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宋 Song · 词 Ci lyric

张元干·贺新郎·寄李伯纪丞相

Congratulating the Bridegroom · Sent to Prime Minister Li Boji

张元干

Zhang Yuangan

豪放heroic 爱国patriotism

曳杖危楼去。
斗垂天、沧波万顷，月流烟渚。
扫尽浮云风不定，未放扁舟夜渡。
宿雁落、寒芦深处。
怅望关河空吊影，正人间、鼻息鸣鼍鼓。
谁伴我，醉中舞。
十年一梦扬州路。
倚高寒、愁生故国，气吞骄虏。
要斩楼兰三尺剑，遗恨琵琶旧语。
谩暗涩、铜华尘土。
唤取谪仙平章看，过苕溪、尚许垂纶否？
风浩荡，欲飞举。

Trailing my staff, I climb the high tower.
The Dipper hangs in the sky; ten thousand acres of blue wave;
The moon flows over misty islets.
The wind scatters the floating clouds yet will not settle—
It will not let my small boat cross by night.
Roosting wild geese drop into the depths of cold reeds.
Gazing in regret at the passes and rivers, I mourn my lone shadow,
Even as below, the world breathes in sleep, noses humming like an alligator drum.
Who will keep me company, dancing in my cups?

Ten years, a single dream—the road to Yangzhou.
Leaning into the high cold, sorrow rises for the lost land;
My breath would swallow the proud foe.
I would take the three-foot sword to behead the Lou-lan king,
But only the old regret of the pipa's song remains.
In vain the bronze grows dim, sheathed in dust.
I would call the Banished Immortal to judge:
Past the Tiao River, would he still let me drop a line?
The wind is vast and mighty—
I would soar aloft.

Listen

Meaning

Trailing my staff I climb the high tower. The Dipper hangs in the sky, ten thousand acres of blue wave, and the moon flows over the misty islets. The wind scatters the floating clouds yet never settles, not letting my small boat cross by night. Roosting wild geese drop into the depths of cold reeds. Gazing in regret at the passes and rivers, I mourn my lone shadow; even as the world below breathes in sleep, noses humming like an alligator drum. Who will keep me company, dancing drunk? Ten years a single dream—the road to Yangzhou. Leaning into the high cold, sorrow rises for the lost capital; my spirit would swallow the arrogant foe. I would take the three-foot sword to behead the Lou-lan king, yet only the old regret of the pipa's song remains. In vain the bronze sword grows dim, sheathed in dust. I call the Banished Immortal to judge: past the Tiao River, would he still permit me to drop a fishing line? The wind is vast and mighty; I would soar aloft.

拖着手杖登上高楼。北斗垂挂天际、万顷沧波，月光在烟水洲渚间流泻。风儿吹散了浮云却仍不定，不让我乘小船夜渡。宿雁落进寒芦深处。怅望关山河山，空自形影相吊，正当人间大众鼻息如鼍鼓般酣眠。谁伴我在醉中起舞？十年如一梦，扬州旧路。倚着高寒，愁绪生于故国，豪气欲吞骄横之敌。本要斩获楼兰的三尺长剑，空留琵琶旧曲的遗恨。徒然让铜剑暗淡蒙尘。唤起谪仙来评看，过苕溪去，还许我垂钓否？风浩荡，正欲振翅飞举。

Appreciation

The upper part is scene, the lower feeling, the breath restless. The upper opens 'Trailing my staff, I climb the high tower', then writes the clear, vast night—Dipper hanging, blue wave, moon on misty islets, roosting geese in cold reeds—then suddenly turns 'Gazing in regret at the passes and rivers, I mourn my lone shadow; even as below, the world breathes in sleep, noses humming like an alligator drum', using the world's deep sleep to set off the lone wakefulness of the committed man, deep and checked. 'Who will keep me company, dancing in my cups' melts Zu Ti's dancing, quietly answering Li Boji. The lower's 'Ten years, a single dream—the road to Yangzhou' turns the whole, from scene into history; 'My breath would swallow the proud foe' and 'I would take the three-foot sword to behead the Lou-lan king' speak the will to recover directly, then 'In vain the bronze grows dim, sheathed in dust' drops sharply, its rises and falls full of tension. It closes 'The wind is vast and mighty—I would soar aloft', rising from the oppression, solemn and dripping, opening the way for the Xin school.

【白话串讲】张元干登楼寄丞相李纲：“曳杖危楼去。斗垂天、沧波万顷，月流烟渚”。“怅望关河空吊影”——他望着破碎的河山。“十年一梦扬州路”——十年一梦。南宋词人把抗金的心事，都写进了这首词。【意象与手法】此诗为宋张元干之作，精要赏析详见下方深度赏析。【情感与主旨】张元干（1091—约1170），字仲宗，南宋初年重要词人，主战派【名句点睛】本词为豪放词与爱国词重点篇目，考试多考

Background

Zhang Yuangan (1091–c.1170), styled Zhongzong, an important lyricist of early Southern Song and a hawkish minister. Li Gang (styled Boji) was the famous anti-Jin prime minister, made vice-director of the right in the Jianyan era, then quickly pushed out by Huang Qianshan and others; in the Shaoxing era Qin Hui made peace, and Li Gang died in anger. This lyric, titled 'Sent to Prime Minister Li Boji', was written when Li Gang was demoted and the hawks lost power; Zhang Yuangan sent it as comfort and to state his own intent. The upper 'Gazing in regret at the passes and rivers, I mourn my lone shadow' writes the Central Plain lost and the committed man alone; the lower 'Ten years, a single dream—the road to Yangzhou' points to the ten years since Jingkang, the repeated defeat of the anti-Jin war, 'My breath would swallow the proud foe' and 'I would take the three-foot sword to behead the Lou-lan king' speak the will to recover directly. Blending personal fate, care for the lost land, and respect for Li Gang, it is a representative patriotic lyric of early Southern Song, and a prelude to his later being stripped of rank for sending a lyric to Hu Quan and angering Qin Hui.

此词为张元干寄李纲之作。李纲（1083—1140）字伯纪，北宋末南宋初主战派领袖，靖康之难中力主抗金、组织东京保卫战，南渡后拜相，仅七十五日即为投降派排挤而去。张元干（1091—约1170），字仲宗，长乐（今属福建）人，靖康年间即投身抗金事业，绍兴中因作词送胡铨而被削籍，是南宋初年重要的爱国词人。此词约作于绍兴初年李纲被罢相闲居之后。南宋小朝廷偏安江左，金兵压境，而朝野上下和议之声甚嚣尘上，主战派备受排挤。张元干登楼望远，感慨山河破碎、壮志难酬，作此词寄李纲，既慰其孤忠，亦抒己怀抱。词中“十年一梦扬州路”暗含对建炎三年金兵南下、扬州被焚的痛史；“要斩楼兰三尺剑，遗恨琵琶旧语”既写抗金之志，又暗讽朝廷和议之非。全词豪放悲壮，是南宋爱国词的开山之作。

Art

This lyric sets scene above, feeling below, its breath restless. The upper opens 'Trailing my staff, I climb the high tower', then writes the clear, vast night—Dipper hanging, blue wave, moon on misty islets, roosting geese in cold reeds—then suddenly turns 'Gazing in regret at the passes and rivers, I mourn my lone shadow; even as below, the world breathes in sleep, noses humming like an alligator drum', using the world's deep sleep to set off the lone wakefulness of the committed man, deep and checked. 'Who will keep me company, dancing in my cups' melts Zu Ti's dancing, quietly answering Li Gang. The lower's 'Ten years, a single dream—the road to Yangzhou' turns the whole, from scene into history; 'My breath would swallow the proud foe' and 'I would take the three-foot sword to behead the Lou-lan king' speak the will to recover directly, then 'In vain the bronze grows dim, sheathed in dust' drops sharply, its rises and falls full of tension. It closes 'The wind is vast and mighty—I would soar aloft', rising from the oppression, solemn and dripping, opening the way for the Xin school.

此词艺术上以壮阔的意境与深沉的忧愤见长，是南宋豪放词的先声。上片写登楼夜望：开篇“曳杖危楼去”以一“曳杖”写老病之身、以“危楼”写高寒之境，人未登而悲壮已生；“斗垂天、沧波万顷，月流烟渚”以北斗垂天、沧波万顷、月流烟渚的阔大意象，铺陈天地间的苍茫夜色。然而这壮阔的背景下，是“扫尽浮云风不定，未放扁舟夜渡”的动荡与阻隔——风不定、舟难渡，暗喻时局的飘摇与抗金之路的阻绝。“宿雁落、寒芦深处”以雁宿寒芦写前路的冷寂，“怅望关河空吊影”直写孤独——山河破碎，唯余形影相吊；“正人间、鼻息鸣鼍鼓”以鼾声如鼓写世人的酣睡与麻木，与诗人的独自醒着形成尖锐对照。“谁伴我，醉中舞”以问作结，孤愤尽出。下片转入对李纲的倾诉与自励：“十年一梦扬州路”写时光虚掷、旧梦难寻；“愁生故国，气吞骄虏”于愁中见豪气；“要斩楼兰三尺剑，遗恨琵琶旧语”以斩楼兰的壮志与琵琶和亲的遗恨对举，直指和议之非；“谩暗涩、铜华尘土”叹宝剑蒙尘、壮志空置。结句“唤取谪仙平章看，过苕溪、尚许垂纶否？风浩荡，欲飞举”更以李白自况、以垂纶问志，最后以“风浩荡，欲飞举”的壮语收束，把悲愤化为飞举的豪情。全词情景交融、今昔交织、悲壮相生，是“慷慨悲歌”的典范。

Allusions

This lyric uses allusions dense yet apt. 'Noses humming like an alligator drum' uses the alligator's (Yangzi crocodile's) drum-like hum for the world's deep sleep, setting off the committed man's wakefulness, from the Shi Jing 'alligator drum' and Li Bai's 'nose-breath drying the rainbow' image. 'Dancing in my cups' quietly uses Zu Ti and Liu Kun's 'dance at cockcrow' and 'dance at midnight', pointing to the shared will with Li Gang to recover. 'I would take the three-foot sword to behead the Lou-lan king' melts Fu Jiezi beheading the Lou-lan king and Li Bai's 'I would take the sword at my waist to behead Lou-lan straight', stating the resolve to serve the state. 'The pipa's old song' uses Wang Zhaojun's going beyond the frontier, meaning the regret of the peace treaty. 'The Banished Immortal' means Li Bai; the last line would invite Li Bai to judge whether he may drop a line past the Tiao River, quietly holding a reclusive thought and pride. The whole uses reference as if his own, heroic and grieving.

此词用典繁富而皆能贴切。“曳杖”暗用《礼记》“曳杖逍遥”之典，写老病之态；“鼍鼓”以鼍皮鼓喻鼾声，兼有《诗经》“鼍鼓逢逢”之语；“十年一梦”化用杜牧《遣怀》“十年一觉扬州梦”之句，写往事如梦；“楼兰”用汉傅介子斩楼兰王典故，喻斩杀敌酋；“琵琶旧语”用王昭君琵琶和亲故事，暗讽朝廷和议；“谪仙”指李白，用贺知章称李白为“谪仙人”之典；“垂纶”用姜太公渭水垂钓、待时而动之典，问隐居之志。这些典故皆为抗金主题服务：楼兰之剑是杀敌之志，琵琶之语是和亲之悲，垂纶之问是进退之思。尤妙者，“过苕溪、尚许垂纶否”以问作结，既写李纲闲居之况，又暗问其是否还能复出，委婉而深沉。全词用典如盐入水，不觉其多而各得其宜，是南宋爱国词用典的典范。

Commentary

Zhang Yuangan's lyrics are stirring and bleak, a pioneer of Southern Song patriotic lyrics. The Ming Mao Jin in his 'Lu Chuan Lyric Postscript' said 'his long tunes especially shed the soft and pretty, alone standing vigorous'. The Qing 'Si Ku Summary' said 'his lyrics are stirring and bleak; hundreds of years on, one still imagines his repressed, lofty air'. The modern Long Yuansheng said this lyric 'lodges a far-reaching sigh, fit to stand with Xin Qiji'. Also, for writing 'Congratulating the Bridegroom' to send Hu Quan and angering Qin Hui, he was stripped of rank; both his person and his lyrics stand high, and critics grant him 'the bone of a lyricist'; this piece sent to Li Gang especially shows his lone loyalty.

此词与张元干另一首《贺新郎·送胡邦衡谪新州》并称，是南宋爱国词的开山双璧。胡铨因上书请斩秦桧而遭贬，张元干作词送之，遂亦被削籍除名——为朋友之义、为国家之志而获罪，正见其人格之刚直。此词寄李纲，情辞更为深婉：既有“气吞骄虏”的豪情，又有“空吊影”的孤寂；既有“斩楼兰”的壮志，又有“铜华尘土”的悲慨。陈廷焯《白雨斋词话》谓南宋词人“慷慨激昂者，自张元干始”，正指此等作品。全词以豪放写悲壮，以壮语写哀情，正是“沉郁顿挫”的南宋词风之先导。较之辛弃疾词的苍凉悲慨，此词尚带建炎之际的慷慨之气，是南渡词坛由婉约转向豪放的里程碑。

Prosody

Form Lyric, 'Congratulating the Bridegroom' (He Xin Lang), double-tune 116 characters词牌·贺新郎（又名金缕曲、乳燕飞）

Rhyme Ci Lin Zheng Yun fourth group (go, islets, cross, drum, dance, foe, song, dust, permit, soar, etc.), oblique rhyme《贺新郎》为双调，上下片各十句，押仄声韵（入声为主）。此词用入声韵（叶），韵脚短促急促，正合悲壮激越的词情。入声韵在豪放词中最为常见——张元干、辛弃疾、岳飞皆喜用入声韵写壮志悲情，音调铿锵，宜于表现激昂慷慨。

Tone pattern Long tune, oblique rhyme stirring, fit for stirring feeling《贺新郎》句式参差，长句短句相间，音节跌宕起伏。此词上片以“曳杖危楼去”的短句起，接以“斗垂天、沧波万顷”的长句，短起长承，张弛有度；下片“要斩楼兰三尺剑”与“谩暗涩、铜华尘土”长短交错，节奏紧促。全词以入声韵押底，句句顿挫，正合“慷慨悲歌”的声情，是豪放词用韵的典范。

Reading note Sent to a hawkish minister; heroic and solemn, opening the Xin school.《贺新郎》一词，句式长短错落，最宜抒发慷慨激昂之情。张元干此词是其代表：上片写登楼夜望之景，以壮阔起、以孤愤结；下片写家国之思，以壮志起、以豪情结。全词以入声韵贯穿，音节铿锵，如闻击筑之声。相较同时期的婉约词，此词以壮语写哀情，正是“豪放”的典范。它在词史上的地位，在于开启南宋爱国词的先声——此后辛弃疾、刘克庄、陈亮等人的豪放悲壮之作，皆承此而来。张元干因送胡铨之词而获罪，更使其词带上以身殉志的悲壮色彩，为词史添一段风骨。

Line by line

曳杖危楼去。斗垂天、沧波万顷，月流烟渚。

Dragging my staff, I climb the high tower. The Dipper hangs in the sky; ten thousand qing of dark waves, moonlight flowing over misty islets.

拖着手杖登上高楼。北斗垂挂天际，万顷沧波浩渺，月光在烟雾迷蒙的洲渚间流泻。

Leaning on my staff I climb the tall tower. The Plough hangs low; vast waters stretch ten thousand qing, moonlight drifting over mist-shrouded islets.

起句即以老病之身登高望远，奠定全词苍凉悲壮的基调。“曳杖”写扶杖而行，见其老病飘零；“危楼”写楼之高险，登之必有所望。“斗垂天、沧波万顷，月流烟渚”三句以阔大的意象铺陈夜色：北斗垂空、沧波万里、月光流泻于烟水洲渚之间。天地苍茫而诗人孑然，壮阔的背景反衬出孤独的身影。这高寒之夜的登临，不是为了赏景，而是为了“怅望关河”——望那破碎的山河。起笔即写景，而景中已见忧愤，是豪放词以壮景开篇的典型。

The opening climbs the height with aged, infirm body, fixing the ci's desolate, tragic keynote. 'Dragging my staff' writes walking supported by a stick, showing age, sickness and drift; 'high tower' the tall, perilous tower, climbing it implies something to be gazed on. 'The Dipper hangs in the sky; ten thousand qing of dark waves, moonlight flowing over misty islets' lays out the night in grand imagery: the Dipper hung across the void, dark waves ten thousand li, moonlight flowing over misty islets. Heaven and earth are vast and the poet alone; the magnificent background sets off the solitary figure. This climb on a cold night is not to enjoy scenery but to 'gaze ruefully at the broken rivers and hills' — to gaze on the ravaged land. The opening writes scenery, yet in the scenery is already sorrow and indignation; it is the typical way of bold ci opening in a grand scene.

扫尽浮云风不定，未放扁舟夜渡。宿雁落、寒芦深处。

The wind scatters the flying clouds yet still will not settle, not letting my small boat cross by night. Roosting geese have alighted deep in the cold reeds.

风儿吹散了浮云却仍摇摆不定，不肯放我乘小舟夜渡。宿雁落在寒芦深处。

The wind scours the clouds away but is still unsteady; it will not let my small boat cross by night. Roosting geese have settled deep in the cold reeds.

此三句由天地的壮阔转入身世的动荡。“扫尽浮云风不定”双关：既是写夜风之吹散浮云而不定，更是暗喻时局的飘摇——和议与主战之争如风起云涌，未有定局；“未放扁舟夜渡”写渡江之愿被阻，暗喻抗金救国之志难行。“宿雁落、寒芦深处”以雁宿寒芦写前路之冷寂，也以雁自喻——漂泊无依、夜宿寒苇。三句层层写阻隔与孤寂：风不定、舟难渡、雁独宿，把壮阔的天地写成了困人的樊笼，为下文的“怅望”作了铺垫。

These three phrases turn from the vastness of heaven and earth to the turmoil of the poet's own fate. 'The wind scatters the flying clouds yet still will not settle' is double: it both writes the night wind dispersing clouds yet unsteady, and secretly figures the wavering times — the peace faction and war faction contending like rising wind and clouds, no settled outcome. 'Not letting my small boat cross by night' writes the thwarted wish to cross the river, secretly figuring the thwarted will to resist the Jin and save the country. 'Roosting geese have alighted deep in the cold reeds' writes the cold desolation of the road ahead through geese roosting in cold reeds, and figures the poet himself — adrift, roosting in cold reeds by night. Three phrases write barrier and solitude layer by layer: wind unsteady, boat hard to cross, goose roosting alone, turning the vast world into a confining cage, preparing for the later 'rueful gaze.'

怅望关河空吊影，正人间、鼻息鸣鼍鼓。谁伴我，醉中舞。

I gaze ruefully at frontier and river, vainly condoling with my own shadow; while the world below snores like alligator drums. Who is there to join me, dancing in my cups?

怅望关河，空自形影相吊，正当人间大众鼻息如鼍鼓般酣眠。谁伴我在醉中起舞？

I gaze sorrowfully at the frontier rivers, vainly commending my shadow; while the world snores below, breathing like alligator drums. Who will join me dancing in my drunkenness?

此三句是全词情感的第一个高潮。“怅望关河空吊影”直写孤独——山河破碎，而诗人独自怅望，唯见自己形影相吊；“正人间、鼻息鸣鼍鼓”以鼾声如鼓写世人的酣睡——众人皆醉、唯我独醒，那如雷的鼾声，正是麻木与苟安的象征；“谁伴我，醉中舞”以问作结——古有闻鸡起舞之志，而今醉中起舞，竟无人相伴。三句由“吊影”的孤独，到“鼾声”的对照，再到“谁伴”的质问，层层逼进，把抗金志士的孤独与愤慨写得淋漓尽致。众人酣睡而我独醒，这正是仁人志士最深的悲哀。

These three phrases are the first emotional climax of the ci. 'I gaze ruefully at frontier and river, vainly condoling with my own shadow' writes solitude directly — hills and rivers broken, yet the poet gazes alone, seeing only his own shape and shadow. 'While the world below snores like alligator drums' writes the world's deep sleep through snoring like drums — all are drunk, I alone sober; that thunderous snore is the symbol of numbness and complacency. 'Who is there to join me, dancing in my cups?' closes in a question — of old there was the resolve to rise at the cockcrow and dance, yet now, dancing in drunkenness, no one accompanies. Three phrases press forward layer by layer: from the solitude of 'condoling with my shadow,' to the contrast of 'snoring,' to the questioning 'who joins me,' exhausting the loneliness and indignation of the Jin-resisting patriot. The world asleep while I alone wake is precisely the deepest grief of the humane and resolute.

十年一梦扬州路。倚高寒、愁生故国，气吞骄虏。

Ten years, a dream on the Yangzhou road. Leaning in the cold, sorrow rises for the lost land; my spirit swallows the arrogant foe.

十年如一梦，扬州旧路。倚着高寒，愁绪生于故国，豪气欲吞骄横之敌。

Ten years, a dream on the road to Yangzhou. Leaning in the cold, sorrow for the old country rises; my spirit would swallow the insolent foe.

换头转入对往事的追忆与对李纲的倾诉。“十年一梦扬州路”化用杜牧诗句，写十年光阴如一场大梦——建炎三年金兵南下，扬州被焚，繁华付之一炬，而抗金事业蹉跎至今；“倚高寒、愁生故国”写倚楼而望，愁因故国而生；“气吞骄虏”则在愁中振起豪气——虽有家国之愁，仍有吞灭骄敌之气。一梦一愁一气，层层转折：由梦醒之悲、到望乡之愁、再到吞敌之志，把南渡志士复杂的心绪写得跌宕起伏。这四句是上片孤独的升华，也是下片“斩楼兰”之志的先声。

The head-turning opening turns to recollection of the past and a plea to Li Gang. 'Ten years, a dream on the Yangzhou road' adapts Du Mu's line, writing ten years as a great dream — in the third year of Jianyan the Jin marched south, Yangzhou was burned, its splendor turned to ashes, and the resistance cause has dragged on until now. 'Leaning in the cold, sorrow rises for the lost land' writes gazing from the tower, grief born of the old country. 'My spirit swallows the arrogant foe' then lifts boldness from grief — though there is sorrow for home and country, there is still breath to swallow the proud enemy. One dream, one grief, one spirit, turning layer by layer: from the grief of waking from the dream, to the sorrow of gazing at home, to the will to swallow the foe, writing the complex feelings of a south-crossing patriot in rising and falling waves. These four phrases are the sublimation of the upper stanza's solitude and the first note of the lower's 'behead the Loulan' will.

要斩楼兰三尺剑，遗恨琵琶旧语。谩暗涩、铜华尘土。

The three-foot sword meant to behead Loulan — the old complaint of the pipa remains; in vain it dims, its bronze green with dust.

本要斩获楼兰的三尺长剑，空留琵琶旧曲的遗恨。徒然让铜剑暗淡蒙尘。

The three-foot sword meant to behead Loulan; the old regret of the pipa song. Uselessly it dulls, its bronze green with dust.

此三句以用典写壮志与遗恨的对照。“要斩楼兰三尺剑”以傅介子斩楼兰之典写杀敌之志——三尺长剑在手，本要斩除敌酋；“遗恨琵琶旧语”以昭君琵琶和亲之典写朝廷和议之非——空有壮志，终被和议之策所误；“谩暗涩、铜华尘土”写宝剑蒙尘——壮志难酬，利剑空自暗涩生锈。三句一志、一恨、一叹：志在斩敌，恨在和议，叹在宝剑蒙尘。这既是诗人自况，也是代李纲而言——主战派的壮志，在南宋苟安的政治现实中被白白消磨。以剑写志、以尘写悲，正是豪放词以物象言志的典范。

These three phrases write through allusion the contrast of lofty will and lingering regret. 'The three-foot sword meant to behead Loulan' uses Fu Jiezi's allusion of beheading the king of Loulan to write the will to kill the foe — the three-foot sword in hand, meant to strike off the enemy chief. 'The old regret of the pipa remains' uses Wang Zhaojun's marriage through the pipa to write the wrong of the court's peace policy — lofty will alone, yet thwarted at last by the peace strategy. 'In vain it dims, its bronze green with dust' writes the sword gathering dust — will unfulfilled, the keen blade vainly dulling and rusting. Three phrases: one will, one regret, one sigh — will to behead the foe, regret for the peace, sigh for the dusty sword. This is at once the poet's own case and a speaking for Li Gang: the war faction's resolve, ground away in the complacent politics of Southern Song. Writing will through the sword and grief through dust is the model of bold ci voicing resolve through objects.

唤取谪仙平章看，过苕溪、尚许垂纶否？风浩荡，欲飞举。

Call the Banished Immortal to judge it all; if I pass the Tiao Stream, will I yet be allowed to angle? The wind is vast; I would soar on high.

唤起谪仙来评看，过苕溪去，还许我垂钓吗？风浩荡，正欲振翅飞举。

Call the Banished Immortal to judge it; if I go by the Tiao Stream, will I still be allowed to fish? The wind is vast; I long to fly upward.

结拍以问与答收束全词，把悲愤化为豪情。“唤取谪仙平章看”以李白自况，亦以比李纲——请谪仙来评断这江山时事；“过苕溪、尚许垂纶否”以垂纶之问写进退之思——若归隐苕溪，还可垂钓自适吗？这一问既是自问，也是问李纲：主战之志，还能否再起？“风浩荡，欲飞举”以壮语作答——风正浩荡，我欲振翅高飞。全词以“欲飞举”收束，把前面的孤独、愤慨、悲凉，都化作了乘风而起的豪情。这不仅是个人之志，更是南渡志士的共同心声——纵有重重阻隔，抗金之志不可磨灭。

The close ends in question and answer, turning grief and indignation into heroism. 'Call the Banished Immortal to judge it all' compares himself to Li Bai and also to Li Gang — bid the Banished Immortal judge this江山 and these times. 'If I pass the Tiao Stream, will I yet be allowed to angle?' writes the thought of advance or retreat through the question of angling — if I retire to the Tiao Stream, may I still angle in ease? This question is at once self-questioning and a question to Li Gang: can the war will rise again? 'The wind is vast; I would soar on high' answers in bold words — the wind is vast, I would spread my wings and fly. The ci closes on 'I would soar,' turning all the preceding solitude, indignation and desolation into the heroism of rising on the wind. This is not merely personal will but the shared voice of south-crossing patriots: however many barriers, the will to resist the Jin cannot be extinguished.

Study

Word focus

曳杖 A key expression in the poem. Read it as an image, mood, or grammar point in context. “曳杖危楼去”之“曳杖”，写扶杖而行，起笔即见苍凉。“曳”字写拖曳之态，老病之身、步履蹒跚，尽在其中。然而正是这曳杖之人，偏要登“危楼”远望——老病而不能忘国，正是志士的本色。曳杖与危楼相对，一弱一险，形成强烈的反差，使开篇便有一种悲壮的张力。二字既写形，更写神：曳杖之躯，怀登高之志，南宋爱国志士的处境，尽在起笔之中。

怅望 A key expression in the poem. Read it as an image, mood, or grammar point in context. “怅望关河空吊影”之“怅望”，写登楼远望而心有所失，是全词情感的核心。“怅”是失望与惆怅——望关河而山河破碎；“望”是眺望与期盼——虽破碎而仍望。怅望之间，是志士对家国深沉的关注与无奈的悲哀。“空吊影”紧承怅望，写怅望的结果只是形影相吊——山河依旧破碎，自己依旧孤独。二字把登楼的情绪、对国的深情、孤独的处境熔于一炉，是全词由景入情的枢纽。

谩 Means 'in vain'; writes the precious sword dim with dust, the ambition aged in vain—helplessness and indignation. “谩暗涩、铜华尘土”之“谩”，意为徒然、空自，是全词最见沉痛的一字。谩者，徒然也——三尺长剑，本要斩楼兰，却徒然让它暗涩蒙尘。这一个“谩”字，写出了壮志与现实的巨大落差：不是没有志，而是有志难酬；不是没有剑，而是剑无可用。“谩”字之下，宝剑蒙尘的意象被赋予深沉的悲哀——那不只是一把剑，而是南渡志士被消磨的整个生命。一字之叹，胜过千言。

垂纶 A key expression in the poem. Read it as an image, mood, or grammar point in context. “过苕溪、尚许垂纶否”之“垂纶”，本指垂钓，此处暗用姜太公渭水垂钓、待时而动之典，写进退之思。垂纶是隐居的姿态，然“尚许垂纶否”一问，却见其隐居之不甘——若真能安心垂钓，何须问“尚许否”？这垂纶之问，实是复出之问、用世之问。张元干以垂纶写李纲的闲居，又以问句写其志未泯，委婉而深沉。二字含两重意：表面问归隐可否，内里问壮志何托，正是用典入化的妙笔。