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宋 Song · 词 Ci lyric

贺新郎·别茂嘉十二弟

Congratulating the Bridegroom · Parting from My Twelfth Brother Maojia

辛弃疾

Xin Qiji

离别parting 送别seeing off 悲壮solemn-valiant

绿树听鹈鴂。
更那堪、鹧鸪声住，杜鹃声切。
啼到春归无寻处，苦恨芳菲都歇。
算未抵、人间离别。
马上琵琶关塞黑，更长门、翠辇辞金阙。
看燕燕，送归妾。
将军百战身名裂。
向河梁、回头万里，故人长绝。
易水萧萧西风冷，满座衣冠似雪。
正壮士、悲歌未彻。
啼鸟还知如许恨，料不啼清泪长啼血。
谁共我，醉明月。

Beneath green trees I hear the cuckoo-shrike. How can I bear it—the partridge's cry dies, the cuckoo's cuts keen. They cry till spring returns to nowhere; bitterest grief that the flowers all fade. Yet none of this equals parting among men. On horseback, the pipa, the passes dark; farther, at Changmen, the emerald carriage leaves the golden palace. See the swallows, seeing off the returned concubine.
The general, a hundred battles, his name and person rent. Toward the river bridge, he looks back ten thousand li; the old friend forever severed. The Yi River whistles, the west wind cold; the gathered caps and gowns like snow. The brave man's solemn song not yet spent. If the crying birds knew such hatred, they would not weep clear tears but long weep blood. Who is with me, drunk beneath the bright moon?

Listen

Meaning

Among the green trees I hear the shrike cry. How can I bear it when the partridge's call ceases and the cuckoo's is piercing? They cry until spring departs with no place to seek, bitterly grieving that all blossoms have faded. Yet it does not match parting among mortals. On horseback the pipa, the border passes dark; and at Changmen the emerald carriage quits the golden palace. Behold the swallows, seeing off the banished concubine. The general fought a hundred battles, his name and body ruined. Toward the river bridge he turns his head ten thousand li; the old friend severed forever. The Yi River moans, the west wind cold; the assembled caps and robes like snow. The brave man's solemn song not yet ended. If the crying birds knew such hatred, they would not shed clear tears but weep blood. Who is with me, drunk in the bright moon?

绿树丛中，听见伯劳鸟啼鸣。更哪堪那鹧鸪声刚住，杜鹃声又凄切。啼到春归去无处可寻，苦恨那百花都已凋歇。算来都不如，人间的离别。马上琵琶声咽，关塞昏黑，更那长门宫中，翠辇辞别金阙。看那燕子，送别归妾。将军百战，身败名裂。走向河梁，回头万里，故人长绝。易水萧萧，西风凛冽，满座衣冠似雪。正是壮士悲歌，声犹未歇。啼鸟若还知道这如许离恨，料想它不啼清泪而啼血。谁与我共，对月同醉。

Appreciation

[Plain-Language Reading] Among the green trees I hear the shrike cry. How can I bear it when the partridge's call ceases and the cuckoo's is piercing? They cry until spring departs with no place to seek, bitterly grieving that all blossoms have faded. Yet it does not match parting among mortals. On horseback the pipa, the border passes dark; and at Changmen the emerald carriage quits the golden palace. Behold the swallows, seeing off the banished concubine. The general fought a hundred battles, his name and body ruined. Toward the river bridge he turns his head ten thousand li; the old friend severed forever. The Yi River moans, the west wind cold; the assembled caps and robes like snow. The brave man's solemn song not yet ended. If the crying birds knew such hatred, they would not shed clear tears but weep blood. Who is with me, drunk in the bright moon? [Imagery and Method] This lyric sends off Xin Qiji's clansman Maojia, the most solemn-valiant parting lyric of Xin's. The first half uses bird-cries and allusions to write parting's hate: 'Beneath green trees I hear the cuckoo-shrike' with three birds (shrike, partridge, cuckoo) writes spring's passing; 'Yet none of this equals parting among men' points that mortal parting surpasses even the birds' grief; 'On horseback the pipa, the passes dark' uses Zhaojun's frontier exile, 'farther, at Changmen… the golden palace' Chen Houhou's fall, 'See the swallows, seeing off the returned concubine' Zhuang Jiang's seeing off—three allusions write the present parting through the ancients. The second half: 'The general, a hundred battles, his name and person rent' uses Li Ling; 'Toward the river bridge… the old friend forever severed' Li Ling and Su Wu at the bridge; 'The Yi River whistles… caps and gowns like snow' Jing Ke's Yi River parting; 'The brave man's solemn song not yet spent' the Yi River song; then 'If the crying birds knew such hatred… weep blood' answers the first-half birds, ending 'Who is with me, drunk beneath the bright moon' the loneliness after parting. The whole opens and closes with bird-cries, stringing five parting allusions (Zhaojun, Chen Hou, Zhuang Jiang, Li Ling, Jing Ke), writing the present through the ancients' life-and-death partings—solemn, vast, desolate, the extreme of 'writing feeling through allusion.' [Feeling and Theme] The lyric was written c. 1181, when Xin Qiji, dismissed, lived in retirement at Daihu in Xinzhou (or while in office seeing off his clansman). Maojia, his twelfth clansman, was banished far; Xin wrote to see him off. The bird-cries write spring's passing; 'Yet none of this equals parting among men' that mortal parting is worse; Zhaojun's exile, Chen Hou's fall, Zhuang Jiang's seeing off, Li Ling's grief, Jing Ke's solemn valiance, and 'Who is with me, drunk beneath the bright moon' the loneliness after. The whole writes the present parting through five ancient partings; the hate is not only personal but of the age—Xin sending off his clansman (banished) also bears the sense of a life and the grief of the lost state, the most solemn-valiant parting lyric and the extreme of 'writing feeling through allusion.'

【白话串讲】辛弃疾写《贺新郎·别茂嘉十二弟》：“绿树听鹈鴂。更那堪、鹧鸪声住，杜鹃声切”——“啼到春归无寻处，苦恨芳菲都歇”——“算未抵、人间离别”——“将军百战身名裂。向河梁、回头万里，故人长绝”——他送别族弟，写尽离别之悲。【意象与手法】此词是辛弃疾送别族弟茂嘉的词，是辛词中写离别最悲壮的杰作。上片以鸟声与典故写离别之恨：「绿树听鹈鴂」以伯劳、鹧鸪、杜鹃三种鸟声写春归花歇，以鸟声衬离别；「算未抵、人间离别」点出人间离别更甚于鸟声之悲；「马上琵琶关塞黑」用昭君出塞之典，「更长门、翠辇辞金阙」用陈皇后失宠之典，「看燕燕，送归妾」用庄姜送归妾之典，三典连用，以古人的离别写今人的离别。下片「将军百战身名裂」用李陵之典，「向河梁、回头万里，故人长绝」写李陵与苏武河梁之别，「易水萧萧西风冷，满座衣冠似雪」用荆轲易水送别之典，「正壮士、悲歌未彻」写易水悲歌，再以「啼鸟还知如许恨，料不啼清泪长啼血」回应上片鸟声，以「谁共我，醉明月」作结，写别后的孤寂。全词以鸟声起、以鸟声收，中间连用昭君、陈后、庄姜、李陵、荆轲五大离别典故，以古人的生离死别写今人的离别，悲壮苍凉，是辛词「以典写情」的极致。【情感与主旨】此词约作于南宋孝宗淳熙八年（1181）前后，时辛弃疾罢官闲居上饶带湖（一说作于其出仕期间送别族弟时）。茂嘉是辛弃疾的族弟，排行十二，因事被贬谪远行，辛弃疾作此词送别。那「绿树听鹈鴂」「鹧鸪声住，杜鹃声切」以鸟声写春归花歇的悲凉，那「算未抵、人间离别」写人间离别更甚于鸟声之悲，那「马上琵琶关塞黑」写昭君出塞的离乡，那「更长门、翠辇辞金阙」写陈后失宠的诀别，那「看燕燕，送归妾」写庄姜送归妾的哀伤，那「将军百战身名裂」写李陵的沉痛，那「易水萧萧西风冷」写荆轲的悲壮，那「谁共我，醉明月」写别后的孤寂。全词以古人五大离别之典写今人的离别，以古人的悲壮写今人的深情，那离别之恨不仅是个人的，更是时代的——辛弃疾送别族弟（茂嘉因事远贬），亦有身世之感与家国之慨，是辛词中写离别最悲壮的杰作，也是「以典写情」的极致。【名句点睛】常考“绿树听鹈鴂。更那堪、鹧鸪声住，杜鹃声切”以三种鸟声写春归之恨；“将军百战身名裂。向河梁、回头万里，故人长绝”以李陵之典写离别之悲，是辛词中最悲壮的杰作。

Background

This lyric sees off Xin Qiji's clansman Maojia (twelfth in rank), written c. 1181 during his retirement at Daihu in Xinzhou (or while in office). Maojia was banished far, and Xin wrote to see him off. Its structure is singular: the first half opens with three bird-cries (the shrike, partridge, cuckoo) writing spring's passing, points 'Yet none of this equals parting among men,' then strings three parting allusions—Zhaojun's frontier exile ('On horseback the pipa, the passes dark'), Empress Chen's fall ('farther, at Changmen… the golden palace'), Zhuang Jiang seeing off the returned concubine ('See the swallows, seeing off the returned concubine'); the second half strings two—Li Ling ('The general, a hundred battles, his name and person rent' / 'Toward the river bridge… the old friend forever severed') and Jing Ke ('The Yi River whistles… caps and gowns like snow' / 'The brave man's solemn song not yet spent'), then 'If the crying birds knew such hatred… weep blood' answers the first-half birds, ending 'Who is with me, drunk beneath the bright moon.' Eight lines use five parting allusions, each line allusive yet strung by feeling—the extreme of 'writing feeling through allusion' and the most solemn-valiant Song parting lyric. The Southern Song rested in the southeast; Xin all his life urged recovery and was thwarted, so Zhaojun's exile, Li Ling's surrender, Jing Ke's regicide all hint the 'grief of the lost state,' and his parting bears solemn-valiant desolation.

此词是辛弃疾送别族弟茂嘉（排行十二）的词，约作于南宋孝宗淳熙八年（1181）辛弃疾罢官闲居上饶带湖期间（一说作于其任职期间）。茂嘉因事被贬谪远行，辛弃疾作此词送别。此词的结构十分独特：上片以三种鸟声（鹈鴂即伯劳、鹧鸪、杜鹃）写春归花歇的悲凉，点出「算未抵、人间离别」，然后连用昭君出塞（「马上琵琶关塞黑」）、陈皇后失宠（「更长门、翠辇辞金阙」）、庄姜送归妾（「看燕燕，送归妾」）三个离别典故；下片连用李陵（「将军百战身名裂」「向河梁、回头万里，故人长绝」）、荆轲（「易水萧萧西风冷，满座衣冠似雪」「正壮士、悲歌未彻」）两个离别典故，再以「啼鸟还知如许恨，料不啼清泪长啼血」回应上片鸟声，以「谁共我，醉明月」作结。全词八句用五大离别典故，句句用典而以情贯串，是辛弃疾「以典写情」的极致，也是宋词中写离别最悲壮的作品。南宋偏安江左，辛弃疾一生力主抗金收复失地而不得志，词中昭君出塞、李陵降胡、荆轲刺秦等典故，皆与「家国之恨」暗合，故其写离别亦多悲壮苍凉之气。

Art

The artistry may be read on four levels. First, the framing of opening and closing with bird-cries: the lyric opens with 'Beneath green trees I hear the cuckoo-shrike' and closes with 'If the crying birds knew such hatred… weep blood,' head and tail echoing, the birds' mourn writing parting's deep hate, strict in structure. Second, the exposition of strung allusions: the first half uses Zhaojun, Chen Hou, Zhuang Jiang; the second Li Ling, Jing Ke—five allusions unpiled, for Zhaojun's exile, Chen Hou's severance, Zhuang Jiang's seeing off, Li Ling's forever severance, Jing Ke's solemn song are all the utmost partings of ages, writing the present through the ancients' life-and-death partings, layer on layer, solemn and vast. Third, the hinge of 'parting among men': 'Yet none of this equals parting among men' points the theme—bird-grief and allusion-grief alike fall short of mortal parting, one line closing the first-half birds and opening the second-half allusions. Fourth, the lonely close on scene: 'Who is with me, drunk beneath the bright moon' closes on the loneliness of drinking alone under the moon, not speaking of parting yet parting's love is deep, the resonance long. These four moves make it the most solemn-valiant parting lyric of Xin's, the extreme of 'writing feeling through allusion.'

此词的艺术特色可从四个层面解析。其一，鸟声起结的章法。全词以「绿树听鹈鴂」的鸟声起笔，以「啼鸟还知如许恨，料不啼清泪长啼血」的鸟声收束，首尾呼应，以鸟声的悲鸣写离别的深恨，章法严密。其二，连用典故的铺陈。上片用昭君、陈后、庄姜三典，下片用李陵、荆轲二典，五典连用而不觉堆砌——那昭君的离乡、陈后的诀别、庄姜的送妾、李陵的长绝、荆轲的悲歌，皆是千古离别之最，以古人的生离死别写今人的离别，层层铺陈，悲壮苍凉。其三，以「人间离别」为纲的枢纽。「算未抵、人间离别」一句点出全词主旨——鸟声之悲、典故之悲，都不如人间离别之悲，以一句收束上片鸟声、开启下片典故。其四，以景作结的孤寂。「谁共我，醉明月」以明月下独醉的孤寂作结，不言别后的思念而别情自深，余韵悠长。四重手法，使此词成为辛词中写离别最悲壮的杰作，也是「以典写情」的极致。

Allusions

The lyric is dense yet apt in allusion, the extreme of Xin Qiji's 'writing feeling through allusion.' The opening 'Beneath green trees I hear the cuckoo-shrike' uses bird-cry as omen—the shrike, partridge, cuckoo are all mournful birds, the cuckoo's 'return, return' especially grieving, evoking 'the emperor's spring heart entrusted to the cuckoo.' 'On horseback the pipa, the passes dark' uses Zhaojun's frontier marriage—Wang Zhaojun sent to the frontier, 'on horseback the pipa' her exile, evoking Du Fu's 'a thousand years the pipa speaks the barbarian tongue, plainly her grievance in the tune.' 'Farther, at Changmen… the golden palace' uses Empress Chen—Emperor Wu's Chen Empress fell from favor and lodged at Changmen, 'the emerald carriage leaves the golden palace' her severance from the palace, evoking the 'Changmen Fu.' 'See the swallows, seeing off the returned concubine' uses the Shi Jing 'Yan Yan'—'the swallows fly, their wings unequal; this child goes home, sent far in the wild,' held to be Zhuang Jiang seeing off a returned concubine, the ancestor of parting poems. 'The general, a hundred battles, his name and person rent' uses Li Ling—Li Ling defeated and surrendered to the Xiongnu, 'his name and person rent' his broken honor. 'Toward the river bridge… the old friend forever severed' uses Li Ling and Su Wu's parting—tradition has them parting at the river bridge, 'looks back ten thousand li, the old friend forever severed' exhausting life-and-death parting. 'The Yi River whistles, the west wind cold; the gathered caps and gowns like snow' uses Jing Ke's Yi River parting—'the wind whistles, the Yi water cold, the brave man goes and returns not' (Shiji), 'caps and gowns like snow' the white-robed senders, the most solemn parting of ages. The five allusions—Zhaojun, Chen Hou, Zhuang Jiang, Li Ling, Jing Ke—are strung by feeling, exactly Xin's gift of 'writing feeling through allusion.'

此词用典密集而贴切，是辛词「以典写情」的极致。开篇「绿树听鹈鴂」以鸟声起兴——鹈鴂（伯劳）、鹧鸪、杜鹃皆是悲啼之鸟，杜鹃「不如归去」的啼声尤悲，令人想到「望帝春心托杜鹃」的典故；「马上琵琶关塞黑」用昭君出塞之典——王昭君出塞和亲，「马上琵琶」写其离乡之悲，令人想到「千载琵琶作胡语，分明怨恨曲中论」（杜甫《咏怀古迹》）；「更长门、翠辇辞金阙」用陈皇后之典——汉武帝陈皇后失宠居长门宫，「翠辇辞金阙」写其辞别宫阙的诀别，令人想到「长门赋」的典故；「看燕燕，送归妾」用《诗经·邶风·燕燕》之典——《燕燕》「燕燕于飞，差池其羽。之子于归，远送于野」相传为卫庄姜送归妾所作，是送别诗之祖；「将军百战身名裂」用李陵之典——李陵兵败降匈奴，「身名裂」写其名节之裂；「向河梁、回头万里，故人长绝」用李陵苏武之别——相传李陵与苏武河梁赠别，那「回头万里，故人长绝」写尽生离死别；「易水萧萧西风冷，满座衣冠似雪」用荆轲易水送别之典——「风萧萧兮易水寒，壮士一去兮不复还」（《史记·刺客列传》），「满座衣冠似雪」写送行者皆白衣冠，是千古送别最悲壮的场面。全词连用昭君、陈后、庄姜、李陵、荆轲五典，句句用典而以情贯串，正是辛弃疾「以典写情」的本领——那五大离别，皆是千古悲壮之最，正是「人间离别」的极致。

Commentary

This lyric has long been esteemed as Xin Qiji's crowning parting piece and the extreme of Song 'writing feeling through allusion.' Critics praise it highly: Chen Tingzhuo of the Qing said 'by Xin Qiji, lyric reaches vast breadth'; modern scholars note it writes the present parting through five ancient partings (Zhaojun, Chen Hou, Zhuang Jiang, Li Ling, Jing Ke), and 'Who is with me, drunk beneath the bright moon' exhausts the love after parting—the most solemn-valiant parting lyric of Xin's. Its special value: eight lines string five parting allusions without piling—Zhaojun's exile, Chen Hou's severance, Zhuang Jiang's seeing off, Li Ling's forever severance, Jing Ke's solemn song are all the utmost partings of ages, raising the personal seeing-off of a clansman to the grief of ages; the hinge 'Yet none of this equals parting among men,' the answer 'If the crying birds knew such hatred… weep blood,' and the close 'Who is with me, drunk beneath the bright moon' are the extreme of 'writing feeling through allusion.' The Southern Song rested in the southeast; Xin all his life urged recovery and was thwarted, so Zhaojun's exile, Li Ling's surrender, Jing Ke's regicide all hint the grief of the lost state, and his parting bears solemn-valiant desolation. Together with Po Zhen Zi ('by the lamp, drunk, I polish the sword') and Yong Yu Le ('think of those years, gold armor, iron horse, swallowing ten thousand li like a tiger') it shows his 'writing grief through allusion.'

此词历来被推为辛弃疾写离别的压卷之作，也是宋词中「以典写情」的极致。历代论者对此词评价极高：清人陈廷焯评此词「词至稼轩，纵横博大」；近人更指出此词以昭君、陈后、庄姜、李陵、荆轲五大离别典故写今人的离别，「谁共我，醉明月」的孤寂写尽别后的深情，是辛词中写离别最悲壮的杰作。在文学史上，此词的特殊价值在于：它以八句连用五大离别典故而不觉堆砌——那昭君的离乡、陈后的诀别、庄姜的送妾、李陵的长绝、荆轲的悲歌，皆是千古离别之最，以古人的生离死别写今人的离别，将个人送别族弟之情升华为千古离别之悲；那「算未抵、人间离别」的枢纽、「啼鸟还知如许恨，料不啼清泪长啼血」的回应、「谁共我，醉明月」的孤寂，都是辛词「以典写情」的极致。南宋偏安，辛弃疾一生力主抗金而不得志，词中昭君出塞、李陵降胡、荆轲刺秦等典故皆暗含家国之恨，故其写离别亦多悲壮苍凉之气。此词与辛弃疾《破阵子·为陈同甫赋壮词以寄之》（「醉里挑灯看剑」）同为辛词中写壮志悲慨的名篇，又与《永遇乐·京口北固亭怀古》（「想当年，金戈铁马，气吞万里如虎」）同为其「以典写悲慨」的杰作。对于今日读者，此词是理解辛词「以典写情」的窗口，也是中国词写离别的巅峰——那鹈鴂的啼、易水的风、醉明的月，穿越千年，仍在诉说着人间离别的悲壮。

Prosody

Form Ci (He Xin Lang, double tone, one hundred sixteen characters)词（贺新郎，双调一百十六字）

Rhyme Oblique entering-tone rhyme (jue, qie, xie, bie, que, qie, lie, jue, xue, che, xue, yue); the entering tone is short and abruptly cut, suiting the solemn-valiant grief of parting.全词押仄声入声韵（鴂、切、歇、别、阙、妾、裂、绝、雪、彻、血、月），入声短促急收，正合离别的悲壮苍凉。

Tone pattern This is the He Xin Lang form, double tone, 116 characters, ten lines per half, oblique entering-tone rhyme. The content divides into two halves: the first opens with bird-cries, points 'Yet none of this equals parting among men,' strings Zhaojun, Chen Hou, Zhuang Jiang; the second strings Li Ling, Jing Ke, answers with birds, closes on the moon. In tone, the entering-tone rhyme is short and abruptly cut, suiting the solemn-valiant grief; the symmetric structure (first half birds open, allusions follow, one line points the theme; second half allusions follow, birds answer, moon closes) is strict, the rhythm vast and checked.此词为「贺新郎」词牌，双调一百十六字，上下片各十句，押仄声入声韵。全词按内容可分为两片：上片以鸟声起兴，点出人间离别（绿树听鹈鴂、算未抵、人间离别），连用昭君、陈后、庄姜三典；下片连用李陵、荆轲二典，以鸟声回应、以明月作结。声调上，全词以入声韵押韵，短促急收，正合离别的悲壮；上下片结构对称（上片鸟声起、典故承、一句点题；下片典故承、鸟声应、明月结），章法严密，节奏苍凉顿挫。

Reading note This is the crowning He Xin Lang on parting: bird-cries frame it, five allusions expound it, one line points the theme—the extreme of Xin Qiji's 'writing feeling through allusion.' Two halves: the first opens with bird-cries, points 'Yet none of this equals parting among men,' strings Zhaojun, Chen Hou, Zhuang Jiang; the second strings Li Ling, Jing Ke, answers with 'If the crying birds knew such hatred,' closes on 'Who is with me, drunk beneath the bright moon.' In tone it keeps entering rhyme, short and abruptly cut, suiting the solemn-valiant grief; the opening 'Beneath green trees I hear the cuckoo-shrike' and the close 'Who is with me, drunk beneath the bright moon' echo, strict in structure. Read the bird-cries vast and desolate, the five allusions solemn and valiant, the close 'Who is with me, drunk beneath the bright moon' lonely—to convey Xin's solemn-valiant parting love. In Xin's hand He Xin Lang reaches its peak of parting, showing his gift of 'writing feeling through allusion.'此词是「贺新郎」词牌写离别的压卷之作，以鸟声起结、以五典铺陈、以一句点题，正是辛弃疾「以典写情」的极致。全词两片：上片以鸟声起兴，点出「算未抵、人间离别」，连用昭君、陈后、庄姜三典；下片连用李陵、荆轲二典，以「啼鸟还知如许恨」回应上片鸟声，以「谁共我，醉明月」作结。声调上，全词押入声韵，短促急收，正合离别的悲壮苍凉；那「绿树听鹈鴂」的起、「谁共我，醉明月」的结，首尾呼应，章法严密。诵读此词，宜以苍凉的语调读鸟声的悲鸣，以悲壮的语调读五大典故，以孤寂的语调读「谁共我，醉明月」的收束，方能传达出辛弃疾写离别的悲壮与深情。贺新郎词牌在辛弃疾手中，以此词为写离别的巅峰，正见其「以典写情」的本领。

Line by line

算未抵、人间离别。

This line is the lyric's hinge and a famous utterance, comparing bird-cries with mortal parting to point the theme. 'Yet none of this equals parting among men'—'none of this equals' reckons that all fall short, 'parting among men' the life-and-death parting of mortals; the former used three birds (shrike, partridge, cuckoo) to write spring's passing, and this line with 'none of this equals' closes it—bird-grief, reckoned, falls short of mortal parting's grief. The depth: the comparison of 'none of this equals' ranks bird-grief below mortal parting—spring's passing and bird-cries are grievous, yet against the life-and-death partings of men (Zhaojun's exile, Li Ling's forever severance) they are nothing; 'none of this equals' exhausts parting's utmost pain. And this line is the hinge—above it the birds (bird-grief falls short of parting), below it the allusions (leading to the five partings)—one line closing the first half and opening the second, the key of structure. Writing the comparison with 'none of this equals,' pointing the theme with 'parting among men,' is exactly Xin's hinge of 'writing feeling through allusion,' making this line the lyric's eye.

算来都比不上，人间的离别。

Weigh it all, and nothing equals the parting of men on earth.

这句是全词的枢纽，也是千古名句，以鸟声与人间离别的比较，点出全词主旨。「算未抵、人间离别」写算来都比不上人间的离别——那「算未抵」写盘算下来都比不上，那「人间离别」写人间的生离死别；前文以鹈鴂、鹧鸪、杜鹃三种鸟声写春归花歇的悲凉，这句以「算未抵」一笔收束——鸟声虽悲，算来都比不上人间的离别之悲。这句的深意在于：它以「算未抵」的比较，将鸟声之悲与人间离别之悲分出高下——春归花歇、鸟声悲啼，固然可悲，但比起人间的生离死别（如昭君出塞、李陵长绝），都算不了什么；那「算未抵」写尽人间离别的至痛。而这一句正是全词的枢纽——上承鸟声（点出鸟声不如离别），下启典故（引出昭君、陈后、庄姜、李陵、荆轲五大离别），以一句收束上片、开启下片，正是全词结构的关键。以「算未抵」写比较、以「人间离别」点主旨，正是辛弃疾「以典写情」的枢纽，也让这句成为全词的点睛之句。

This line is the hinge of the ci, and an immortal line, comparing the bird-songs to human parting and stating the theme. Weigh it all, and nothing equals the parting of men on earth: the weigh-nothing-equals the reckoning that falls short, the human-parting the parting between living men. The ci has before used the cuckoo, the partridge, and the spring-calling cuckoo for the grief of spring's end, and this line gathers them with the nothing-equals: the bird-songs though grievous weigh nothing against the grief of human parting. The depth lies in the comparison: the bird-songs' grief set below human parting — spring's end and fallen blossoms are grievous, and yet against the parting of men (Zhaojus going to the frontier, Li Ling's long farewell) they are nothing. The line is the hinge: above the bird-songs, below the five great partings of Zhaojun, Empress Chen, Zhuang Jiang, Li Ling, Jing Ke, gathering the first stanza and opening the second, the structural key of the ci, the typical method of Xin Qiji's allusion-writing feeling, and the eye of the ci.

谁共我，醉明月。

This line is the lyric's close and a famous utterance, closing on the loneliness of drinking alone under the moon, not speaking of parting yet parting's love is deep. 'Who is with me, drunk beneath the bright moon'—'who is with me' none to drink with (Maojia gone), 'drunk beneath the bright moon' drinking alone to the moon; the whole closes on the loneliness after Maojia's leave, a question exhausting the loneliness after parting. The depth: it prepares with the five solemn partings above, closing on the lonely picture of 'drunk beneath the bright moon'—Zhaojun, Chen Hou, Zhuang Jiang, Li Ling, Jing Ke are the ancients' solemn partings; but Maojia's leaving leaves the poet drinking alone under the moon, the question 'who is with me' exhausting the loneliness of the bosom-friend (kin) gone. And 'drunk beneath the bright moon' echoes the opening 'Beneath green trees I hear the cuckoo-shrike,' birds open, moon closes, exhausting the desolation after seeing off. Writing the loneliness with 'who is with me,' the mood with 'drunk beneath the bright moon,' is exactly Xin's gift of 'writing feeling through scene,' making this line the deepest close of parting lyrics.

谁与我共，对月同醉。

Who will share with me, drunken under the moon?

这句是全词的收束，也是千古名句，以明月下独醉的孤寂作结，不言别情而别情自深。「谁共我，醉明月」写谁与我共、对月同醉——那「谁共我」写无人与我同醉（茂嘉已去），那「醉明月」写独自对月而醉；全词以「谁共我，醉明月」作结，写茂嘉去后，再无人与自己对月同醉，以一问写尽别后的孤寂。这句的深意在于：它以前面连用五大离别典故的悲壮作铺垫，收束于一个「醉明月」的孤寂画面——那昭君、陈后、庄姜、李陵、荆轲的离别，都是古人的壮别；而茂嘉此去，留给词人的是明月下的独醉，「谁共我」的问，写尽知音（亲人）离去的孤寂。而那「醉明月」与开篇「绿树听鹈鴂」的鸟声相呼应，以鸟声起、以明月收，写尽送别后的寂寥。以「谁共我」写孤寂、以「醉明月」写情韵，正是辛弃疾「以景写情」的本领，也让这句成为写别后孤寂的千古名句——那明月下的独醉，正是千古送别词中最深沉的收束。

This is the close of the ci, and an immortal line, ending in the loneliness of the drunken moon, speaking no parting and the parting deep of itself. Who will share with me, drunken under the moon?: the who-will-share the none to drink with (Maojia gone), the drunken-under-the-moon the lone drinking to the moon. The ci ends on the who-will-share, writing Maojia gone and no one left to drink to the moon with, the question exhausting the loneliness after the parting. The depth: the five great allusions' heroic grief before, gathered into the lonely picture of the drunken moon — those were the bold partings of the ancients, and Maojia's leaving leaves the poet's lone drinking under the moon; the who-will-share exhausts the loneliness of the departed soulmate. The drunken-moon answers the opening's bird-song, rising on the bird and closing on the moon, writing the desolation after the farewell. Writing loneliness through the who-will-share, and charm through the drunken-moon, the typical method of Xin Qiji's scene-writing feeling, the immortal line of the loneliness after parting, the deepest close of the farewell ci.

Study

Word focus

抵 The word 'equals' (di) is the hinge-word of parting's utmost pain, exhausting that mortal parting is beyond compare, the eye of 'Yet none of this equals parting among men.' Di means 'to match, be worth.' Xin writes parting's utmost pain with this word, at least twofold: first, the conclusion of comparison—'none of this equals' reckons all fall short, 'equals' compares bird-grief with mortal parting's grief—birds grieve, yet reckoned 'not equal' (fall short of) mortal parting's grief, 'equals' exhausting parting's pain, beyond compare. Second, the extreme of degree—'not equal' means nothing can 'equal' (match) mortal parting, 'equals' exhausting parting's grief to the extreme—even the grieving birds fall short. Writing comparison with 'equals' is Xin's hinge of 'writing feeling through allusion'—had he used 'reach' or 'like,' he would lose the reckoning tone or the comparative force; only 'equals' with one word exhausts mortal parting's beyond-compare, points the theme, becoming the hinge above birds and below allusions, making 'Yet none of this equals parting among men' the lyric's eye. 「抵」字是写离别至痛的枢纽字，一个「抵」字写尽人间离别的无可比拟，是「算未抵、人间离别」的词眼。抵者，比得上、相当也。辛弃疾以「算未抵、人间离别」写离别的至痛，一个「抵」字，至少有双重意味：其一，写比较之结论——那「算未抵」写盘算下来都比不上，那「抵」字写鸟声之悲与人间离别之悲的比较——鸟声虽悲，算来「未抵」（比不上）人间离别之悲，「抵」字写尽离别的至痛，无可比拟；其二，写程度之极至——那「未抵」写没有任何事物能「抵」（比得上）人间的离别，「抵」字写尽离别之悲的极至——连悲啼的鸟声都比不上。以「抵」字写比较，正是辛弃疾「以典写情」的枢纽——若换作「及」「如」等字，则或失其盘算的语气，或失其比较的力度；唯「抵」字，以一字写尽人间离别的无可比拟，点出全词主旨，成为上承鸟声、下启典故的枢纽，也让「算未抵、人间离别」成为全词的点睛之句。

长 The word 'forever' (chang) is the key-word of the old friend's eternal severance, exhausting parting's final farewell, the eye of 'the old friend forever severed.' Chang means 'long, forever.' Xin writes Li Ling and Su Wu's parting with this word, at least twofold: first, the length of final farewell—'forever severed' the eternal parting; Li and Su parted at the bridge, one stayed with the Xiongnu, one returned to Han, never to meet again, 'forever' exhausting parting's length—not a temporary leave but a permanent farewell. Second, the depth of parting hate—'forever' is both the length of final farewell and the depth of parting hate; 'looks back ten thousand li, the old friend forever severed' writes looking back ten thousand li, the old friend gone forever, 'forever' exhausting parting hate's endless length. Writing final farewell with 'forever' is Xin's hinge of parting's utmost pain—had he used 'eternal' or 'final,' he would lose the echo with 'ten thousand li' or the endless length of hate; only 'forever' with one word exhausts the old friend's eternal severance and the endless parting hate, matching 'looks back ten thousand li,' writing Li Ling and Su Wu's bridge parting solemn and valiant, making 'Toward the river bridge… the old friend forever severed' a famous line on final farewell. 「长」字是写故人长别的关键字，一个「长」字写尽离别的永诀，是「故人长绝」的词眼。长者，长久、永远也。辛弃疾以「向河梁、回头万里，故人长绝」写李陵苏武之别，一个「长」字，至少有双重意味：其一，写永诀之长久——那「长绝」写永远的诀别，李陵与苏武河梁一别，一个留胡、一个归汉，此生不复相见，「长」字写尽离别之长——不是暂时的分别，而是永久的诀别；其二，写离恨之深长——那「长」字既是永诀的长久，也是离恨的深长，那「回头万里，故人长绝」写回头望万里，故人永别，「长」字写尽离恨的绵长无尽。以「长」字写永诀，正是辛弃疾写离别至痛的枢纽——若换作「永」「终」等字，则或失其与「万里」的呼应，或失其离恨的绵长；唯「长」字，以一字写尽故人永诀的长久与离恨的深长，与「回头万里」相合，写尽李陵苏武河梁之别的悲壮，也让「向河梁、回头万里，故人长绝」成为写永诀的千古名句。