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宋 Song · 词 Ci lyric

鹧鸪天·送人

Partridge in the Sky: Seeing Someone Off

辛弃疾

Xin Qiji

送别Farewell 友情Friendship 感慨Reflection

唱彻阳关泪未干，功名余事且加餐。
浮天水送无穷树，带雨云埋一半山。
今古恨，几千般，只应离合是悲欢？
江头未是风波恶，别有人间行路难。

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Meaning

After singing the Yang Pass farewell song, tears still wet, the poet advises his friend to take fame lightly and eat well. The vast, misty scenery of sky-touching waters and rain-laden clouds deepens the sorrow of parting. In the second stanza, the poet broadens his perspective, lamenting that there are countless grievances in history and that the dangers of official life are worse than river storms, elevating personal parting to a reflection on life's hardships.

唱完了《阳关三叠》离歌泪水还未擦干，功名利禄本是余事，只望你保重加餐。水天相连远处送走无穷的树木，带雨的云层掩埋了半截青山。古往今来恨事有千万种，难道只有聚散离合才算悲欢？江上的风浪并不算险恶，人世间别有那更难走的路。

Appreciation

This ci masterfully blends expansive imagery with deep emotion. The couplet 'The endless trees are sent off by sky-touching waters, half the mountains are buried in rain-laden clouds' creates a boundless, misty scene. The concluding lines contrast river dangers with life's difficulties, showing insightful detachment. The poem moves from personal sorrow to universal insight, typical of Xin Qiji's mature style.

【白话串讲】 “江头未是风波恶，别有人间行路难”——辛弃疾送别朋友，说江上的风浪不算什么，人间的路才最难走。一个上过战场的人，把人生的险恶看得很透。【意象与手法】上片景情相生，“浮天水送无穷树，带雨云埋一半山”以大景写大愁，对仗精整而气象开阔，迷蒙中见苍凉【情感与主旨】此词为辛弃疾送别友人之作，具体年份难定，大抵在其宦游或闲居期间【名句点睛】常考送别主题与情感层次（离情—劝慰—世路之叹）；“浮天水送无穷树，带雨云埋一半山”的意境营造与对仗之工

Background

This farewell ci was likely written during Xin Qiji's official travels or retirement. Having experienced many setbacks and political frustrations, he deeply understood the dangers of officialdom. Thus, he not only mourns the separation but also encourages his friend, while revealing his own feelings of bitterness and resignation.

辛弃疾《鹧鸪天·送人》为送别友人之作，具体作年与所送之人均难确考，学界多系之于其宦游或闲居上饶期间。辛弃疾一生以恢复中原为志，然屡遭主和派排挤，宦海浮沉、壮志难酬，故其送别之作，往往不徒写离愁，而寄托对世路艰难、人心险恶的深沉感慨。此词即是典型的「借送别以写世情」之作：上片写别离之景、劝慰之意，下片则由「离合之悲」翻出「行路之难」的更大悲慨，其视野由眼前的离别，拓展至整个人世的险恶。词中「江头未是风波恶，别有人间行路难」二句，是辛弃疾饱经宦海沉浮后的肺腑之叹——自然的江上风波并不可畏，真正可畏的是人世间那看不见、摸不着的人情风波、仕途陷阱。此词虽为送别，实是自道其一生仕途的辛酸与愤懑，与辛词中「却将万字平戎策，换得东家种树书」的悲慨一脉相通。辛弃疾的送别词，多非泛泛的应酬，而是借别情以写胸襟。他一生「四十三年，望中犹记，烽火扬州路」，怀恢复之志而屡遭闲置，故其送别之际，常于离愁之外，翻出「世路艰难」「功名余事」的感慨。此词「江头未是风波恶，别有人间行路难」的慨叹，正是这种心境的集中表达。所送何人虽不可考，然其「人间行路难」之叹，却道尽了包括词人在内的无数志士的共同悲慨，故能超越具体的离别，而具普世的力量。

Art

The first stanza blends scene and emotion: the vast waters and cloudy mountains reflect the speaker's melancholy. The second stanza uses rhetorical questions and contrasts to shift focus from individual parting to universal grievances. The final lines use a progressive contrast ('is not... there is another') to raise the theme from river dangers to life's hardships.

此词以「送别」起笔，而以「世情」收束，章法上层层翻进，是辛词中以议论见长的送别名篇。上片起二句「唱彻阳关泪未干，功名余事且加餐」，写临别劝慰——阳关唱彻、泪犹未干，是离别的实情；而「功名余事」「且加餐」，则是以旷达之语劝友珍重，其中「功名余事」四字，已含辛弃疾对功名的看破。接着「浮天水送无穷树，带雨云埋一半山」，是一联极工整的写景对仗：水天相接，送走了无穷的树木；带雨的云层，掩埋了半截青山。「送」「埋」二字，写景而兼写情——「送」应上文的送别，「埋」则暗寓前路被云雨掩没的迷茫。下片「今古恨，几千般，只应离合是悲欢」，以反问翻进一层：古往今来的恨事有千万种，难道只有离合才算是悲欢吗？此问引而不发，为末二句蓄势。「江头未是风波恶，别有人间行路难」，是全词的题旨——江上风波不算险恶，人间行路才是真的艰难。全词由离别之泪，到劝慰之语，再到写景之送与埋，最后翻出「行路难」的慨叹，层层推进，情理交融，笔力遒劲而思致深沉。此词写景一联尤见功力：「浮天水送无穷树，带雨云埋一半山」，上句写水面之远，下句写山势之隐，一「送」一「埋」，一明一暗，把离别的「远」与「难」一并写尽。而「无穷」「一半」的对举，又以数量的对比，写出天地之广阔与前途之局促，大景与小我之间，张力尽显。此联置于全词，既是写景的枢纽，又是情感的过渡——由「送」字承上文的送别，由「埋」字启下文的「行路难」，一联而承上启下，正是辛词「以景运思」的高妙。

Allusions

The 'Yang Pass' refers to Wang Wei's poem 'Seeing Yuan the Second Off to Anxi,' which became a farewell song. 'Take good care' echoes ancient farewell poems. 'The road of human life is hard' alludes to Li Bai's poem 'Traveling Is Hard,' highlighting the transition from natural to social obstacles.

此词用典化句，皆切「送别」与「世路」之旨。「阳关」指《阳关三叠》，本于王维《送元二使安西》「劝君更尽一杯酒，西出阳关无故人」，此诗在唐代即被谱为送别之曲，至宋已为离歌的代称。「唱彻阳关」即唱完离歌，是送别场景的惯用起笔。「加餐」一语，出《古诗十九首》「弃捐勿复道，努力加餐饭」，本为思妇劝游子保重之辞，后遂成临别劝慰的套语，辛弃疾以「且加餐」劝友，语浅而情真。「行路难」为古乐府旧题，其辞多写世路艰难、怀才不遇，鲍照《拟行路难》「吞声踯躅不敢言」、李白《行路难》「欲渡黄河冰塞川，将登太行雪满山」皆其名篇。辛弃疾「别有人间行路难」，正是承此乐府传统，而翻出新意——前人多以「行路难」状自然之险或仕途之阻，辛弃疾则以「江头风波」与「人间行路」对举，点出「人心险于风波」的深慨，是「行路难」母题在词中的一次深化。此外，「风波」暗用《楚辞·渔父》「沧浪之水清兮，可以濯吾缨」及庄子「风波」之喻，兼指自然与人事的双重险恶。又「唱彻阳关」之「彻」字，写尽了离歌的反复——一曲《阳关三叠》，唱了一遍又一遍，直至唱「彻」，而泪仍未干，足见别情之深。此「彻」字，又可与王维原诗「劝君更尽一杯酒」的「更」字对读：王维是「再劝一杯」，辛弃疾是「唱彻离歌」，一以酒劝别，一以歌送别，皆于反复中见深情。而「功名余事」之「余」，则与《晋书》张翰「人生贵得适志，何能羁宦数千里以要名爵」的思归之志相通，辛弃疾以「余事」轻功名，正是其「适志」不得的无奈。

Commentary

Xin Qiji's farewell poems often avoid pure sentimentality. This piece shows both open-mindedness and sharp criticism. Critics praise its bitterness with indignation; the last line exposes the true danger of worldly life, making it more fearsome than river storms. It reflects the poet's profound experience and heartfelt pain.

《鹧鸪天·送人》是辛弃疾送别词中的名篇，历代评家多赏其「别开生面」——不徒写离愁，而翻入世情之叹。清代陈廷焯《白雨斋词话》评此词「不落送别窠臼，翻出人间行路难一层，思深力厚」，特赏其「别有人间行路难」的翻进之笔。刘熙载《艺概》论稼轩词，谓其「于悲壮中见深沉，于豪放中见蕴藉」，此词之「江头未是风波恶」二句，正是「悲壮而深沉」的例证。近人对此词的阐发，多聚焦于其「送别」外衣下的「世情」内核：辛弃疾一生三次被劾、数度闲居，深谙仕途的险恶与人情的冷暖，故其送别友人之际，不徒作儿女之态，而以「行路难」的慨叹，寄寓其对世道的批判与对友人的提醒。此词与《鹧鸪天·陌上柔桑破嫩芽》等同调之作相比，更见其「以理入词」的一面，而「浮天水送无穷树，带雨云埋一半山」的写景，又为这深沉之思披上了一层苍茫的意境，情理相生，是辛词议论化而不失形象性的典范。此词在辛词中的位置，在于它以「送别」的小题，写出了「世路」的大旨。辛弃疾另有《摸鱼儿》「更能消几番风雨」、《贺新郎》「啼鸟还知如许恨」诸作，皆于词中寄家国之恨、身世之悲，此词「别有人间行路难」的慨叹，正与其同一血脉。而此词之不同于那些慷慨悲歌者，在于其以「送别」的平和口吻出之，先写离愁，后翻世路，层层递进，如剥蕉见心，愈转愈深。这种「以小见大、由近及远」的章法，正是辛词议论化的精要，也为宋词的「说理」传统，提供了一个形象化的范例。

Prosody

Form Ci to the tune 'Partridge in the Sky', 55 characters, 3 level rhymes per stanza词（鹧鸪天，小令）

Rhyme According to the Rhyme Scheme of Ci (Qiyun), seventh group (han, shan, xian), level tone; rhymes: gan, can, shan (first stanza); ban, huan, nan (second stanza)押平声韵，属词林正韵第七部（寒删先韵），上片韵脚为干、餐、山，下片为欢、难，上下片各三平韵，一韵到底。

Tone pattern Level tone throughout, soft in the first stanza with scenic description and advice, rising with rhetorical questions in the second, ending with solemn reflection小令依谱填词，此词声调开阔而沉郁。上片「浮天水送无穷树，带雨云埋一半山」一联，平仄相对、声调悠长，状景之苍茫；下片「今古恨，几千般」三字对，「恨」字去声陡起，如一声长叹，为末二句的翻出蓄势。

Reading note A farewell ci that rises from personal sorrow to the difficulty of life's road, containing profound thought in a short form.《鹧鸪天》为小令，双调五十五字，上下片各三平韵，格式略如两首七绝相合，其上片第三、四句与下片起二句须作三字对。辛弃疾此词用韵全押第七部寒删先韵，韵脚干、餐、山、欢、难，皆属阴平或阳平，音色开阔而苍凉，与「浮天水送无穷树」的浩渺、「江头未是风波恶」的深沉正相契合。尤为值得注意的是「今古恨，几千般」的三字对：「今古」对「几千」，「恨」对「般」，一仄一平，一顿一宕，如两声短叹，为下文的「只应离合是悲欢」蓄势。而「浮天水送无穷树，带雨云埋一半山」一联，七字对仗，平仄工稳（平平仄仄平平仄，仄仄平平仄仄平），「送」对「埋」，「无穷」对「一半」，字字精工而气象阔大，是全词声韵与意境的高峰。辛词向以「声宏」著称，此词以寒韵之开阔、三字对之顿挫，配「行路难」的深沉慨叹，声情与词情相得益彰。又此词韵脚「干、餐、山、欢、难」皆属开口的寒韵，音色洪亮而略含苍凉，读来如闻江上之风、人间之叹。

Line by line

唱彻阳关泪未干，功名余事且加餐

The阳关 song sung through, tears not yet dry; rank and fame are secondary — eat well, I urge you.

唱完了《阳关三叠》离歌泪水还未擦干，功名利禄本是余事，只望你保重加餐

The Parting Song has been sung through, tears not yet wiped; office and fame are but secondary things — take care of yourself and eat well.

起二句写临别之情与劝慰之意。「唱彻阳关泪未干」，写离歌已尽而泪犹未干——「唱彻」写离歌的冗长与反复，「泪未干」写离情的深重，一「彻」一「未」，写尽了别筵的缠绵。「功名余事且加餐」，则是劝友之语：功名不过是余事，不必挂怀，只愿你保重身体、努力加餐。「功名余事」四字，是辛弃疾看破功名后的旷达，也是他屡遭贬黜后的无奈；「且加餐」三字，化用《古诗十九首》「努力加餐饭」，语浅而情厚，是临别时最朴素也最真切的祝愿。此二句一写离愁、一写劝慰，泪与语交织，已见送别词的本色。

The opening two write parting feeling and words of comfort. 'The阳关 song sung through, tears not yet dry' writes the parting song ended yet tears not dry — 'sung through' the length and repetition of the farewell lay, 'tears not yet dry' the weight of parting, one 'through' one 'not yet' exhausting the lingering of the farewell feast. 'Rank and fame are secondary — eat well, I urge you' is the admonition to the friend: office and fame are but secondary, not worth clinging to; only take care of yourself, eat and drink well. The four words 'rank and fame are secondary' are Xin Qiji's openness after seeing through fame, and his helplessness after repeated demotion; the three words 'eat well' adapt the Nineteen Old Poems 'strive to eat well,' words plain yet feeling deep, the simplest and truest wish at parting. One line writes parting grief, one writes comfort, tears and words intertwined, already showing the nature of a farewell ci.

浮天水送无穷树，带雨云埋一半山

The floating water sends off endless trees; rain-laden clouds bury half the hills.

水天相连远处送走无穷的树木，带雨的云层掩埋了半截青山

Where water meets the sky, endless trees are sent off into the distance; rain-laden clouds bury half the green hills.

此二句是全词写景的工对，也是意境最苍茫处。「浮天水送无穷树」，写水天相接的江面，一望无际，仿佛把无穷的树木一路送向远方——「送」字既写水流送舟、送树的实景，又暗应上文的「送别」，一个「送」字，把离人的远去与景物的推移融为一体。「带雨云埋一半山」，写带雨的云层低垂，掩埋了半截青山——「埋」字下得极重，山被云埋，前路遂显迷茫，正暗寓友人此去道路的艰阻与未知。两句一写水之「送」，一写云之「埋」，一动一静，一明一暗，对仗精整而气象开阔，以大景写大愁，在迷蒙苍茫中，寄寓了深沉的离情与对世路的隐忧。

These two are the tightest scenic couplet of the ci and its most vast and desolate mood. 'The floating water sends off endless trees' writes the river where water meets sky, endless, as if sending the boundless trees all the way into distance — the word 'send' writes both the water carrying boat and trees and secretly answers the earlier 'farewell'; one 'send' fuses the traveler's going with the shifting scenery. 'Rain-laden clouds bury half the hills' writes the rain clouds hanging low, burying half the green hills — the word 'bury' is heavy: hills buried in clouds, the road ahead becomes dim, secretly figuring the hardship and unknown of the friend's journey. One line writes water's 'send,' one clouds' 'bury,' one moving one still, one bright one dark, the parallel precise yet the horizon vast; using a great scene for great grief, in the haze and vastness it lodges deep parting feeling and hidden anxiety about the world's road.

今古恨，几千般，只应离合是悲欢

Griefs of old and new, thousands of kinds — must parting alone be joy and sorrow?

古往今来恨事有千万种，难道只有聚散离合才算悲欢

Griefs through the ages come in thousands — can it be that only parting and reunion are joy and sorrow?

此三句是全词的转折，以反问翻进一层。「今古恨，几千般」，说古往今来的恨事有千万种之多，这是铺开；「只应离合是悲欢」，则陡然反问——难道只有聚散离合，才算是人间的悲欢吗？这一问，把「离别之悲」从万千恨事中拎出来，又轻轻否定——离别固然可悲，但人间的悲欢，又岂止离合一端？此问引而不发，其潜台词是：比起离合，还有更深重的悲慨在。辛弃疾此处以「离合」为小、「世情」为大，为末二句「行路难」的翻出蓄足了势。以反问推进文意，是辛词议论化的常用笔法，此三句一问一顿，力道十足。

These three are the turning point of the ci, turning one layer deeper through a rhetorical question. 'Griefs of old and new, thousands of kinds' says the sorrows through the ages are numberless — laying the ground. 'Must parting alone be joy and sorrow?' then suddenly asks: is it only union and parting that count as the world's joy and grief? This question lifts 'the grief of parting' out of ten thousand sorrows, then lightly negates it — parting is grievous, but are human joy and sorrow limited to parting alone? The question is left hanging; its subtext is that beside parting there lies a far heavier sorrow. Here Xin treats 'parting' as small and 'the world's ways' as great, building momentum for the last two's turn to 'the road is hard.' Advancing the argument through a question is Xin's common argumentative brush; these three, one question one beat, carry full force.

江头未是风波恶，别有人间行路难

The waves on the river are not the worst; it is the road of this human world that is hard beyond all.

江上的风浪并不算险恶，人世间别有那更难走的路

The river's winds and waves are not truly dangerous; it is the road of human life that holds a harder going.

结二句是全词的题旨，也是千古传诵的名句。「江头未是风波恶」，说江上的风浪，还不算险恶；「别有人间行路难」，说人世间，另有那更难走的「路」。此二句以「江头风波」与「人间行路」对举，一自然一人事，一可见一无形，点出「人心之险、世路之难，远甚于自然风波」的深慨。这是辛弃疾饱经宦海沉浮后的肺腑之叹——他一生数遭弹劾、屡受排挤，深知仕途的陷阱与人情的冷暖，故其「行路难」三字，承古乐府旧题而注入了切身的辛酸。以「未是」「别有」的递进，把全词的离愁，升华到对整个人世险恶的批判，思力之深，笔力之健，正是辛词「于悲壮中见深沉」的极致。

The closing two are the thesis of the ci and a famous line through the ages. 'The river's winds and waves are not truly dangerous' says the river's storms are not the worst; 'it is the road of this human world that is hard beyond all' says that in the human world there is another, harder 'road.' These two set 'river waves' against 'the human road' — one nature one human affair, one visible one invisible — pointing the deep sigh that 'the danger of men's hearts and the hardness of the world's road far exceed the storms of nature.' This is Xin's heartfelt sigh after a life of official ups and downs — impeached several times, repeatedly pushed aside, he knew the traps of office and the warmth and cold of human relations; hence his three words 'the road is hard' take up the old yuefu title yet pour in his own bitterness. Through the progression of 'not truly' and 'there is another,' the ci's parting grief is sublimated into a critique of the whole danger of the human world; the depth of thought and strength of brush are precisely the extreme of Xin's 'depth within the tragic.'

Study

Word focus

埋 bury; heavy clouds creating a pressing scene 「带雨云埋一半山」的「埋」字，是写景的炼字，也是情感的暗线。云之掩山，本可用「遮」「蔽」「掩」，而辛弃疾独用「埋」字，遂生出「吞没」之意——带雨的云层，不是轻轻地遮住青山，而是沉重地「埋」掉了半截山，其势之重、其态之暗，如在目前。这个「埋」字，写实之外更有象征：山被云埋，前路迷茫，正暗寓友人此去道路的艰阻、前途的未卜；推而言之，也暗寓辛弃疾自己「报国无门、壮志难酬」的压抑——那沉重的云，何尝不是主和派的阴霾？以「埋」字状云，一字而兼写景、抒情、象征三义，正是辛词炼字「力透纸背」的明证。

余事 side matter; expressing disdain for fame 「功名余事」的「余事」二字，是辛弃疾对功名态度的浓缩。余事者，闲事、小事也。辛弃疾一生志在恢复，却屡遭闲置，其所谓「功名」，本非他的人生目标，而是他报国的途径；当这条途径被堵塞，功名于他，遂成「余事」。以「余事」二字轻掷功名，表面是旷达的看破，内里却是无奈的悲愤——一个「万字平戎策」换得「种树书」的人，除了把功名视作余事，又能如何？此二字在劝友的语境中，是宽慰；在自况的语境中，是自嘲。以轻写重，以淡写浓，正是此词的深沉处。

行路难 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「别有人间行路难」的「行路难」三字，是全词的结穴，也是其思想的重心。「行路难」本为古乐府旧题，鲍照、李白皆有此题之作，多写世路艰险、怀才不遇。辛弃疾拈此三字作结，既是承古题之义，又注入了切身的时代内涵——他所谓的「行路难」，不是自然的蜀道之难，也不是泛泛的仕途之阻，而是「江头风波」之外的「人间」之难，是人心叵测、朋党倾轧、忠而被谤的险恶。以「行路难」三字收束全篇，把一首送别词，提升为对世道人心的深刻批判，其思力之深、感慨之重，遂使这三字有了超越具体离别的普世力量。