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宋 Song · 词 Ci lyric

水调歌头·我志在寥阔

To the Tune Shuidaogetou: My Aspiration Is for the Boundless

辛弃疾

Xin Qiji

咏怀Singing of the Heart 壮怀Heroic Aspiration

我志在寥阔，畴昔梦登天。
摩挲素月，人世俯仰已千年。
有客骖鸾并凤，云遇青山赤壁，相约上高寒。
酌酒援北斗，我亦虱其间。
少歌曰：神甚放，形则眠。
鸿鹄一再高举，天地睹方圆。
欲重歌兮梦觉，推枕惘然独念，人事底亏全。
有美人可语，秋水隔婵娟。

My aspiration is for the boundless vastness; once I dreamed of climbing to the sky.
Stroking the pure bright moon, I find the human world a thousand years gone in a single glance.
A guest came harnessing luan birds and phoenixes; in the clouds we met at Green Hill and Red Cliff, vowing to climb together to the highest cold.
We poured wine dipping from the Northern Dipper — and I too was but a louse among them.
A short song went: my spirit is utterly free, my body fast asleep.
The great swan rose again and again; heaven and earth showed their round and square.
I wished to sing once more, but the dream awoke; pushing the pillow away, I sat alone in bewildered thought — why should human affairs be so full of loss?
There is a beauty I could speak with, but autumn waters keep her lovely form far away.

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Meaning

A record of a dream of flight. The poet aspires to the boundless, mounts to the moon with immortal companions, drinks from the Northern Dipper, and rises with the swan; then the dream breaks, and he wakes to the loss and incompleteness of human affairs. The closing image of a beauty beyond autumn water turns private disappointment into the classical longing for an ideal — sovereign, friend, or unattainable wholeness — that defines Xin Qiji's late style of writing grief in heroic language.

我的志向在辽阔的天宇，往昔曾梦见登天。抚摩着素洁的月亮，人间俯仰之间已过千年。有客人驾着鸾凤，云中遇到青山赤壁，相约同上高寒。举北斗为酒，我亦身处其间。我小声歌唱道：心神何等奔放，形体则安眠。鸿鹄一再高举，天地可见方圆。想再歌时梦已醒，推枕茫然独思，人间之事为何有亏有全。有美人可以交谈，却隔着秋水遥望婵娟。

Appreciation

[Plain Paraphrase] My will is set on the vast sky; once I dreamed of climbing there. I stroked the white moon and a thousand years of the human world had flown by. A fellow immortal, riding phoenixes, met me among the clouds at Green Hill and Red Cliff, and we vowed to climb to the highest cold together; we dipped wine from the Dipper, and I — a mere louse among them. My spirit soared while my body slept; then I woke, pushed the pillow away, and wondered why human affairs are always incomplete; there is a beauty I could talk with, but autumn water lies between us.
[Structure] The poem is framed by dream: ascent, revelry, and the swan's rising fill the upper stanza; waking, bewilderment, and longing fill the lower. The turn comes at 'I wished to sing once more, but the dream awoke'.
[Imagery] Immortal-journey imagery — moon, phoenixes, the Dipper, the swan — is deliberately grand, while 'a louse among them' and the closing autumn water pull it back to human smallness and separation.
[Effect] This is Xin Qiji's 'writing sorrow in heroic words': the larger the dream, the sharper the waking.

【白话串讲】辛弃疾写《水调歌头·我志在寥阔》：“我志在寥阔，畴昔梦登天”——“摩挲素月，人世俯仰已千年”——“有客骖鸾并凤，云遇青山赤壁，相约上高寒”——“酌酒援北斗，我亦虱其间”——他写与赵昌父等的酬唱——我志在寥阔。【意象与手法】此词写登天游仙的壮怀与梦醒后的怅惘，是辛弃疾壮词中的奇作。上片写梦游天界：起句「我志在寥阔，畴昔梦登天」写志向辽阔、梦见登天，开篇即见壮怀；「摩挲素月，人世俯仰已千年」写抚月观世、俯仰千年，时空阔大；「酌酒援北斗，我亦虱其间」以北斗为酒、自居其间，气魄雄奇。下片写梦醒后的怅惘：「鸿鹄一再高举，天地睹方圆」写鸿鹄高飞、俯察天地，壮怀未已；「欲重歌兮梦觉，推枕惘然独念」写梦醒推枕、惘然独思；结句「有美人可语，秋水隔婵娟」以美人隔秋水收束，怅惘而深婉。全词以游仙写壮怀，以梦醒写现实，正是辛弃疾「壮词」的本领。【情感与主旨】此词为辛弃疾晚年闲居时的作品。辛弃疾一生力主抗金北伐，然遭主和派排挤，长期闲居上饶带湖、铅山瓢泉等地。此词借「梦登天」写其壮志未酬的愤懑——「我志在寥阔」写其志向的高远，「摩挲素月，人世俯仰已千年」写其对时光流逝的感慨，「酌酒援北斗」写其气魄的雄奇；下片「鸿鹄一再高举」写其壮志未已，「推枕惘然独念」写梦醒后的怅惘，「有美人可语，秋水隔婵娟」以美人隔秋水写知音难觅、壮志难酬。全词以游仙之笔写壮志未酬之慨，正是辛弃疾「以壮语写悲慨」的本领。【名句点睛】常考「我志在寥阔，畴昔梦登天」的开篇壮怀；「摩挲素月，人世俯仰已千年」写时空阔大；「酌酒援北斗，我亦虱其间」的气魄；「鸿鹄一再高举，天地睹方圆」写壮怀未已；结句「有美人可语，秋水隔婵娟」以美人隔秋水写知音难觅；以及全词以游仙写壮怀、以梦醒写现实的「以壮语写悲慨」词风。

Background

Xin Qiji (1140-1207), courtesy name You'an, sobriquet Jiaxuan, from Licheng (modern Jinan, Shandong), was the leading patriotic poet of the Southern Song, paired with Su Shi as 'Su-Xin'. Born under Jin rule in the north, he came south as a young rebel and argued all his life for recovery of the occupied heartland, but was forced into long retirement at Shangrao and Qianshan. This song belongs to those late years of enforced leisure (it answers a poem by the fellow poet Zhao Changfu): his ambition undimmed — 'my aspiration is for the boundless' — could only be fulfilled in dreams, and the dream's collapse leaves the old grief of an unserved cause.

此词为辛弃疾晚年闲居时的作品，具体作年已不可确考，当系其晚年退居江西上饶、铅山一带时所作。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」。辛弃疾出生于金人占领的山东，青年时聚众起义，率部南归，志在收复中原。然南归后，他因「归正人」身份与主战立场，屡遭排挤，壮志难酬，长期闲居上饶带湖、铅山瓢泉等地。此词借「梦登天」写其壮志未酬的愤懑与超然——「我志在寥阔，畴昔梦登天」写其志向的高远与梦游天界的奇想，「摩挲素月，人世俯仰已千年」写其对时光流逝、世事变幻的感慨，「酌酒援北斗，我亦虱其间」写其气魄的雄奇与身处其间的自嘲；下片「鸿鹄一再高举，天地睹方圆」写其壮志未已、俯察天地，「欲重歌兮梦觉，推枕惘然独念」写梦醒后的怅惘，「有美人可语，秋水隔婵娟」以美人（喻知音、喻朝廷）隔秋水写知音难觅、壮志难酬。全词以游仙之笔写壮志未酬之慨，正是辛弃疾晚年闲居词「以壮语写悲慨」的本领，也是理解其晚年心境的重要篇章。

Art

The poem's craft turns on contrast. Its opening states an immense ambition in plain words — 'my aspiration is for the boundless' — then immediately makes it a dream, so reality is measured against a cosmic scale. The middle of the upper stanza piles up marvels: stroking the moon, riding phoenixes, meeting the shades of Li Bai and Su Shi at Green Hill and Red Cliff, drinking from the Northern Dipper. Then comes the great self-mocking twist, 'and I too was but a louse among them', which collapses grandeur into comedy and grief at once. The lower stanza keeps the ascent going — the swan rising again and again, heaven and earth revealed — only to break it with waking, bewilderment, and the question 'why should human affairs be so full of loss?' The close uses the Chu ci 'beauty' separated by autumn water, ending the grandest dream of the ci repertoire on the softest note of longing.

此词的艺术特色可从四个方面解析。其一，以梦游写壮怀的开篇。起句「我志在寥阔，畴昔梦登天」写志向辽阔、梦见登天——「我志在寥阔」直抒壮志，「畴昔梦登天」写往昔梦见登天，以梦游天界写其志在高远，开篇即见壮怀。其二，以奇想写气魄。「摩挲素月，人世俯仰已千年」写抚摩素月、俯仰千年——以「摩挲素月」的奇想写抚月观世，以「俯仰已千年」写时空的阔大；「酌酒援北斗，我亦虱其间」以北斗为酒、自居其间，气魄雄奇而带自嘲。其三，以鸿鹄写壮心。「鸿鹄一再高举，天地睹方圆」写鸿鹄高飞、俯察天地——以鸿鹄喻自己的壮志，一再高举，俯察天地，写尽壮怀未已。其四，以梦醒写怅惘的收束。「欲重歌兮梦觉，推枕惘然独念」写梦醒推枕、惘然独思，「有美人可语，秋水隔婵娟」以美人隔秋水收束——那「美人」喻知音、喻朝廷，「秋水隔婵娟」写相隔不能见，写尽知音难觅、壮志难酬的怅惘。四重手法，使此词以游仙写壮怀、以梦醒写现实，正是辛弃疾「以壮语写悲慨」的本领。

Allusions

Every marvel has a pedigree. 'Dipping wine from the Northern Dipper' quotes the Nine Songs: 'I take the Northern Dipper and dip cassia wine'. 'A short song went' and the 'beauty' belong to the Chu ci tradition, where the beautiful woman stands for the sovereign or an unattainable ideal. 'Green Hill and Red Cliff' summon the spirits of Li Bai, buried by Green Hill, and Su Shi, immortalised by his Red Cliff poems — the poet meets his heroes in the clouds. 'The great swan' echoes the Records of the Grand Historian: 'How can a swallow know the ambition of a swan?' 'Heaven and earth showed their round and square' draws on the ancient cosmology of a round heaven above a square earth. 'Autumn waters' recall the line 'across a brimming stream, wordlessly we gaze' — lovers divided by the Milky Way, here the poet divided from his hope.

此词的用语深植于游仙与楚辞的传统。「我志在寥阔」令人想到「志在高远」的壮怀传统，也令人想到《楚辞》「吾将上下而求索」的求索精神；「畴昔梦登天」令人想到「梦游天界」的游仙传统，也令人想到李白《梦游天姥吟留别》的梦游；「摩挲素月」令人想到「素月分辉」的咏月传统，也令人想到「明月几时有」的问月；「俯仰已千年」令人想到「俯仰之间，已为陈迹」（王羲之《兰亭集序》）的俯仰意象，也令人想到「洞中方七日，世上已千年」的仙家时空；「酌酒援北斗」令人想到《楚辞·九歌·东君》「援北斗兮酌桂浆」之句，以北斗为酒，气魄雄奇；「鸿鹄一再高举」令人想到「燕雀安知鸿鹄之志哉」（《史记·陈涉世家》）的鸿鹄之志，也令人想到「举头望天」的壮怀；「天地睹方圆」令人想到「天圆地方」的宇宙观，也令人想到「俯仰天地」的观照；「有美人可语」令人想到《楚辞》「香草美人」的传统——「美人」喻君王、喻知音，令人想到「众女嫉余之蛾眉兮」（屈原《离骚》）的香草美人意象；「秋水隔婵娟」令人想到「盈盈一水间，脉脉不得语」的隔水相望，也令人想到「隔秋水」的阻隔意象。全词化用游仙、楚辞、香草美人的传统意象，以游仙写壮怀，正是辛弃疾「以词为文」、融汇楚辞的本领。

Commentary

Critics have treated this as the strangest and boldest of Xin Qiji's late songs, praising it for 'writing heroic aspiration through immortal wandering, fantastic and grief-laden'. Modern readers highlight the bathos of 'a louse among them' and read the ending's beauty as the poet himself — his cause, his ruler, his unrecognised worth. In the history of the genre it is valued for carrying the Chu ci tradition of shamanic flight and fragrant-grass symbolism into the ci, and for showing how the Southern Song patriot transformed escapist immortal wandering into a mirror of unfulfilled public duty. Beside 'Shuilongyin: Climbing the Heart-Watching Tower at Jiankang', it forms a pair: grief on a tower, grief in a dream.

此词历来被推为辛弃疾晚年壮词中的奇作，也是其「以壮语写悲慨」词风的代表。历代论者对此词评价极高：清人评此词「以游仙写壮怀，奇崛悲慨」；近人更指出「酌酒援北斗，我亦虱其间」气魄雄奇，「鸿鹄一再高举」写壮怀未已，是辛弃疾晚年词的代表。在词史上，此词的特殊价值在于：它以梦游天界写尽壮志未酬的愤懑与超然——那寥阔的志向，那抚月的奇想，那援北斗的气魄，那鸿鹄的高举，那梦醒的惘然，那隔秋水的美人，都写尽了这位「词中之龙」晚年闲居的悲慨；那「我志在寥阔」更写尽稼轩一生的壮怀。此词与辛弃疾的《水龙吟·登建康赏心亭》（「楚天千里清秋」）同为写壮志难酬的名篇，一写登亭的悲慨，一写梦天的奇想；又与屈原《离骚》的香草美人传统一脉相承，可见辛弃疾对楚辞的继承。对于今日读者，此词是理解辛弃疾晚年心境与「以壮语写悲慨」词风的窗口，也是中国词写壮怀的经典——那隔秋水的美人、一再高举的鸿鹄，穿越千年，仍在诉说着一位爱国词人壮志未酬的悲慨。

Prosody

Form Ci poem to the tune Shuidaogetou, a double-stanza long tune of ninety-five characters词·《水调歌头》双调长调（九十五字）

Rhyme Level-tone xian rhyme held throughout — tian, nian, han, jian, mian, yuan, quan, juan — one rhyme to the end; its broad, forward-driving cadence suits the dream's heroic flight.全词押平声先韵（天、年、寒、间、眠、圆、全、娟），一韵到底，平韵奔放，正合壮怀的奔放

Tone pattern The tune has ninety-five characters in two stanzas (forty-eight above, forty-seven below), its sentences mainly of five, six and seven characters with four-character interludes, long and short in uneven rhythm, quick and spacious by turns.此词为「水调歌头」词牌，双调九十五字，上片四十八字、下片四十七字，句式以五、六、七言为主，长短错落，节奏奔放。

Reading note The upper stanza narrates the ascent in long, billowing lines; the lower stanza quickens with the swan's rises, then slows at the waking and the closing couplet. The single level rhyme carries the poem from cosmic height to intimate longing without a break, as though the waking grief were part of the same flight. Read 'my aspiration is for the boundless' and 'we poured wine dipping from the Northern Dipper' with open, ringing force; let the closing couplet fall quietly, the distance held in the rhyme on juan.《水调歌头》为双调长调，全词九十五字，上下片各九句。此调句式以五、六、七言为主，间以「摩挲素月」「有美人可语」等四言短句，长短错落，节奏奔放。辛弃疾填此调，押平声先韵，韵脚「天、年、寒、间、眠、圆、全、娟」一韵到底，平韵奔放，正合壮怀的奔放。此词以「梦登天」为线索：上片写梦游天界（我志在寥阔，畴昔梦登天；摩挲素月，人世俯仰已千年；有客骖鸾并凤，云遇青山赤壁，相约上高寒；酌酒援北斗，我亦虱其间），下片写梦醒怅惘（少歌曰：神甚放，形则眠；鸿鹄一再高举，天地睹方圆；欲重歌兮梦觉，推枕惘然独念，人事底亏全；有美人可语，秋水隔婵娟）。全词以五、六、七言的奔放节奏，写游仙的壮怀与梦醒的怅惘，声随情转。诵读此词，宜以豪放的语调读「我志在寥阔」的开篇与「酌酒援北斗」的奇想，以低回的语调读「推枕惘然独念」的怅惘，结句「有美人可语，秋水隔婵娟」要读得深婉而有余韵，方能传达出辛弃疾壮怀与悲慨的交织。辛弃疾词以「豪放悲壮」著称，此词正是其晚年「以壮语写悲慨」的典范。

Line by line

我志在寥阔，畴昔梦登天

My aspiration is for the boundless vastness; once I dreamed of climbing to the sky.

我的志向在辽阔的天宇，往昔曾梦见登天。

My ambition is in the vast, broad sky; once I dreamed of climbing to heaven.

此句是全词的开篇，直抒壮志，以梦登天写志在高远。「我志在寥阔」写我的志向在辽阔的天宇——那「我志」直抒己志，那「寥阔」写辽阔高远，写尽志向的宏大；「畴昔梦登天」写往昔梦见登天——那「畴昔」写往昔，那「梦登天」写梦见登天，以梦游天界写志在高远。这句的深意在于：它以「志在寥阔」与「梦登天」的呼应，写尽辛弃疾的壮怀——他的志向在辽阔的天宇，往昔曾梦见登天，那「寥阔」写尽志向的高远，那「梦登天」写尽对高远境界的向往；现实之中，词人壮志难酬，闲居田园，然其志在寥阔，只能托之于梦，那「梦登天」既写壮怀，也暗写壮志难酬的无奈。若换作直说「我的志向很高远」，则失其想象；唯以「志在寥阔」直抒壮怀、「梦登天」写高远的向往，写尽稼轩的壮怀与无奈，也让此句成为全词壮怀的开篇。「寥阔」写尽志向的高远开阔，「梦登天」更以梦境写对高处的向往，壮怀与梦境相合，见出稼轩一生未改的凌云之志。

The line is the opening of the ci, speaking the stout ambition directly, writing the lofty will through the dream of climbing to heaven. My ambition is in the vast, broad sky speaks the ambition directly, the vast and broad writing its grandeur; once I dreamed of climbing to heaven writes the dream of the celestial ascent. The deep meaning: the vast ambition and the heavenly dream answering each other, exhausting Xin Qiji's stout heart — in reality the ambition unfulfilled, the poet idle in the fields, his will in the vast sky only entrusted to the dream; the dream at once writes the stout heart and secretly the helplessness of its unfulfillment. Were it said plainly my ambition is very high, the imagination would be lost; only through the direct statement and the heavenly dream is the stout heart and its helplessness exhausted, making the line the opening of the ci's ambition.

酌酒援北斗，我亦虱其间

We poured wine, dipping it from the Northern Dipper — and I too was but a louse among them.

举起北斗为酒杯，我亦身处其间。

I lifted the Northern Dipper for a wine cup; yet I am but a louse among them.

此句写梦游天界的气魄，以北斗为酒，气魄雄奇而带自嘲。「酌酒援北斗」写举起北斗为酒杯——那「援北斗」用《楚辞·九歌·东君》「援北斗兮酌桂浆」之典，写举起北斗星为酒斗，气魄雄奇；「我亦虱其间」写我亦身处其间——那「虱」以虱子自喻，写自己渺小地身处天界众仙之间，带自嘲。这句的深意在于：它以「援北斗」的雄奇与「虱其间」的自嘲，写尽辛弃疾的气魄与处境——梦游天界，举北斗为酒，何等气魄；然「我亦虱其间」，又自嘲自己不过是众仙之间的一介虱子，渺小卑微；那「援北斗」写尽壮怀的雄奇，那「虱其间」写尽壮志难酬的自嘲，一雄一卑，正见稼轩悲慨的复杂——他有援北斗的气魄，却困于「虱其间」的处境。若换作直说「我很有气魄」，则失其自嘲；唯以「援北斗」「虱其间」的对照写气魄与自嘲，写尽辛弃疾壮怀与悲慨的交织，也让此句成为全词最奇崛的一笔。援北斗而酌酒，本极壮阔；「我亦虱其间」却以「虱」自比，壮阔与自嘲顿生对照。

The line writes the grandeur of the celestial dream, using the Dipper for wine, bold yet self-mocking. I lifted the Northern Dipper for a wine cup uses the Nine Songs, the Eastern Lord's I lift the Dipper to pour the cassia wine, writing the grandeur of the Dipper as cup; yet I am but a louse among them uses the louse as self-metaphor, writing himself tiny among the immortals, the self-mockery. The deep meaning: the grandeur of the Dipper and the self-mockery of the louse exhausting Xin Qiji's spirit and his lot — the dream of heaven, the Dipper for wine, what grandeur; yet the louse among them, the self-mockery of a tiny, humble place. One grand, one humble, precisely the complexity of his grief: he has the spirit to lift the Dipper, yet is caught in the louse's place. Were it said plainly I am very bold, the self-mockery would be lost; only through the Dipper and the louse is the grandeur and the grief interwoven, making the line the strangest stroke of the ci.

有美人可语，秋水隔婵娟

There is a beauty I could speak with, but autumn waters hold her lovely form apart.

有美人可以交谈，却隔着秋水遥望婵娟。

There is a fair one to speak with, yet autumn waters lie between us and the lovely moon.

此句是全词的收束，以香草美人的传统写知音难觅、壮志难酬。「有美人可语」写有美人可以交谈——那「美人」用《楚辞》香草美人的传统，喻君王、喻知音，写本有可以倾诉的人；「秋水隔婵娟」写隔着秋水遥望婵娟——那「秋水」写相隔的秋水，那「婵娟」写月、也写美人，写隔着秋水不能相见。这句的深意在于：它以「有美人可语」与「秋水隔婵娟」的对照，写尽知音难觅的怅惘——本有可以倾诉的美人（知音、朝廷），却隔着秋水，遥望而不能相见；那「有美人可语」写尽倾诉的愿望，那「秋水隔婵娟」写尽阻隔的无奈，以香草美人的传统写壮志难酬——词人一腔报国之志，本可向朝廷倾诉，却被排挤闲居，如美人隔秋水，可望而不可即；那「秋水」写尽阻隔，那「婵娟」写尽可望，写尽稼轩壮志难酬的怅惘。若换作直说「没人理解我」，则失其深婉；唯以「美人」「秋水隔婵娟」的楚辞意象写知音难觅，写尽壮志难酬的怅惘，也让此句成为全词最深婉的一笔。

The line is the close of the ci, using the fragrant-plant-and-fair-lady tradition to write the soulmate hard to find, the ambition hard to fulfill. There is a fair one to speak with uses the Chuci tradition, the fair one as ruler and confidant, writing that there was one to whom he could speak; yet autumn waters lie between us and the lovely moon writes the autumn waters between, the lovely moon and the fair one as one, the impossibility of the meeting. The deep meaning: the fair one to speak with and the autumn waters between, exhausting the grief of no soulmate — there was the fair one (the court) to confide in, yet the autumn waters lie between, gazing from afar and unable to meet. The patriotic ambition he could have poured to the court, yet he is excluded and idle, like the fair one across autumn waters, seen and not reached. Were it said plainly no one understands me, the tact would be lost; only through the Chuci images of the fair one and the autumn waters is the grief exhausted, making the line the most tactful stroke of the ci.

Study

Word focus

寥阔 Boundless, vast and high. It describes at once the poet's aspiration and the empty sky it is set against: the word opens the entire dream-voyage and fixes the poem's cosmic scale. 「我志在寥阔」之「寥阔」是写志向的关键字，一个「寥阔」写尽志向的高远。寥阔者，辽阔高远、空旷无边也。辛弃疾以「志在寥阔」写志向，这个「寥阔」至少有双重意味：其一，写志向之高——那「寥阔」写辽阔高远的天空，以天宇之高写志向之高，写尽稼轩志向的宏大；其二，写境界之远——那「寥阔」更是写境界——志在寥阔，即志在高远的境界，那「寥阔」写尽超越尘俗的追求。以「寥阔」写志，正是辛弃疾开篇立意的枢纽——若换作「高远」「宏大」等词，则或失其形象，或失其与「梦登天」的呼应；唯「寥阔」二字，以辽阔高远的天宇写志向的宏大，与「梦登天」相合，写尽稼轩的壮怀，也让「我志在寥阔」成为全词壮怀的开篇。

虱 A louse. The poet imagines himself as a louse among the immortals — a shocking self-mockery that sets cosmic grandeur against real insignificance, compressing pride and humiliation into one character. 「我亦虱其间」之「虱」字是写自嘲的关键字，一个「虱」字写尽壮志难酬的自嘲。虱者，虱子也，喻渺小卑微。辛弃疾以「虱其间」自喻，这个「虱」字至少有双重意味：其一，写渺小之自嘲——那「虱其间」写自己如虱子般身处天界众仙之间，那「虱」写尽自己的渺小卑微，带自嘲；其二，写处境之困——那「虱」字更是写处境——词人壮志难酬，如虱子般微不足道，那「虱」写尽现实处境的困顿。以「虱」字自嘲，正是辛弃疾写悲慨的枢纽——若换作「栖」「居」等字，则或失其自嘲，或失其与「援北斗」的对照；唯「虱」字，以一字写尽渺小的自嘲与处境的困顿，与「援北斗」的雄奇相对，写尽壮怀与悲慨的交织，也让「我亦虱其间」成为全词最奇崛的一笔。