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宋 Song · 词 Ci lyric

辛弃疾·西江月·遣兴

Xijiang Moon · Dismissing Gloom

辛弃疾

Xin Qiji

豪放Bold and Unconstrained 抒怀Lyrical Expression

西江月·遣兴醉里且贪欢笑，要愁那得工夫。
近来始觉古人书，信著全无是处。
昨夜松边醉倒，问松“我醉何如”。
只疑松动要来扶，以手推松曰“去”。

Drunk, I indulge in laughter for a while;
How can I find time to worry?
Lately I've come to realize that the ancient books,
If taken literally, are all wrong.
Last night, I fell drunk by a pine tree,
Asking the pine, "How drunk am I?"
Suspecting the pine was about to help me up,
I pushed it away, saying, "Go!"

Listen

Meaning

The poet pretends to be carefree while drunk, but his defiant attitude toward ancient books and his drunken dialogue with a pine tree reveal deep frustration and unyielding pride.

趁着酒醉姑且贪享那片刻的欢笑，哪里有工夫去发愁。近来才发觉古人的书，信以为真时竟全然没有是处。昨夜醉倒在松树旁边，问那松树自己醉得如何。只疑心松树晃动是要来搀扶我，便用手推开松树，说一声去。

Appreciation

The upper stanza seems carefree but hides indignation; the lower stanza uses a whimsical scene to express loneliness and defiance. The poem is a typical example of Xin Qiji's style of 'humor concealing anger.'

【白话串讲】辛弃疾喝醉了，趴在松树边问松树：我醉得怎么样？看松树好像要来扶他，他一把推开：去！这首词可爱到让人忘了他是写“金戈铁马”的将军。【意象与手法】全词以醉写醒、以谐写愤。上片故作旷达，「要愁那得工夫」愈显其愁深难遣；「信著全无是处」反说古人书，藏讥于世事。下片以醉倒松边、与松问答的戏剧化细节，将松拟人，疑松来扶而推之使去，动作神态跃然纸上。貌似滑稽，实则孤傲不屈，于诙谐中见沉郁顿挫之骨。【情感与主旨】此词约作于辛弃疾闲居江西上饶带湖、瓢泉时期。词人一生以恢复中原为志，却屡遭排挤，投闲置散近二十年。所谓遣兴，实乃借酒浇愁、以狂态遣抑塞，于无可奈何中作旷达语，愈见沉痛。【名句点睛】中高考常考表面诙谐与深层沉郁的矛盾统一，以及「信著全无是处」的反语寄意，答题时须抓住以醉写醒、以谐写愤的总纲。

Background

Written during Xin Qiji's idle retirement at Piaoquan. Frustrated by his unfulfilled ambition to recover lost territories, he sought solace in wine, using drunkenness to vent his pent-up feelings.

此词约作于辛弃疾闲居江西上饶带湖、瓢泉时期。辛弃疾（1140—1207），字幼安，号稼轩，山东历城人。他生于金人统治下的北方，二十一岁聚众抗金，率五十骑直入金营擒叛徒张安国，南归宋朝，本欲一展恢复中原之志，却因归正人身份屡遭猜忌，一生宦海浮沉，投闲置散近二十年。淳熙八年（1181）遭弹劾落职，退居上饶带湖，自号稼轩居士；绍熙、庆元间又两度罢官，长期闲居瓢泉。此词即闲居时期的遣兴之作——所谓遣兴，实乃借酒浇愁、以狂态排遣抑塞。词人空怀恢复之志而报国无门，于是醉里贪欢、醉倒松边，以貌似旷达的醉语写出英雄失路的孤愤。上片「信著全无是处」暗讽世道与古训相悖，下片与松问答，更是以畸行写真性的自我写照。读此词须知其背后是二十年的投闲置散与至死不渝的北伐雄心。词中醉态之狂放，实乃胸中块垒之喷薄：稼轩早年「壮岁旌旗拥万夫」的沙场豪情，中年「把吴钩看了，栏杆拍遍」的登临悲慨，到晚岁皆凝为这松边醉倒、推松曰去的狂态，笑谑愈深，悲凉愈重，故论者谓稼轩词「敛雄心，抗高调，变温婉，成悲凉」，此词正为其晚年心境之写真。

Art

The poet uses drunkenness to write about sobriety, and humor to express melancholy. The personification of the pine tree and the dramatic detail of pushing it away create a vivid, theatrical scene that simultaneously shows humor and pride.

全词以醉写醒、以谐写愤，是辛词诙谐中见沉郁的典型。上片「醉里且贪欢笑，要愁那得工夫」故作旷达——「且」字透出无可奈何，「那得工夫」愈说无暇发愁，愈见其愁之深重难遣；「近来始觉古人书，信著全无是处」以反语刺世，谓圣贤古训在浊世全然无用，貌似否定读书，实是愤世嫉俗的牢骚。下片转写醉态细节：「昨夜松边醉倒，问松我醉何如」将松拟人、以松为友；「只疑松动要来扶，以手推松曰去」更以一连串动作神态写醉中傲骨——疑松欲扶、推松使去，既写醉眼迷离的幻觉，又见不肯依附、孤傲不屈的性情。上下片一虚一实：上片言理，下片写形，以醉语写醒心，以谐趣写悲愤，嬉笑怒骂皆成文章，深得东坡以诗为词之精神，又多一份英雄末路的辛酸。尤妙者，全词以醉为纲，通篇不离醉态：醉里欢笑是醉，醉倒松边是醉，疑松来扶是醉，推松使去亦是醉，而醉的背面始终醒着——清醒地看透世道，清醒地不甘沉沦，故能以醉写醒、以醒观醉，这种醉醒交织的双重视角，正是此词高于一般游戏笔墨之处，也是辛词深沉浑厚的根源所在。

Allusions

'If taken literally, they are all wrong' is a satirical reversal of Confucian teachings, criticizing the corrupted world. 'Pushing the pine away' echoes Tao Yuanming's 'I'm drunk, I want to sleep, you may leave' but adds a unique twist.

「信著全无是处」暗用儒家信书传统而反言刺世——《孟子·尽心下》云「尽信书，则不如无书」，辛弃疾更进一层，谓古书全然无是处，实是愤世语：当世道乖违、黑白颠倒，圣贤之道无所施设，故发此反语，犹言不是书错，而是世道错。又《世说新语》载王孝伯语「名士不必须奇才，但使常得无事，痛饮酒，熟读离骚，便可称名士」，稼轩醉里读书、以醉遣愁，正承魏晋名士以酒浇块垒之传统。「以手推松曰去」化用陶渊明《饮酒》诗「吾醉欲眠卿且去」的率真，而别出「推松」奇笔——陶渊明对友人语，稼轩对松树作态，一静一动，更见其独处无侣的孤寂。松本象征坚贞岁寒，《论语》有「岁寒然后知松柏之后凋」之语，词人醉中疑松来扶、推之使去，正是以松自况坚贞、又以畸行写孤愤的典型手法，用典融化无痕。另有一层可注意者，宋人陈鹄《耆旧续闻》载稼轩「每燕必命侍妓歌其所作」，其词多与歌筵酒席相伴，故常以醉语出之，然醉语之中自藏深意，正合《庄子》「醉者神全」之旨——醉中神气完足，反能吐露真言，稼轩以醉态写孤愤，实深得庄周之妙，嬉笑怒骂皆成文章，此其所以为豪放之宗也。

Commentary

Critics regard this poem as a quintessential Xin Qiji work, where he writes his solitary grief with a drunken tongue. Its humor is bittersweet, revealing the heartache of a hero in desperate times.

近人论辛词「肝胆皆冰雪」「刚拙自信，永为天下恸」，此词以醉语写孤愤，最见辛派本色。清人周济《介存斋论词杂著》谓稼轩「敛雄心，抗高调，变温婉，成悲凉」，此词嬉笑怒骂中正含悲凉之骨。陈廷焯《白雨斋词话》称辛词「气魄极雄大，意境却极沉郁」，此词以游戏笔墨写沉郁情怀，可为注脚。词中「且」「那得」「始觉」「只疑」等虚字活画出醉态与心绪的微妙转折，于诙谐中见顿挫，历来选本必录。后世论遣兴一体，多以稼轩此词为范本，谓其于无可奈何中作旷达语、愈见沉痛；其以谐写庄、以醉写醒之法，更启金元散曲诙谐一路，影响深远。读此词当知：笑是最深的哭，醉是最清醒的醒。今人论词，每以苏辛并称，然东坡之旷达发自天性，读之令人豁然；稼轩之诙谐源于愤激，读之令人扼腕。此词以松为伴、与松问答，正是「知音少，弦断有谁听」的变奏，将无人可语的孤独化为一场与草木的对话，滑稽的外壳之下，是英雄老去、壮志难酬的千古之恸，故历千年而下，犹能动人。

Prosody

Form Ci poetry, tune of Xijiang Yue, 50 characters词·西江月（双调五十字，上下片各四句，两平韵一仄韵）

Rhyme Two level-rhyme lines per stanza, with one oblique-rhyme line at the end of each stanza (e.g., 'chu', 'qu')平仄韵同部互押：夫、书、扶为平声，处、去为仄声，同属词林正韵第四部（鱼虞御遇）

Tone pattern Standard tonal patterns with some flexibility上下片句式皆为六六七六，平仄依谱，句中多仄声短音，宜于诙谐顿挫

Reading note The tune is flowing and suits humorous expression, matching the drunken tone.《西江月》为唐教坊曲名，后用为词牌，双调五十字，上下片各四句，两平韵一仄韵，且平仄韵必须同部互押——这是此调最独特的格律要求：上片韵脚夫、书为平声，处为仄声，下片韵脚扶为平声，去为仄声，平仄四韵同在词林正韵第四部，声情于平缓中突起顿挫，正合本词嬉笑怒骂的语调。句式六六七六，长短错落，上片以六言对起，舒展从容，恰宜铺写旷达之语；下片转七言长句又收以六言，节奏由缓入急，与醉态描写相谐。稼轩于此调多写闲适或诙谐之境，如《夜行黄沙道中》之清新、《遣兴》之诙谐，皆能声情相称。此词以口语、虚字入律而不拗口，于严整格律中见自由挥洒，正是大家手段。

Line by line

醉里且贪欢笑，要愁那得工夫

Drunk, he indulges in laughter, claiming no time to worry; feigned carefree attitude actually reveals deep-seated sorrow.

趁着酒醉姑且贪享那片刻的欢笑，哪里有工夫去发愁。

Drunk, I snatch what laughter I can; what time is there for grief?

「且贪欢笑」的「且」字是全句的枢纽，意谓姑且、暂且，透出一种无可奈何的将就——不是真心欢笑，而是暂且贪欢、以醉忘愁。「要愁那得工夫」字面上说没有工夫发愁，实则反语：越是说无暇发愁，越见其愁之深重，愁到只能借醉逃避。两句一正一反，以旷达之语写沉郁之情，是典型的以乐景写哀、以欢语写悲。稼轩一生志在恢复而报国无门，闲居二十年，此等欢笑背后是英雄无用武之地的悲凉，读者须于字缝中读出其真实的愁绪，方不负稼轩以醉写醒的深心。

The snatch-what-laughter-I-can's qie word's the whole line's hinge, meaning the for-now-and-temporarily, revealing a helpless resignation — not the true laughter, and yet the for-now's snatching joy and the drunk-forgetting-grief. The what-time-is-there-for-grief's surface meaning's no-time-to-grieve, actually's the irony: the more saying no-time-to-grieve, the more seeing the grief's heaviness, the grief to the only-drunk's escape. Two lines one-right-one-wrong, using the open words for the somber feeling, the typical joy-scene-writes-sorrow and joy-words-write-grief. The Jiaxuan's whole life's will's the recovery and yet the country-serving's no-door, the idle life's twenty years, this laughter's behind's the hero's no-battlefield bleakness, the reader's must-between-the-lines's reading his true grief, then's not-failing the Jiaxuan's drunk-writes-awake deep heart.

近来始觉古人书，信著全无是处

He suddenly feels that ancient books are useless if taken literally; this is a satirical attack on the impracticality of old teachings in a corrupt world.

近来才发觉古人的书，信以为真时竟全然没有是处。

Of late I have found the ancients' books: trust them, and there is nothing right in them at all.

此二句为全词思想核心，以反语寄愤。「始觉」二字极有分量，谓近来方始醒悟，暗示此前深信古训、以此立身，而现实却处处碰壁，方知圣贤之道在浊世全然无用。「信著全无是处」直承《孟子》尽信书则不如无书之说而更进一层，不是怀疑书本，而是控诉世道——当黑白颠倒、忠奸不分，古人的忠义教诲反成了无用甚至有害之物。此语貌似醉后狂言、否定一切，实是清醒之至的愤激之词，把对时局的失望、对自身的解嘲尽收其中，是辛词以反语写正意的典范，读来令人如闻其拍案之声。

These two lines are the whole ci's thought core, using the irony for the entrusted indignation. The only-now-found two words' the most weighty, meaning the of-late's just awakening, hinting the before's the deep-belief-in-the-ancient-instructions-and-this-self-establishing, and yet the reality's everywhere the wall-bumping, hence knowing the sages' way's in the turbid world's wholly useless. The trust-them-and-there-is-nothing-right-in-them-at-all's directly inheriting the Mencius's the book's-trusted-wholly-is-worse-than-no-book's and yet the one-layer further, not the doubting-the-book, and yet the indicting-the-age — when the black-white's reversal and the loyal-traitor's no-distinction, the ancients' loyal-righteous instructions's instead's become the useless-and-even-harmful thing. This saying's the surface's the drunk-frantic-words-and-the no-negation-of-all, actually's the sober-to-the-extreme's indignant words, turning the time's disappointment and the self's mockery's all within, the Xin-ci's irony-writes-meaning model, reading it's like hearing the table-bang sound.

昨夜松边醉倒

Last night I fell drunk by the pine.

昨夜醉倒在松树旁边。

Last night I fell over drunk beside the pine.

此句点出醉之地点与情态，是全词由言理转入写形的关键。「昨夜」二字拉开时间距离，词人于清醒之后追述醉态，更见其醉之深、愁之重；「松边」选松树为醉卧之所，大有深意——松是岁寒不凋的坚贞之木，稼轩醉倒松边，正是以松自况，于醉中亦不离其孤傲本色。全句无一字写愁，而英雄失路、独酌无侣的孤寂自在其中。下文的问松、疑松、推松，皆由此醉倒生发，一「倒」字既写醉态狼狈，亦暗含倒而不屈的倔强，为全词最见筋骨的过拍，由理入形，顿挫有致。

This line points out the drunk's place-and-pose, the whole ci's reason-to-form key. The last-night two words' pulling the time-distance, the poet's after-the-sober's recounting-the-drunken-pose, the more seeing the drunk's depth and the grief's heaviness; the pine-side's choosing the pine as the drunken-lying place, the deep meaning — the pine's the year's-cold's-not-withered firm wood, the Jiaxuan's fallen-drunk-by-the-pine, precisely the pine's self-metaphor, within-the-drunken's also's not-leaving-the-lonely-lofty nature. The whole line's not one word of grief, and yet the hero's lost-road and the lone-drinking's no-companion loneliness's within. The below's ask-the-pine, suspect-the-pine, push-the-pine, all from this fallen-drunk's arising, the one dao word's at once writing the drunken-pose's dishevelment, and yet secretly carrying the fallen-and-yet-not-yielding stubbornness, the whole ci's bone-most-visible passing beat, from-the-reason-to-the-form, the pause-and-turn's well-made.

只疑松动要来扶

I only suspected the pine moved to come and help me up.

只疑心松树晃动，是要来搀扶自己。

I fancied the pine had stirred to come and help me up.

「只疑」二字写醉眼迷离中的幻觉，妙绝。松本静植，何尝来扶？是醉者目光恍惚，见松影摇动，竟疑其有情来扶。此一「疑」字，将无情的松树写成有情的朋友，既见其醉态之真，又见其孤独之甚——醉到只能与松树为伴，把一腔心事诉与草木。而「要来扶」三字又透出几分自尊与倔强：宁可醉倒松边，也不愿受人搀扶。此句为下句以手推松蓄势，一疑一推之间，醉态、孤怀、傲骨三者毕现，是辛词善以细节传神的明证，其诙谐处愈显其悲凉。

The only-suspected two words' writing the drunken-eyes' blurred hallucination, wondrous to the extreme. The pine's originally the static plant, how's it come to help? It's the drunk's gaze's trance, seeing the pine-shadow's sway, and yet suspecting its feeling's coming-to-help. This one yi word, turning the feelingless pine into the feeling friend, at once seeing the drunken-pose's truth, and yet seeing the loneliness's extremity — the drunk to the only-companion-the-pine, pouring one-breast heart's to the grass-and-trees. And the come-to-help-up three words' the more revealing a trace of self-respect-and-stubbornness: preferring the fallen-drunk-by-the-pine, and yet unwilling-the-other's-helping. This line's storing the force for the below's hand-push-the-pine, between one-suspect-and-one-push, the drunken-pose, lonely-heart, and proud-bone's three's fully shown, the Xin-ci's good-at-details-spirit proof, its wit's the more revealing its bleakness.

Study

Word focus

贪 Indulge; shows forced joy, hinting at deep worry. 「醉里且贪欢笑」之「贪」字，写醉中强觅欢愉的情态，一字见挣扎。贪本指不知餍足地求取，此处用于欢笑，极言其人不惜沉醉酒乡、拼命抓住片刻欢乐，恰反衬出清醒时愁之深重、欢之难得——正因为愁多，才更要贪欢；正因为贪欢，愈见其愁。与「且」字配合，贪是姿态，且是无奈，二字合力写出一种以醉遣愁、以欢掩悲的挣扎。稼轩不写且寻欢笑、且觅欢笑而用「贪」，将那种近乎自弃的沉溺感写透，是辛词炼字于寻常处见奇崛的范例，一个贪字，满纸辛酸。

只疑 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「只疑松动要来扶」之「只疑」二字，是全词写醉态最传神处。「只」字限定范围，仿佛醉眼所见除此一念别无他物，活画出醉者凝视松影、心神专注之态；「疑」字写幻觉，将静松疑为动松、将无情疑为有情，迷离恍惚中见醉意之深。二字合观，妙在以疑写醉、以幻觉写真性情——不是真以为松要来扶，而是醉中太孤独，遂生此有情之想；又因生性倔强，故疑而未受，引出下句推松之傲。稼轩不用「见」「觉」等落实之字，独取「只疑」，把醉与醒、幻与真、孤与傲糅于一处，炼字之精，令人叹服。

去 Go; a curt command that reveals unyielding defiance. 「以手推松曰去」之「去」字，短促决绝，一字千金。前文疑松来扶，此句即推之使去，一疑一推之间，醉者的自尊与孤傲喷薄而出。「去」为命令语，词人醉中竟对松树发号施令，看似滑稽，实则写出其不肯依附、不容搀扶的刚烈性情——连草木的好意亦不接受，正是英雄失路而不肯低头的本色。此字声短气促，与「推」字相连，动作干净利落，仿佛可见醉者挥手斥松之态；在词律上又恰为仄韵句脚，掷地有声，收束全词，将满纸醉语凝于一声断喝，余味无穷，是辛词以一字立骨、以虚写实的杰构。