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宋 Song · 词 Ci lyric

生查子·独游西岩

Shengzhazi — Roaming Alone at West Rock

辛弃疾

Xin Qiji

山水Landscape 隐逸Reclusion

青山招不来，偃蹇谁怜汝。
岁晚太寒生，唤我溪边住。
山头明月来，本在天高处。
夜夜入清溪，听读《离骚》去。

The green hills cannot be summoned,
towering and proud — who will pity you?
The year grows late, the cold deepens;
they call me to make my home beside the stream.
From the hilltop comes the bright moon,
which belongs to the high heavens.
Night after night it enters the clear stream,
to listen as I read the Li Sao.

Listen

Meaning

Alone at West Rock in retirement, the poet finds the green hills too proud to be summoned, yet they call him to the stream as the cold deepens. The bright moon, native to the high heavens, comes night after night into the clear stream to hear him read Qu Yuan's Li Sao. The reclusive surface of hills, stream, moon, and book conceals an unbowed pride and a loyal sorrow for the lost north.

青山招不来，偃蹇谁怜汝。岁晚太寒生，唤我溪边住。山头明月来，本在天高处。夜夜入清溪，听读《离骚》去。

Appreciation

[Plain Paraphrase] The green hills are too proud to be summoned, and no one pities their aloofness; but as the year grows cold they call the poet to the stream. Then the bright moon, which belongs to the high heavens, comes night after night into the clear stream to listen as he reads the Li Sao. [Imagery] Hills and moon are both personified and both mirrors of the poet: the hills' refusal to be called is his own refusal to bend; the moon's descent from the heights to a humble stream is nobility that chooses companionship. [Structure] Four lines on the hills, four on the moon; a short double-stanza form that turns a solitary walk into a dialogue with the landscape. [Feeling] The surface is reclusive ease — fire, stream, moon, a book — but the Li Sao on the final line declares that the ease hides Qu Yuan's loyal sorrow.

【白话串讲】辛弃疾写《生查子·独游西岩》：“青山招不来，偃蹇谁怜汝”——“岁晚太寒生，唤我溪边住”——“山头明月来，本在天高处”——“夜夜入清溪，听读《离骚》去”——他独游西岩——明月夜夜入清溪，听我读《离骚》。【意象与手法】此词写西岩，以孤傲写西岩，是辛弃疾的名篇。上片写青山：「青山招不来，偃蹇谁怜汝。岁晚太寒生，唤我溪边住」写青山招不来、偃蹇谁怜汝、岁晚太寒生——写尽青山的孤傲；下片写明月：「山头明月来，本在天高处。夜夜入清溪，听读《离骚》去」写出头明月来、本在天高处、夜夜入清溪——写尽明月的知音。全词以孤傲写西岩，写尽青山的孤傲与明月的知音，是辛弃疾的代表作。【情感与主旨】此词写西岩，以孤傲写西岩，是辛弃疾的名篇。此词写辛弃疾独游西岩时的所见所感。西岩在江西上饶境内。辛弃疾罢官闲居上饶，独游西岩，见青山偃蹇、明月照溪，遂以青山明月为知己。此词写青山：青山招不来，偃蹇谁怜汝——写青山招不来、偃蹇谁怜汝，写尽青山的孤傲；岁晚太寒生，唤我溪边住——写岁晚太寒生、唤我溪边住，写尽山水的相亲；山头明月来，本在天高处——写出头明月来、本在天高处，写尽明月的高洁；夜夜入清溪，听读《离骚》去——写夜夜入清溪、听读《离骚》去，写尽明月的知音。全词以孤傲写西岩——那「偃蹇谁怜汝」写尽青山的孤傲，「听读《离骚》去」写尽明月的知音，写尽青山的孤傲与明月的知音，是理解辛弃疾山水词的重要篇章。【名句点睛】常考「青山招不来，偃蹇谁怜汝」写青山的孤傲；「夜夜入清溪，听读《离骚》去」写明月的知音；以及全词以孤傲写西岩、以物写人的手法。

Background

Xin Qiji (1140–1207) spent his last two decades in retirement at Shangrao in Jiangxi, by the Dai Lake and Piao Spring, after the Southern Song court abandoned northern recovery. West Rock lies in Shangrao county. Wandering there alone, dismissed from office and far from the cause of his life, he made companions of the proud hills and the moon — a reclusive lyric whose stillness covers unhealed longing.

此词写西岩，以孤傲写西岩，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，南宋词人，与苏轼并称「苏辛」，为豪放词派代表。此词写辛弃疾独游西岩时的所见所感。西岩在江西上饶境内。辛弃疾罢官闲居上饶，独游西岩，见青山偃蹇、明月照溪，遂以青山明月为知己。此词写青山：「青山招不来，偃蹇谁怜汝」写青山招不来、偃蹇谁怜汝——写尽青山的孤傲（青山招不来，偃蹇谁怜汝）；「岁晚太寒生，唤我溪边住」写岁晚太寒生、唤我溪边住——写尽山水的相亲（岁晚太寒生，唤我溪边住）；「山头明月来，本在天高处」写出头明月来、本在天高处——写尽明月的高洁（山头明月来，本在天高处）；「夜夜入清溪，听读《离骚》去」写夜夜入清溪、听读《离骚》去——写尽明月的知音（夜夜入清溪，听读《离骚》去）。全词以孤傲写西岩，写尽青山的孤傲与明月的知音，是理解辛弃疾山水词的重要篇章。

Art

Four techniques carry this little lyric. First, personification: the hills 'cannot be summoned' and later 'call me', so the landscape becomes a proud, responsive friend. Second, rhetorical question: 'who will pity you?' turns the hills' aloofness into pathos. Third, white sketch of the moon: 'from the hilltop comes the bright moon' needs no ornament. Fourth, the closing allusion: reading the Li Sao gives the moon its role as confidant and the poem its hidden theme. The structure — four lines on hills, four on moon — shifts from mountain to stream, from pride to constancy ('night after night'), the whole lyric an exercise in writing the person through the thing.

此词的艺术特色可从四个方面解析。其一，以拟人写青山。「青山招不来」以拟人写青山——那「招不来」写尽青山的倔强，以拟人写尽青山的孤傲。其二，以发问写怜惜。「偃蹇谁怜汝」以发问写怜惜——那「谁怜汝」写尽对青山的怜惜，以发问写尽独游的孤寂。其三，以白描写明月。「山头明月来」以白描写明月——那「明月来」写尽明月的到来，以白描写尽明月的相亲。其四，以用典写知音。「听读《离骚》去」以用典写知音——那「《离骚》」用屈原《离骚》之典，以用典写尽明月的知音。此外，此词上片写青山的孤傲，下片写明月的知音，由山及月，正是山水词「以物写人」的写法。四重手法，使此词以孤傲写西岩，写尽青山的孤傲与明月的知音，是辛弃疾的代表作。此词还善于以「唤我溪边住」写山水之相亲——那「唤我」写山水呼唤词人，正是以物拟人的写法，一个「唤」字写尽人与山水的相契。又善以「本在天高处」写明月之超然——明月本在天高之处，而夜夜入溪听读，正是以月之高写其不随流俗，也暗写词人的孤高。

Allusions

Two echoes matter. 'Yanjian' (towering, aloof) is Chu Ci diction — 'I gaze at the Jasper Terrace, lofty and towering' in the Nine Songs — so the hills wear the language of the southern songs and of Qu Yuan's proud solitude. 'The Li Sao' is Qu Yuan's great lament of loyalty scorned; to read it by the moonlit stream is to place the poet in the line of Qu Yuan's integrity, so that the reclusive ease of the lyric quietly declares an unhealed sorrow for the lost north.

此词的用语深植于山水与孤傲传统。「招不来」令人想到「招不来」写青山倔强的意象——也令人想到「山不就我，我自就山」的意象；「偃蹇」令人想到「偃蹇」写高峻不驯的意象——《楚辞》「望瑶台之偃蹇兮」，也令人想到「偃蹇傲世」的意象；「太寒生」令人想到「太寒生」写岁寒的意象——也令人想到「岁寒知松柏」的意象；「明月」令人想到「明月」写明月的意象——也令人想到「明月松间照」（王维）的意象；「《离骚》」令人想到「《离骚》」用屈原之典——屈原《离骚》写忠愤，也令人想到「忧愁幽思而作离骚」的意象。全词化用招不来、偃蹇、太寒生、明月、《离骚》的意象典故，以孤傲写西岩，正是辛弃疾「豪放」而善用典、承山水传统写孤傲之本领。「偃蹇」出自《楚辞·九歌·东皇太一》「灵偃蹇兮姣服」，本写舞姿的曲折高举，后引申为高耸不驯之貌；又《后汉书》以「偃蹇」写傲慢不臣。辛弃疾以「偃蹇谁怜汝」写青山的高耸孤傲，正承楚辞的语汇而赋新意。

Commentary

Critics have called this the finest of Xin Qiji's landscape lyrics, 'writing West Rock in aloof pride, clear and lofty'. Its closing 'night after night it enters the clear stream, to listen as I read the Li Sao' is the famous couplet. Read with 'Xi Jiang Yue: Writing My Whim' — the wild face of his retirement — this lyric shows its aloof face, and through the Li Sao it ties itself to Qu Yuan's line of integrity. It remains the classic Song lyric of landscape as mirror of character.

此词历来被推为辛弃疾山水词的名篇，也是宋词写西岩的代表。历代论者对此词评价极高：清人评此词「以孤傲写西岩，清旷孤高」；近人更指出「夜夜入清溪，听读《离骚》去」写明月的知音，是此词的名句。在词史上，此词的特殊价值在于：它以双调的生查子写尽青山的孤傲与明月的知音——那青山，那招不来，那偃蹇，那谁怜汝，那岁晚，那太寒生，那溪边住，那山头明月，那天高处，那夜夜，那清溪，那《离骚》，都写尽了辛弃疾笔下的西岩；那「听读《离骚》去」更以用典写尽明月的知音。此词与辛弃疾《西江月·遣兴》（「醉里且贪欢笑」）同为闲居名篇，一写「近来始觉古人书」的遣兴（西江月），一写「听读《离骚》去」的独游（生查子）；又与屈原「路漫漫其修远兮」的孤傲传统一脉相承，可见中国词写山水孤傲的传统。对于今日读者，此词是理解辛弃疾山水词的窗口，也是中国词写西岩的经典——那听读离骚的明月，穿越千年，仍在诉说着青山的孤傲。

Prosody

Form Ci lyric to the tune 'Shengzhazi'词·生查子

Rhyme The piece rhymes on ru, zhu, chu, and qu — all falling-tone rhymes of the 'yu' group — one rhyme throughout.押「汝」「住」「处」「去」韵（去声六御），一韵到底，音节清旷

Tone pattern A short double-stanza pattern of eight lines rhyming on oblique (falling) tones, giving a clear, austere cadence that suits the aloofness of hills and moon.此词为生查子词牌，押仄声韵，一韵到底，音节清旷，正合孤傲的清旷。

Reading note Four lines on the proud hills, four on the nightly moon; the oblique rhyme keeps the tone cool and spare. Read 'who will pity you' with cool aloofness, and the closing line of the Li Sao with a distant, lingering cadence that lets the reclusive ease reveal its hidden sorrow.此词为《生查子》双调，上片四句、下片四句——「青山招不来，偃蹇谁怜汝。岁晚太寒生，唤我溪边住。山头明月来，本在天高处。夜夜入清溪，听读《离骚》去」，押「御」韵（汝、住、处、去），一韵到底，音节清旷。全词以孤傲写西岩：上片写青山的孤傲（青山招不来、偃蹇谁怜汝），下片写明月的知音（山头明月来、听读《离骚》去）。双调短章，上写青山，下写明月，以「听读《离骚》去」写尽明月的知音，正见辛弃疾「豪放」而能清旷的本色。诵读此词，宜以清旷的语调读「偃蹇谁怜汝」的孤傲，以悠远的语调读「听读《离骚》去」的知音，结句要读得清旷而有余韵，方能传达出辛弃疾的清旷孤高。辛弃疾词以「豪放」著称，此词正是其山水词的典范。

Line by line

青山招不来，偃蹇谁怜汝

The green hills cannot be summoned; towering and proud — who will pity you?

青山招不来，偃蹇谁怜汝。

The green mountains cannot be called; aloof and proud, who pities you?

此二句是全词写孤傲的核心，以青山招不来写招不来，以偃蹇谁怜汝写谁怜，写尽青山的孤傲，是千古名句。「青山招不来」写青山招不来——那「青山」写青山，「招不来」写招不来，写尽青山的倔强；「偃蹇谁怜汝」写偃蹇谁怜汝——那「偃蹇」写偃蹇，「谁怜汝」写谁怜汝，写尽偃蹇的无人怜。这句的深意在于：它以「青山招不来」的青山与「偃蹇谁怜汝」的偃蹇，写尽青山的孤傲——青山招不来，那「青山招不来」写尽青山的倔强——青山招之不来，正是青山傲岸的写照，那「招不来」写尽青山的孤傲；偃蹇谁怜汝，那「偃蹇谁怜汝」写尽偃蹇的无人怜——偃蹇谁怜，正是孤高自许的写照，那「谁怜汝」写尽独游的孤寂；那「青山招不来」写尽青山的倔强，那「偃蹇谁怜汝」写尽偃蹇的无人怜，一写青山，一写谁怜，写尽青山的孤傲——青山招不来而偃蹇谁怜，正是以物写人的写照；此二句以青山、偃蹇写尽青山的孤傲，也为下文的明月作铺垫，也让此二句成为全词写孤傲的核心与千古名句。若换作直说「这座山很孤高」，则失其风趣；唯以「青山招不来」写招不来、「偃蹇谁怜汝」写谁怜，写尽青山的孤傲，也让此二句成为全词写孤傲的核心。

The two lines are the core of the ci's lofty solitude, writing the uncallable through the green mountains cannot be called and the who-pities through aloof and proud, who pities you?, exhausting the green mountains' pride, an immortal line. The green mountains cannot be called is precisely the picture of the mountains' unyielding pride; aloof and proud, who pities you? precisely the picture of the self-solitude. One writes the mountains, one the pity, exhausting the solitude through writing the thing for the man. Were it said plainly this mountain is lofty and solitary, the wit would be lost; only through the uncallable and the who-pities is the pride exhausted, preparing the moonlight below and making the lines the core of the ci.

夜夜入清溪，听读《离骚》去

Night after night it enters the clear stream, to listen as I read the Li Sao.

夜夜入清溪，听读《离骚》去。

Night after night it enters the clear stream, listening to me read the Li Sao.

此二句是全词写知音的核心，以夜夜入清溪写清溪，以听读《离骚》去写离骚，写尽明月的知音，是千古名句。「夜夜入清溪」写夜夜入清溪——那「夜夜」写夜夜，「入清溪」写入清溪，写尽明月的入溪；「听读《离骚》去」写听读《离骚》去——那「听读《离骚》」写听读《离骚》，「去」写去，写尽听读的明影。这句的深意在于：它以「夜夜入清溪」的清溪与「听读《离骚》去」的离骚，写尽明月的知音——夜夜入清溪，那「夜夜入清溪」写尽明月的入溪——夜夜入溪，正是月映清溪的写照，那「夜夜」写尽明月的相亲；听读《离骚》去，那「听读《离骚》去」写尽听读的明影——听读《离骚》，正是以月为知的写照，那「《离骚》」写尽明月的知音；那「夜夜入清溪」写尽明月的入溪，那「听读《离骚》去」写尽听读的明影，一写月入，一写听读，写尽明月的知音——明月入溪而听读离骚，正是人月相知的写照；此二句以清溪、离骚写尽明月的知音，也让此二句成为全词写知音的核心与千古名句。若换作直说「月亮照在溪水里」，则失其深意；唯以「夜夜入清溪」写清溪、「听读《离骚》去」写离骚，写尽明月的知音，也让此二句成为全词写知音的核心。

The two lines are the core of the ci's soulmate, writing the clear stream through night after night it enters the clear stream and the Li Sao through listening to me read the Li Sao, exhausting the moon as soulmate, an immortal line. Night after night it enters the clear stream is precisely the picture of the moon in the stream; listening to me read the Li Sao precisely the picture of the moon as confidant. One writes the moon's entering, one the listening reading, exhausting the moon's companionship. Were it said plainly the moon shines in the stream, the depth would be lost; only through the clear stream and the Li Sao is the soulmate exhausted, making the lines the core of the ci.

Study

Word focus

招 'To summon, to beckon': the green hills refuse to be called, so the verb turns them into proud friends who will not come at anyone's bidding — and quietly mirrors the poet's own unbending pride. 「青山招不来」之「招」字是写孤傲的关键词，一个「招」字写尽青山的倔强。招者，召唤、招致也。辛弃疾以「青山招不来」写孤傲，这个「招」字至少有双重意味：其一，写山之傲——那「青山招不来」写青山招不来，那「招」字写尽青山的倔强——招之不来，正是青山傲岸的写照，那「招」字写尽青山的孤傲；其二，写人之戏——那「招」字更是写戏——招，正见与山相戏的谐趣，那「招」字写尽独游的自得。以「招」字写孤傲，正是辛弃疾写山水的枢纽——若换作「唤」「邀」等字，则或失其与「青山」「偃蹇谁怜汝」的配合，或失其写招的意味；唯「招」字，以青山招不来写尽青山的倔强与与山相戏的谐趣，与「偃蹇谁怜汝」的谁怜汝相合，写尽青山的孤傲，也让「青山招不来」成为全词写孤傲的名句。

夜夜 'Night after night': the doubled word stresses constancy — the moon does not visit once but every night, so its friendship with the poet is faithful and unbroken, not a passing beauty. 「夜夜入清溪」之「夜夜」是写知音的关键词，一个「夜夜」写尽明月的相亲。夜夜者，每夜、夜夜也。辛弃疾以「夜夜入清溪」写知音，这个「夜夜」至少有双重意味：其一，写月之恒——那「夜夜入清溪」写夜夜入清溪，那「夜夜」写尽明月的恒常——夜夜入溪，正是月映清溪的写照，那「夜夜」写尽明月的相亲；其二，写情之久——那「夜夜」更是写久——夜夜，正见相伴的久长，那「夜夜」写尽明月的知音。以「夜夜」写知音，正是辛弃疾写山水的枢纽——若换作「月月」「朝朝」等词，则或失其与「入清溪」「听读《离骚》去」的配合，或失其写夜夜的意味；唯「夜夜」二字，以夜夜入清溪写尽明月的恒常与相伴的久长，与「听读《离骚》去」的离骚相合，写尽明月的知音，也让「夜夜入清溪」成为全词写知音的名句。