountains, their spirit towering, seem to grow tender and lovely for my return.

此二句是全词写山水核心，以青山意气峥嵘写意气峥嵘，以似为我归来妩媚生写妩媚生，写尽归来妩媚的青山，是千古名句。「青山意气峥嵘」写青山意气峥嵘——那「青山意气」写青山意气，「峥嵘」写峥嵘，写尽意气的峥嵘；「似为我归来妩媚生」写似为我归来妩媚生——那「似为我归来」写似为我归来，「妩媚生」写妩媚生，写尽归来妩媚的青山。这句的深意在于：它以「青山意气峥嵘」的峥嵘与「似为我归来妩媚生」的妩媚生，写尽归来妩媚的青山——青山意气峥嵘，那「青山意气峥嵘」写尽意气的峥嵘——青山意气峥嵘，正是青山有意的写照，那「峥嵘」写尽归来妩媚的青山；似为我归来妩媚生，那「似为我归来妩媚生」写尽归来妩媚的青山——似为我归来妩媚生，正是为归生媚的写照，那「妩媚生」写尽归来妩媚的青山；那「青山意气峥嵘」写尽意气的峥嵘，那「似为我归来妩媚生」写尽归来妩媚的青山，一写青山，一写归来，写尽归来妩媚的青山——青山有意而为我生媚，正是拟人的写照；此二句以青山、归来写尽归来妩媚的青山，也为下文的云水作铺垫，也让此二句成为全词写山水核心与千古名句。若换作直说「青山意气高昂峥嵘，好像为了我的归来生出妩媚之态」，则失其拟人；唯以「青山意气峥嵘」写意气峥嵘、「似为我归来妩媚生」写妩媚生，写尽归来妩媚的青山，也让此二句成为全词写山水核心。

The two lines are the core of the ci's mountains and waters, writing the towering spirit through the green mountains, their spirit towering and the tender loveliness through seem to grow tender and lovely for my return, exhausting the green mountains that grow tender at his return. The green mountains, their spirit towering is precisely the picture of the mountains' own feeling; seem to grow tender and lovely for my return precisely the picture of beauty born for the homecoming. The deep meaning: the mountains are animate and grow beauty for him — the personification exhausted in the towering spirit and the tender birth. One writes the mountains, one the return, exhausting the green mountains made tender by the homecoming. Were it said plainly the green mountains stand lofty and proud, as if growing a tender look for my return, the personification would be lost; only through the towering spirit and the tender birth is the return's tenderness exhausted, preparing the water and cloud below and making the lines the scenic core of the ci.

一水西来，千丈晴虹，十里翠屏

A stream comes from the west, a thousand yards of rainbow in clear sky, ten li of emerald screen.

一水西来，千丈晴虹，十里翠屏。

One river comes from the west; a thousand zhang of rainbow in the clear sky; ten li of emerald screen.

此三句是全词写景核心，以一水西来写西来，以千丈晴虹写晴虹，以十里翠屏写翠屏，写尽十里翠屏的晴虹，是千古名句。「一水西来」写一水西来——那「一水」写一水，「西来」写西来，写尽西来的流水；「千丈晴虹」写千丈晴虹——那「千丈」写千丈，「晴虹」写晴虹，写尽千丈的晴虹；「十里翠屏」写十里翠屏——那「十里」写十里，「翠屏」写翠屏，写尽十里翠屏的翠屏。这句的深意在于：它以「一水西来」的西来、「千丈晴虹」的晴虹与「十里翠屏」的翠屏，写尽十里翠屏的晴虹——一水西来，那「一水西来」写尽西来的流水——一水西来，正是流水西来的写照，那「西来」写尽十里翠屏的晴虹；千丈晴虹，那「千丈晴虹」写尽千丈的晴虹——千丈晴虹，正是晴虹千丈的写照，那「晴虹」写尽十里翠屏的晴虹；十里翠屏，那「十里翠屏」写尽十里翠屏的翠屏——十里翠屏，正是翠屏十里的写照，那「翠屏」写尽十里翠屏的翠屏；那「一水西来」写尽西来的流水，那「千丈晴虹」写尽千丈的晴虹，那「十里翠屏」写尽十里翠屏的翠屏，一写流水，一写晴虹，一写翠屏，写尽十里翠屏的晴虹——水来虹现而屏翠十里，正是期思的写照；此三句以流水、晴虹、翠屏写尽十里翠屏的晴虹，也为下文的卜筑作铺垫，也让此三句成为全词写景核心与千古名句。若换作直说「一条水从西边来，千丈长的晴虹，十里宽的翠色屏障」，则失其气势；唯以「一水西来」写西来、「千丈晴虹」写晴虹、「十里翠屏」写翠屏，写尽十里翠屏的晴虹，也让此三句成为全词写景核心。

The three lines are the scenic core of the ci, writing the westward stream through one river comes from the west, the rainbow through a thousand zhang of rainbow in the clear sky, and the emerald screen through ten li of emerald screen, exhausting the ten-li emerald screen of rainbow. One river comes from the west is precisely the picture of the stream flowing from the west; a thousand zhang of rainbow in the clear sky precisely the picture of the sunlit rainbow's height; ten li of emerald screen precisely the picture of the green hills ten li around. The deep meaning: water comes and rainbow appears, the screen green for ten li, precisely the picture of Qisi. One writes the stream, one the rainbow, one the screen, exhausting the scene. Were it said plainly a river comes from the west, a rainbow a thousand zhang long, an emerald screen ten li wide, the momentum would be lost; only through the three images is the scene exhausted, preparing the building below and making the lines the scenic core of the ci.

Study

Word focus

峥 In the lofty spirit and temper of the green hills, this word means steep, jutting, outstanding. It gives the hills a vertical grandeur, and because it describes spirit as well as rock, it lends the landscape a human pride - the hills are haughty and magnificent before they are beautiful. 「青山意气峥嵘」之「峥」字是写山水关键词，一个「峥」字写尽意气的峥嵘。峥者，高峻、突出也。辛弃疾以「青山意气峥嵘」写山水，这个「峥」字至少有双重意味：其一，写山之峥——那「青山意气峥嵘」写青山意气峥嵘，那「峥」字写尽意气的峥嵘——峥嵘，正是高峻突出的写照，那「峥」字写尽归来妩媚的青山；其二，写气之盛——那「峥」字更是写盛——峥，正见青山意气的峥嵘，那「峥」字写尽辛弃疾的旷达。以「峥」字写山水，正是辛弃疾写田园的枢纽——若换作「高」「峻」等字，则或失其与「青山意气」「峥嵘」的配合，或失其写峥的意味；唯「峥」字，以青山意气峥嵘写尽山势之高峻与意气之峥嵘，与「似为我归来妩媚生」的归来相合，写尽归来妩媚的青山，也让「青山意气峥嵘」成为全词写山水的名句。

著 In the line about setting a thatched pavilion at the finest spot, this verb means to place, to set down, to establish. It is deliberately light and colloquial beside the grand survey that precedes it: after rainbows and ten li of hills, the whole decision reduces to putting one small hut somewhere, and that plainness is the poem's wit. 「待十分佳处，著个茅亭」之「著」字是写卜筑关键词，一个「著」字写尽十分佳处的茅亭。著者，安置、建造也。辛弃疾以「待十分佳处，著个茅亭」写卜筑，这个「著」字至少有双重意味：其一，写亭之著——那「待十分佳处，著个茅亭」写待十分佳处、著个茅亭，那「著」字写尽十分佳处的茅亭——著个茅亭，正是安置茅亭的写照，那「著」字写尽十分佳处的茅亭；其二，写意之闲——那「著」字更是写闲——著，正见择地筑亭的闲适，那「著」字写尽辛弃疾的旷达。以「著」字写卜筑，正是辛弃疾写田园的枢纽——若换作「筑」「建」等字，则或失其与「待十分佳处」「个茅亭」的配合，或失其写著的意味；唯「著」字，以待十分佳处著个茅亭写尽茅亭之安置与择地之闲适，与「青山意气峥嵘」的青山相合，写尽十分佳处的茅亭，也让「待十分佳处，著个茅亭」成为全词写卜筑的名句。