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宋 Song · 词 Ci lyric

木兰花慢·滁州送范倅

Slow Song of the Magnolia Flower - Seeing Fan Cui Off from Chuzhou

辛弃疾

Xin Qiji

送别Farewell 感慨Reflection

老来情味减，对别酒，怯流年。
况屈指中秋，十分好月，不照人圆。
无情水都不管，共西风、只管送归船。
秋晚莼鲈江上，夜深儿女灯前。
征衫，便好去朝天。
玉殿正思贤。
想夜半承明，留教视草，却遣筹边。
长安故人问我，道愁肠、殢酒只依然。
目断秋霄落雁，醉来时响空弦。

Old age has thinned my relish for life; facing the parting cup, I shrink from the fleeting years.
And now, counting on my fingers, the Mid-Autumn feast - a perfect moon that does not shine on our reunion.
The heartless water cares nothing, but with the west wind only hastens your homebound boat.
Late autumn, water shield and perch upon the river; deep night, children by the lamp's light.
Your travel robe - go well to court the throne;
The jade hall is just now seeking the worthy.
I imagine at midnight in Chengming, you kept to revise the edicts, then sent to plan the frontier.
Should old friends in Chang'an ask of me, say my sorrowing heart, drowned in wine, is still the same.
My eyes follow the wild geese falling through the autumn sky; in my cups I hear now and then the twang of an empty string.

Listen

Meaning

Xin Qiji sends his colleague Fan Cui from Chuzhou to the capital: age has dulled his taste for life, and the Mid-Autumn moon shines on no reunion. He wishes the friend well at court yet confesses his own submerged sorrow, ending on a lone, drink-numbered string. The long tune moves from parting ache to courtly blessing and back to personal grief.

老来情味减，对别酒，怯流年。况屈指中秋，十分好月，不照人圆。无情水都不管，共西风、只管送归船。秋晚莼鲈江上，夜深儿女灯前。征衫，便好去朝天。玉殿正思贤。想夜半承明，留教视草，却遣筹边。长安故人问我，道愁肠、殢酒只依然。目断秋霄落雁，醉来时响空弦。

Appreciation

[Plain Paraphrase] Old, the poet dreads the years over the parting cup; the Mid-Autumn moon misses their reunion; the water speeds the friend home; then he blesses the friend's court career and owns his own wine-drowned heart; last, geese fall and an empty string twangs. [Structure] Upper part dwells on the parting cup and the years; lower part turns to the friend's court call and the poet's lingering sorrow. [Imagery] 'Heartless water' and 'west wind' are blamed for the swift parting; 'water shield and perch' alludes to home-longing; 'empty string' (the startled-bow bird) images a startled, solitary heart. The tone is weighed and checked.

【白话串讲】辛弃疾写《木兰花慢·滁州送范倅》：“老来情味减，对别酒，怯流年”——“况屈指中秋，十分好月，不照人圆”——“无情水都不管，共西风、只管送归船”——“秋晚莼鲈江上，夜深儿女灯前”——他送范倅入朝——十分好月，不照人圆。【意象与手法】此词写送别，以感慨写送别，是辛弃疾的名篇。上阕写别酒：「老来情味减，对别酒，怯流年。况屈指中秋，十分好月，不照人圆。无情水都不管，共西风、只管送归船。秋晚莼鲈江上，夜深儿女灯前」写老来情味减、对别酒、怯流年——写尽对别酒的怯流年；下阕写征衫：「征衫，便好去朝天。玉殿正思贤。想夜半承明，留教视草，却遣筹边。长安故人问我，道愁肠、殢酒只依然。目断秋霄落雁，醉来时响空弦」写征衫、便好去朝天、玉殿正思贤——写尽玉殿的思贤。全词以感慨写送别，写尽对别酒的怯流年与玉殿的思贤，是辛弃疾的代表作。【情感与主旨】此词写送别，以感慨写送别，是辛弃疾的名篇。此词为辛弃疾在滁州送范倅（范昂）赴临安而作，写其送别之情与感慨。辛弃疾守滁州时，范昂任通判，此词写其秋日送别。此词写老来情味减，对别酒，怯流年；况屈指中秋，十分好月，不照人圆；无情水都不管，共西风、只管送归船；秋晚莼鲈江上，夜深儿女灯前；征衫，便好去朝天；玉殿正思贤；想夜半承明，留教视草，却遣筹边；长安故人问我，道愁肠、殢酒只依然；目断秋霄落雁，醉来时响空弦。此词写别酒：老来情味减，对别酒，怯流年——写老来情味减、对别酒、怯流年，写尽对别酒的怯流年；况屈指中秋，十分好月，不照人圆——写况屈指中秋、十分好月、不照人圆，写尽不照人圆的秋月；无情水都不管，共西风、只管送归船——写无情水都不管、共西风、只管送归船，写尽只管送归船的西风；秋晚莼鲈江上，夜深儿女灯前——写秋晚莼鲈江上、夜深儿女灯前，写尽儿女的灯前。下阕写征衫：征衫，便好去朝天；玉殿正思贤——写征衫、便好去朝天、玉殿正思贤，写尽玉殿的思贤；想夜半承明，留教视草，却遣筹边——写想夜半承明、留教视草、却遣筹边，写尽遣去的筹边；长安故人问我，道愁肠、殢酒只依然——写长安故人问我、道愁肠、殢酒只依然，写尽殢酒的愁肠；目断秋霄落雁，醉来时响空弦——写目断秋霄落雁、醉来时响空弦，写尽醉时响空弦的落雁。全词以感慨写送别——那「对别酒，怯流年」写尽对别酒的怯流年，「玉殿正思贤」写尽玉殿的思贤，写尽对别酒的怯流年与玉殿的思贤，是理解辛弃疾送别词的重要篇章。【名句点睛】常考「老来情味减，对别酒，怯流年」写对别酒的怯流年；「目断秋霄落雁，醉来时响空弦」写醉时响空弦的落雁；以及全词以感慨写送别、以用典写送归的手法。

Background

Xin Qiji (1140-1207), courtesy name You'an, style Jiaxuan, of Licheng (Jinan, Shandong), was a Southern Song 'Hao-fang' (bold and unconstrained) lyricist, paired with Su Shi as 'Su-Xin.' While prefect of Chuzhou he wrote this for his subordinate Fan Cui (Fan Ang) departing for Lin'an. In his later, frustrated years, Xin's partings mix blessing with self-pity. The poem moves from the parting cup to the jade hall's call, then back to his own wine-drowned, startled heart - a record of both friendship and blocked ambition.

此词写送别，以感慨写送别，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」。此词为辛弃疾在滁州送范倅（范昂）赴临安而作，写其送别之情与感慨。辛弃疾守滁州时，范昂任通判，此词写其秋日送别。此词写老来情味减，对别酒，怯流年；况屈指中秋，十分好月，不照人圆；无情水都不管，共西风、只管送归船；秋晚莼鲈江上，夜深儿女灯前；征衫，便好去朝天；玉殿正思贤；想夜半承明，留教视草，却遣筹边；长安故人问我，道愁肠、殢酒只依然；目断秋霄落雁，醉来时响空弦。此词写别酒：「老来情味减，对别酒，怯流年」写老来情味减、对别酒、怯流年——写尽对别酒的怯流年（老来情味减，对别酒，怯流年）；「无情水都不管，共西风、只管送归船」写无情水都不管、共西风、只管送归船——写尽只管送归船的西风（无情水都不管，共西风、只管送归船）；「征衫，便好去朝天。玉殿正思贤」写征衫、便好去朝天、玉殿正思贤——写尽玉殿的思贤（征衫，便好去朝天。玉殿正思贤）；「目断秋霄落雁，醉来时响空弦」写目断秋霄落雁、醉来时响空弦——写尽醉时响空弦的落雁（目断秋霄落雁，醉来时响空弦）。全词以感慨写送别，写尽对别酒的怯流年与玉殿的思贤，是理解辛弃疾送别词的重要篇章。

Art

The art has four moves. First, direct feeling: 'old age thinned my relish... facing the cup, I shrink from the years' states the ache plainly. Second, absurd blame: 'heartless water cares nothing... only hastens your boat' personifies the river and wind as indifferent carriers. Third, allusion for home: 'water shield and perch' cites Zhang Han's retreat-for-taste; 'children by the lamp' warms the domestic. Fourth, striking close: 'eyes follow the falling geese; in cups I hear an empty string' images a startled, lone heart. Upper part the parting cup, lower part the court blessing - from send-off to wish, the 'parting that thinks of the friend' form. Fine touches: 'counting on my fingers' the Mid-Autumn, and 'old friends ask - say my sorrowing heart drowned in wine' close the long tune on a personal, weighed note.

此词的艺术特色可从四个方面解析。其一，以直抒写别情。「老来情味减」以直抒写别情——那「对别酒，怯流年」写尽对别酒的怯流年，以直抒写尽对别酒的怯流年。其二，以无理写送归。「无情水都不管」以无理写送归——那「只管送归船」写尽只管送归船的西风，以无理写尽只管送归船的西风。其三，以用典写莼鲈。「秋晚莼鲈江上」以用典写莼鲈——那「夜深儿女灯前」写尽儿女的灯前，以用典写尽秋晚的莼鲈。其四，以警策写相思。「目断秋霄落雁」以警策写相思——那「醉来时响空弦」写尽醉时响空弦的落雁，以警策写尽醉时响空弦的落雁。此外，此词上阕写对别酒的怯流年，下阕写玉殿的思贤，由别及祝，正是送别词「以送写念」的写法。四重手法，使此词以感慨写送别，写尽对别酒的怯流年与玉殿的思贤，是辛弃疾的代表作。此外，此词还善于以「况屈指中秋」的「屈指」写中秋之屈指——那「屈指」写尽屈指的中秋，正是以指算日，以「十分好月，不照人圆」写尽不照人圆的秋月。又善以「长安故人问我」的「故人」写故人之问我——长安故人问我，正见故人问讯的写照，以「道愁肠、殢酒只依然」写尽殢酒的愁肠。

Allusions

The language rests on parting-and-reflection. 'Fleeting years' echoes 'as water the years flow.' 'Mid-Autumn' and 'west wind' are seasonal; 'water shield and perch' is Zhang Han's (Shi Shuo) homesick retirement; 'Chengming' the Han counselors' lodge; 'revise the edicts' (shi cao) the secretariat task; 'plan the frontier' (chou bian) his martial counsel; 'empty string' the startled-bow bird. 'Children' echoes 'children share the wet' (Wang Bo). The tune weaves years, moon, wind, shield-perch, Chengming, edicts, empty string into a Hao-fang, allusion-rich parting of reflection.

此词的用语深植于送别与感慨传统。「流年」令人想到「流年」写流年的意象——也令人想到「似水流年」的意象；「中秋」令人想到「中秋」写中秋的意象——也令人想到「中秋月」的意象；「西风」令人想到「西风」写西风的意象——也令人想到「昨夜西风」（晏殊）的意象；「莼鲈」令人想到「莼鲈」写莼鲈的意象——《世说新语》张翰莼鲈之思，也令人想到「莼鲈之思」的意象；「承明」令人想到「承明」写承明庐的意象——承明庐，汉代侍臣所居，也令人想到「承明庐」的意象；「视草」令人想到「视草」写起草诏书的意象——也令人想到「视草代言」的意象；「空弦」令人想到「空弦」写空弓弦的意象——也令人想到「惊弓之鸟」的意象。全词化用流年、中秋、西风、莼鲈、承明、视草、空弦的意象典故，以感慨写送别，正是辛弃疾「豪放」而善用典、承送别传统写感慨之本领。「儿女」令人想到「儿女」写儿女的意象——也令人想到「儿女共沾巾」（王勃）的意象；「筹边」令人想到「筹边」写筹划边防的意象——也令人想到「筹边楼」的意象，以筹边写壮怀。

Commentary

Long a Xin Qiji farewell classic and a Song model of Chuzhou parting, it drew the Qing note 'parting in reflection, weighed and checked,' and modern praise for the falling-geese / empty-string close. Its worth is a long tune holding the parting cup, the court call, and the wine-drowned heart - the old age, the moon, the heartless water, the shield-perch, the children, the jade hall, the empty string. Set beside his 'Water Dragon Chant' (climbing), one ascent, one parting, it shows his reflection from two sides. For today it opens his farewell lyrics and Song Chuzhou parting - the empty string still sounds.

此词历来被推为辛弃疾送别词的名篇，也是宋词写滁州送别的代表。历代论者对此词评价极高：清人评此词「以感慨写送别，沉郁顿挫」；近人更指出「目断秋霄落雁，醉来时响空弦」写醉时响空弦的落雁，是此词的名句。在诗歌史上，此词的特殊价值在于：它以长调写尽对别酒的怯流年与玉殿的思贤——那老来，那情味减，那对别酒，那怯流年，那况屈指，那中秋，那十分好月，那不照人圆，那无情水，那都不管，那共西风，那只管送归船，那秋晚，那莼鲈江上，那夜深，那儿女灯前，那征衫，那便好去朝天，那玉殿，那正思贤，那想夜半承明，那留教视草，那却遣筹边，那长安故人，那问我，那道愁肠，那殢酒，那只依然，那目断秋霄，那落雁，那醉来，那时响空弦，都写尽了辛弃疾笔下的木兰花慢滁州送范倅；那「目断秋霄落雁」更以警策写尽醉时响空弦的落雁。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「对别酒，怯流年」的木兰花慢；一写登高，一写送别。两词对读，可见辛弃疾感慨词的两面。对于今日读者，此词是理解辛弃疾送别词的窗口，也是宋词写滁州送别的经典——那醉时响空弦的落雁，穿越千年，仍在诉说着玉殿的思贤。

Prosody

Form Lyric - Slow Song of the Magnolia Flower (Mulan Hua Man)词·木兰花慢

Rhyme Slow Song of the Magnolia Flower: upper part rhymes nian/yuan/chuan/qian, lower part xian/bian/ran/xian (Xian category), one rhyme throughout.木兰花慢，上阕押「年」「圆」「船」「前」，下阕押「贤」「边」「然」「弦」（先韵），一韵到底

Tone pattern A Slow Song long tune, level-tone rhyme throughout, weighed and checked in sound, fitting the reflection.此词为木兰花慢长调，押平声韵，一韵到底，音节顿挫，正合感慨的顿挫。

Reading note A Slow Song of the Magnolia Flower, two parts: upper 'old age... children by the lamp,' lower 'travel robe... empty string,' rhyming Xian (nian/yuan/chuan/qian/xian/bian/ran/xian) throughout, weighed in sound. Upper the parting cup, lower the court blessing, ending on the falling geese and empty string - Xin Qiji's bold manner. Read the cup weighed, the blessing reflective, the close checked with an echo - his 'Hao-fang' farewell model.此词为木兰花慢长调，上下两阕——上阕「老来情味减，对别酒，怯流年。况屈指中秋，十分好月，不照人圆。无情水都不管，共西风、只管送归船。秋晚莼鲈江上，夜深儿女灯前」，下阕「征衫，便好去朝天。玉殿正思贤。想夜半承明，留教视草，却遣筹边。长安故人问我，道愁肠、殢酒只依然。目断秋霄落雁，醉来时响空弦」，押先韵（年、圆、船、前、贤、边、然、弦），一韵到底，音节顿挫。全词以感慨写送别：上阕写对别酒的怯流年（老来情味减、夜深儿女灯前），下阕写玉殿的思贤（征衫、目断秋霄落雁）。长调铺叙，前写送别，后写相思，以「醉来时响空弦」写尽醉时响空弦的落雁，正见辛弃疾「豪放」的本色。诵读此词，宜以顿挫的语调读「对别酒，怯流年」的别酒，以感慨的语调读「玉殿正思贤」的思贤，结句要读得顿挫而有余韵，方能传达出辛弃疾的沉郁顿挫。辛弃疾长调以「豪放」著称，此词正是其送别词的典范。

Line by line

老来情味减，对别酒，怯流年

Old age has thinned my relish for life; facing the parting cup, I shrink from the fleeting years.

老来情味减，对别酒，怯流年。

In old age my tastes have dulled; facing the farewell wine, I dread the fleeting years.

此三句是全词写别酒的核心，以老来情味减写情味减，以对别酒写对别酒，以怯流年写怯流年，写尽对别酒的怯流年，是千古名句。「老来情味减」写老来情味减——那「老来」写老来，「情味减」写情味减，写尽老来的情味减；「对别酒」写对别酒——那「对」写对，「别酒」写别酒，写尽对别的酒；「怯流年」写怯流年——那「怯」写怯，「流年」写流年，写尽怯的流年。这句的深意在于：它以「老来情味减」的情味减、「对别酒」的别酒与「怯流年」的怯流年，写尽对别酒的怯流年——老来情味减，那「老来情味减」写尽老来的情味减——老来情味减，正是老去情淡的写照，那「情味减」写尽对别酒的怯流年；对别酒，那「对别酒」写尽对别的酒——对别酒，正是对酒送别的写照，那「别酒」写尽对别酒的怯流年；怯流年，那「怯流年」写尽怯的流年——怯流年，正是怯于流年的写照，那「怯」写尽对别酒的怯流年；那「老来情味减」写尽老来的情味减，那「对别酒」写尽对别的酒，那「怯流年」写尽怯的流年，一写老来，一写别酒，一写流年，写尽对别酒的怯流年——老去情淡而对酒别离，正是送别的写照；此三句以老来、别酒、流年写尽对别酒的怯流年，也为下文的秋月作铺垫，也让此三句成为全词写别酒的核心与千古名句。若换作直说「年老情味减退，对着别酒，害怕流年逝去」，则失其沉郁；唯以「老来情味减」写情味减、「对别酒」写对别酒、「怯流年」写怯流年，写尽对别酒的怯流年，也让此三句成为全词写别酒的核心。

The wine. In old age my tastes have dulled; facing the farewell wine, I dread the fleeting years. The old-age-dulled tastes and the farewell-wine and the dreaded fleeting years are the opening. To have faced the farewell wine would be a facing; the in-old-age-my-tastes-have-dulled-facing-the-farewell-wine-i-dread-the-fleeting-years is the facing.

目断秋霄落雁，醉来时响空弦

My eyes follow the wild geese falling through the autumn sky; in my cups I hear now and then the twang of an empty string.

目断秋霄落雁，醉来时响空弦。

My gaze follows the falling wild geese across the autumn sky; when I come drunk, I hear the empty string sound.

此二句是全词写相思的核心，以目断秋霄落雁写落雁，以醉来时响空弦写空弦，写尽醉时响空弦的落雁，是千古名句。「目断秋霄落雁」写目断秋霄落雁——那「目断秋霄」写目断秋霄，「落雁」写落雁，写尽秋霄的落雁；「醉来时响空弦」写醉来时响空弦——那「醉来」写醉来，「时响空弦」写时响空弦，写尽醉时响空弦的空弦。这句的深意在于：它以「目断秋霄落雁」的落雁与「醉来时响空弦」的空弦，写尽醉时响空弦的落雁——目断秋霄落雁，那「目断秋霄落雁」写尽秋霄的落雁——目断秋霄落雁，正是目送雁落的写照，那「落雁」写尽醉时响空弦的落雁；醉来时响空弦，那「醉来时响空弦」写尽醉时响空弦的空弦——醉来时响空弦，正是醉听空弦的写照，那「空弦」写尽醉时响空弦的落雁；那「目断秋霄落雁」写尽秋霄的落雁，那「醉来时响空弦」写尽醉时响空弦的空弦，一写落雁，一写空弦，写尽醉时响空弦的落雁——目送雁落而醉听空弦，正是相思的写照；此二句以落雁、空弦写尽醉时响空弦的落雁，也让此二句成为全词写相思的核心与千古名句。若换作直说「目送秋空落雁，醉时仿佛听到空弦响」，则失其警策；唯以「目断秋霄落雁」写落雁、「醉来时响空弦」写空弦，写尽醉时响空弦的落雁，也让此二句成为全词写相思的核心。

The string. My gaze follows the falling wild geese across the autumn sky; when I come drunk, I hear the empty string sound. The gaze-following-falling-geese and the drunk-hearing-empty-string are the close. To have followed the geese would be a following; the my-gaze-follows-the-falling-wild-geese-across-the-autumn-sky-when-i-come-drunk-i-hear-the-empty-string-sound is the following.

Study

Word focus

怯 Shrink / fear. In 'facing the cup, I shrink from the years,' 'qie' names both a dread of time's passing and a trembling before parting - the hinge of the poet's personal, weighed feeling, answering 'old age has thinned my relish.' 「对别酒，怯流年」之「怯」字是写别情关键词，一个「怯」字写尽对别酒的怯流年。怯者，害怕、畏惧也。辛弃疾以「怯流年」写别情，这个「怯」字至少有双重意味：其一，写年之怯——那「对别酒，怯流年」写对别酒、怯流年，那「怯」字写尽对别酒的怯流年——怯流年，正是怕岁月之逝的写照，那「怯」字写尽对别酒的怯流年；其二，写情之怯——那「怯」字更是写情——怯，正见怯于离别的深情，那「怯」字写尽辛弃疾的感慨。以「怯」字写别情，正是辛弃疾写送别的枢纽——若换作「惜」「叹」等字，则或失其与「对别酒」「怯流年」的配合，或失其写怯的意味；唯「怯」字，以对别酒怯流年写尽流年之害怕与别情之深怯，与「老来情味减」的情味减相合，写尽对别酒的怯流年，也让「怯流年」成为全词写别情的名句。

断 Break off / gaze to the limit. In 'eyes follow the falling geese,' 'duan' means gazing until sight breaks at the sky's edge, figuring the deep, far-reaching longing of a blocked, lone heart, matching the 'empty string' close. 「目断秋霄落雁」之「断」字是写相思关键词，一个「断」字写尽秋霄的落雁。断者，望断、极望也。辛弃疾以「目断秋霄落雁」写相思，这个「断」字至少有双重意味：其一，写目之断——那「目断秋霄落雁」写目断秋霄落雁，那「断」字写尽秋霄的落雁——目断，正是望断天涯的写照，那「断」字写尽秋霄的落雁；其二，写情之深——那「断」字更是写深——断，正见望断天涯的深情，那「断」字写尽辛弃疾的感慨。以「断」字写相思，正是辛弃疾写送别的枢纽——若换作「送」「极」等字，则或失其与「目断秋霄」「落雁」的配合，或失其写断的意味；唯「断」字，以目断秋霄落雁写尽秋霄之望断与望雁之深情，与「醉来时响空弦」的空弦相合，写尽秋霄的落雁，也让「目断秋霄落雁」成为全词写相思的名句。