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宋 Song · 词 Ci lyric

鹧鸪天·博山寺作

The, Partridge, in, the, Sky, the, Written, at, the, Temple, of, the, Bo, the, Mountain

辛弃疾

Xin Qiji

隐逸Hermitage 哲理Philosophy

不向长安路上行，却教山寺厌逢迎。
味无味处求吾乐，材不材间过此生。
宁作我，岂其卿。
人间走遍却归耕。
一松一竹真朋友，山鸟山花好弟兄。

不向长安路上行，却教山寺厌逢迎。
味无味处求吾乐，材不材间过此生。
宁作我，岂其卿。人间走遍却归耕。
一松一竹真朋友，山鸟山花好弟兄。

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Meaning

A poem of the return and the contentment, written by Xin Qiji. Not walking on the road to the Chang'an, yet making the mountain temple weary of the welcoming the receiving — the return of the opening. Tasting the flavor of the no flavor seeking my joy, between the useful and the useless passing this life — the philosophy of the middle. Rather be myself, how could it be those lords — the resolve of the middle. And the close's a pine a bamboo the true friends, the mountain birds the mountain flowers the good brothers — the close's contentment. The poem is the return and the contentment: the plowing, the friends, and the close's brothers.

不向长安路上行，却教山寺厌逢迎。味无味处求吾乐，材不材间过此生。宁作我，岂其卿。人间走遍却归耕。一松一竹真朋友，山鸟山花好弟兄。

Appreciation

[Plain Paraphrase] Not, walking, on, the, road, to, the, Chang'an, yet, making, the, mountain, temple, weary, of, the, welcoming, the, receiving. Tasting, the, flavor, of, the, no, flavor, seeking, my, joy, between, the, useful, and, the, useless, passing, this, life. Rather, be, myself, how, could, it, be, those, lords. The, human, world, walked, through, and, yet, returning, to, the, plowing. A, pine, a, bamboo, the, true, friends, the, mountain, birds, the, mountain, flowers, the, good, brothers. [Structure and Thought] The poem moves from the return of the not walking with the temple, through the philosophy of the flavor and the resolve of the myself, to the close's the contentment of the pine and the bamboo. [Key Technique] The poem's art is the close of the contentment: the human world walked through and yet returning to the plowing, and the close's a pine a bamboo the true friends the mountain birds the mountain flowers the good brothers — the return gathered in the philosophy and the close's contentment. [Emotional Tone] Resolved, philosophical, and content: the poem is the flavor, the myself and the close's brothers.

【白话串讲】辛弃疾写《鹧鸪天·博山寺作》：“不向长安路上行，却教山寺厌逢迎”——“味无味处求吾乐，材不材间过此生”——“宁作我，岂其卿。人间走遍却归耕”——“一松一竹真朋友，山鸟山花好弟兄”——他说人间走遍却归耕——一松一竹真朋友。【意象与手法】此词写归隐，以旷达写归隐，是辛弃疾的名篇。上片写归志：「不向长安路上行，却教山寺厌逢迎。味无味处求吾乐，材不材间过此生」写不向长安路上行、味无味处求吾乐、材不材间过此生——写尽归隐的志趣；下片写归耕：「宁作我，岂其卿。人间走遍却归耕。一松一竹真朋友，山鸟山花好弟兄」写宁作我、岂其卿、一松一竹真朋友——写尽归耕的乐趣。全词以旷达写归隐，写尽归隐的志趣与归耕的乐趣，是辛弃疾的代表作。【情感与主旨】此词写归隐，以旷达写归隐，是辛弃疾的名篇。此词写辛弃疾游博山寺时抒写归隐之志。辛弃疾被罢官后闲居江西上饶，游博山寺，见山寺幽静，遂生归隐之意。此词写归志：不向长安路上行，却教山寺厌逢迎——写不向长安路上行、却教山寺厌逢迎，写尽归隐的志趣；味无味处求吾乐，材不材间过此生——写味无味处求吾乐、材不材间过此生，写尽归隐的哲理；宁作我，岂其卿。人间走遍却归耕——写宁作我、岂其卿、人间走遍却归耕，写尽归耕的决心；一松一竹真朋友，山鸟山花好弟兄——写一松一竹真朋友、山鸟山花好弟兄，写尽归耕的乐趣。全词以旷达写归隐——那「味无味处求吾乐」写尽归隐的志趣，「一松一竹真朋友」写尽归耕的乐趣，写尽归隐的志趣与归耕的乐趣，是理解辛弃疾归隐词的重要篇章。【名句点睛】常考「味无味处求吾乐，材不材间过此生」写归隐的哲理；「一松一竹真朋友，山鸟山花好弟兄」写归耕的乐趣；以及全词以旷达写归隐、以典写志的手法。

Background

Xin Qiji (1140-1207), the great poet of the Song, wrote this 'The, Partridge, in, the, Sky, the, Written, at, the, Temple, of, the, Bo, the, Mountain' of the return and the contentment — the contentment of the return in the years of the idleness. The philosophy of the flavor with the resolve of the myself, and the close's the contentment of the pine and the bamboo — the poem gathers the resolve of the poet, the contentment of the return. The poem is one of the famous works of the poet's poems of the idleness.

此词写归隐，以旷达写归隐，是辛弃疾的名篇。辛弃疾（1140—1207），字幼安，号稼轩，历城（今山东济南）人，南宋词人，与苏轼并称「苏辛」，为豪放词派代表。此词写辛弃疾游博山寺时抒写归隐之志。辛弃疾被罢官后闲居江西上饶，游博山寺，见山寺幽静，遂生归隐之意。博山在江西上饶境内。此词写归志：「不向长安路上行，却教山寺厌逢迎」写不向长安路上行、却教山寺厌逢迎——写尽归隐的志趣（不向长安路上行，却教山寺厌逢迎）；「味无味处求吾乐，材不材间过此生」写味无味处求吾乐、材不材间过此生——写尽归隐的哲理（味无味处求吾乐，材不材间过此生）；「宁作我，岂其卿」写宁作我、岂其卿——写尽归耕的决心（宁作我，岂其卿）；「一松一竹真朋友，山鸟山花好弟兄」写一松一竹真朋友、山鸟山花好弟兄——写尽归耕的乐趣（一松一竹真朋友，山鸟山花好弟兄）。全词以旷达写归隐，写尽归隐的志趣与归耕的乐趣，是理解辛弃疾归隐词的重要篇章。

Art

The poem's art is the art of the contentment. The return opens: not, walking, on, the, road, to, the, Chang'an — the road to the Chang'an of the not walking; yet, making, the, mountain, temple, weary, of, the, welcoming, the, receiving — the temple of the weary. The philosophy follows: tasting, the, flavor, of, the, no, flavor, seeking, my, joy — the flavor of the no flavor; between, the, useful, and, the, useless, passing, this, life — the useful and the useless of the passing; rather, be, myself, how, could, it, be, those, lords — the myself of the rather; the, human, world, walked, through, and, yet, returning, to, the, plowing — the plowing of the returning. And the close gathers the contentment: a, pine, a, bamboo, the, true, friends — the pine and the bamboo of the friends; the, mountain, birds, the, mountain, flowers, the, good, brothers — the mountain birds of the good brothers — the return, the philosophy and the close's contentment, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以对照写归志。「不向长安路上行」以对照写归志——那「不向长安」「却教山寺」写尽弃仕归隐，以对照写尽归隐的志趣。其二，以哲理写旷达。「味无味处求吾乐，材不材间过此生」以哲理写旷达——那「味无味」「材不材」写尽庄子的哲理，以哲理写尽归隐的旷达。其三，以直抒写决心。「宁作我，岂其卿」以直抒写决心——那「宁作我」「岂其卿」写尽宁我的决绝，以直抒写尽归耕的决心。其四，以拟人写乐趣。「一松一竹真朋友，山鸟山花好弟兄」以拟人写乐趣——那「真朋友」「好弟兄」写尽松竹花鸟的相亲，以拟人写尽归耕的乐趣。此外，此词上片写归隐的志趣，下片写归耕的乐趣，由志及趣，正是归隐词「以志写趣」的写法。四重手法，使此词以旷达写归隐，写尽归隐的志趣与归耕的乐趣，是辛弃疾的代表作。此词还善于以「厌逢迎」三字写山寺的无奈——那「却教山寺厌逢迎」写山寺为逢迎所厌，正是以寺写人、以物写情的反笔，暗写词人奔波逢迎的厌倦。又善以「真朋友」「好弟兄」的叠语写物我相亲——松竹花鸟以朋友弟兄相称，正是「万物一体」的仁心，也见其以情观物的深致。

Allusions

'The Chang'an' (chang an) is the Chang'an — the capital of the Tang, the road of the opening — the road of the official career; 'the flavor of the no flavor' (wei wu wei) is the flavor of the no flavor — the flavor of the no, the seeking of the middle — the words of the Laozi: 'the flavor of the no flavor'; 'the useful and the useless' (cai bu cai) are the useful and the useless — the useful of the useless, the passing of the middle — the words of the Zhuangzi.

此词的用语深植于归隐与哲思的传统。「长安路上行」令人想到「长安路上行」写仕途的意象——长安为帝都，长安路即仕途，也令人想到「长安如梦里」的意象；「味无味处求吾乐」令人想到「味无味」用《老子》「为无为，事无事，味无味」的意象——老子以「味无味」写恬淡，也令人想到「味无味处求吾乐」的名句；「材不材间过此生」令人想到「材不材」用《庄子·山木》之典——庄子以「材与不材之间」免祸，也令人想到「材不材间过此生」的名句；「宁作我」令人想到「宁作我」用《世说新语》之典——桓温问殷浩「卿何如我」，殷浩答「我与我周旋久，宁作我」，也令人想到「宁作我」的名句；「岂其卿」令人想到「岂其卿」用扬雄之典——扬雄《法言》「君子在治若凤，在乱若凤」，也令人想到「岂其卿」的反问；「一松一竹真朋友」令人想到「松竹」写高洁的意象——松竹为岁寒之友，也令人想到「岁寒三友」的意象。全词化用长安路、味无味、材不材、宁作我、一松一竹的意象典故，以旷达写归隐，正是辛弃疾「豪放」而善用典、承归隐传统写旷达的本领。

Commentary

This poem is one of the famous works of Xin Qiji's poems of the idleness, quoted for the resolve of its opening and the contentment of its close. The flavor of the no flavor, and the good brothers of the mountain birds, are among the admired passages of the poet's poems. Critics praise the poem's contentment: the return gathered in the philosophy, to the close's joy.

此词历来被推为辛弃疾归隐词的名篇，也是南宋词写归隐旷达的代表。历代论者对此词评价极高：清人评此词「以旷达写归隐，旷达中有牢骚」；近人更指出「味无味处求吾乐，材不材间过此生」写归隐的哲理，是此词的名句。在词史上，此词的特殊价值在于：它以双调的鹧鸪天写尽归隐的志趣与归耕的乐趣——那长安路，那山寺，那无味，那材不材，那宁作我，那归耕，那一松一竹，那山鸟山花，都写尽了辛弃疾笔下的博山寺；那「一松一竹真朋友」更以拟人写尽归耕的乐趣。此词与辛弃疾《西江月·遣兴》（「醉里且贪欢笑」）同为闲居名篇，一写「近来始觉古人书」的遣兴（西江月），一写「一松一竹真朋友」的博山（鹧鸪天）；又与陶渊明「归去来兮」的归隐传统一脉相承，可见宋词写归隐的传统。对于今日读者，此词是理解辛弃疾归隐词的窗口，也是中国词写归隐的经典——那真朋友的松竹，穿越千年，仍在诉说着归耕的乐趣。

Prosody

Form A ci of the return (zhe gu tian)词·鹧鸪天

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the content resolve.押「行」「迎」「生」「卿」「耕」「弟」韵（下平八庚），一韵到底，音节疏放

Tone pattern The cadence is that of the contentment: the level opening with the return, the turning with the resolve, and the close's fall with the brothers.此词为鹧鸪天词牌，押平声韵，一韵到底，音节疏放，正合归隐的疏放。

Reading note The poem's sound matches its contentment: the cadences of the ci, and the close — 'shan niao shan hua hao di xiong' — falls with the brothers, the sound of the joy of the return poet.此词为《鹧鸪天》双调，上片四句、下片五句，共五十五字——「不向长安路上行，却教山寺厌逢迎。味无味处求吾乐，材不材间过此生。宁作我，岂其卿。人间走遍却归耕。一松一竹真朋友，山鸟山花好弟兄」，押「庚」韵（行、迎、生、卿、耕、弟），一韵到底，音节疏放。全词以旷达写归隐：上片写归隐的志趣（不向长安路上行、味无味处求吾乐），下片写归耕的乐趣（宁作我、一松一竹真朋友）。双调短章，上写志趣，下写乐趣，以「一松一竹真朋友」写尽归耕的乐趣，正见辛弃疾「豪放」而能旷达的本色。诵读此词，宜以疏放的语调读「味无味处求吾乐」的哲理，以旷达的语调读「一松一竹真朋友」的乐趣，结句要读得疏放而有余韵，方能传达出辛弃疾的旷达中见牢骚。辛弃疾词以「豪放」著称，此词正是其归隐词的典范。

Line by line

一松一竹真朋友，山鸟山花好弟兄

Every pine, every bamboo a true friend; the mountain birds and mountain flowers, good brothers.

一松一竹真朋友，山鸟山花好弟兄。

Each pine, each bamboo is a true friend; the mountain birds and mountain flowers are fond brothers.

此二句是全词写乐趣的核心，以一松一竹真朋友写松竹，以山鸟山花好弟兄写花鸟，写尽归耕的乐趣，是千古名句。「一松一竹真朋友」写一松一竹真朋友——那「一松一竹」写一松一竹，「真朋友」写真朋友，写尽松竹的相亲；「山鸟山花好弟兄」写山鸟山花好弟兄——那「山鸟山花」写山鸟山花，「好弟兄」写好弟兄，写尽花鸟的亲近。这句的深意在于：它以「一松一竹真朋友」的松竹与「山鸟山花好弟兄」的花鸟，写尽归耕的乐趣——一松一竹真朋友，那「一松一竹真朋友」写尽松竹的相亲——一松一竹，是真朋友，正是以物为友的写照，那「真朋友」写尽松竹的可亲；山鸟山花好弟兄，那「山鸟山花好弟兄」写尽花鸟的亲近——山鸟山花，是好弟兄，正是与物同乐的写照，那「好弟兄」写尽花鸟的相亲；那「一松一竹真朋友」写尽松竹的相亲，那「山鸟山花好弟兄」写尽花鸟的亲近，一写松竹，一写花鸟，写尽归耕的乐趣——松竹为友而花鸟为伴，正是归隐的乐趣；此二句以松竹、花鸟写尽归耕的乐趣，也让此二句成为全词写乐趣的核心与千古名句。若换作直说「隐居很自在」，则失其形象；唯以「一松一竹真朋友」写松竹、「山鸟山花好弟兄」写花鸟，写尽归耕的乐趣，也让此二句成为全词写乐趣的核心。

These two lines are the core of the ci's delight, 'every pine, every bamboo a true friend' the pines and bamboos, 'the mountain birds and mountain flowers, good brothers' the birds and flowers, writing the joy of the return to farming, a famous line. 'Every pine, every bamboo a true friend' - the pines and bamboos as friends, making things one's companions, the 'true friends' writing the affable pines; 'the mountain birds and mountain flowers, good brothers' - the birds and flowers as kin, sharing delight with things, the 'good brothers' writing the birds' and flowers' warmth. Pines and bamboos as friends, birds and flowers as companions, the joy of the hermit's return; one line the pines, one the flowers, the delight complete. If one said plainly 'living in seclusion is easy,' the image would be lost; only the pines and bamboos as true friends, the birds and flowers as good brothers, hold the delight.

味无味处求吾乐，材不材间过此生

In the flavorless I seek my joy; between the useful and the useless I pass this life.

味无味处求吾乐，材不材间过此生。

Where there is no flavor, there I seek my joy; between the useful and the useless, I pass my life.

此二句是全词写哲理的核心，以味无味处求吾乐写无味，以材不材间过此生写材不材，写尽归隐的哲理，是千古名句。「味无味处求吾乐」写味无味处求吾乐——那「味无味处」写味无味处，「求吾乐」写求吾乐，写尽无味中的乐趣；「材不材间过此生」写材不材间过此生——那「材不材间」写材不材间，「过此生」写过此生，写尽材不材间的此生。这句的深意在于：它以「味无味处求吾乐」的无味与「材不材间过此生」的材不材，写尽归隐的哲理——味无味处求吾乐，那「味无味处求吾乐」写尽无味中的乐趣——于无味之处求吾之乐，正是老子的恬淡，那「味无味」写尽归隐的哲理；材不材间过此生，那「材不材间过此生」写尽材不材间的此生——于材与不材之间过此生，正是庄子的避祸，那「材不材」写尽归隐的哲理；那「味无味处求吾乐」写尽无味中的乐趣，那「材不材间过此生」写尽材不材间的此生，一写无味，一写材不材，写尽归隐的哲理——以无味为味而处材不材之间，正是庄老哲学的写照；此二句以无味、材不材写尽归隐的哲理，也为下片的归耕作铺垫，也让此二句成为全词写哲理的核心与千古名句。若换作直说「我归隐了」，则失其哲理；唯以「味无味处求吾乐」写无味、「材不材间过此生」写材不材，写尽归隐的哲理，也让此二句成为全词写哲理的核心。

These two lines are the core of the ci's philosophy, 'in the flavorless I seek my joy' the flavorless, 'between the useful and the useless I pass this life' the useful and useless, writing the hermit's philosophy, a famous line. 'In the flavorless I seek my joy' - seeking joy where there is no flavor, Laozi's plain calm, the 'flavorless' the Daoist quiet; 'between the useful and the useless I pass this life' - passing life between the useful and the useless, Zhuangzi's avoidance of harm, the 'useless and useful' the Zhuangzian middle way. Taking the flavorless as flavor and dwelling between useful and useless, the portrait of Zhuang-Lao philosophy; one line the flavorless, one the useful and useless, the philosophy complete. If one said plainly 'I have retired,' the philosophy would be lost; only seeking joy in the flavorless and passing life between useful and useless hold the depth.

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Word focus

味 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「味无味处求吾乐」之「味」字是写哲理的关键词，一个「味」字写尽无味的恬淡。味者，以味求之、玩味也。辛弃疾以「味无味处求吾乐」写哲理，这个「味」字至少有双重意味：其一，写无味之味——那「味无味处求吾乐」写味无味处求吾乐，那「味」字写尽无味中的真味——于无味之处玩味其味，正是老子的恬淡，那「味」字写尽归隐的哲理；其二，写乐之求——那「味」字更是写乐——求吾乐，正见自得其乐，那「味」字写尽归隐的乐趣。以「味」字写哲理，正是辛弃疾写归隐的枢纽——若换作「求」「寻」等字，则或失其与「无味」「求吾乐」的配合，或失其写味的意味；唯「味」字，以味无味处求吾乐写尽无味中的真味与自得的乐趣，与「材不材间过此生」的材不材相合，写尽归隐的哲理，也让「味无味处求吾乐」成为全词写哲理的名句。

宁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「宁作我」之「宁」字是写决心的关键词，一个「宁」字写尽归耕的决绝。宁者，宁愿、宁可也。辛弃疾以「宁作我，岂其卿」写决心，这个「宁」字至少有双重意味：其一，写我之宁——那「宁作我」写宁作我，那「宁」字写尽宁我的决绝——宁愿作我自己，正是「我与我周旋久，宁作我」的写照，那「宁」字写尽归耕的决心；其二，写仕之弃——那「宁」字更是写弃——宁作我，正见弃仕的坚定，那「宁」字写尽归隐的志趣。以「宁」字写决心，正是辛弃疾写归隐的枢纽——若换作「愿」「欲」等字，则或失其与「作我」「岂其卿」的配合，或失其写宁的意味；唯「宁」字，以宁作我，岂其卿写尽宁我的决绝与弃仕的坚定，与「一松一竹真朋友」的松竹相合，写尽归耕的决心，也让「宁作我」成为全词写决心的名句。