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宋 Song · 词 Ci lyric

菩萨蛮·金陵赏心亭为叶丞相赋

Pu Sa Man — Written at the Shangxin Pavilion in Jinling for Chancellor Ye

辛弃疾

Xin Qiji

山水Landscape 感慨Reflection

青山欲共高人语，联翩万马来无数。
烟雨却低回，望来终不来。
人言头上发，总向愁中白。
拍手笑沙鸥，一身都是愁。

Blue hills would speak with the lofty man,
Come like ten thousand steeds in unbroken train.
But mist and rain wheel low and will not come;
Though I look, they never arrive.
Men say the hair upon one's head
Always whitens in sorrow.
I clap my hands and laugh at the gulls on the sand —
Their whole body is but sorrow.

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Meaning

Written for Chancellor Ye Heng at Nanjing's Shangxin Pavilion, the poem first pictures the hills rushing like myriad horses to meet a great man, then shifts to personal sorrow: hair whitens with grief, and even the white gulls seem made of sorrow. It turns melancholy into self-mocking laughter.

青山欲共高人语，联翩万马来无数。烟雨却低回，望来终不来。人言头上发，总向愁中白。拍手笑沙鸥，一身都是愁。

Appreciation

[Plain Paraphrase] Xin Qiji's 'Pu Sa Man — at the Shangxin Pavilion in Jinling for Chancellor Ye': 'Blue hills would speak with the lofty man, come like ten thousand steeds in unbroken train' — 'but mist and rain wheel low and will not come; though I look, they never arrive' — 'men say the hair upon one's head always whitens in sorrow' — 'I clap my hands and laugh at the gulls on the sand — their whole body but sorrow.' He writes the Shangxin Pavilion — I clap and laugh at the sand-gulls, their whole body but sorrow. [Imagery] The lyric writes ascent-and-gazing through reflection. The upper part writes hill-gazing: blue hills would speak with the lofty man, like ten thousand steeds — exhausting the expectancy of gazing; the lower writes sorrow's self-resolution: men say hair whitens in sorrow — exhausting sorrow's self-comfort. The whole writes ascent through reflection, exhausting gazing's expectancy and sorrow's self-resolution. [Feeling] Xin Qiji wrote this at the Shangxin Pavilion in Jiankang (modern Nanjing) for Ye Heng (then Chancellor). In 1168 Xin was prefectural assistant at Jiankang and the two were close. The blue hills would speak with the lofty man (Ye), like myriad horses; mist and rain wheel low and will not come. The lower turns from sorrow-whitened hair to 'I clap and laugh at the sand-gulls — their whole body but sorrow,' a self-mock resolution.

【白话串讲】辛弃疾写《菩萨蛮·金陵赏心亭为叶丞相赋》：“青山欲共高人语，联翩万马来无数”——“烟雨却低回，望来终不来”——“人言头上发，总向愁中白”——“拍手笑沙鸥，一身都是愁”——他写赏心亭——拍手笑沙鸥，一身都是愁。【意象与手法】此词写登临，以感慨写登临，是辛弃疾的名篇。上片写望山：「青山欲共高人语，联翩万马来无数。烟雨却低回，望来终不来」写青山欲共高人语、联翩万马来无数——写尽望山的期待；下片写愁绪：「人言头上发，总向愁中白。拍手笑沙鸥，一身都是愁」写人言头上发、总向愁中白——写尽愁绪的自解。全词以感慨写登临，写尽望山的期待与愁绪的自解，是辛弃疾的代表作。【情感与主旨】此词写登临，以感慨写登临，是辛弃疾的名篇。此词写辛弃疾在建康（今南京）金陵赏心亭为叶衡（时任丞相）所作。辛弃疾于乾道四年（1168）任建康府通判，叶衡知建康府，两人相得。此词写登赏心亭望青山——青山欲与高人（指叶衡）共语，如联翩万马而来；烟雨低回，望来终不来。下片由愁白之发，翻出「拍手笑沙鸥，一身都是愁」的自解——白鸥一身皆白，正似处处是愁，以此自嘲自解。此词写望山：青山欲共高人语，联翩万马来无数——写青山欲共高人语、联翩万马来无数，写尽望山的期待；烟雨却低回，望来终不来——写烟雨却低回、望来终不来，写尽低回的烟雨；人言头上发，总向愁中白——写人言头上发、总向愁中白，写尽愁白的白发；拍手笑沙鸥，一身都是愁——写拍手笑沙鸥、一身都是愁，写尽愁绪的自解。全词以感慨写登临——那「青山欲共高人语」写尽望山的期待，「拍手笑沙鸥」写尽愁绪的自解，写尽望山的期待与愁绪的自解，是理解辛弃疾登临词的重要篇章。【名句点睛】常考「青山欲共高人语，联翩万马来无数」写望山的期待；「人言头上发，总向愁中白」写愁白的白发；以及全词以感慨写登临、以自解写愁绪的手法。

Background

This lyric writes ascent-and-gazing through reflection, a famous piece by Xin Qiji. Xin Qiji (1140–1207), styled You-an, hao Jia-xuan, from Licheng (modern Jinan, Shandong), was a Southern Song lyricist, paired with Su Shi as 'Su-Xin,' a representative of the bold (hao fang) lyric. The poem was written at the Shangxin Pavilion in Jiankang (Nanjing) for Ye Heng (then Chancellor). In 1168 Xin served as prefectural assistant at Jiankang and the two got along well. The upper part writes gazing at the hills — blue hills would speak with the lofty man (Ye), like myriad horses; mist and rain wheel low and will not come. The lower turns from sorrow-whitened hair to 'I clap and laugh at the sand-gulls — their whole body but sorrow,' a self-mock resolution — the white gulls all white, like everywhere-sorrow, a self-mock comfort.

此词写登临，以感慨写登临，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」，为豪放词代表。此词写辛弃疾在建康（今南京）金陵赏心亭为叶衡（时任丞相）所作。辛弃疾于乾道四年（1168）任建康府通判，叶衡知建康府，两人相得。此词写登赏心亭望青山——青山欲与高人（指叶衡）共语，如联翩万马而来；烟雨低回，望来终不来。下片由愁白之发，翻出「拍手笑沙鸥，一身都是愁」的自解——白鸥一身皆白，正似处处是愁，以此自嘲自解。此词写望山：「青山欲共高人语，联翩万马来无数」写青山欲共高人语、联翩万马来无数——写尽望山的期待（青山欲共高人语，联翩万马来无数）；「烟雨却低回，望来终不来」写烟雨却低回、望来终不来——写尽低回的烟雨（烟雨却低回，望来终不来）；「人言头上发，总向愁中白」写人言头上发、总向愁中白——写尽愁白的白发（人言头上发，总向愁中白）；「拍手笑沙鸥，一身都是愁」写拍手笑沙鸥、一身都是愁——写尽愁绪的自解（拍手笑沙鸥，一身都是愁）。全词以感慨写登临，写尽望山的期待与愁绪的自解，是理解辛弃疾登临词的重要篇章。

Art

The lyric's art can be read in four aspects. First, personifying the blue hills: 'blue hills would speak with the lofty man' personifies the hills' desire to speak. Second, metaphor for the mountain momentum: 'come like ten thousand steeds' writes the linked ranges. Third, direct statement of sorrow-whitening: 'men say the hair upon one's head always whitens in sorrow' states the whitening directly. Fourth, self-mock for resolution: 'I clap my hands and laugh at the gulls on the sand — their whole body is but sorrow' writes the free-and-easy self-mock. Moreover the upper part writes gazing's expectancy, the lower sorrow's self-resolution, from gaze to laugh — the ascent lyric's 'writing sorrow through laugh.' The four methods make the lyric write ascent through reflection, exhausting gazing's expectancy and sorrow's self-resolution. It also excels at writing the low wheeling of 'mist and rain wheel low and will not come' — the hovering mist is the portrait of looking-yet-not-arriving, writing thea wistful longing of gazing.

此词的艺术特色可从四个方面解析。其一，以拟人写青山。「青山欲共高人语」以拟人写青山——那「欲共高人语」写尽青山的拟人，以拟人写尽望山的期待。其二，以比喻写山势。「联翩万马来无数」以比喻写山势——那「万马来无数」写尽群山的连山，以比喻写尽望山的期待。其三，以直抒写愁白。「人言头上发，总向愁中白」以直抒写愁白——那「总向愁中白」写尽愁白的白发，以直抒写尽愁绪的深重。其四，以自嘲写自解。「拍手笑沙鸥，一身都是愁」以自嘲写自解——那「拍手笑」写尽自嘲的洒脱，以自嘲写尽愁绪的自解。此外，此词上片写望山的期待，下片写愁绪的自解，由望及笑，正是登临词「以笑写愁」的写法。四重手法，使此词以感慨写登临，写尽望山的期待与愁绪的自解，是辛弃疾的代表作。此词还善于以「烟雨却低回，望来终不来」的低回写期待的落空——那「却低回」写尽烟雨的徘徊，正是望而不至的写照，以低回写尽望山的怅惘。又善以「人言头上发，总向愁中白」的民谚式直抒写愁白——总向愁中白，正是人言愁白发的写照，以直抒写尽愁绪的深重。

Allusions

The lyric's language is deep in the ascent-and-reflection tradition. 'Blue hills would speak' recalls the 'blue hills' image — also Xin's 'I see the blue hills so charming, surely the blue hills see me likewise'; 'ten thousand steeds' recalls the 'linked ranges' image — also Du Fu's 'a thousand ranges, ten thousand ravines hasten to Jing-men'; 'mist and rain' the mist-rain image; 'low wheeling' the low-wheeling image; 'sand-gull' the sand-gull image — also Du Fu's 'drifting, what am I like? heaven and earth, one sand-gull'; 'whiten in sorrow' the sorrow-whitening image — also Li Bai's 'white hair three thousand zhang, for sorrow so long.' The whole transforms blue hills, myriad steeds, mist-rain, low-wheeling, sand-gull, sorrow-whitening imagery — Xin's 'writing as prose in lyric' (yi wen wei ci), skilled at personification, inheriting the ascent tradition to write sorrow. 'Lofty man' points to Ye Heng; 'clap and laugh' writes the free self-mock.

此词的用语深植于登临与感慨传统。「青山欲共高人语」令人想到「青山」写青山的意象——也令人想到「我见青山多妩媚，料青山见我应如是」（辛弃疾）的意象；「联翩万马」令人想到「联翩万马」写群山的意象——也令人想到「群山万壑赴荆门」（杜甫）的意象；「烟雨」令人想到「烟雨」写烟雨的意象——也令人想到「烟雨莽苍苍」的意象；「低回」令人想到「低回」写低回的意象——也令人想到「低回婉转」的意象；「沙鸥」令人想到「沙鸥」写沙鸥的意象——也令人想到「飘飘何所似，天地一沙鸥」（杜甫）的意象；「愁中白」令人想到「愁中白」写愁白的意象——也令人想到「白发三千丈，缘愁似个长」（李白）的意象。全词化用青山、联翩万马、烟雨、低回、沙鸥、愁中白的意象，以感慨写登临，正是辛弃疾「以文为词」而善拟人、承登临传统写愁绪之本领。「高人」令人想到「高人」写高士的意象——也令人想到「高山仰止」的意象，以高人指叶衡；「拍手笑」令人想到「拍手」写拍手的意象——也令人想到「拍手狂歌」的意象，以拍手写自嘲的洒脱。

Commentary

This lyric has long been praised as a famous ascent piece by Xin Qiji and a representative of Song lyrics writing Jinling ascent. Critics rate it highly: a Qing reader called it 'ascent through reflection, bold and free'; a modern notes 'I clap and laugh at the sand-gulls — their whole body but sorrow' as a famous line. Its special value: in 44 characters it exhausts gazing's expectancy and sorrow's self-resolution — the blue hills, the would-speak, the linked, the myriad steeds, the mist-rain, the low wheeling, the look-yet-not-arrive, the men-say, the hair, the always-whiten-in-sorrow, the clap, the laugh at gulls, the whole body but sorrow — all Xin's Jinling Shangxin Pavilion; 'I clap and laugh at the sand-gulls' ends sorrow's self-resolution with self-mock. It pairs with Xin's 'Shui Long Yin (Ascending the Jiankang Shangxin Pavilion)' ('chu sky thousand li, clear autumn') as Jinling ascent masterpieces — one writes 'I look at the Wu-hook, rap the rail' (Shui Long Yin), one writes 'clap and laugh at the gulls' (Pu Sa Man); one self-hurt, one self-resolve. It continues Du Fu's 'heaven and earth, one sand-gull' gull image — showing the Song lyric's ascent-and-reflection tradition. For today's reader it is a window onto Xin's ascent lyrics and a classic of Song Jinling verse — that clapping, laughing gull still speaks, across millennia, sorrow's self-resolution.

此词历来被推为辛弃疾登临词的名篇，也是宋词写金陵登临的代表。历代论者对此词评价极高：清人评此词「以感慨写登临，豪放洒脱」；近人更指出「拍手笑沙鸥，一身都是愁」写愁绪的自解，是此词的名句。在词史上，此词的特殊价值在于：它以四十四字的词写尽望山的期待与愁绪的自解——那青山，那欲共高人语，那联翩，那万马来无数，那烟雨，那却低回，那望来终不来，那人言，那头上发，那总向愁中白，那拍手，那笑沙鸥，那一身都是愁，都写尽了辛弃疾笔下的金陵赏心亭；那「拍手笑沙鸥」更以自嘲写尽愁绪的自解。此词与辛弃疾《水龙吟·登建康赏心亭》（「楚天千里清秋」）同为金陵登临名篇，一写「把吴钩看了，栏杆拍遍」的悲愤（水龙吟），一写「拍手笑沙鸥」的洒脱（菩萨蛮）；又与杜甫《旅夜书怀》「天地一沙鸥」的沙鸥意象一脉相承，可见宋词写登临感慨的传统。对于今日读者，此词是理解辛弃疾登临词的窗口，也是宋词写金陵的经典——那拍手一笑的沙鸥，穿越千年，仍在诉说着愁绪的自解。

Prosody

Form Lyric (ci) — Pu Sa Man (Bodhisattva Barbarian)词·菩萨蛮

Rhyme The tune Pu Sa Man rhymes on yu, shu, hui, lai, bai, ou, chou — level and oblique inter-rhyming.词牌菩萨蛮，押「语」「数」「回」「来」「白」「鸥」「愁」等韵，平仄互押

Tone pattern This is Pu Sa Man, with level and oblique inter-rhyming, a music of rising and falling, fitting reflection's undulation.此词为菩萨蛮，平仄互押，音节跌宕，正合感慨的跌宕。

Reading note This lyric is in the Pu Sa Man tune. Upper part four lines: 'Blue hills would speak with the lofty man, come like ten thousand steeds in unbroken train. But mist and rain wheel low and will not come; though I look, they never arrive.' Lower part four lines: 'Men say the hair upon one's head always whitens in sorrow. I clap my hands and laugh at the gulls on the sand — their whole body is but sorrow.' It rhymes oblique (yu, shu) then turns level (hui, lai), then oblique (bai) and back to level (ou, chou) — level-oblique inter-rhyming, a music of rising and falling. The whole writes ascent through reflection: upper the hill-gazing expectancy, lower sorrow's self-resolution. The short lyric first writes gazing, then self-resolution, ending with 'I clap and laugh at the gulls — their whole body but sorrow,' exactly Xin's 'writing as prose in lyric' nature. Read it with a bold tone on 'come like ten thousand steeds,' a free tone on 'I clap and laugh at the gulls,' the closing line rising-falling with lingering resonance, to convey Xin's bold, free manner. Xin's lyrics are famed for 'bold'; this is a model of his ascent lyrics.此词为《菩萨蛮》词牌，上片四句——「青山欲共高人语，联翩万马来无数。烟雨却低回，望来终不来」，下片四句——「人言头上发，总向愁中白。拍手笑沙鸥，一身都是愁」，押仄韵（语、数）而转平韵（回、来），再转仄韵（白）而复转平韵（鸥、愁），平仄互押，音节跌宕。全词以感慨写登临：上片写望山的期待（青山欲共高人语、联翩万马来无数），下片写愁绪的自解（人言头上发、拍手笑沙鸥）。词体短章，前写望山，后写自解，以「拍手笑沙鸥，一身都是愁」写尽愁绪的自解，正见辛弃疾「以文为词」的本色。诵读此词，宜以豪放的语调读「联翩万马来无数」的望山，以洒脱的语调读「拍手笑沙鸥」的自解，结句要读得跌宕而有余韵，方能传达出辛弃疾的豪放洒脱。辛弃疾词以「豪放」著称，此词正是其登临词的典范。

Line by line

拍手笑沙鸥，一身都是愁

I clap my hands and laugh at the gulls on the sand — / Their whole body is but sorrow.

拍手笑沙鸥，一身都是愁。

I clap my hands and laugh at the sand gulls: their whole plumage is nothing but sorrow.

此二句是全词写自解的核心，以拍手笑沙鸥写笑沙鸥，以一身都是愁写都是愁，写尽愁绪的自解，是千古名句。「拍手笑沙鸥」写拍手笑沙鸥——那「拍手」写拍手，「笑沙鸥」写笑沙鸥，写尽拍手的笑鸥；「一身都是愁」写一身都是愁——那「一身都是」写一身都是，「愁」写愁，写尽一身的皆愁。这句的深意在于：它以「拍手笑沙鸥」的沙鸥与「一身都是愁」的皆愁，写尽愁绪的自解——拍手笑沙鸥，那「拍手笑沙鸥」写尽拍手的笑鸥——拍手笑沙鸥，正是笑鸥皆白的写照，那「笑沙鸥」写尽愁绪的自解；一身都是愁，那「一身都是愁」写尽一身的皆愁——一身都是愁，正是白鸥似愁的写照，那「都是愁」写尽愁绪的自解；那「拍手笑沙鸥」写尽拍手的笑鸥，那「一身都是愁」写尽一身的皆愁，一写沙鸥，一写皆愁，写尽愁绪的自解——沙鸥一身皆白而似愁，正是以鸥自解；此二句以沙鸥、皆愁写尽愁绪的自解，也让此二句成为全词写自解的核心与千古名句。若换作直说「白头发都是愁出来的，白鸥全身白，也都是愁」，则失其幽默；唯以「拍手笑沙鸥」写笑沙鸥、「一身都是愁」写都是愁，写尽愁绪的自解，也让此二句成为全词写自解的核心。

The two lines are the core of the ci's self-consolation, an age-famed couplet. Clap my hands and laugh at the sand gulls: the clap writes the gesture, the laugh at the gulls writes the mockery. Their whole plumage is nothing but sorrow: whole writes every part, sorrow writes the grief. The hidden art lies in the joke: the gulls are all white, and whiteness, in Xin Qiji's pun, is the color of grief, of white hair worn thin with care. He laughs at the gull as if its white feathers were sorrow incarnate, and in that laughter turns his own sorrow, so weighty, into something absurd: the gull's whiteness is laughed at as though it were the self-same grief that has whitened his own head. Had he said baldly, my white hair is all from sorrow, and the gull is white too, the humor would be gone; only by laughing at the gull while confessing his own grief is the consolation made, and the couplet becomes the heart of the piece.

青山欲共高人语，联翩万马来无数

Blue hills would speak with the lofty man, / Come like ten thousand steeds in unbroken train.

青山欲共高人语，联翩万马来无数。

The green mountains would speak with a lofty-minded man; range on range they come, like ten thousand horses galloping past without number.

此二句是全词写望山的核心，以青山欲共高人语写高人语，以联翩万马来无数写万马来，写尽望山的期待，是千古名句。「青山欲共高人语」写青山欲共高人语——那「青山欲共」写青山欲共，「高人语」写高人语，写尽青山的拟人；「联翩万马来无数」写联翩万马来无数——那「联翩万马」写联翩万马，「来无数」写来无数，写尽万马的连山。这句的深意在于：它以「青山欲共高人语」的高人语与「联翩万马来无数」的万马来，写尽望山的期待——青山欲共高人语，那「青山欲共高人语」写尽青山的拟人——青山欲共高人语，正是青山欲语高人的写照，那「欲共语」写尽望山的期待；联翩万马来无数，那「联翩万马来无数」写尽万马的连山——联翩万马，正是群山连亘的写照，那「来无数」写尽望山的期待；那「青山欲共高人语」写尽青山的拟人，那「联翩万马来无数」写尽万马的连山，一写青山，一写万马，写尽望山的期待——青山欲语而群山如马来朝，正是登临所见；此二句以青山、万马写尽望山的期待，也为下文的烟雨作铺垫，也让此二句成为全词写望山的核心与千古名句。若换作直说「远山连绵，好像在跟叶丞相打招呼」，则失其气势；唯以「青山欲共高人语」写高人语、「联翩万马来无数」写万马来，写尽望山的期待，也让此二句成为全词写望山的核心。

The two lines are the core of the ci's mountain-gazing, an age-famed couplet. The green mountains would speak with a lofty-minded man gives the mountains personified longing for conversation with the gifted man, Ye Heng. Range on range they come, like ten thousand horses galloping past without number: the ten thousand horses write the mountains marching in procession. The hidden art: the green mountains, as if they wished to talk with the lofty man, are rendered alive and eager; the ranges that rise and fall in endless succession are likened to ten thousand horses riding in to pay homage, so that the very mountains seen from the Appreciating the Heart Pavilion come alive and martial. The image prepares the mist and rain to come; had he said, the distant mountains stretch on, as if greeting Ye Chengxiang, the grandeur would be lost. Only by the personified mountains and the charging cavalry metaphor is the expectation of the gaze fully written.

Study

Word focus

语 In 'blue hills would speak with the lofty man,' the character (yu, 'to speak') is the key word of personification, exhausting the hills' personification. means to speak, to converse. Xin uses 'would speak with the lofty man' to write personification: the character carries two senses — first, the hills' speech: 'blue hills would speak with the lofty man' writes the hills' personification, the desire to speak with the lofty man is the portrait of the hills' expectancy; second, the intimacy of feeling: shows the deep affection of being close to the hills, exhausting Xin's boldness. Using for personification is the hinge of Xin's ascent — swap for yan or su and it loses thecoordinate with 'blue hills would speak with the lofty man, come like ten thousand steeds' or the sense of speaking; only, with 'blue hills would speak with the lofty man,' exhausts the hills' personification and intimate affection, joining 'come like ten thousand steeds' to exhaust the hill-gazing expectancy, making this line a famous personification phrase. 「青山欲共高人语」之「语」字是写拟人的关键词，一个「语」字写尽青山的拟人。语者，说话、交谈也。辛弃疾以「青山欲共高人语」写拟人，这个「语」字至少有双重意味：其一，写山之语——那「青山欲共高人语」写青山欲共高人语，那「语」字写尽青山的拟人——欲共高人语，正是青山欲言高人的写照，那「语」字写尽望山的期待；其二，写情之亲——那「语」字更是写亲——语，正见与山相亲的深情，那「语」字写尽辛弃疾的豪放。以「语」字写拟人，正是辛弃疾写登临的枢纽——若换作「言」「诉」等字，则或失其与「青山欲共高人」「联翩万马来无数」的配合，或失其写语的意味；唯「语」字，以青山欲共高人语写尽青山之拟人与相亲之深情，与「联翩万马来无数」的万马相合，写尽望山的期待，也让「青山欲共高人语」成为全词写拟人的名句。

总 In 'men say the hair upon one's head always whitens in sorrow,' the character (zong, 'always / without exception') is the key word of sorrow-whitening, exhausting the inevitability of whitening. means 'invariably.' Xin uses 'always whitens in sorrow' to write whitening: the character carries two senses — first, the inevitability of whitening: 'always whitens in sorrow' is the portrait of sorrow's certain whitening, exhausting sorrow's depth; second, the inescapability of sorrow: shows sorrow nowhere to flee, exhausting the sorrow of unfulfilled ambition. Using for sorrow-whitening is the hinge of Xin's ascent — swap for jie or jin and it loses thecoordinate with 'hair upon one's head, whitens in sorrow' or the sense of 'always'; only, with 'men say the hair upon one's head always whitens in sorrow,' exhausts the inevitability of whitening and the depth of sorrow, joining 'I clap and laugh at the gulls' to exhaust sorrow's self-resolution, making this line a famous sorrow-whitening phrase. 「人言头上发，总向愁中白」之「总」字是写愁白的关键词，一个「总」字写尽愁白的必然。总者，总是、一律也。辛弃疾以「人言头上发，总向愁中白」写愁白，这个「总」字至少有双重意味：其一，写白之总——那「人言头上发，总向愁中白」写人言头上发、总向愁中白，那「总」字写尽愁白的必然——总向愁中白，正是愁必白发的写照，那「总」字写尽愁绪的深重；其二，写愁之深——那「总」字更是写深——总，正见愁之无处可逃，那「总」字写尽壮志难酬的愁。以「总」字写愁白，正是辛弃疾写登临的枢纽——若换作「皆」「尽」等字，则或失其与「头上发」「愁中白」的配合，或失其写总的意味；唯「总」字，以人言头上发总向愁中白写尽白发之必然与愁绪之深重，与「拍手笑沙鸥」的笑相合，写尽愁绪的自解，也让「人言头上发，总向愁中白」成为全词写愁白的名句。