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宋 Song · 词 Ci lyric

生查子·独游雨岩

Raw Hawthorn: Wandering Alone at the Rain Cliff

辛弃疾

Xin Qiji

写景Scenery 山水Landscape 闲适Leisure

溪边照影行，天在清溪底。
天上有行云，人在行云里。
高歌谁和余，空谷清音起。
非鬼亦非仙，一曲桃花水。

Walking by the stream, I see my shadow in the water —
The sky lies at the bottom of the clear stream.
In the sky there are moving clouds,
And I walk among the moving clouds.
I sing aloud — who answers me?
From the empty valley a clear sound rises.
It is no ghost, nor any immortal —
It is one tune of the peach-blossom water.

Listen

Meaning

A lyric of the solitary walk by the stream, written by Xin Qiji in his retirement. Walking by the stream, he sees his shadow in the water; the sky lies at the bottom of the clear stream. In the sky there are moving clouds, and he walks among the moving clouds — the reflection making the walker part of the sky. He sings aloud — who answers him? From the empty valley a clear sound rises — the echo of his own song. It is no ghost, nor any immortal; it is one tune of the peach-blossom water. The lyric is the pure delight of the solitary walk: the sky in the water, the walk among the clouds, and the echo that answers the song.

在溪边照着自己的影子行走，天空倒映在清澈的溪底。天上有行云飘过，人仿佛走在行云里。放声高歌，谁应和我？空谷中传来清亮的回音。不是鬼也不是仙，正是那一曲桃花水声。

Appreciation

[Plain Paraphrase] Walking by the stream, I see my shadow in the water — the sky lies at the bottom of the clear stream. In the sky there are moving clouds, and I walk among the moving clouds. I sing aloud — who answers me? From the empty valley a clear sound rises. It is no ghost, nor any immortal — it is one tune of the peach-blossom water. [Structure and Thought] The lyric moves from the reflection — the sky in the water, the walk among the clouds — through the song and the answering echo, to the close's identification of the echo with the tune of the peach-blossom water. [Key Technique] The poem's art is the making of the reflection: the walker's shadow in the water and the sky at the bottom of the stream make him part of the sky — the external world and the walker joined in the single image. [Emotional Tone] Clear, free, and delighted: the lyric is the record of the solitary walk's pure pleasure, the sky and the clouds and the answering echo of the empty valley.

【白话串讲】辛弃疾写《生查子·独游雨岩》：“溪边照影行，天在清溪底”——“天上有行云，人在行云里”——“高歌谁和余，空谷清音起”——“非鬼亦非仙，一曲桃花水”——他在溪边独游，把天、云、人都写进了溪水里。【意象与手法】此词是辛弃疾独游雨岩的词，以「溪中天」的倒影写独游的妙趣，是辛词中少见的清新之作。上片「溪边照影行，天在清溪底」写溪中倒影——溪边行而影相随，天空倒映在溪底；「天上有行云，人在行云里」写行云倒影——天上有行云，倒映水中，人走在溪边，仿佛走在行云里，是千古名句。下片「高歌谁和余，空谷清音起」写空谷回音——放声高歌，谁与我和？空谷传来回音；「非鬼亦非仙，一曲桃花水」点破回音之谜——不是鬼也不是仙，正是那一曲桃花水声，是千古名句。全词以「溪中天」「行云里」写倒影的妙趣，以「空谷清音」「桃花水」写独游的逸趣，虚实相生，清新明快，将独游雨岩的妙趣写得如诗如画。那「人在行云里」的飘然、「非鬼亦非仙」的戏谑，正是辛弃疾在山水间寻得的闲适与自得。【情感与主旨】此词作于南宋孝宗淳熙年间（约1181—1188），时辛弃疾罢官闲居上饶带湖。辛弃疾力主抗金，却屡遭排挤，于淳熙八年（1181）被弹劾罢官，此后闲居上饶带湖一带长达十年。闲居期间，辛弃疾常游山水以遣怀，写下了大量山水词与闲适词。雨岩在上饶带湖附近，是辛弃疾常游之处。那「溪边照影行，天在清溪底」写溪中倒影的妙景，那「天上有行云，人在行云里」写人与天光云影交融的飘然，那「高歌谁和余，空谷清音起」写独游的高歌与回音，那「非鬼亦非仙，一曲桃花水」以戏谑的笔法点破回音之谜。全词以清新明快的笔调写独游雨岩的妙趣，是辛弃疾闲居上饶时期山水词的佳作，也是其罢官后于山水中寻求慰藉与自得的写照——那「人在行云里」的飘然、「非鬼亦非仙」的戏谑，正是这位「金戈铁马」的词人难得的闲适一面。【名句点睛】常考“溪边照影行，天在清溪底”“天上有行云，人在行云里”写溪中倒影的妙趣；“非鬼亦非仙，一曲桃花水”点破空谷清音之谜，清新空灵。

Background

Xin Qiji (1140–1207), the greatest patriotic lyricist of the Southern Song, spent his last years in forced retirement at the Shangrao lakes and hills. This lyric, written while wandering alone at the Rain Cliff (Yuyan), is a record of his solitary pleasure in the natural world — the sky in the water, the walk among the clouds, and the echo of the empty valley. The 'Raw Hawthorn' (Shengzhazi) tune is one of the short forms the retired hero practiced in his leisure.

此词是辛弃疾独游雨岩的词，作于南宋孝宗淳熙年间（约1181—1188），时辛弃疾罢官闲居上饶带湖。辛弃疾（1140—1207），字幼安，号稼轩，济南历城人。他生于金人占领的北方，二十二岁聚众抗金，后南归南宋，一生力主抗金收复失地，却屡遭主和派排挤。淳熙八年（1181），辛弃疾被弹劾罢官，此后闲居上饶带湖一带长达十年。闲居期间，辛弃疾以山水与词自遣，写下了大量田园词、山水词与闲适词（《西江月·夜行黄沙道中》《清平乐·村居》等皆写于此期）。雨岩在上饶（今江西上饶）带湖附近，岩石下有泉流，风景清幽，是辛弃疾常游之处。此词写独游雨岩所见：上片「溪边照影行，天在清溪底」写溪水的清澈与倒影——天光倒映溪底；「天上有行云，人在行云里」写行云倒影中的人影——人走在溪边，仿佛走在行云里。下片「高歌谁和余，空谷清音起」写独游时的高歌与空谷回音；「非鬼亦非仙，一曲桃花水」以戏谑的笔法点破回音之谜——那回音不是鬼怪也不是神仙，正是溪水的声响。全词以清新明快的笔调写独游雨岩的妙趣，是辛弃疾山水词中写倒影与独游的佳作。

Art

The lyric's art is the art of the reflection. The opening makes the walker part of the sky: walking by the stream, he sees his shadow in the water, and the sky lies at the bottom of the clear stream — the sky reflected in the water. In the sky there are moving clouds, and he walks among the moving clouds — the reflection completing the joining of the walker and the sky. Then the song and the answer: he sings aloud, and from the empty valley a clear sound rises — the echo of his own song. And the close identifies the echo with the water: it is no ghost, nor any immortal; it is one tune of the peach-blossom water — the natural world answering the solitary song.

此词的艺术特色可从四个层面解析。其一，以倒影写景的奇趣。上片「溪边照影行，天在清溪底。天上有行云，人在行云里」以溪水的倒影写景——天空倒映溪底，行云倒映水中，人走在溪边如走在行云里，将「倒影」写得如诗如画，那「天在清溪底」「人在行云里」虚实相生，是千古名句。其二，设问与点破的机趣。下片「高歌谁和余，空谷清音起」先设问（谁应和我），「非鬼亦非仙，一曲桃花水」再点破（是溪水声），以戏谑的笔法写回音的谜底，机趣横生，是千古名句。其三，独游的妙趣。全词写「独游」——独行、独歌、独对空谷，却无孤寂之感，反而有自得其乐之趣，那「高歌谁和余」的独歌、「非鬼亦非仙」的戏谑，都写尽了独游的妙趣。其四，清新明快的笔调。全词语言清新自然，画面明快生动，是辛词中少见的清新之作。四重手法，使此词以清新明快的笔调写独游雨岩的妙趣，正是辛弃疾闲居上饶时期山水词的本领——那「人在行云里」的飘然，正是这位词人在山水间寻得的闲适。

Allusions

The lyric carries no learned allusion; its art is the direct delight. 'The moving clouds' (xingyun) are the clouds of the reflection; 'the empty valley' (konggu) is the valley of the echo; and 'the peach-blossom water' (taohua shui) is the water of the stream, whose tune answers the song — the natural world's music in the empty valley.

此词的用语深植于山水与诗骚传统。「溪边照影行，天在清溪底」写溪中倒影——那「照影」令人想到「临水照影」的意象，也令人想到「对影成三人」（李白《月下独酌》）的「影」的传统；「天在清溪底」写天空倒映溪底，令人想到「潭清疑水浅」的清澈意象，也令人想到「上下天光，一碧万顷」（范仲淹《岳阳楼记》）的水天交融；「天上有行云，人在行云里」写行云倒影——那「行云」令人想到「白云千载空悠悠」（崔颢《黄鹤楼》）的云意象，也令人想到「行到水穷处，坐看云起时」（王维《终南别业》）的云水传统；「高歌谁和余」写独歌——那「高歌」令人想到「长歌当哭」与「击壤而歌」的传统，也令人想到「独坐幽篁里，弹琴复长啸」（王维《竹里馆》）的独处之乐；「空谷清音起」写空谷回音——那「空谷」令人想到「空谷传声」的成语与「空谷幽兰」的意象，那「清音」令人想到「清泉石上流」（王维《山居秋暝》）的清音；「非鬼亦非仙，一曲桃花水」写溪水声——那「桃花水」令人想到「桃花流水窅然去，别有天地非人间」（李白《山中问答》）的桃花流水意象，也令人想到「人间四月芳菲尽，山寺桃花始盛开」（白居易《大林寺桃花》）的桃花意象，「桃花水」以春水桃花写溪水的清美。全词化用李白、王维、白居易等山水意象与传统，以溪中倒影、空谷回音写独游的妙趣，正是辛弃疾山水词的本领——那行云、空谷、桃花水，都是中国山水诗中最清幽的意象。

Commentary

This lyric is one of Xin Qiji's most delightful records of his solitary leisure, quoted for the pure image of the walk among the reflected clouds. The echo that answers the song — neither ghost nor immortal, but the tune of the peach-blossom water — is among the most charming moments in his work. Critics praise the lyric's clarity and freedom: the retired hero's pure pleasure in the sky, the water, and the answering valley.

此词历来被推为辛弃疾山水词中写倒影与独游的佳作，也是其词中少见的清新明快之作。历代论者对此词评价极高：清人评此词「写倒影如画，妙趣横生」；近人更指出「天在清溪底」「人在行云里」以倒影写景，虚实相生，「非鬼亦非仙，一曲桃花水」以戏谑点破回音之谜，是辛词中写山水妙趣的佳作。在文学史上，此词的特殊价值在于：它展示了辛弃疾词风的另一面——人们熟知辛弃疾是写「金戈铁马」「气吞万里如虎」的豪放词人，但此词却以清新明快的笔调写独游雨岩的妙趣，那「人在行云里」的飘然、「非鬼亦非仙」的戏谑，都写尽了这位词人罢官闲居后在山水间寻得的闲适与自得；可见辛弃疾既能豪放苍凉，也能清新明快。诗中「天上有行云，人在行云里」「非鬼亦非仙，一曲桃花水」都是千古名句。此词与辛弃疾的《西江月·夜行黄沙道中》（「稻花香里说丰年」）同为闲居上饶时期写田园山水的名篇，又与《丑奴儿·书博山道中壁》（「却道天凉好个秋」）同写闲居的感慨。对于今日读者，此词是理解辛弃疾「闲适」一面的窗口，也是中国词写山水倒影与独游的经典——那溪底的云天、空谷的回音、一曲桃花水，穿越千年，仍在诉说着山水之间的妙趣。

Prosody

Form Shengzhazi (Raw Hawthorn), a short lyric词（生查子，双调四十字）

Rhyme The lyric rhymes on the level-tone di, li, yu, qi and shui's group — the clear, flowing rhyme that carries the solitary walk's delight.全词押仄声上声韵（底、里、起、水），仄韵短促，正合独游的轻快与妙趣。

Tone pattern The cadence is that of the walk and the echo: the level opening on the reflection, the turning with the song and the answering sound, and the close's fall with the tune of the peach-blossom water.此词为「生查子」词牌，双调四十字，上下片各四句，押仄声韵。全词按内容可分为两片：上片写溪中倒影（溪边照影行、天在清溪底、天上有行云、人在行云里）；下片写空谷回音（高歌谁和余、空谷清音起、非鬼亦非仙、一曲桃花水）。声调上，全词以仄声韵押韵，节奏轻快，正合独游的妙趣；上片以「底」「里」写倒影，下片以「起」「水」写回音，韵脚短促，节奏明快，正是辛词中少见的清新明快之作。

Reading note The lyric's sound matches its clear delight: the level rhymes carry the walk in the even, flowing cadence, and the close — 'fei gui yi fei xian, yi qu taohua shui' — falls with the natural answer, the sound of the mystery resolved in the tune of the water.此词是「生查子」词牌写山水妙趣的佳作，以溪中倒影写景、以空谷回音写趣，清新明快，正是辛弃疾闲居上饶时期山水词的本领。全词两片：上片写倒影（溪边照影行、天在清溪底、天上有行云、人在行云里），下片写回音（高歌谁和余、空谷清音起、非鬼亦非仙、一曲桃花水）。声调上，全词押仄声韵，节奏轻快，那「天在清溪底」「人在行云里」的倒影妙趣、「非鬼亦非仙，一曲桃花水」的戏谑机趣，正是辛词清新的另一面。诵读此词，宜以轻快的语调读上片的倒影，以戏谑的语调读下片的回音，尤其「非鬼亦非仙，一曲桃花水」两句，要读得俏皮而自得，方能传达出辛弃疾独游雨岩的妙趣。辛词以豪放著称，此词却清新明快，正见其词风的多样。

Line by line

天上有行云，人在行云里。

In the sky there are moving clouds, and I walk among the moving clouds.

天上有行云飘过，人仿佛走在行云里。

Clouds drift in the sky, and the man walks within the drifting clouds.

这句是写倒影妙趣的名句，也是千古名句，以溪中倒影写人与云天交融的飘然，虚实相生。「天上有行云」写天上的行云——那「行云」写云彩的飘动；「人在行云里」写人仿佛走在行云里——那行云倒映在清溪中，人走在溪边，倒影与行云交融，仿佛走在行云里，那「在行云里」以倒影写人的位置，虚实相生。这句的深意在于：它以「天上有行云」与「人在行云里」的呼应，写出了溪中倒影的妙趣——天空倒映溪底，行云倒映水中，人走在溪边，其倒影与行云相叠，仿佛人正走在行云里；那「在行云里」不是实写（人不在天上），而是虚写（人的倒影与行云交融），虚实相生，写尽了独游雨岩时人与天光云影交融的飘然之感。而那「行云」的意象，也暗含「行到水穷处，坐看云起时」的闲适与飘然。以「天上有行云」写倒影之因、以「人在行云里」写交融之果，正是辛弃疾「以倒影写景」的本领，也让这句成为写山水妙趣的千古名句。

This line is the reflection-writing wondrous-taste famous verse, and a line through the ages, writing the man-and-cloud-sky fusion's lightness through the stream reflection, the void-and-real mutually born. Clouds drift in the sky writes the sky's drifting clouds — the drifting clouds writing the clouds' floating; the man walks within the drifting clouds writes the man's as-if walking in the drifting clouds — the drifting clouds reflected in the clear stream, the man walking by the stream, the reflection and the drifting clouds' fusion, as if walking in the drifting clouds, the within-the-drifting-clouds using the reflection for the man's position, the void-and-real mutually born. This line's deep meaning: the clouds-drift-in-the-sky and the man-walks-within-the-drifting-clouds' echo, writing the stream reflection's wondrous taste — the sky's reflection on the stream bottom, the drifting clouds' reflection in the water, the man walking by the stream, his reflection's overlapping with the drifting clouds, as if the man's walking in the drifting clouds; the within-the-drifting-clouds not the real writing (the man not in the sky), and yet the void writing (the man's reflection and the drifting clouds' fusion), the void-and-real mutually born, exhausting the lone Yuyan-roaming time's man-and-light-and-cloud-shadows fusion's lightness. And the drifting-clouds image, also secretly carrying the arrived-at-the-water's-end's ease and lightness. Writing the reflection's cause through the clouds-drift-in-the-sky, the fusion's effect through the man-walks-within-the-drifting-clouds, precisely Xin Qiji's reflection-writes-scene craft, making this line a mountain-and-river wondrous-taste line through the ages.

非鬼亦非仙，一曲桃花水。

It is no ghost, nor any immortal — it is one tune of the peach-blossom water.

不是鬼也不是仙，正是那一曲桃花水声。

Neither ghost nor immortal — just the sound of a peach-blossom stream.

这句是全词的妙笔，也是千古名句，以戏谑的笔法点破回音之谜，机趣横生。「非鬼亦非仙」写不是鬼也不是仙——前文「高歌谁和余，空谷清音起」写独歌时空谷传来回音，仿佛是有人应和，这句以「非鬼亦非仙」先排除鬼怪神仙的可能；「一曲桃花水」点破谜底——那回音不是别的，正是溪水的声响，「一曲桃花水」以「一曲」写溪水的声响如一支曲子，以「桃花水」写溪水的清美。这句的深意在于：它以戏谑的笔法写独游的逸趣——独游空谷，高歌无人应和，却有空谷回音（清音），那回音是什么？不是鬼（无人），也不是仙（不是神异），正是溪水声；那「非鬼亦非仙」的排除、「一曲桃花水」的点破，以问答的机趣写独游的自得——无人应和又有何妨，自有溪水作伴，那「一曲桃花水」正是独游的知音。而那「桃花水」的意象，也写尽了溪水的清美与春日的生机。以「非鬼亦非仙」写戏谑、以「一曲桃花水」写妙趣，正是辛弃疾「以问答写机趣」的本领，也让这句成为写山水妙趣的千古名句。

This line is the ci's wondrous stroke, and a line through the ages, using the jesting brush for the echo-riddle's revealing, the wit's bursting. Neither ghost nor immortal writes the neither-ghost-nor-immortal — the above's the loud-singing-who-answers-me, the empty valley's clear sound rising writes the lone-singing time's empty-valley echo, as if someone's answering, this line's first excluding the ghost-and-immortal possibility through the neither-ghost-nor-immortal; just the sound of a peach-blossom stream revealing the answer — that echo is none other, precisely the stream's sound, the one-tune peach-blossom stream using the one-tune for the stream's sound like one tune, the peach-blossom stream for the stream's beauty. This line's deep meaning: using the jesting brush for the lone-roaming's elegant charm — the lone empty-valley roaming, the loud-singing's no answer, and yet the empty-valley echo (the clear sound), that echo is what? Not the ghost (no person), not the immortal (not the marvel), precisely the stream sound; the neither-ghost-nor-immortal's exclusion and the one-tune-peach-blossom-stream's revealing, using the question-answer's wit for the lone-roaming's self-content — the no answer and yet what harm, the stream itself the companion, the one-tune-peach-blossom-stream precisely the lone-roaming's soulmate. And the peach-blossom-stream image, also exhausting the stream's beauty and the spring's vitality. Writing the jest through the neither-ghost-nor-immortal, the wondrous taste through the one-tune-peach-blossom-stream, precisely Xin Qiji's question-answer-writes-wit craft, making this line a mountain-and-river wondrous-taste line through the ages.

Study

Word focus

行 'To move, to walk' — the moving clouds and the walking man, the doubled motion of the reflection. 「行」字是写倒影妙趣的关键字，一个「行」字写尽行云与人影的交融，是「人在行云里」的词眼。行者，行走、飘动也。辛弃疾以「天上有行云，人在行云里」写倒影，一个「行」字，至少有双重意味：其一，写行云之飘动——那「行云」写云彩的飘动，「行」字写尽云的流动与轻盈，不是静止的云，而是「行」动的云；其二，写人影之行——那「人行」写人在溪边行走，那「人在行云里」写人的倒影与行云交融，仿佛人正「行」在行云里，「行」字写尽人与云的共同「行」动——天上有「行」云，人在「行」云里，一「行」两用，写尽人与云的相融。以「行」字写倒影，正是辛弃疾「以倒影写景」的关键——若换作「飘」「流」等字，则或失其与「人在行云里」的呼应，或失其行走的动感；唯「行」字，以一字同时写云之飘动与人之行，写尽人与行云交融的妙趣，也让「天上有行云，人在行云里」成为写倒影的千古名句。

曲 'A tune' — the tune of the peach-blossom water, the natural music that answers the song. 「曲」字是写溪水声响的关键字，一个「曲」字写尽溪水声如乐的美感，是「一曲桃花水」的点睛字。曲者，乐曲、曲调也。辛弃疾以「一曲桃花水」写溪水声，一个「曲」字，至少有双重意味：其一，写溪声之如乐——那「一曲」写溪水的声响如一支乐曲，「曲」字以听觉写溪水，将溪声写得如音乐般悦耳动听；其二，写回音之应答——那「一曲桃花水」写空谷回音正是溪水声，那「曲」字既写溪声如曲，也暗含「应和」（曲有和）之意——独歌无人应和，却有溪水的一曲相和，「曲」字写尽溪水作为独游知音的妙趣。以「曲」字写溪声，正是辛弃疾「以听觉写景」的关键——若换作「声」「响」等字，则或失其如乐的美感，或失其应答的机趣；唯「曲」字，以一字写尽溪水声如乐曲的美感与应答的机趣，与「桃花水」相合，写尽溪水的清美与独游的逸趣，也让「非鬼亦非仙，一曲桃花水」成为写山水妙趣的千古名句。