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宋 Song · 词 Ci lyric

水调歌头·舟次扬州和人韵

Prelude to Water Melody: Anchored at Yangzhou, Matching Another's Rhymes

辛弃疾

Xin Qiji

怀古History 豪放Bold style

落日塞尘起，胡骑猎清秋。
汉家组练十万，列舰耸高楼。
谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁。
季子正年少，匹马黑貂裘。
今老矣，搔白首，过扬州。
倦游欲去江上，手种橘千头。
二客东南名胜，万卷诗书事业，尝试与君谋。
莫射南山虎，直觅富民侯。

Who said he could throw the whips and cross in flight?
I remember how of old, the whistling arrow stained with blood,
The wind and the rain, and the grief of the Foli. In the past I saw the 'sword dance' of the old days —
Do not shoot the tiger of the South Mountain,
Seek directly the Marquis of the Rich Folk.

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Meaning

A lyric of the memory and the grief at Yangzhou, written by Xin Qiji. Who said he could throw the whips and cross in flight? The allusion to the Jin general Fu Jian, who boasted he could throw his whips into the river and cross it — the boast of the invader, here the Jin ruler of Xin Qiji's own time. He remembers how of old, the whistling arrow stained with blood — the arrow of the murder, the assassin's arrow of the Xiongnu leader — and the wind and the rain, and the grief of the Foli — the invader's grief and death. The close: in the past he saw the sword dance of the old days — the will of the youth — and now: do not shoot the tiger of the South Mountain, seek directly the Marquis of the Rich Folk — the refusal of the futile heroism, the seeking of the true reward of the state. The lyric is the patriot's memory and his old age: the invader's defeat remembered, and the will of the youth turned to the seeking of the state's reward.

落日塞尘起，胡骑猎清秋。汉家组练十万，列舰耸高楼。谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁。季子正年少，匹马黑貂裘。今老矣，搔白首，过扬州。倦游欲去江上，手种橘千头。二客东南名胜，万卷诗书事业，尝试与君谋。莫射南山虎，直觅富民侯。

Appreciation

[Plain Paraphrase] Who said he could throw the whips and cross in flight? I remember how of old, the whistling arrow stained with blood, the wind and the rain, and the grief of the Foli. In the past I saw the 'sword dance' of the old days — do not shoot the tiger of the South Mountain, seek directly the Marquis of the Rich Folk. [Structure and Thought] The lyric moves from the memory of the invader's defeat — the boast answered by the arrow and the grief — through the memory of the youth's sword dance, to the close's turn to the old age: not the tiger of the South Mountain, but the Marquis of the Rich Folk. [Key Technique] The poem's art is the memory's turn: the invader's defeat and the youth's will are remembered, and the close turns from the futile heroism to the seeking of the state's reward — the patriot's old age. [Emotional Tone] Grave, remembered, and resigned: the lyric is the memory of the victory and the grief of the old age, the youth's sword dance turned to the seeking of the reward.

【白话串讲】辛弃疾写《水调歌头·舟次扬州和人韵》：“落日塞尘起，胡骑猎清秋”——“汉家组练十万，列舰耸高楼”——“季子正年少，匹马黑貂裘”——他年轻时意气风发。“今老矣，搔白首，过扬州”——如今老了，再过扬州——他写今昔之叹。【意象与手法】此词是辛弃疾舟过扬州、怀古伤今的名篇，写扬州的抗金往事与壮志难酬的感慨，是辛弃疾词中「以怀古写悲愤」的名篇。上片怀古：「落日塞尘起，胡骑猎清秋」写胡骑南侵；「汉家组练十万，列舰耸高楼」写宋军抗敌；「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写金主完颜亮南侵的败亡；「季子正年少，匹马黑貂裘」写苏秦式少年游说。下片伤今：「今老矣，搔白首，过扬州」写年老过扬州；「倦游欲去江上，手种橘千头」写归隐之志；「二客东南名胜，万卷诗书事业，尝试与君谋」写与二客谋议；「莫射南山虎，直觅富民侯」写不慕功名、只求富民的归隐，是千古名句。全词以扬州的抗金往事与少年的豪情写今老的感慨，是辛弃疾「以怀古写悲愤」的名篇。【情感与主旨】此词约作于宋孝宗乾道八年（1172）前后，时辛弃疾任滁州知州（或往来扬州），舟次扬州，和人词韵而作。扬州是抗金的前线重镇（建炎三年金兵曾南侵至扬州，绍兴三十一年金主完颜亮南侵亦曾驻军扬州北），辛弃疾舟过扬州，追忆抗金往事，感叹壮志难酬。词中「落日塞尘起，胡骑猎清秋」写胡骑南侵——落日塞尘起，胡骑猎清秋，写尽金兵南侵的紧张；「汉家组练十万，列舰耸高楼」写宋军抗敌——汉家组练（组练指军士的甲衣）十万，列舰耸高楼，写尽宋军的威武；「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写金主完颜亮南侵的败亡——谁道投鞭飞渡（投鞭断流，写金主完颜亮妄图南渡），忆昔鸣髇（响箭）血污，风雨佛狸（拓跋焘的小字，借指金主）愁，写尽金主南侵的败亡与忧愁；「季子正年少，匹马黑貂裘」写苏秦式少年游说——季子（苏秦）正年少，匹马黑貂裘，那「季子正年少」暗写辛弃疾自己青年时的壮志；下片「今老矣，搔白首，过扬州」写年老过扬州——今老矣，搔白首，过扬州，写尽壮志未酬的感慨；「倦游欲去江上，手种橘千头」写归隐之志——倦游欲去江上，手种橘千头（千头橘，写归隐种橘），写尽对归隐的向往；「二客东南名胜，万卷诗书事业，尝试与君谋」写与二客谋议——二客东南名胜，万卷诗书事业，尝试与君谋，写与同游的二位名士商议；「莫射南山虎，直觅富民侯」写不慕功名、只求富民——莫射南山虎（不学李广射虎的勇武），直觅富民侯（只求作富民侯般的安稳），那「莫射南山虎，直觅富民侯」写尽对功名的看淡与对安稳的向往，也暗含壮志难酬的无奈。全词以扬州的抗金往事与少年的豪情写今老的感慨，是辛弃疾「以怀古写悲愤」的名篇。【名句点睛】常考“落日塞尘起，胡骑猎清秋”写胡骑南侵的边患；“今老矣，搔白首，过扬州”写年老过扬州的今昔之叹。

Background

Xin Qiji (1140–1207) wrote this lyric anchored at Yangzhou, matching another's rhymes, on the memory of the defeat of the Jin ruler Wanyan Liang, who invaded the south in 1161 and was killed by his own men — the victory of the year when Xin Qiji, at twenty-two, raised his troops against the invader. 'The Foli' is the Xiongnu leader Tuoba Tao, here the invader of the present; 'the whistling arrow' is the arrow of the assassin, the death of the boastful invader. The close — 'seek directly the Marquis of the Rich Folk' — alludes to the Han general Wei Qing's avoidance of the tiger and his seeking of the state's reward. The lyric is one of the patriot's most famous memories.

此词约作于宋孝宗乾道八年（1172）前后，是辛弃疾舟过扬州、怀古伤今的词。扬州是抗金的前线重镇：建炎三年（1129）金兵南侵曾至扬州；绍兴三十一年（1161）金主完颜亮南侵，曾驻军扬州北的瓜洲，后被部下所杀（即词中「佛狸愁」所写）。辛弃疾于绍兴三十二年（1162）南归，青年时曾在扬州一带活动（「壮岁旌旗拥万夫」），后历任滁州、江阴等地。此词约作于乾道八年（1172）辛弃疾任滁州知州前后，舟次扬州，和人词韵而作（和「人」的词韵，即和友人原韵）。词中「落日塞尘起，胡骑猎清秋」写胡骑南侵——「落日塞尘起」写落日之下，塞上的尘土扬起，「胡骑猎清秋」写胡骑（金兵）在清秋中猎（入侵、打猎，暗写入侵），写尽金兵南侵的紧张；「汉家组练十万，列舰耸高楼」写宋军抗敌——「汉家组练」写宋军（以汉喻宋）的组练（组练指军士的甲衣，代指军队）十万，「列舰耸高楼」写列舰（战舰）耸立如高楼，写尽宋军的威武；「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写金主完颜亮南侵的败亡——「谁道投鞭飞渡」写谁道投鞭（投鞭断流，苻坚之典，此处借指完颜亮）飞渡（妄图南渡），「忆昔鸣髇血污」写忆昔鸣髇（鸣镝，响箭）血污（写金主被部下射杀，血污），「风雨佛狸愁」写风雨中佛狸（北魏太武帝拓跋焘的小字，此处借指金主）愁，写尽金主南侵的败亡与忧愁；「季子正年少，匹马黑貂裘」写苏秦式少年游说——「季子」写苏秦（苏秦字季子，年轻时游说六国），「正年少」写正年少，「匹马黑貂裘」写匹马（单骑）黑貂裘（黑貂裘是苏秦游说时的装束），那「季子正年少，匹马黑貂裘」暗写辛弃疾自己青年时的壮志（青年时匹马南归、意气风发，如苏秦般游说/力主抗金）；下片「今老矣，搔白首，过扬州」写年老过扬州——「今老矣」写如今老了，「搔白首」写搔着白首（搔首，写愁），「过扬州」写舟过扬州，那「今老矣，搔白首，过扬州」写尽壮志未酬的感慨；「倦游欲去江上，手种橘千头」写归隐之志——「倦游」写厌倦宦游，「欲去江上」写想去江上（归隐），「手种橘千头」写亲手种橘千头（千头橘，用李衡种橘千头之典，写归隐），写尽对归隐的向往；「二客东南名胜，万卷诗书事业，尝试与君谋」写与二客谋议——「二客东南名胜」写同游的二位客是东南的名胜（名士），「万卷诗书事业」写万卷诗书的事业，「尝试与君谋」写尝试与君（二客）谋划，那「与君谋」写尽与同游名士的谋议；「莫射南山虎，直觅富民侯」写不慕功名、只求富民——「莫射南山虎」写莫学李广射南山之虎（李广在蓝田南山射虎之典，写勇武），「直觅富民侯」写只求觅得富民侯（富民侯是汉代的侯爵，用田千秋封富民侯之典，写富民安民），那「莫射南山虎，直觅富民侯」写尽对功名的看淡与对富民安民的向往，也暗含壮志难酬的无奈。此词是辛弃疾「以怀古写悲愤」的名篇，是理解其壮志难酬心境的关键作品。

Art

The lyric's art is the art of the memory's turn. The invader's defeat is given first: who said he could throw the whips and cross in flight — the boast of the invader — answered by the memory of the whistling arrow stained with blood and the grief of the Foli, the death of the boastful ruler in the wind and the rain. The memory of the youth follows: in the past he saw the sword dance of the old days — the will of the young patriot. And the close turns to the old age: do not shoot the tiger of the South Mountain, seek directly the Marquis of the Rich Folk — the refusal of the futile heroism of the youth, the seeking of the true reward of the state. The lyric is the whole arc of the patriot: the invader's defeat, the youth's will, and the old age's seeking of the reward.

此词的艺术特色可从四个层面解析。其一，怀古伤今的构思。全词以扬州的抗金往事写今老伤今——上片怀古（胡骑南侵、宋军抗敌、金主败亡、季子年少），下片伤今（今老矣、搔白首、倦游欲去、莫射南山虎），以古衬今、以今伤古，写尽壮志难酬的悲愤。其二，用典的密集与贴切。「谁道投鞭飞渡」用苻坚投鞭断流之典、「佛狸」用拓跋焘之典、「季子黑貂裘」用苏秦之典、「手种橘千头」用李衡种橘之典、「莫射南山虎」用李广之典、「富民侯」用田千秋之典，典故密集而贴切，写尽抗金往事与归隐之志。其三，今昔的对照。「季子正年少，匹马黑貂裘」写少年时的壮志，「今老矣，搔白首」写今老时的感慨，那「正年少」与「今老矣」的对照，写尽壮志未酬的悲愤。其四，以「莫射南山虎，直觅富民侯」写收束。「莫射南山虎，直觅富民侯」以「莫射」与「直觅」的对照写对功名的看淡与对富民的向往，那「莫射南山虎」写不慕勇武功名、「直觅富民侯」写只求富民安民，以归隐收束，暗含壮志难酬的无奈，余味悠长。四重手法层层推进，使此词成为辛弃疾词中「以怀古写悲愤」的名篇。

Allusions

'To throw the whips and cross in flight' (toubian feidu) alludes to the Jin general Fu Jian, who boasted that his army's whips thrown into the river could stop its flow — the boast of the invader, here the Jin ruler Wanyan Liang. 'The whistling arrow' (mingxiao) is the whistling arrow of the Xiongnu leader Maodun, who killed his father with it — the arrow of the assassin, here the death of the invader by his own men. 'The Foli' (Foli) is the childhood name of the Northern Wei ruler Tuoba Tao, here the invader of the present. 'The Marquis of the Rich Folk' (Fumin hou) alludes to the Han general Wei Qing, who was given the title for his deeds — the reward of the state, sought directly by the old patriot.

此词的意象与典故深植于抗金与怀古传统。「落日塞尘起，胡骑猎清秋」写胡骑南侵——「落日塞尘起」写落日之下塞上尘土扬起（令人想到「大漠孤烟直，长河落日圆」（王维《使至塞上》）的塞上意象与「尘土」的战争意象），「胡骑猎清秋」写胡骑在清秋中入侵（「猎」写入侵，令人想到「单于猎火照狼山」（高适《燕歌行》）的猎火意象），那「落日塞尘起，胡骑猎清秋」写尽金兵南侵的紧张。「汉家组练十万，列舰耸高楼」写宋军抗敌——「组练」写军士的甲衣（组甲、练袍，令人想到「组练三千」的军容意象），「列舰耸高楼」写战舰耸立如高楼（令人想到「战舰千里」的水军意象与「列舰」的军容），那「汉家组练十万」写尽宋军的威武。「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写金主完颜亮南侵的败亡——「投鞭飞渡」用苻坚投鞭断流之典（苻坚伐晋，自夸「投鞭于江，足断其流」，此处借指完颜亮妄图南渡），「鸣髇血污」写响箭射中、血污（用冒顿鸣镝射父之典，此处写金主完颜亮被部下射杀），「佛狸」写北魏太武帝拓跋焘的小字（佛狸祠，令人想到「可堪回首，佛狸祠下，一片神鸦社鼓」（辛弃疾《永遇乐·京口北固亭怀古》）的佛狸意象，此处借指金主），「风雨佛狸愁」写风雨中佛狸愁，那「投鞭飞渡」「鸣髇血污」「佛狸愁」三个典故，写尽金主完颜亮南侵的败亡。「季子正年少，匹马黑貂裘」写苏秦式少年游说——「季子」写苏秦（苏秦字季子，令人想到「苏秦佩六国相印」的典故），「黑貂裘」写苏秦游说时的黑貂裘（《战国策》载苏秦「黑貂之裘敝」，令人想到「貂裘敝」的游说意象），那「季子正年少，匹马黑貂裘」暗写辛弃疾青年时的壮志（如苏秦般游说、力主抗金）。「倦游欲去江上，手种橘千头」写归隐之志——「手种橘千头」用李衡种橘之典（三国吴李衡种橘千头，令人想到「橘千头」的归隐意象与「橘颂」的橘意象），那「手种橘千头」写尽归隐之志。「二客东南名胜，万卷诗书事业，尝试与君谋」写与二客谋议——「东南名胜」写东南的名士（令人想到「东南形胜」的意象），「万卷诗书事业」写万卷诗书的事业（令人想到「读书破万卷」（杜甫）的万卷意象），那「尝试与君谋」写尽与同游名士的谋议。「莫射南山虎，直觅富民侯」写不慕功名、只求富民——「莫射南山虎」用李广射虎之典（李广在蓝田南山射虎，令人想到「林暗草惊风，将军夜引弓」（卢纶《塞下曲》）的射虎意象与「飞将军」的勇武），「富民侯」用田千秋封富民侯之典（汉武帝封丞相田千秋为富民侯，令人想到「富民」的安民意象），那「莫射南山虎，直觅富民侯」写尽对功名的看淡与对富民安民的向往。全词化用苻坚、苏秦、李衡、李广、田千秋的典故，以怀古写悲愤，正是辛弃疾「以用典写壮怀」的本领。

Commentary

This lyric is one of Xin Qiji's most famous memories, quoted for its dense allusions and its turn to the old age. The defeat of the boastful invader and the seeking of the Marquis of the Rich Folk are among the most admired passages of the patriotic lyric. Critics praise the lyric's gravity: the victory remembered, and the old age's resignation and its seeking.

此词历来被推为辛弃疾「以怀古写悲愤」的名篇，也是「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」「莫射南山虎，直觅富民侯」等名句的出处。历代论者对此词评价较高：论者多指出此词以扬州的抗金往事写壮志难酬的感慨，以「季子正年少，匹马黑貂裘」与「今老矣，搔白首」的对照写今昔之叹，是辛弃疾怀古词中的佳作。在文学史上，此词的特殊价值在于：它以扬州的抗金往事写出了英雄的今昔之叹——那「落日塞尘起，胡骑猎清秋」写尽了金兵南侵的紧张，「汉家组练十万，列舰耸高楼」写尽了宋军抗敌的威武，「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写尽了金主完颜亮南侵的败亡（三个典故写尽金主的败亡）；那「季子正年少，匹马黑貂裘」暗写青年时的壮志，那「今老矣，搔白首，过扬州」写尽今老的感慨——当年匹马南归的壮志，如今只能搔着白首舟过扬州；而那「倦游欲去江上，手种橘千头」「莫射南山虎，直觅富民侯」更写尽了对功名的看淡与对归隐的向往——那不是功成身退的淡然，而是壮志难酬的无奈。词中「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」写金主败亡，是名句；「莫射南山虎，直觅富民侯」写不慕功名，更是千古名句。此词与辛弃疾的《永遇乐·京口北固亭怀古》（「四十三年，望中犹记，烽火扬州路」）一样，都写到扬州（烽火扬州路、舟次扬州），都是怀古伤今的名篇。对于今日读者，此词是理解辛弃疾「壮志难酬」与扬州抗金历史的窗口，也是感受中国词「以怀古写悲愤」传统的典范——那落日塞尘、列舰高楼、风雨佛狸、匹马貂裘、种橘千头，穿越千年，仍在诉说着一个爱国英雄「少年壮志、今老难酬」的悲愤。

Prosody

Form Shuidiaogetou (Prelude to Water Melody), a long lyric词（水调歌头，双调九十五字）

Rhyme The lyric rhymes on the level-tone liu, chou, hou and hou — the flowing, level rhyme that carries the memory and the turn.上片押平声尤韵（秋、楼、愁、裘），下片押平声尤韵（州、头、谋、侯），韵脚皆属尤部，韵音悠长低回，正合其怀古感慨的风格。

Tone pattern The cadence is that of the memory's turn: the level opening with the invader's defeat, the turning with the youth's sword dance, and the close's fall with the seeking of the Marquis of the Rich Folk.此词为「水调歌头」词牌，双调九十五字，上下片各四平韵，以长短句的错落为抒情服务。全词按内容可分为两片：上片怀古（落日塞尘起、胡骑猎清秋、汉家组练十万、列舰耸高楼、谁道投鞭飞渡、忆昔鸣髇血污、风雨佛狸愁、季子正年少、匹马黑貂裘）；下片伤今（今老矣、搔白首、过扬州、倦游欲去江上、手种橘千头、二客东南名胜、万卷诗书事业、尝试与君谋、莫射南山虎、直觅富民侯）。声调上，全词以长短句的错落（「谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁」的紧凑与「二客东南名胜，万卷诗书事业」的舒展）写怀古伤今的起伏，韵音悠长低回，正合其怀古感慨的风格。

Reading note The lyric's sound matches its gravity: the flowing level rhymes of the liu group carry the cadence of the memory, and the close — 'mo she nanshan hu, zhi mi fumin hou' — falls with the seeking of the reward, the sound of the old age's resignation and its will.此词是「水调歌头」双调长调，以长短句的错落写怀古伤今，正是辛弃疾「以词写怀」的本领。全词两片：上片怀古（落日塞尘、投鞭飞渡、鸣髇血污、佛狸愁、季子年少），下片伤今（今老矣、搔白首、手种橘千头、莫射南山虎、直觅富民侯）。声调上，全词以平声尤韵为韵脚，韵音悠长低回，配合「落日塞尘起」的苍凉与「莫射南山虎，直觅富民侯」的旷达，全篇音节低回而不失沉郁。诵读此词，宜以苍凉的语调读上片的怀古，以感慨的语调读下片的伤今，尤其「莫射南山虎，直觅富民侯」两句，要读得旷达而无奈，方能传达出辛弃疾「壮志难酬」的深意。辛弃疾词以「豪放悲壮」著称，此词正是其「以怀古写悲愤」的经典。

Line by line

谁道投鞭飞渡，忆昔鸣髇血污，风雨佛狸愁。

Who said he could throw the whips and cross in flight? I remember how of old, the whistling arrow stained with blood, the wind and the rain, and the grief of the Foli.

谁道他能投鞭飞渡，忆昔日鸣髇血污，风雨中佛狸也忧愁。

Who spoke of flinging whips to stem the river and flying across? I remember the whistling arrow's blood-stained day; in wind and rain, Fuli himself grieved.

这三句是写金主败亡的名句，以「投鞭飞渡」「鸣髇血污」「佛狸愁」三个典故写金主完颜亮南侵的败亡，用典密集而沉痛。「谁道投鞭飞渡」写金主妄图南渡——谁道他能投鞭飞渡（投鞭断流，用苻坚之典）？「谁道」写设问（那金主妄图投鞭断流、飞渡长江），「投鞭飞渡」写其南侵的狂妄——那金主完颜亮妄图如苻坚般投鞭断流、一举南渡，那「谁道」写尽其狂言的可笑；「忆昔鸣髇血污」写金主的败亡——忆昔鸣髇（响箭）血污，「忆昔」写追忆当年，「鸣髇血污」写响箭射中、血污（用冒顿鸣镝之典，写金主被部下射杀，血污），那「鸣髇血污」写尽金主南侵的败亡——那妄图南渡的金主，最终被部下射杀，血污于军中；「风雨佛狸愁」写佛狸的忧愁——风雨中佛狸（拓跋焘小字，借指金主）愁，「风雨佛狸愁」写尽金主的败亡与忧愁——那佛狸（金主）在风雨中忧愁败亡。这三句的深意在于：它以「投鞭飞渡」「鸣髇血污」「佛狸愁」三个典故写金主完颜亮南侵的败亡——那妄图投鞭断流、一举南渡的金主，最终鸣髇血污、风雨败亡，写尽了侵略者的下场；而更深一层，这金主的败亡（绍兴三十一年完颜亮南侵被部下所杀），正是辛弃疾亲历的抗金胜利（那年辛弃疾二十二岁，聚众起义抗金），那「忆昔鸣髇血污」的「忆昔」，正是辛弃疾对青年抗金往事的追忆——当年金主败亡、正是英雄用武之时，而如今「今老矣」，「谁道投鞭飞渡」的设问与「风雨佛狸愁」的收束，写尽了对往昔抗金胜利的追忆与对今日壮志难酬的感慨。以「投鞭飞渡」写狂妄、以「鸣髇血污」写败亡、以「佛狸愁」写收束，正是辛弃疾「以用典写怀古」的本领，也让这三句成为写金主败亡的名句。

These three lines are the Jin-ruler's-defeat famous line, using the flinging-whips-to-stem, whistling-arrow-blood, and Fili-grieving three allusions for the Jin ruler Wanyan Liang's southern invasion's defeat, the dense allusions and yet the grief. Who-spoke-of-flinging-whips-to-stem-the-river-and-flying-across writing the Jin ruler's southern-crossing delusion — who spoke of his flinging whips to stem the river (the flinging-whips-stem-the-current, using Fu Jian's allusion)? The who-spoke writing the rhetorical question (that Jin ruler's delusion of flinging whips to stem the Yangtze and the one-stroke crossing), the flinging-whips-flying-across writing his southern invasion's arrogance — that Jin ruler Wanyan Liang's delusion like Fu Jian's flinging-whips-stem-current and the one-stroke southern crossing, the who-spoke exhausting his arrogant words' laughableness; I-remember-the-whistling-arrow's-blood-stained-day writing the Jin ruler's defeat — remember-the-whistling-arrow (the whistling arrow) blood-stained, the remember-the-old-days writing the recalling of that year, the whistling-arrow-blood-stained writing the whistling arrow's hitting and the blood's staining (using Modu's whistling-arrow allusion, writing the Jin ruler's being shot by his subordinates, the blood-stained), the line exhausting the Jin ruler's southern invasion's defeat — that flinging-whips-and-flying-across delusion, finally shot by his subordinates, the blood staining the army; in-wind-and-rain-Fuli-himself-grieved writing Fuli's grief — in wind and rain Fuli (Tuoba Tao's childhood name, metonym for the Jin ruler) grieving, the line exhausting the Jin ruler's defeat and grief — that Fuli (the Jin ruler) in wind and rain's defeated grief. These three lines' deep meaning: using the flinging-whips, whistling-arrow, and Fili-grieving three allusions for the Jin ruler Wanyan Liang's southern invasion defeat — that flinging-whips-and-one-stroke-crossing delusion, finally the whistling-arrow-blood and the wind-rain defeat, exhausting the invader's end; and one layer deeper, this Jin ruler's defeat (the Shaoxing thirty-first year Wanyan Liang's southern invasion and killing by subordinates), precisely Xin Qiji's personally-experienced Jin-resistant victory (that year Xin Qiji twenty-two, gathering the uprising against the Jin), the remember-the-whistling-arrow's remember-the-old-days, precisely Xin Qiji's youth-Jin-resistant-affair's recollection — that year's Jin ruler's defeat, precisely the hero's-battle-field time, and now the already-old, the who-spoke-flinging-whips-flying-across's rhetorical question and the wind-rain-Fili-grieving's close, exhausting the past-Jin-resistant-victory recollection and the today's stirring-will's hard-to-fulfill sigh. Using the flinging-whips for the arrogance, the whistling-arrow-blood for the defeat, the Fili-grieving for the close, precisely Xin Qiji's allusion-writes-historical-memory craft, making these three lines the Jin-ruler-defeat famous lines.

莫射南山虎，直觅富民侯。

Do not shoot the tiger of the South Mountain, seek directly the Marquis of the Rich Folk.

莫学李广射南山之虎，只求觅得富民侯。

Cease shooting the southern mountain tiger; seek only the Marquis Who Enriches the People.

这两句是全词收束的名句，也是千古名句，以「莫射南山虎，直觅富民侯」写对功名的看淡与对富民安民的向往，暗含壮志难酬的无奈。「莫射南山虎」写不慕勇武功名——莫学李广射南山之虎，「莫射」写不学（那「莫射」写对勇武功名的拒绝），「南山虎」用李广射虎之典（李广在蓝田南山射虎，以勇武闻名），那「莫射南山虎」写尽对勇武功名的看淡——不学李广射虎，不慕勇武的功名；「直觅富民侯」写只求富民安民——只求觅得富民侯，「直觅」写只求（那「直觅」写一心只求），「富民侯」用田千秋封富民侯之典（汉武帝封丞相田千秋为富民侯，写富民安民），那「直觅富民侯」写尽对富民安民的向往——不求射虎的勇武功名，只求作富民安民的富民侯。这两句的深意在于：它以「莫射南山虎」与「直觅富民侯」的对照，写出了辛弃疾对功名的看淡与对富民安民的向往——那「莫射南山虎」是拒绝（不学李广的勇武），那「直觅富民侯」是选择（只求富民的安稳），正是「倦游欲去江上」的归隐之志的深化——不为功名（不射虎），只求安民（富民侯）；而更深一层，这「莫射南山虎，直觅富民侯」也暗含壮志难酬的无奈——那「莫射南山虎」不是不想射虎（不是不想立功），而是射虎无用武之地（被弃置），故只能「直觅富民侯」——退而求其次的归隐，正是英雄无用武之地的悲愤与无奈。以「莫射」写拒绝、以「直觅」写选择，正是辛弃疾「以对照写悲愤」的本领，也让这两句成为千古名句。

These two lines are the whole ci's closing famous pair, and a through-the-ages famous pair, using the cease-shooting-the-southern-mountain-tiger-and-seek-only-the-Marquis-Who-Enriches-the-People for the fame-and-arms' detachment and the people-enriching-and-peace's longing, secretly carrying the unstirred-will helplessness. Cease-shooting-the-southern-mountain-tiger writing the bravery-and-fame's no-admiration — cease learning Li Guang's southern-mountain tiger shooting, the cease-shooting writing the no-learning (the cease-shooting writing the bravery-and-fame's refusal), the southern-mountain-tiger uses Li Guang's tiger-shooting allusion (Li Guang's Lantian southern mountain tiger shooting, famed for bravery), the line exhausting the bravery-and-fame's detachment — not learning Li Guang's tiger shooting, not admiring the bravery-and-fame; seek-only-the-Marquis-Who-Enriches-the-People writing the people-enriching-and-peace's only-seeking — only seeking the Enrich-the-People marquis, the seek-only writing the only-seeking (the seek-only writing the whole-heart's only-seeking), the Enrich-the-People-marquis uses Tian Qianqiu's Enrich-the-People-marquis allusion (Emperor Wu's enfeoffing the chancellor Tian Qianqiu as Enrich-the-People marquis, writing the people-enriching-and-peace), the line exhausting the people-enriching-and-peace's longing — not seeking the tiger-shooting bravery fame, only seeking to be the people-enriching-and-peace Enrich-the-People marquis. These two lines' deep meaning: using the cease-shooting-the-southern-mountain-tiger and the seek-only-the-Enrich-the-People-marquis contrast, writing Xin Qiji's fame-and-arms detachment and the people-enriching longing — the cease-shooting-the-southern-mountain-tiger the refusal (not learning Li Guang's bravery), the seek-only-the-Enrich-the-People-marquis the choice (only seeking the enrich-the-people ease), precisely the travel-weary-wishing-to-leave-for-the-river hermitage-will's deepening — not for fame (not shooting the tiger), only for peace (the Enrich-the-People marquis); and one layer deeper, this cease-shooting-and-seeking-only also secretly carrying the unstirred-will helplessness — the cease-shooting-the-southern-mountain-tiger not the not-wanting-to-shoot (not the not-wanting-to-merit), and yet the tiger-shooting's no-battle-field place (the being-set-aside), hence the only-seeking-the-Enrich-the-People-marquis — the second-best hermitage, precisely the hero's no-battle-field-place grief-indignation and helplessness. Using the cease-shooting for the refusal and the seek-only for the choice, precisely Xin Qiji's contrast-writes-grief craft, making these two lines a through-the-ages famous pair.

Study

Word focus

忆昔 'Remembering of old' — the memory of the invader's defeat, the past remembered from the old age. 「忆昔」二字是写追忆往事的枢纽，以「忆昔」引出对金主败亡的追忆，也暗含对青年抗金往事的追怀。忆昔，追忆往昔也。辛弃疾以「忆昔鸣髇血污」写金主的败亡，一个「忆昔」，至少有双重意味：其一，写追忆之引出——「忆昔鸣髇血污」以「忆昔」引出对金主败亡的追忆——那「忆昔」写追忆当年（绍兴三十一年，金主完颜亮南侵被部下射杀），那「鸣髇血污」写当年的败亡，以「忆昔」引出，写尽对往事的追忆；其二，写青年之往昔——「忆昔」不仅是追忆金主的败亡，更是追忆辛弃疾自己的青年抗金往事——那一年（完颜亮南侵被杀之年），辛弃疾二十二岁，聚众起义抗金，正是英雄用武之时，那「忆昔」写尽对青年抗金往事的追怀——当年的抗金胜利，正是辛弃疾一生最辉煌的时刻，那「忆昔」暗含今昔的对照（昔年英雄用武，今老壮志难酬）。以「忆昔」写追忆，正是辛弃疾炼字的本领：一个「忆昔」，既是写对金主败亡的追忆（当年鸣髇血污），也是写对青年抗金往事的追怀（那年正是英雄用武之时），更是写今昔的对照（忆昔之年少，今老矣）——那「忆昔」把往事与现实连在一起，写尽壮志难酬的悲愤。若换作「记取」「回想」等词，则或失其「忆昔」的古雅，或失其今昔对照的深意；唯「忆昔」二字，以两字写尽对往事的追忆与今昔的对照，也让「忆昔鸣髇血污」成为写追忆的名句。

直 'Directly, straight' — seeking directly the Marquis of the Rich Folk, the old age's direct seeking of the state's reward. 「直」字是写归隐取舍的关键字，一个「直」字写尽对富民安民的一心向往，简洁而决绝。直者，只、径直也。辛弃疾以「直觅富民侯」写归隐的取舍，一个「直」字，至少有双重意味：其一，写选择之一心——「直觅富民侯」写只求觅得富民侯，「直」字写一心一意——那「直觅」写径直去求（一心只求富民侯），写尽对富民安民的向往——不求射虎的勇武功名，只求富民的安稳，那「直」字写尽选择的决绝；其二，写取舍之分明——「直」字与「莫」字对照（莫射南山虎，直觅富民侯），写尽取舍的分明——「莫射」是拒绝勇武功名，「直觅」是一心富民安民，那「莫」与「直」的对照，写尽辛弃疾对功名的看淡与对富民的向往，也暗含「退而求其次」的无奈。以「直」写归隐，正是辛弃疾炼字的本领：一个「直」字，既是写对富民侯的一心向往（直觅），也是写与「莫射」的取舍分明（莫射南山虎，直觅富民侯），更是写「退而求其次」的无奈（不是不想立功，而是无用武之地，故直觅富民）——那「直」字，把归隐的决绝与无奈写得简洁有力。若换作「只」「但」等字，则或失其「径直」的决绝，或失其与「莫射」的对照；唯「直」字，以一字写尽对富民的一心向往与取舍的决绝，也让「直觅富民侯」成为千古名句。