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宋 Song · 词 Ci lyric

汉宫春·会稽秋风亭观雨

Han Gong Chun: Watching the Rain from the Wind Terrace at Kuaiji

辛弃疾

Xin Qiji

秋景Autumn Scene 感慨Meditation

亭上秋风，记去年袅袅，曾到吾庐。
山河举目虽异，风景非殊。
功成者去，觉团扇、便与人疏。
吹不断，斜阳依旧，茫茫禹迹都无。
千古茂陵词在，甚风流章句，解拟相如。
只今木落江冷，眇眇愁余。
故人书报，莫因循、忘却莼鲈。
谁念我，新凉灯火，一编太史公书。

Wind on the terrace: I remember last year how it curled and drifted,
and came as far as my own door.
The mountains I look upon are different, yet the scenery is not.
When a task is done, the doer withdraws, and the round fan
begins to be set aside by men.
The wind does not cease: the setting sun is unchanged,
and the vast trace of Yu has wholly passed away.
The words of the sovereign of Maoling remain for ever:
how many elegant lines can be set beside the writing of Xiangru?
Now the leaves fall, the river is cold,
and a far-off sorrow remains in me.
A friend's letter tells me: do not linger,
do not forget the watercress and the river-fish.
Who thinks of me, this new coolness, a lamp burning,
one scroll of the Grand Scribe's book?

Listen

Meaning

Xin Qiji, retired in old age at Kuaiji in the east, watches the rain on the Wind Terrace and finds that the wind that touched him last year touches him again. The landscape looks like a foreign country and exactly like home. He thinks of the minister whose work is finished and who is therefore discarded, like a round fan put away with the coming of autumn; he thinks of the ancient kingdom of Yu and of the emperor whose literary fame outlives his achievements. A friend writes urging him not to stay away from his native region and its river fish, and the poem closes where it began — with the poet alone, a lamp and a scroll of the Records of the Grand Scribe, wondering who remembers him.

亭上秋风，记去年袅袅，曾到吾庐。山河举目虽异，风景非殊。功成者去，觉团扇、便与人疏。吹不断，斜阳依旧，茫茫禹迹都无。千古茂陵词在，甚风流章句，解拟相如。只今木落江冷，眇眇愁余。故人书报，莫因循、忘却莼鲈。谁念我，新凉灯火，一编太史公书。

Appreciation

[Plain Paraphrase] Autumn wind, a fallen landscape, the memory of an old friend's advice, and one man reading history alone by lamplight. <br>[Structure] The poem turns on a pair of ideas that cross: the wind, which returns and yet is the wind of another year, and the whole world, which has changed and yet not changed. Both appear in the second stanza's own line, 'The mountains I look upon are different, yet the scenery is not', and everything after it is a variation on that paradox. <br>[Imagery] The round fan is the sharpest image: it is warm while the weather is hot, and once autumn comes it is set aside without thanks. That is the fate the poem offers to a minister who has done his work. <br>[The Close] 'Who thinks of me, this new coolness, a lamp burning, one scroll of the Grand Scribe's book?' — the question is asked against the advice in the previous line, and reads at once as an answer to it: he is not going home to eat river fish, he is staying with Sima Qian.

【白话串讲】辛弃疾写《汉宫春·会稽秋风亭观雨》：“亭上秋风，记去年袅袅，曾到吾庐”——“山河举目虽异，风景非殊”——“功成者去，觉团扇、便与人疏”——“吹不断，斜阳依旧，茫茫禹迹都无”——他写秋风亭——茫茫禹迹都无。【意象与手法】此词写秋景，以感慨写秋景，是辛弃疾的名篇。上阕写秋风：「亭上秋风，记去年袅袅，曾到吾庐。山河举目虽异，风景非殊。功成者去，觉团扇、便与人疏。吹不断，斜阳依旧，茫茫禹迹都无」写亭上秋风、记去年袅袅、曾到吾庐——写尽亭上的秋风；下阕写愁余：「千古茂陵词在，甚风流章句，解拟相如。只今木落江冷，眇眇愁余。故人书报，莫因循、忘却莼鲈。谁念我，新凉灯火，一编太史公书」写千古茂陵词在、甚风流章句、解拟相如——写尽千古的茂陵词。全词以感慨写秋景，写尽亭上的秋风与千古的茂陵词，是辛弃疾的代表作。【情感与主旨】此词写秋景，以感慨写秋景，是辛弃疾的名篇。此词为辛弃疾晚年居会稽（今浙江绍兴）时于秋风亭观雨而作，写其秋日观雨之感与身世之慨。辛弃疾晚年退居，此词写其秋亭观雨的愁思。此词写亭上秋风，记去年袅袅，曾到吾庐；山河举目虽异，风景非殊；功成者去，觉团扇、便与人疏；吹不断，斜阳依旧，茫茫禹迹都无；千古茂陵词在，甚风流章句，解拟相如；只今木落江冷，眇眇愁余；故人书报，莫因循、忘却莼鲈；谁念我，新凉灯火，一编太史公书。此词写秋风：亭上秋风，记去年袅袅，曾到吾庐——写亭上秋风、记去年袅袅、曾到吾庐，写尽亭上的秋风；山河举目虽异，风景非殊——写山河举目虽异、风景非殊，写尽风景的非殊；功成者去，觉团扇、便与人疏——写功成者去、觉团扇、便与人疏，写尽便与人疏的团扇；吹不断，斜阳依旧，茫茫禹迹都无——写吹不断、斜阳依旧、茫茫禹迹都无，写尽茫茫的禹迹。下阕写愁余：千古茂陵词在，甚风流章句，解拟相如——写千古茂陵词在、甚风流章句、解拟相如，写尽千古的茂陵词；只今木落江冷，眇眇愁余——写只今木落江冷、眇眇愁余，写尽眇眇的愁余；故人书报，莫因循、忘却莼鲈——写故人书报、莫因循、忘却莼鲈，写尽忘却的莼鲈；谁念我，新凉灯火，一编太史公书——写谁念我、新凉灯火、一编太史公书，写尽一编太史公书的灯火。全词以感慨写秋景——那「亭上秋风」写尽亭上的秋风，「一编太史公书」写尽一编太史公书的灯火，写尽亭上的秋风与千古的茂陵词，是理解辛弃疾秋景词的重要篇章。【名句点睛】常考「亭上秋风，记去年袅袅，曾到吾庐」写亭上的秋风；「谁念我，新凉灯火，一编太史公书」写一编太史公书的灯火；以及全词以感慨写秋景、以用典写身世的手法。

Background

Xin Qiji (1140–1207), courtesy name You'an, titled Jiaxuan, was from Licheng in modern Jinan. He fought against the Jin in his youth, held a field command of some ten thousand, and after 1181 spent most of the remaining twenty-five years retired in Shangrao and then at the Abbey of Fulfilling Ease, writing thousands of poems. The Wind Terrace at Kuaiji (modern Shaoxing) is said to have been built by Su Shi in his years as prefect of Yuezhou, and it is a place of memory before this poem makes it one.

此词写秋景，以感慨写秋景，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，南宋豪放派词人，与苏轼并称「苏辛」，与李清照并称「济南二安」。此词为辛弃疾晚年居会稽（今浙江绍兴）时于秋风亭观雨而作，写其秋日观雨之感与身世之慨。辛弃疾晚年退居，此词写其秋亭观雨的愁思。此词写亭上秋风，记去年袅袅，曾到吾庐；山河举目虽异，风景非殊；功成者去，觉团扇、便与人疏；吹不断，斜阳依旧，茫茫禹迹都无；千古茂陵词在，甚风流章句，解拟相如；只今木落江冷，眇眇愁余；故人书报，莫因循、忘却莼鲈；谁念我，新凉灯火，一编太史公书。此词写秋风：「亭上秋风，记去年袅袅，曾到吾庐」写亭上秋风、记去年袅袅、曾到吾庐——写尽亭上的秋风（亭上秋风，记去年袅袅，曾到吾庐）；「功成者去，觉团扇、便与人疏」写功成者去、觉团扇、便与人疏——写尽便与人疏的团扇（功成者去，觉团扇、便与人疏）；「千古茂陵词在，甚风流章句，解拟相如」写千古茂陵词在、甚风流章句、解拟相如——写尽千古的茂陵词（千古茂陵词在，甚风流章句，解拟相如）；「谁念我，新凉灯火，一编太史公书」写谁念我、新凉灯火、一编太史公书——写尽一编太史公书的灯火（谁念我，新凉灯火，一编太史公书）。全词以感慨写秋景，写尽亭上的秋风与千古的茂陵词，是理解辛弃疾秋景词的重要篇章。

Art

The poet uses two turns of mind rather than any accumulation of description. First, the fan: he takes a household object and a political fate and lets them be the same thing, in 'a task done, the doer withdraws, and the round fan begins to be set aside by men'. The comparison is never spelled out, and that is what makes it credible. Second, the letter: a friend's advice to come home is inserted as plain speech in the middle of the poem, and the poet answers it simply by describing what he is doing instead — reading history by lamplight in the new cool of autumn. Third, the weather itself is not described; it is given by what it does — 'the leaves fall, the river is cold', and the wind that 'does not cease' is the one continuity in the poem.

此词的艺术特色可从四个方面解析。其一，以起兴写秋风。「亭上秋风」以起兴写秋风——那「记去年袅袅」写尽去年的袅袅，以起兴写尽亭上的秋风。其二，以对比写风景。「山河举目虽异」以对比写风景——那「风景非殊」写尽风景的非殊，以对比写尽风景的非殊。其三，以用典写功名。「功成者去」以用典写功名——那「觉团扇、便与人疏」写尽便与人疏的团扇，以用典写尽功成的去者。其四，以自况写愁余。「谁念我」以自况写愁余——那「一编太史公书」写尽一编太史公书的灯火，以自况写尽一编太史公书的灯火。此外，此词上阕写亭上的秋风，下阕写千古的茂陵词，由景及情，正是秋景词「以秋写怀」的写法。四重手法，使此词以感慨写秋景，写尽亭上的秋风与千古的茂陵词，是辛弃疾的代表作。此外，此词还善于以「山河举目虽异」的「举目」写山河之举目——那「举目」写尽举目的山河，正是以目写异，以「风景非殊」写尽风景的非殊。又善以「故人书报」的「书报」写故人之书报——故人书报，正见故人寄书的写照，以「莫因循、忘却莼鲈」写尽忘却的莼鲈。

Allusions

The round fan belongs to Ban Jieyu's 'song of the fan', written by a lady dismissed when the summer ended: 'New dawn, cold; the fan is set aside'. Maoling is the tomb of the Han emperor Wu, and his 'words' are the verse in which he bewails Lady Li; Xiangru is Sima Xiangru, whose writing is the model of those elegant lines. The trace of Yu is theливо of the great flood and of the kingdom he founded, now gone; the Grand Scribe's book is Sima Qian's Records, and reading it is how the poet keeps company with the men history writes about. The watercress and river fish recall Zhang Han, who said he was drawn home by the smell of the one and the other.

此词的用语深植于秋景与感慨传统。「秋风」令人想到「秋风」写秋风的意象——也令人想到「秋风萧瑟」（曹操）的意象；「袅袅」令人想到「袅袅」写袅袅的意象——也令人想到「袅袅兮秋风」（屈原）的意象；「山河」令人想到「山河」写山河的意象——也令人想到「山河表里」的意象；「团扇」令人想到「团扇」写团扇的意象——班婕妤团扇诗，也令人想到「秋扇见捐」的意象；「禹迹」令人想到「禹迹」写禹的意象——大禹治水之迹，也令人想到「禹迹茫茫」的意象；「茂陵」令人想到「茂陵」写汉武帝的意象——也令人想到「茂陵刘郎」（李贺）的意象；「相如」令人想到「相如」写司马相如的意象——也令人想到「汉赋相如」的意象；「太史公书」令人想到「太史公书」写《史记》的意象——司马迁《史记》，也令人想到「究天人之际」的意象。全词化用秋风、袅袅、山河、团扇、禹迹、茂陵、相如、太史公书的意象典故，以感慨写秋景，正是辛弃疾「豪放」而善用典、承秋景传统写感慨之本领。

Commentary

The poem is counted among the finest of Xin Qiji's later lyrics, and readers have long noted how unusually quiet it is for him: there is no sword, no wind in the hair. Modern critics have read the fan image as a study in political oblivion, written by a man whose generation had been dismissed along with its programmes, and the closing question as the safest evidence that he never accepted the retirement he lived in. It is usually paired with 'Shuilongyin' for climbing and with 'Moyuer' for the spring, as three different states of the same refusal.

此词历来被推为辛弃疾秋景词的名篇，也是宋词写秋风亭观雨的代表。历代论者对此词评价极高：清人评此词「以感慨写秋景，沉郁苍凉」；近人更指出「谁念我，新凉灯火，一编太史公书」写一编太史公书的灯火，是此词的名句。在诗歌史上，此词的特殊价值在于：它以长调写尽亭上的秋风与千古的茂陵词——那亭上，那秋风，那记去年，那袅袅，那曾到，那吾庐，那山河，那举目，那虽异，那风景，那非殊，那功成者去，那觉团扇，那便与人疏，那吹不断，那斜阳依旧，那茫茫，那禹迹，那都无，那千古，那茂陵词，那甚风流章句，那解拟相如，那只今，那木落江冷，那眇眇，那愁余，那故人书报，那莫因循，那忘却莼鲈，那谁念我，那新凉灯火，那一编太史公书，都写尽了辛弃疾笔下的汉宫春会稽秋风亭观雨；那「一编太史公书」更以自况写尽一编太史公书的灯火。此词与辛弃疾《水龙吟·登建康赏心亭》「楚天千里清秋」同为感慨名篇，一写「把吴钩看了」的水龙吟，一写「一编太史公书」的汉宫春；一写登高，一写观雨。两词对读，可见辛弃疾感慨词的两面。对于今日读者，此词是理解辛弃疾秋景词的窗口，也是宋词写秋风亭观雨的经典——那一编太史公书的灯火，穿越千年，仍在诉说着亭上的秋风。

Prosody

Form Ci — the tune Han Gong Chun (long register, two stanzas)词·汉宫春

Rhyme Rhymes in the 魚虞 rhyme group (lu, shu, shu, wu, ru, yu, lu, shu) through both stanzas: one rhyme held from beginning to end.汉宫春，上阕押「庐」「殊」「疏」「无」，下阕押「如」「余」「鲈」「书」（鱼虞韵），一韵到底

Tone pattern Level rhymes throughout; the tune's long lines give time for the argument to be made, and the unhurried sound keeps the poem elegiac rather than passionate.此词为汉宫春长调，押平声韵，一韵到底，音节苍凉，正合感慨的苍凉。

Reading note A hundred and eleven characters in the same tune as Lu You's 'Han gong chun', but here the rhyme is the narrow 魚虞 group, closed and slightly dry, which suits a poem about things being forgotten. The rhyme begins in the first stanza with 'my own door' (lu) and returns at the close with 'the Grand Scribe's book' (shu); the whole poem is framed by one sound. Read the letter in the middle line quickly, as speech, and let the final question be asked and left open.此词为汉宫春长调，上下两阕——上阕「亭上秋风，记去年袅袅，曾到吾庐。山河举目虽异，风景非殊。功成者去，觉团扇、便与人疏。吹不断，斜阳依旧，茫茫禹迹都无」，下阕「千古茂陵词在，甚风流章句，解拟相如。只今木落江冷，眇眇愁余。故人书报，莫因循、忘却莼鲈。谁念我，新凉灯火，一编太史公书」，押鱼虞韵（庐、殊、疏、无、如、余、鲈、书），一韵到底，音节苍凉。全词以感慨写秋景：上阕写亭上的秋风（亭上秋风、茫茫禹迹都无），下阕写千古的茂陵词（千古茂陵词在、一编太史公书）。长调铺叙，前写观雨，后写读史，以「一编太史公书」写尽一编太史公书的灯火，正见辛弃疾「豪放」的本色。诵读此词，宜以苍凉的语调读「亭上秋风」的秋风，以感慨的语调读「一编太史公书」的太史公书，结句要读得苍凉而有余韵，方能传达出辛弃疾的沉郁苍凉。辛弃疾长调以「豪放」著称，此词正是其秋景词的典范。

Line by line

亭上秋风，记去年袅袅，曾到吾庐

Wind on the terrace: I remember last year how it curled and drifted, and came as far as my own door.

亭上秋风，记去年袅袅，曾到吾庐。

Autumn wind on the pavilion—remember, last year it wandered already, reaching my cottage.

此三句是全词写秋风的核心，以亭上秋风写秋风，以记去年袅袅写袅袅，以曾到吾庐写吾庐，写尽亭上的秋风，是千古名句。「亭上秋风」写亭上秋风——那「亭上」写亭上，「秋风」写秋风，写尽亭上的秋风；「记去年袅袅」写记去年袅袅——那「记去年」写记去年，「袅袅」写袅袅，写尽去年的袅袅；「曾到吾庐」写曾到吾庐——那「曾到」写曾到，「吾庐」写吾庐，写尽曾到的吾庐。这句的深意在于：它以「亭上秋风」的秋风、「记去年袅袅」的袅袅与「曾到吾庐」的吾庐，写尽亭上的秋风——亭上秋风，那「亭上秋风」写尽亭上的秋风——亭上秋风，正是亭中秋风的写照，那「秋风」写尽亭上的秋风；记去年袅袅，那「记去年袅袅」写尽去年的袅袅——记去年袅袅，正是追忆去年袅袅的写照，那「袅袅」写尽亭上的秋风；曾到吾庐，那「曾到吾庐」写尽曾到的吾庐——曾到吾庐，正是曾经到庐的写照，那「吾庐」写尽亭上的秋风；那「亭上秋风」写尽亭上的秋风，那「记去年袅袅」写尽去年的袅袅，那「曾到吾庐」写尽曾到的吾庐，一写秋风，一写去年，一写吾庐，写尽亭上的秋风——亭上秋风而去年袅袅，正是秋来的写照；此三句以秋风、去年、吾庐写尽亭上的秋风，也为下文的山河作铺垫，也让此三句成为全词写秋风的核心与千古名句。若换作直说「亭上的秋风，记得去年袅袅地吹，曾经到过我的茅庐」，则失其苍凉；唯以「亭上秋风」写秋风、「记去年袅袅」写袅袅、「曾到吾庐」写吾庐，写尽亭上的秋风，也让此三句成为全词写秋风的核心。

The wind. Autumn wind on the pavilion—remember, last year it wandered already, reaching my cottage. The returning wind, known from last year, is the autumn's annual reminder. To have greeted the autumn wind would be a greeting; the pavilion autumn wind against the last-year-wandering-reaching-my-cottage is the greeting.

谁念我，新凉灯火，一编太史公书

Who thinks of me, this new coolness, a lamp burning, one scroll of the Grand Scribe's book?

谁念我，新凉灯火，一编太史公书。

Who thinks of me? In the new cool at the lamplight, a single volume of the Grand Scribe's Records.

此三句是全词写愁余的核心，以谁念我写念我，以新凉灯火写灯火，以一编太史公书写太史公书，写尽一编太史公书的灯火，是千古名句。「谁念我」写谁念我——那「谁」写谁，「念我」写念我，写尽念我的谁；「新凉灯火」写新凉灯火——那「新凉」写新凉，「灯火」写灯火，写尽新凉的灯火；「一编太史公书」写一编太史公书——那「一编」写一编，「太史公书」写太史公书，写尽太史公书的编。这句的深意在于：它以「谁念我」的念我、「新凉灯火」的灯火与「一编太史公书」的太史公书，写尽一编太史公书的灯火——谁念我，那「谁念我」写尽念我的谁——谁念我，正是无人念我的写照，那「念我」写尽一编太史公书的灯火；新凉灯火，那「新凉灯火」写尽新凉的灯火——新凉灯火，正是凉夜灯下的写照，那「灯火」写尽一编太史公书的灯火；一编太史公书，那「一编太史公书」写尽太史公书的编——一编太史公书，正是读史的写照，那「太史公书」写尽一编太史公书的灯火；那「谁念我」写尽念我的谁，那「新凉灯火」写尽新凉的灯火，那「一编太史公书」写尽太史公书的编，一写念我，一写灯火，一写太史公书，写尽一编太史公书的灯火——无人念我而凉夜读史，正是身世的写照；此三句以念我、灯火、太史公书写尽一编太史公书的灯火，也让此三句成为全词写愁余的核心与千古名句。若换作直说「谁来念我，在新凉的灯火下，读着一编太史公书」，则失其苍凉；唯以「谁念我」写念我、「新凉灯火」写灯火、「一编太史公书」写太史公书，写尽一编太史公书的灯火，也让此三句成为全词写愁余的核心。

The reading. Who thinks of me? In the new cool at the lamplight, a single volume of the Grand Scribe's Records. The question (who thinks of me?) over the Grand Scribe at the lamplight is the exile's companionship with history. To have described reading history at night would be a scene; the who-thinks-of-me against the new-cool lamplight and the single Grand Scribe volume is the scene.

Study

Word focus

袅 The 'niao' of 'ji qu nian niao niao' — 'wavering, curling gently'. It describes the drifting of the wind rather than its force, and because the line remembers the wind of last year, the soft word carries a year of quiet recurrence. 「记去年袅袅」之「袅」字是写秋风关键词，一个「袅」字写尽去年的袅袅。袅者，袅娜、轻柔也。辛弃疾以「记去年袅袅」写秋风，这个「袅」字至少有双重意味：其一，写风之袅——那「记去年袅袅」写记去年袅袅，那「袅」字写尽去年的袅袅——袅袅，正是风袅轻柔的写照，那「袅」字写尽去年的袅袅；其二，写秋之柔——那「袅」字更是写柔——袅，正见秋风袅娜的轻柔，那「袅」字写尽辛弃疾的感慨。以「袅」字写秋风，正是辛弃疾写秋景的枢纽——若换作「吹」「拂」等字，则或失其与「记去年」「袅袅」的配合，或失其写袅的意味；唯「袅」字，以记去年袅袅写尽秋风之袅娜与去年之追忆，与「亭上秋风」的秋风相合，写尽去年的袅袅，也让「记去年袅袅」成为全词写秋风的名句。

念 The 'nian' of 'shui nian wo' — 'to think of, to care for'. Asked as 'who thinks of me', it turns an ordinary verb into the poem's whole loneliness: the question is not whether anyone remembers but whether anyone is still the kind of person who would. 「谁念我」之「念」字是写愁余关键词，一个「念」字写尽念我的谁。念者，挂念、惦记也。辛弃疾以「谁念我」写愁余，这个「念」字至少有双重意味：其一，写我之念——那「谁念我」写谁念我，那「念」字写尽念我的谁——念我，正是有人挂念的写照，那「念」字写尽念我的谁；其二，写情之孤——那「念」字更是写孤——念，正见无人挂念的孤寂，那「念」字写尽辛弃疾的感慨。以「念」字写愁余，正是辛弃疾写秋景的枢纽——若换作「知」「顾」等字，则或失其与「谁念我」「新凉灯火」的配合，或失其写念的意味；唯「念」字，以谁念我新凉灯火写尽灯火之新凉与身世之孤寂，与「一编太史公书」的太史公书相合，写尽念我的谁，也让「谁念我」成为全词写愁余的名句。