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宋 Song · 词 Ci lyric

水龙吟·登建康赏心亭

Water Dragon's Chant: Climbing the Appreciation Pavilion at Jiankang

辛弃疾

Xin Qiji

爱国Patriotism 怀古History 愁思sorrow

楚天千里清秋，水随天去秋无际。
遥岑远目，献愁供恨，玉簪螺髻。
落日楼头，断鸿声里，江南游子。
把吴钩看了，栏干拍遍，无人会、登临意。
休说鲈鱼堪。
尽西风、季鹰归未。
求田问舍，怕应羞见，刘郎才气。
可惜流年，忧愁风雨，树犹如此。
倩何人，唤取盈盈翠袖，英雄泪。

The sky of Chu, a thousand li of clear autumn —
The water follows the sky and goes; the autumn has no bounds.
By the tower's head at the setting sun,
In the sound of the broken swan,
The wanderer of the south of the River.
I have looked at the Wu hook,
And beaten the balustrade through —
No one understands the meaning of this climb.Say not that the perch is good —
When the west wind blows,
Has the season-gazer returned or not?
Pitiable the fleeing years,
The sorrow and the storm —
Even the trees are thus.
Whom shall I ask to summon,
With the emerald sleeves and the white sleeves,
The hero's tears?

Listen

Meaning

The most famous lyric of Xin Qiji's frustration, written when he climbed the Appreciation Pavilion at Jiankang. The sky of Chu, a thousand li of clear autumn; the water follows the sky and goes, the autumn has no bounds — the vast scene of the climb. By the tower's head at the setting sun, in the sound of the broken swan, the wanderer of the south of the River — Xin Qiji himself, the man from the north stranded in the south. He has looked at the Wu hook and beaten the balustrade through — no one understands the meaning of this climb. Say not that the perch is good — the allusions of the homesickness: the perch of the south and the season-gazer Zhang Han of the west wind. Pitiable the fleeing years, the sorrow and the storm — even the trees are thus, the growth of the years against the unfulfilled will. And the close: whom shall he ask to summon, with the emerald sleeves, the hero's tears? The lyric is the cry of the frustrated patriot: the sword looked at, the rail beaten, and the hero's tears.

楚地的天空一望千里，正是一片清朗的秋天；江水随着天势流向远方，秋色苍茫，没有边际。放眼远山，那层层叠叠的远峰，仿佛在为人们献上愁怨、供上遗恨，又像玉簪与螺髻一般秀美。夕阳斜照楼头，孤雁的哀鸣声里，正立着一位流落江南的游子。我把吴钩宝刀看了又看，把栏杆拍了一遍又一遍，却没有人能够领会我登临此地的心意。不要说那鲈鱼正堪细切脍食（原句为「休说鲈鱼堪脍」，此处底本脱「脍」字），纵然西风已起，又岂能像季鹰那样就此归去？想要求田问舍、安身立命，却又怕羞见那刘郎（刘备）的才气。可惜年华似水，在忧愁风雨中逝去，树木尚且如此老去，何况于人呢。请问谁人，能唤来盈盈的翠袖红巾，为我拭去这英雄的眼泪。

Appreciation

[Plain Paraphrase] The sky of Chu, a thousand li of clear autumn — the water follows the sky and goes; the autumn has no bounds. By the tower's head at the setting sun, in the sound of the broken swan, the wanderer of the south of the River. I have looked at the Wu hook, and beaten the balustrade through — no one understands the meaning of this climb. Say not that the perch is good — when the west wind blows, has the season-gazer returned or not? Pitiable the fleeing years, the sorrow and the storm — even the trees are thus. Whom shall I ask to summon, with the emerald sleeves and the white sleeves, the hero's tears? [Structure and Thought] The lyric moves from the vast scene of the climb, through the figure of the wanderer and the beaten rail, to the allusions of the homesickness and the years, and the close's question on the hero's tears. [Key Technique] The poem's art is the gathering of the frustration: the sword looked at and the rail beaten, the perch of the homesickness refused, the years fleeing with the trees, and the close's hero's tears — the whole frustration gathered in the images. [Emotional Tone] Vast, frustrated, and grieving: the lyric is the cry of the patriot who is not understood — the clear autumn of the vast scene, and the hero's tears at the close.

【白话串讲】辛弃疾登建康赏心亭：“楚天千里清秋，水随天去秋无际”。“落日楼头，断鸿声里，江南游子”——“把吴钩看了，栏干拍遍，无人会、登临意”——“休说鲈鱼堪脍”——他叹没人懂他的北伐之志。【意象与手法】上片写景蓄势：楚天、秋水、遥岑、落日、断鸿，以景写愁；「遥岑远目，献愁供恨」移情于物，山本无情而似献愁；「把吴钩看了，栏干拍遍」以两个连贯动作写尽英雄无用武之地的愤懑。下片连用张翰莼鲈、许汜求田问舍、桓温树犹如此三典，一反用、一自警、一直用，层层剖白心志，最后以「倩何人，唤取盈盈翠袖，英雄泪」的问句收束，豪而能悲。【情感与主旨】此词作于辛弃疾南归初期任建康通判时。他生于沦陷的山东，二十三岁南归，力主北伐而报国无门，登赏心亭望楚天秋水，壮志难酬之愤、故土难收之痛、知音难觅之孤，尽汇于此，是稼轩词「肝肠似火，色貌如花」的典型。【名句点睛】「把吴钩看了，栏干拍遍，无人会、登临意」历被推为词中名句：看剑而请缨无路，拍栏而无人领会，两个动作写尽英雄失意的愤懑与孤独；「倩何人，唤取盈盈翠袖，英雄泪」以泪收束，于豪放中见无限悲凉，读之令人扼腕。

Background

Xin Qiji (1140–1207), the greatest patriotic lyricist of the Southern Song, wrote this lyric in the early years of his return to the south, when the man from the north, stranded in the south, was not trusted with the war he longed for. 'The Wu hook' is the sword; 'no one understands the meaning of this climb' is the cry of the unappreciated; 'the perch is good' alludes to the story of Zhang Han, who left the office to return for the perch of his homeland when the west wind blew — the homesickness refused by the patriot; 'even the trees are thus' alludes to the sigh of the Jin general Huan Wen over the growth of the trees and the fleeing of the years. The lyric is the most famous statement of the frustrated patriot.

此词作于辛弃疾南归后任建康（今南京）通判时（约乾道四年，1168年前后），时年约三十岁。辛弃疾生于金人占领的山东济南，二十二岁参加耿京抗金义军，曾率五十骑闯入五万金营、生擒叛徒张安国，南渡归宋，壮举震动朝野。然南归之后，宋廷苟安江南，主战派屡受排挤，辛弃疾上《美芹十论》《九议》，力主北伐恢复，皆不被采用，仅被安置在江阴佥判、建康通判等闲职上。赏心亭在建康城西下水门城上，下临秦淮河，是登高远眺之所；辛弃疾登此亭，望楚天秋水，触景生情，遂有此作。词中「江南游子」自道身份：故乡沦陷，南渡寄客，有家难归，有志难伸，这一腔郁愤正是全词的情感基础。建康是六朝古都、南宋江防重镇，登临此地，前朝兴亡与眼前国事交织，更添怀古伤今之慨。就创作背景再补一笔：建康（今南京）既是六朝旧都，又是南宋江防重镇，辛弃疾任职于此，登赏心亭而望长江，北望中原故土，南眺六朝遗迹，历史兴亡与眼前国事交织；词中「献愁供恨」的远山，正是六朝兴废与中原沦陷双重愁恨的投射，怀古伤今之慨，实为全词底蕴。

Art

The lyric's art is the art of the gathering frustration. The vast scene is given first — the sky of Chu, a thousand li of clear autumn, the water following the sky, the autumn without bounds — the immensity of the climb. The figure follows: by the tower's head at the setting sun, in the sound of the broken swan, the wanderer of the south of the River — the man from the north, stranded in the south. The frustration: he has looked at the Wu hook and beaten the balustrade through — no one understands the meaning of this climb — the sword and the rail, the unappreciated will. The homesickness refused: say not that the perch is good — when the west wind blows, has the season-gazer returned or not — the return of the homesickness, refused by the patriot. The years: pitiable the fleeing years, the sorrow and the storm — even the trees are thus. And the close gathers the whole: whom shall he ask to summon, with the emerald sleeves, the hero's tears — the tears of the frustrated hero, the cry of the not-understood.

上片写景蓄势：「楚天千里清秋」开门见山，一「清」字写秋空之澄澈；「水随天去秋无际」写江水与天相接、秋色无边，气象阔大，非有英雄胸襟者写不出。「遥岑远目，献愁供恨，玉簪螺髻」由远山写愁恨——远峰本无情，却说它「献」愁「供」恨，移情于物，山之秀美（玉簪螺髻）与愁之深重相映，美景当前而愁不可解，愈见愁之深。「落日楼头，断鸿声里」以落日、断鸿两个苍凉意象点出时与境，「江南游子」自道身世。「把吴钩看了，栏干拍遍」以两个连贯动作写愤懑：看吴钩（宝刀）而无用武之地，拍栏杆而无人会意，「无人会、登临意」一句道尽孤独。下片连用三典剖白：张翰莼鲈之思（家国未收，何敢言归）、许汜求田问舍（若谋私产，羞见刘备）、桓温「树犹如此」（年华空逝，功业无成），三典正反相衬，层层逼出「英雄泪」。全词由景入情、由情入志，豪而能悲、悲而愈豪，是稼轩词「肝肠似火，色貌如花」的典型。就章法而言，上片由「秋无际」的阔大而「断鸿声里」的苍凉而「无人会」的郁愤，层层收紧，如风雷将作；下片由三典的反复剖白而「树犹如此」的沉痛而「英雄泪」的收束，一跌三叹，如江流回旋；前后两片一放一收，构成完整的「郁愤—悲凉」的情感弧线，章法之妙，与苏轼《念奴娇》并称。

Allusions

'The Wu hook' (Wugou) is the sword of the warrior, looked at in the frustration. 'The perch is good' (lu yu kan) alludes to the story of Zhang Han, who, when the west wind blew in the autumn, remembered the perch of his homeland and left his office to return — the homesickness; 'the season-gazer' (Ji Ying) is Zhang Han, asked whether he has returned. 'Even the trees are thus' (shu you rucr) alludes to the sigh of the Jin general Huan Wen, who, seeing the trees he had planted grown tall, wept that the years fled and the will was unfulfilled. 'The emerald sleeves' (cuidai) are the sleeves of the singer, asked to summon — the wiping of the hero's tears.

下片三典，皆用得精当深沉。一是张翰典（《世说新语·识鉴》）：西晋张翰字季鹰，在洛阳为官，见秋风起，思吴中菰菜、莼羹、鲈鱼脍，遂弃官归乡。辛弃疾反用其意：西风起了，季鹰式的乡思谁没有？但故土沦陷，岂能一归了之——思归而不可归，归亦无家可归，以乡愁写国恨，比单纯的思乡更深一层。二是许汜典（《三国志·陈登传》）：许汜与刘备论天下，自言求田问舍（买田置宅），刘备斥之「无救世之心」；辛弃疾用以自警：若只图安身立命，怕要羞见刘郎，正见其志在恢复、耻于自谋。三是桓温典（《世说新语·言语》）：桓温北征见旧时所种柳皆已十围，慨然叹曰「树犹如此，人何以堪」；辛弃疾借以写年华流逝、功业无成之痛。三典一反用、一自警、一直用，变化多端而皆归于「志不得伸」的主题，故无堆砌之嫌。上片「吴钩」亦有典：吴钩为吴地所产宝刀（鲍照诗「锦带佩吴钩」），是壮士佩物，看之而无用，正见请缨无路。就典故的层次而言，三典恰好构成「进—退—进」的思辨结构：张翰之归是退路，许汜求田是歧路，桓温之叹是无路——三条路皆不可行，唯有泪下，故三典不仅剖白心志，更写尽英雄的绝境，用典之密而不滞、深而不晦，正是稼轩「以文为词」的独得之秘。

Commentary

This lyric is the most famous statement of the frustrated patriot in the Chinese lyric, quoted for the gathering of its images. The Wu hook looked at and the balustrade beaten, the perch refused, the trees grown, and the hero's tears are among the most famous passages of the patriotic tradition. Critics praise the lyric's art: the vast scene of the climb and the tears of the hero, the unappreciated will gathered in the images.

此词是辛弃疾南归早期的代表作，也是豪放词中的经典：上片之景阔大苍凉，下片之志郁勃深沉，豪与悲在一首词中达到完美平衡。「把吴钩看了，栏干拍遍，无人会、登临意」历来被推为词中名句：两个动作写尽英雄无用武之地的愤懑与孤独；「倩何人，唤取盈盈翠袖，英雄泪」以问句收束，于豪放中见悲凉，是稼轩词「肝肠似火」的典型注脚。陈廷焯《白雨斋词话》评稼轩「气魄极雄大，意境却极沉郁」，此词可当之。在词史上，此词上承苏轼之豪，下开豪放词的沉郁一脉，是南宋爱国词的先声；其「以典明志」的手法，更成为稼轩词的标志性风格。全词写登临而兼怀古，写怀古而归于言志，把个人之愤与家国之痛熔于一炉，是理解辛弃疾其人其词的一把钥匙，亦是南宋士人报国无门的时代悲歌。此词在文学史上的影响亦深：其「以典明志」的写法，为南宋爱国词（如刘克庄、刘辰翁诸家）所祖述；「把吴钩看了，栏干拍遍」更成为历代志士咏怀言志的经典语汇，从文天祥到近代诗人，凡言报国无门者，多引以为同调，足见其跨越时代的感召力与永恒的生命力。

Prosody

Form Shuilongyin (Water Dragon's Chant), a long lyric词牌《水龙吟》（双调一百零二字）

Rhyme The lyric rhymes on the oblique-tone words ji, zi, yi, wei, ci and lei — the dense, short oblique rhyme that carries the gathering frustration.押仄声韵：际、髻、子、意（上片），未、气、此、泪（下片），皆「i」韵（词韵上声纸尾与去声寘未通押，上去通押）；韵脚密集，声情迫促，正合郁愤之情。

Tone pattern The cadence is that of the gathering: the level opening with the vast scene, the falling with the wanderer and the rail, the turning with the perch and the years, and the close's question with the hero's tears.上片多四、五、六言相间，节奏先舒后促：「楚天千里清秋」六言起势舒缓，至「把吴钩看了，栏干拍遍」转急促，「无人会、登临意」一顿一叹；下片以「休说」「尽」「怕应」「可惜」「倩何人」等领字领起，一气转折，层层逼进，声情与辞情相凑。

Reading note The lyric's sound matches its frustration: the short oblique rhymes of the rhyme group carry the cadence of the unappreciated will, and the close — 'qian he ren, huanqu yingying cuidai, yingxiong lei' — falls with the hero's tears, the sound of the cry gathered and wept.《水龙吟》为双调词牌，句读长短错落，尤宜抒发激越沉郁之情。辛弃疾此词押「i」韵仄声（上去通押），韵字皆窄韵、闭口音，声调低沉迫促，如郁气难舒，与全词「壮志难酬」的主旨丝丝入扣。词中领字的运用极为出色：「休说」「尽」「怕应」「可惜」「倩何人」，一个领字带出一层转折，或反诘、或自警、或痛惜、或乞问，使下片几个典故（张翰、季鹰归、求田问舍、刘郎、桓温树犹如此）如贯珠而下，无一堆砌之感。上片写景用六言长句，舒缓阔大；下片抒怀多用领字短句，迫促郁结；长短相间、缓急相济，正是词体「以声传情」的典范。句法上「把吴钩看了，栏干拍遍」连用两个四字句加一五字句，节奏如拳拳击打，写尽愤激之态；结句「倩何人，唤取盈盈翠袖，英雄泪」以三句递进，由问而唤而泪，声情由扬转抑，余韵苍凉。后人评稼轩词「大声鞺鞳，小声铿鍧」，此词上片之雄阔、下片之沉郁，可作注脚。

Line by line

楚天千里清秋，水随天去秋无际。

The sky of Chu, a thousand li of clear autumn — the water follows the sky and goes; the autumn has no bounds.

楚地的天空一望千里，正是一片清朗的秋天；江水随着天势流向远方，秋色苍茫，没有边际。

The southern sky stretches a thousand li of clear autumn; the river flows with the sky, autumn's colors without bound.

开篇即以阔大之景立骨：「楚天千里」写空间之广，「清秋」写时令之高爽；「水随天去」写江流奔向天际、与天相接，「秋无际」以秋色无涯总收——水与天、地与秋，浑融一气，气象雄浑，非有英雄胸襟者写不出。「随」「去」二字写水势之奔流，如目光随水远送，一个「去」字暗含逝者如斯之慨。此二句为全词立下壮阔的基调，然「秋无际」三字已暗藏苍凉：秋色无涯，正如愁恨无涯；天高地迥，更见游子之渺小。以阔大之景写孤独之情，是稼轩「于豪放中见沉郁」的开场；登赏心亭而望楚天，六朝金粉、南宋江防，皆在这千里清秋之中，怀古伤今之绪已隐隐萌生。

The opening at once establishing the bone in the grand scene: the southern-sky-thousand-li writing the space's breadth, the clear-autumn writing the season's crispness; the river-flows-with-the-sky writing the current's racing to the horizon and the sky's meeting, the autumn-without-bound using the autumn's boundlessness's total gathering — water and sky, earth and autumn, fused as one breath, the grandeur, not the hero's-breast person's un-writing. The with and the go two words writing the current's racing, like the sight's far-following the water, the one word go secretly carrying the time-passing-on sigh. These two lines establishing the whole ci's grand tone, and yet the autumn-without-bound three words already secretly storing the bleakness: the autumn colors boundless, precisely like the grief-and-resentment boundless; the heaven-and-earth high-and-far, the wanderer's smallness the clearer. Using the grand scene for the lonely feeling, Jiaxuan's boldness-within-seen-the-somber opening; climbing the Shangxin Pavilion and gazing at the southern sky, the Six Dynasties' splendor and the Southern Song's river defense, all within this thousand-li clear autumn, the ancient-mourning-and-present-grief feeling already faintly sprouting.

落日楼头，断鸿声里，江南游子。

By the tower's head at the setting sun, in the sound of the broken swan, the wanderer of the south of the River.

夕阳斜照在楼头，孤雁的哀鸣声里，正立着一位流落江南的游子。

The setting sun on the pavilion's roof, amid the lost wild goose's cry, the wanderer in Jiangnan.

三句以两个苍凉意象点出人物：「落日」写时近黄昏、天地将暮，正是一日将尽、一事无成的写照；「断鸿」写孤雁失群、哀鸣南飞——落日与断鸿，一写日之将尽，一写雁之失群，皆是漂泊者眼中的自况，也是南宋国势日暮、山河破碎的隐射；「江南游子」四字自道身份，辛弃疾本是山东人，故乡沦于金人之手，南渡寄居江南，有家难归，故曰「游子」——一个「游」字，写尽有国难投、有家难归的飘零。景物之苍凉与身世之飘零相映，三句十二字，把个人置于落日、断鸿的天地之间，孤独之感扑面而来；且「落日」「断鸿」皆与「清秋」相应，由写景到写人，自然流转，是上片由景入情的转折点。

Three lines using two bleak images to name the person: the setting sun writing the hour's nearness to dusk and the heaven-and-earth's about-to-dusk, precisely the day's about-to-end and the nothing-achieved portrait; the lost-wild-goose writing the lone goose's flock-loss and the mournful south flight — the setting sun and the lost goose, one writing the day's about-to-end and one writing the goose's flock-loss, both the drifter's eyes' self-portrait, and the Southern Song national situation's dusk and the rivers-and-mountains'-shattering hidden reflection; the wanderer-in-Jiangnan four words self-naming the identity, Xin Qiji by nature a Shandong person, the homeland fallen to the Jin, the south-crossing's Jiangnan lodging, the home's no-returning, hence the wanderer — the one word wander, exhausting the country's no-place-to-return and the home's no-returning drifting. The scene's bleakness and the fate's drifting's mutual setting-off, three lines twelve characters, placing the person between the setting-sun and lost-goose heaven-and-earth, the loneliness rushing the face; and the setting-sun and lost-goose both answering the clear-autumn, from scene-writing to person-writing, the natural flowing, the first stanza's scene-to-feeling turning point.

把吴钩看了，栏干拍遍，无人会、登临意。

I have looked at the Wu hook, and beaten the balustrade through — no one understands the meaning of this climb.

我把佩带的吴钩宝刀看了又看，把栏杆拍了一遍又一遍，却没有人能够领会我登临此地的心意。

I have looked at my Wu hook, beaten the railings through, and no one understands my climbing heart.

此三句是全词的第一个高潮，以两个连贯动作写尽英雄无用武之地的愤懑：「看吴钩」写抚剑而叹——吴钩是壮士佩刀，宝刀在手而请缨无路，一「看」字写尽「报国欲死无战场」的悲凉；「栏干拍遍」写愤激之极，以拍打栏杆发泄郁气，「遍」字见其反复、其久、其烈，拍遍栏杆而愤懑不减；而「无人会、登临意」一句，由动作转入心声：满腔壮志，无人领会，知音难觅，孤独入骨。「无人会」三字是全词的凝结点——朝廷苟安，同僚醉梦，谁能懂这登临远望的深意？吴钩、栏杆皆寻常物，一经「看了」「拍遍」，便成为英雄失意的经典意象，此句遂成千古绝唱，写尽了古往今来一切有志难伸者的共同悲愤。

These three lines are the whole ci's first climax, using two continuous actions for the hero's no-battle-field-place grief: the looked-at-Wu-hook writing the sword-fondling sigh — the Wu hook the stalwart's worn blade, the treasured sword at the waist and yet the volunteering-road's absence, the one word look exhausting the country-service-wanting-to-die-and-yet-no-battlefield grief; the beaten-railings-through writing the grief's extreme, using the railing-beating for the depressed-breath's venting, the through word seeing the repetition, the duration, the fierceness, the railings beaten through and yet the grief undiminished; and the no-one-understands-my-climbing-heart one line, from the action turning to the inner voice: the breast's stirring will, no one's understanding, the soulmate's hard-to-find, the loneliness bone-deep. The no-one-understands three words the whole ci's gathering point — the court's peace-seeking, the colleagues' drunk dream, who can understand this climbing far-gazing's deep meaning? The Wu hook and the railing both ordinary things, once the looked and the beaten-through, hence become the hero's-frustration classic imagery, this line hence the through-the-ages swan song, exhausting the past-and-present all's unstirred-will common grief.

休说鲈鱼堪。

Say not that the perch is good —

休要说那鲈鱼正堪细切脍食（原句为「休说鲈鱼堪脍」，此处底本脱「脍」字，义为休提莼鲈之思）。

Let there be no talk of the perch ready for slicing.

此句为下片转折的枢纽，用张翰典：西晋张翰见秋风起而思吴中莼羹、鲈鱼脍，弃官归乡，是「思乡」的经典典故。辛弃疾反用其意：「休说」二字一翻，意谓不要说鲈鱼堪脍、正可效季鹰归去——尽管西风已起，乡思难禁，但故乡尚沦于金人之手，归去何益？思归而不能归，归亦无家，比单纯的乡愁更深一层，是「以乡愁写国恨」的妙笔。句中「休说」的断然语气，见出英雄的抉择：家国未收，何敢言归；个人之乐、乡土之思，皆须让位于恢复大业。句虽因底本脱「脍」字而文字残缺，然「休说」的决绝与季鹰典的完整含义仍清晰可感，与下句「尽西风、季鹰归未」的诘问相承，把「归」与「不归」的矛盾层层逼出。

This line is the second stanza's turning hinge, using Zhang Han's allusion: the Western Jin's Zhang Han's seeing the autumn wind rise and thinking of the Wu water shield soup and perch, abandoning office and returning home, the homesickness classic allusion. Xin Qiji reversing the meaning: the let-there-be-no-talk two words' one reversal, meaning the no-talking-of-the-perch-ready-and-the-just-imitate-Jiying's-return — though the west wind already risen and the homesickness's hard-to-restrain, and yet the homeland still fallen to the Jin, the return of what avail? The homesickness's no-return, the return's no-home, one layer deeper than the simple homesickness, the homesickness-writes-national-grief wondrous brush. The line's let-there-be-no-talk's decisive tone, seeing the hero's choice: the country not recovered, the return's daring? The personal joy and the native-land longing, all must yield to the recovery great cause. The line though due to the base text's missing the kuai word and the broken characters, and yet the let-there-be-no-talk's resolve and the Jiying allusion's complete meaning still clearly felt, inheriting the below's the-west-wind-is-spent-has-Jiying-gone-home-yet question, pressing the return-and-not-return contradiction layer on layer.

尽西风、季鹰归未。

When the west wind blows, has the season-gazer returned or not?

纵然西风已尽（秋已深），像季鹰（张翰）那样的人，又岂能真的归去呢？

The west wind is spent; has Jiying gone home yet?

此句紧承上句张翰典，以诘问出之：「尽西风」写秋风已起、秋意已深，正是季鹰思归的时节；「季鹰归未」却反身一问——西风起了，季鹰式的乡思自然涌起，可是真能就此归去吗？一问之下，归不得的无奈尽在其中：故乡沦陷，归去即是沦于敌手；国难未已，岂可效季鹰一走了之。「归未」以疑问句式写内心交战，比直说「不能归」更见痛苦：不是不想归，是不能归、不敢归、不甘归。两句一正一反（休说、归未），把「莼鲈之思」这个最温柔的乡愁典故，翻作最悲壮的报国表白，正是稼轩用典的过人之处；而「尽西风」三字又呼应上片「秋无际」，秋色愈深，乡思愈切，志节愈坚，层层相生。

This line tightly inheriting the above's Zhang Han allusion, in the rhetorical question: the west-wind-is-spent writing the autumn wind's risen and the autumn's deep, precisely the Jiying homesickness season; has-Jiying-gone-home-yet and yet the self-returning question — the west wind risen, the Jiying-style homesickness's natural surging, and yet the true ability's just-return? Within one question, the return's-impossibility helplessness all within: the homeland fallen, the return i.e. the fall to the enemy's hand; the national calamity's not-yet-ended, the Jiying's walking-away's imitation? The gone-home-yet using the question sentence for the inner struggle, the more painful than the direct cannot-return: not the not-wanting-to-return, and yet the unable-to-return, the dreading-to-return, the un-willingness-to-return. Two lines one-positive-one-reverse (the no-talk and the gone-home-yet), turning the water-shield-and-perch-thought's gentlest homesickness allusion into the most solemn country-service declaration, precisely Jiaxuan's allusion-craft surpassing-place; and the west-wind-is-spent three words echoing the first stanza's autumn-without-bound, the autumn color the deeper, the homesickness the keener, the will's firmness the stouter, layer on layer's mutual birth.

可惜流年，忧愁风雨，树犹如此。

Pitiable the fleeing years, the sorrow and the storm — even the trees are thus.

可惜年华如流水般逝去，在忧愁风雨中蹉跎，树木尚且如此（老去），何况是人呢。

Pity the passing years, grieved by wind and rain; even the trees have come to this.

用桓温「树犹如此，人何以堪」之典，是全词情感最沉痛处：桓温北伐见旧柳皆已十围而叹年华，辛弃疾借以自伤——南归多年，恢复无期，岁月空逝，功业无成，一「可惜」写尽痛惜。「忧愁风雨」四字，既写岁月在风雨忧患中消磨，亦暗指国势飘摇如风雨、个人际遇之坎坷，双关巧妙；「树犹如此」以树之老去反衬人之老去——树木无情尚知岁月，英雄有志竟付东流，省略的「人何以堪」比说出的更痛，正是「欲说还休」的沉郁。三个典故中，此典最直、最痛：前面「休说」「求田问舍」还是以典自剖心志，到这里已化为直白的年华之叹，把豪语全部沉入悲凉，为结尾「英雄泪」蓄足了势，读之令人扼腕叹息。

Using Huan Wen's even-the-trees-how-much-the-person allusion, the whole ci's emotional most grief-stricken place: Huan Wen's northern expedition seeing the old willows' ten-armed circumference and the passing-years' sigh, Xin Qiji borrowing it for the self-grief — the south-return's many years, the recovery's no date, the years' vain passing, the merit's non-achievement, the pity word exhausting the regret. The grieved-by-wind-and-rain four characters, at once writing the years' wind-and-rain-and-sorrows frittering, and secretly the national situation's wind-and-rain swaying and the personal lot's roughness, the double meaning's craft; even-the-trees-have-come-to-this using the tree's aging for the person's aging's setting-off — the tree feelingless and yet knowing the years, the hero's will and yet the east-flowing, the omitted how-much-the-person more painful than the spoken, precisely the would-speak-and-yet-stop somberness. Among the three allusions, this allusion the directest and most painful: the above's let-there-be-no-talk and the seeking-fields-and-asking-homes' still the allusion's self-explanation of will, to here already turned into the direct passing-years sigh, sinking the bold words all into bleakness, storing the full force for the close's hero's tears, reading it makes the heart clench.

倩何人，唤取盈盈翠袖，英雄泪。

Whom shall I ask to summon, with the emerald sleeves and the white sleeves, the hero's tears?

请问谁人，能唤来盈盈的翠袖（红巾翠袖的佳人），为我拭去这英雄的眼泪。

Of whom can I ask to summon those gracious green sleeves, to wipe a hero's tears?

结句以问收束，于豪放中见无限悲凉：英雄有泪，不轻弹，弹则必是伤心至极——志不得伸、年已空逝、故土难收、知音难觅，百感交集，唯有一哭；而「倩何人」一问，又写连拭泪之人都无处可寻，知音之难觅、处境之孤独，更进一层。「翠袖」意象（红巾翠袖）暗示能解英雄之泪的知己与慰藉，而「唤取」二字见其渺茫——谁能唤来？无人能唤，于是泪只能任其自流。「盈盈」写翠袖之柔美，与「英雄泪」之刚烈相映，柔与刚、美与悲并置，愈见英雄之泪的沉重。全词以壮语起、以悲泪结，一哭收束万里秋光与满腔孤愤，豪而能悲，悲而愈壮，正是「肝肠似火」的稼轩本色，千古之下，读之犹令人泫然。

The close closing on the question, within the boldness seeing the infinite bleakness: the hero has tears, not lightly shed, the shed then must be the grief's extreme — the will's non-extension, the years' already vain passing, the native soil's hard-to-recover, the soulmate's hard-to-find, the hundred feelings' interweaving, only the one cry; and the of-whom-can-I-ask one question, again writing the tear-wiping person's nowhere's-seekable, the soulmate's hard-to-find and the lot's loneliness, one layer deeper. The green-sleeves imagery (red kerchief green sleeves) hinting the hero's-tear-understanding confidante and comfort, and the summon two words seeing the blurredness — who can summon? No one can summon, hence the tears only let their own flowing. The gracious writing the green-sleeves' softness, setting off the hero's-tears' sternness, the soft-and-strong and the beauty-and-grief's juxtaposition, the hero's-tears' weight the clearer. The whole ci opening on the stirring words, closing on the grief tears, one cry gathering the ten-thousand-li autumn light and the breast's lone indignation, the bold and yet grieving, the grieving and yet the bolder, precisely the liver-and-lungs-like-fire Jiaxuan true color, through the ages, reading it still makes the tears come.

Study

Word focus

献愁供恨 'Offering the sorrow, presenting the grief' — the distant hills offering the sorrow and the grief, the emotion lent to the hills. 「遥岑远目，献愁供恨」之「献」「供」二字，是全词移情于物的妙笔。远山本是无情之物，诗人却以「献」「供」二字，说它把愁恨主动献上、供奉给人——山岂有愁？是望山之人愁恨满腹，遂觉群山也来凑愁添恨。「献」与「供」皆恭敬奉献之意，用之于山，极新颖、极无理，而极有情：山越是秀美（玉簪螺髻），越衬出愁之深重，美景当前而愁不可解，正见愁之深、恨之切。二字以动写静、以物写我，把主观情绪外化为客观景物的「主动行为」，是「有我之境」的典范；且「献愁供恨」四字本身即见奇思：不是「生愁」「带恨」等寻常写法，而是拟人化的「献供」，把远山写得殷勤而残酷，愈显登临者心境之郁结，亦开下片三典剖白的先声。

无人会 'No one understands' — no one understands the meaning of the climb, the cry of the unappreciated. 「无人会、登临意」之「无人会」三字，是全词情感的凝结点。「会」是领会、理解；「无人会」即无人理解——看吴钩、拍栏杆，皆是英雄失意的发泄，而最痛的不是壮志难酬本身，是满腔孤愤无人领会：朝廷苟安，同僚醉梦，谁能懂这登临远望的深意？三字直白如话，而分量极重，把前面的动作与后面的典故全部贯穿：正因为「无人会」，才需要以三典层层自剖，才终于「英雄泪」。稼轩词的孤独感，多由此类心声托出，如「知我者，二三子」之叹，皆可见其千古寂寞。「无人会」三字，是辛弃疾南归后长期被冷落、被猜忌的生命体验的浓缩，亦是古往今来一切志士共同的悲慨，故能引起无数读者的共鸣。

树犹如此 'Even the trees are thus' — the sigh over the fleeing years, the trees grown and the will unfulfilled. 「树犹如此」四字，化用桓温「树犹如此，人何以堪」，是全词用典中最沉痛的一笔。桓温见柳十围而叹岁月，辛弃疾借其语势而更进一层：不说「人何以堪」，而只说「树犹如此」，让听者自补——树木无知，尚且经年成围，何况满怀壮志的英雄，眼看年华老去而功业无成！省略的比说出的更痛，正是「欲说还休」的沉郁。四字以树喻人，以物之变写人之老，以平淡语写惊心事；「犹」字尤见力量：树且如此，人何以堪，一个「犹」字把树与人的对比推到极致。此四字与「可惜流年，忧愁风雨」相连，一痛一叹，遂使全词由豪转悲，情感坠入最深处，为结尾「英雄泪」作了最充分的铺垫，是稼轩用典「以少胜多」的典范。