宋 Song · 词 Ci lyric
辛弃疾·沁园春·将止酒戒酒杯使勿近
Qinyuan Chun · About to Quit Wine, I Bid the Wine-Cup Keep Away
沁园春·将止酒戒酒杯使勿近杯汝来前！
老子今朝，点检形骸。
甚长年抱渴，咽如焦釜；
于今喜睡，气似奔雷。
汝说“刘伶，古今达者，醉后何妨死便埋”。
浑如此，叹汝于知已，真少恩哉！
更凭歌舞为媒。
算合作平居鸩毒猜。
况怨无大小，生于所爱；
物无美恶，过则为灾。
与汝成言：“勿留亟退，吾力犹能肆汝杯。
”杯再拜，道“麾之即去，招则须来”。
Why this long years' thirst, throat like a scorched pot;
And now loves sleep, breath like rolling thunder.
You say: 'Liu Ling, sage of ancient and modern, after drunk why not be buried?'
So it is! I sigh that you, to a bosom friend, are truly without mercy!
You use song and dance as go-between,
Fit to be reckoned a peacetime hemlock.
Moreover, grievance great or small is born of what is loved;
Thing fair or foul, in excess becomes disaster.
I have made a pact with you: 'Do not stay, withdraw at once;
My strength can still smash you, cup.'
The cup bows again and says:
'Wave and I go; call and I must come.'
Meaning
Cup, come here before me! This old man today will take stock of his own body. Why this long years' thirst, throat like a scorched pot; and now loves sleep, breath like rolling thunder. You say: 'Liu Ling, sage of ancient and modern, after drunk why not be buried?' So it is! I sigh that you, to a bosom friend, are truly without mercy! You use song and dance as go-between to tempt me. You should be reckoned a peacetime hemlock. Moreover, grievance great or small is born of what is loved; thing fair or foul, in excess becomes disaster. I have made a pact with you: do not stay, withdraw at once; my strength can still smash you, cup. The cup bows again and says: 'Wave and I go; call and I must come.'
酒杯，你到我面前来！老夫今日，要检视一番自己的身体。为何长年口渴，咽喉像烧焦的锅？如今又贪睡，鼾声如雷。你却说：「刘伶是古今通达之人，醉后死了便埋，又何妨？」竟如此！可叹你待知己，真是缺少情分啊！还要借助歌舞为媒介（诱我饮酒）。算来你倒该被当作平居的鸩毒来提防。何况怨恨不论大小，都生于所爱；事物无论美恶，过度便成灾祸。我已与你约定：不可停留，即刻退下，我的力气尚能砸碎你这酒杯。酒杯再拜道：「挥手便去，招唤即来。」
Appreciation
The greatest feature of this lyric is 'using prose as lyric,' bringing the fu-rhapsody into the lyric. The upper stanza calls the cup to come 'take stock of his body,' and with the 'Liu Ling' allusion writes the cup's clever defense; the lower stanza makes a 'pact' with the cup, limiting it to 'withdraw at once,' and the cup bows and answers 'wave and I go; call and I must come.' The whole reads like a humorous little fu, with question-and-answer between host and guest, every manner vivid. The language is prose-like and dialogic, breaking the lyric's soft tradition, showing heroism and grievance amid jest and rail—the utmost of wit and strangeness.
【白话串讲】 辛弃疾要戒酒，把酒杯叫来训话：“杯汝来前！老子今朝，点检形骸”——酒杯你给我过来！老子今天要检查身体。酒杯回嘴：“刘伶，古今达者，醉后何妨死便埋”。一人一杯吵架，宋词里最幽默的一首。 【意象与手法】 此词最大特色在以文为词、赋体入词。上片呼杯前来「点检形骸」，以「刘伶」典故写酒杯巧言辩解；下片与杯「成言」，限定「勿留亟退」，杯则再拜应答「麾之即去，招则须来」。通篇如一篇幽默小赋，主客问答，情态毕肖，语言散文化、对话化，打破词体柔媚传统，于戏笑怒骂中见豪气与牢骚。 【情感与主旨】 此词约作于辛弃疾闲居带湖时期。词人素好饮酒，然中年以后体魄渐衰，乃至「长年抱渴，咽如焦釜」，遂萌止酒之念。词以拟人手法，将酒杯呼来面前，与之辩诘，责令「戒酒杯使勿近」，以诙谐戏谑的笔调写戒酒，实则寄寓壮志难酬、借酒浇愁的悲慨，于滑稽中见沉郁。 【名句点睛】 常考「以文为词」的特点——词中主客问答、散文化句式；以及幽默诙谐背后「借酒浇愁」的身世之悲与壮志难酬，是稼轩「于谐谑中见沉郁」的代表作。
Background
This lyric was likely written in Xin Qiji's period of retirement at Daihu. The poet had always loved wine, but after middle age his body weakened, to the point of 'long years' thirst, throat like a scorched pot,' and he conceived the idea of quitting. The lyric uses personification, calling the wine-cup before him to argue and bidding 'the wine-cup keep away.' The whole writes the quitting of wine in a jesting, playful tone, yet truly harbors the grief of unfulfilled ambition and drowning sorrow in wine; in the comic one sees the depressed—a representative of Xin's 'using prose as lyric.'
此词约作于辛弃疾闲居上饶带湖时期（淳熙九年，1182年罢官后）。辛弃疾（1140—1207），字幼安，号稼轩，历城人，南宋抗金名将、词人。他二十一岁即聚众抗金，南归后屡陈恢复大计，却遭主和派排挤，长期投闲置散，一生大志未酬。词人素好饮酒，史载其「豪放不羁，每以酒为命」，而中年以后体魄渐衰，酒病交攻，乃至「长年抱渴，咽如焦釜」「于今喜睡，气似奔雷」，遂生止酒之念。此词即写他与「酒杯」的一次郑重「谈判」：呼杯前来，历数酒害，下令驱逐；酒杯则引刘伶为证，巧言辩解；词人最终与杯「成言」，杯再拜而去，却留下「麾之即去，招则须来」的狡黠应答。全词以游戏笔墨写戒酒，实则是稼轩在闲居中自嘲自解：他一生壮志难酬，唯有借酒浇愁，如今连酒也不能痛饮，人生的悲凉尽在这番戏谑之中。词中「叹汝于知已，真少恩哉」的责备、「况怨无大小，生于所爱」的感慨，皆寓庄于谐，于滑稽中见沉郁，是稼轩「以文为词」、把词的题材与手法推向极致的代表作，也是宋代词坛罕见的「戒酒词」。
Art
The greatest feature of this lyric is 'using prose as lyric,' bringing the fu-rhapsody into the lyric. The upper stanza calls the cup to come 'take stock of his body,' and with the 'Liu Ling' allusion writes the cup's clever defense; the lower stanza makes a 'pact' with the cup, limiting it to 'withdraw at once,' and the cup bows and answers 'wave and I go; call and I must come.' The whole reads like a humorous little fu, with question-and-answer between host and guest, every manner vivid. The language prose-like and dialogic breaks the lyric's soft tradition, showing heroism and grievance amid jest and rail—the utmost of wit and strangeness.
此词艺术上最大的特色，是以文为词、赋体入词，把一场戒酒的内心独白写成一篇活灵活现的主客问答，是辛弃疾「别开生面」的创格。全词结构如一篇幽默小赋：开头「杯汝来前」一声呼喝，先声夺人，把无生命的酒杯唤作有生命的对手；继而「老子今朝，点检形骸」，以「老子」自称，见其豪放不羁的口吻；「甚长年抱渴，咽如焦釜；于今喜睡，气似奔雷」历数酒害，句句夸张，如数家珍；「汝说刘伶」以下，让酒杯引古证今、巧言辩解，词人则「叹汝于知已，真少恩哉」反唇相讥，一来一往，妙趣横生。下片「更凭歌舞为媒。算合作平居鸩毒猜」以议论写酒害之深，「况怨无大小，生于所爱；物无美恶，过则为灾」更由戒酒上升到人生哲理——爱之过甚即成灾害，这一议论是全词的骨子，把一场游戏写出了深沉的人生感慨；末段「与汝成言：勿留亟退，吾力犹能肆汝杯」以决绝的口气下逐客令，「杯再拜，道麾之即去，招则须来」以酒杯的谦卑与狡黠收束，全词如一篇微型戏剧，有开场、有冲突、有对白、有结局，语言散文化、口语化，几乎不用词的传统意象与婉约笔法，却自有一种「嬉笑怒骂皆成文章」的豪气，正是稼轩「以文为词」的极致。
Allusions
'Liu Ling' uses the 'Biography of Liu Ling' in the Jin History: Liu Ling indulged in wine, often took a deer-cart with wine and had a servant follow with a spade, saying 'bury me where I die.' The lyric has the cup call 'Liu Ling, sage of ancient and modern, after drunk why not be buried,' using the sage to excuse drinking. 'Hemlock' comes from the Zuo Zhuan 'ease is hemlock,' a metaphor that wine's harm is like poison. 'Smash you, cup' faintly uses the Analects 'expose him in the market' sense, meaning still able to cast the cup away. The allusions all melt into the dialogue, adding comic flavor without piling.
此词用典不多而皆融化于对话之中，为戏谑增趣而不显堆砌。「刘伶」用《晋书·刘伶传》之典：刘伶为「竹林七贤」之一，纵酒放达，常乘鹿车携酒，使人荷锸相随，曰「死便埋我」，其《酒德颂》更以酒为「天之美禄」；词中借酒杯之口引刘伶为「古今达者」，说「醉后何妨死便埋」，正是用刘伶的放达为饮酒辩护——醉死便埋，何妨之有？酒杯的辩解理直气壮，词人却以「真少恩哉」斥之，一辩一驳，妙趣横生。「鸩毒」语本《左传·闵公元年》「宴安鸩毒，不可怀也」，本以「宴安」（安逸）为鸩毒，词人化用为「算合作平居鸩毒猜」，谓饮酒之害如服鸩毒，应时时提防，古语活用，切合戒酒之旨。「肆汝杯」暗用《论语·宪问》「吾力犹能肆诸市朝」之语，「肆」本为陈尸示众，词人移用于杯，谓「吾力犹能肆汝杯」，即我的力气尚能把你砸碎示众，化用圣人之语于戏谑之中，正见稼轩「以经史入词」的本领。此外「点检形骸」「麾之即去」等语，皆以散文化的口语出之，古典与今语交融，构成此词特有的诙谐风格。
Commentary
Of Xin's lyric, earlier critics said 'like Li Bai's poetry, immortal talent and open-mindedness.' The Ming critic Yang Shen praised: 'Xin's lyrics are plain as talk, yet their flavor is endless.' This lyric writes the depressed through jest, calling the cup to converse, seeming a game yet truly bitter. Modern scholars on Xin's 'using prose as lyric' often cite this piece. Seeming comic, a closer taste reveals the block within—the words of a hero who lost his way, drowning himself in wine.
此词历来被视为辛弃疾「以文为词」的典范之作，评价极高。南宋刘克庄《辛稼轩集序》谓其词「大声鞺鞳，小声铿鍧」，此词虽以谐谑出之，而其气魄之雄、笔力之健，正合「大声鞺鞳」之评。明人杨慎《词品》称「辛词明白如话，而其味无穷」，此词正是「明白如话」的极致——通篇口语化、对话化，几如白话小说中的一段对话，而其味之深，却在字面之下。清人论稼轩，每以「于豪放中见沉郁」许之，此词表面诙谐戏谑，骨子里却是英雄失路的悲凉：词人一生志在恢复中原，却投闲置散，只能以酒浇愁，如今连酒也不得痛饮，这番与酒杯的「谈判」，正是他与自己命运的「谈判」。近人论「以文为词」，必举此词与《破阵子》《西江月·遣兴》等为例，以为稼轩把散文的句法、议论、对话引入词体，极大地拓展了词的表现力。就词史意义言，此词证明词不仅可以言情，还可以「演剧」——以主客问答写一场心理戏剧，是宋词中独一无二的创格，其诙谐背后「笑中有泪」的滋味，正需细品方知。
Prosody
Line by line
杯汝来前！老子今朝，点检形骸
Cup, come here before me! This old man today will take stock of his body.
酒杯，你到我面前来！老夫今日，要检视一番自己的身体
Cup, come here before me! This old man today will inspect his body.
开篇三句，先声夺人，是全词「主客问答」的开场，也是稼轩豪放本色的第一次亮相。「杯汝来前」四字，以命令的口吻呼杯上前，把无生命的酒杯当作有生命、有理性的对手，拟人手法的运用干脆利落，如大将点兵；「老子今朝」以「老子」自称，是稼轩词中习见的口吻（如《水龙吟》「须信此翁未死」之谐趣），见其放诞不羁的个性与市井化的语言风格；「点检形骸」点出「戒酒」的由头——检点身体，发现酒已伤身。「点检」本为查点清点之意，用于「形骸」，把检视身体写得如点验军械，庄谐并作。三句以呼喝起、以检点承，既交代了戒酒的动机，又奠定了全词戏谑的基调——明明是严肃的戒酒，偏要用打趣的方式说出，这正是稼轩「以游戏之笔写沉痛之情」的开端。
The opening three lines, the voice's-leading, the whole ci's host-guest-dialogue opening, and the Jiaxuan's bold-nature's first appearance. The cup-come-here-before-me four words, using the commanding tone's calling the cup forward, turning the feelingless wine cup into the living-and-reasonable opponent, the personification's use's clean-and-crisp, like the great general's mustering troops; the this-old-man-today's self-calling the laozi, the Jiaxuan ci's habitual tone (like the Water-Dragon's trust-this-old-man's-not-yet-dead's wit), seeing his untrammeled personality and the market-language style; the inspect-his-body pointing out the stop-drinking's cause — inspecting the body, discovering the wine's already harming it. The dianjian originally the check-and-count meaning, used for the body, turning the body-inspection's like the armory's inspection, the solemn-and-witty's joint work. Three lines opening on the call-out and closing on the inspection, at once explaining the stop-drinking motive, and establishing the whole ci's teasing tone — clearly's the serious stop-drinking, and yet the teasing-way's saying it, this precisely the Jiaxuan's using-the-playful-brush-for-the-deep-feeling's beginning.
汝说“刘伶，古今达者，醉后何妨死便埋”
You say: 'Liu Ling, sage of ancient and modern, after drunk why not be buried?'
你却说：「刘伶是古今通达之人，醉后死了便埋，又何妨？」
You say: Liu Ling was a man of understanding through the ages; when drunk, if he died, he was simply buried — what of it?
此句是酒杯的辩词，也是全词第一个妙趣横生的段落，稼轩借酒杯之口引经据典，为饮酒辩护。「汝说」二字点明这是酒杯的反驳——面对词人的数落，酒杯并不认罪，反而搬出刘伶来：「刘伶，古今达者」，刘伶是竹林七贤中最著名的酒徒，《晋书·刘伶传》载其「常乘鹿车，携一壶酒，使人荷锸而随之，谓曰：死便埋我」，以放达著称于世；酒杯引此典，意谓刘伶这样的古今达人尚且「醉后何妨死便埋」，你又何必戒酒自苦？「何妨」二字，把生死都看得轻了，何况区区酒害？酒杯的辩护理直气壮，几乎无可反驳。此句的妙处在于「借他人酒杯浇自己块垒」的双重反讽：表面是酒杯以刘伶为挡箭牌，实则也折射出词人自己「古今达者」式的放达心态——稼轩何尝不知酒害，只是英雄失路，除了醉乡，何处可遣愁？
This line is the wine cup's retort, and the whole ci's first witty passage, the Jiaxuan's borrowing the cup's mouth's citing the classics, for the drinking's defense. The you-say two words' pointing out this's the cup's rebuttal — facing the poet's reproach, the cup's not admitting guilt, and yet moving out Liu Ling: Liu Ling the through-the-ages understanding man, Liu Ling's the Seven-Sages-of-the-Bamboo-Grove's most famous drunkard, the Book-of-Jin's Liu-Ling-Biography records his often-riding-the-deer-cart-carrying-a-wine-pot-and-having-a-man-with-a-hoe-behind-him-saying-bury-me-when-dead, the untrammeled's famous in the world; the cup's citing this allusion, meaning the Liu-Ling-like through-the-ages understanding man's yet the drunk-dead-then-buried-what-of-it, and yet you why's stop-drinking-and-self-hardship? The what-of-it two words, turning the life-and-death's light, let alone the trifling wine-harm? The cup's defense's righteous, almost no-refuting. This line's wonder's in the borrow-other's-cup-for-my-own-pent-up double irony: the surface's the cup's using Liu Ling as the shield, actually's also refracting the poet's own through-the-ages-understanding untrammeled mind — how would the Jiaxuan's not knowing the wine-harm, and yet the hero's lost-road, besides the drunkard's land, where's the sorrow's sending?
与汝成言：“勿留亟退，吾力犹能肆汝杯。”
I have made a compact with you: stay not, withdraw at once; my strength can still make an example of you, cup.
我已与你约定：不可停留，即刻退下，我的力气尚能砸碎你这酒杯
I have made a compact with you: stay not, withdraw at once; my strength is still enough to make an example of you, cup.
此句是词人对酒杯的最终裁决，也是全词「主客问答」的高潮。「与汝成言」即与你立下约定，用词郑重，如两国订盟，把戒酒之事上升到仪式的高度；「勿留亟退」四字斩钉截铁，不留余地——不许停留，即刻退下，是逐客令的口吻；「吾力犹能肆汝杯」是全句最见豪气的一笔，「肆」本为陈尸示众，语出《论语》「吾力犹能肆诸市朝」，稼轩化用圣人之语，谓我的力气尚能把你砸碎示众，语气既决绝又戏谑。此句的深意在于「吾力犹能」四字：词人年近半百、体魄渐衰（前文「咽如焦釜」「气似奔雷」已见其病），却偏要说「吾力犹能」，这是不服老、不甘心的倔强——戒酒是自保，而「肆汝杯」是示威，在与酒杯的这场谈判中，词人既要戒酒，又不肯示弱，其倔强豪迈的个性跃然纸上，正是稼轩「老骥伏枥」心态的生动写照。
This line is the poet's final verdict on the wine cup, and the whole ci's host-guest-dialogue climax. The I-have-made-a-compact-with-you i.e. the compact made with you, the wording's solemn, like the two states' treaty, turning the stop-drinking's affair's raised to the ritual height; the stay-not-withdraw-at-once four words' decisive, no-room-left — no-staying, the immediate withdrawal, the expulsion-order tone; my-strength-is-still-enough-to-make-an-example-of-you-cup the whole line's most-seeing-boldness stroke, the si originally the corpse-on-display, from the Analects's my-strength-is-still-enough-to-display-you-at-the-market-gate, the Jiaxuan's adapting the sage's words, meaning my strength's still enough to smash-you-and-display, the tone's at once resolute and teasing. This line's deep meaning's in the my-strength-is-still-enough four words: the poet's near-fifty, the body's gradually declining (the above's throat-like-burnt-caldron and breath-like-running-thunder's already seeing the illness), and yet precisely saying my-strength-is-still-enough, this's the no-accepting-old and no-resigning stubbornness — the stop-drinking's the self-preservation, and yet the make-an-example-of-you-cup's the showing-force, in the cup's negotiation, the poet's both stop-drinking and yet the refusing-to-show-weakness, his stubborn-bold personality's vivid, precisely the Jiaxuan's old-steed-in-the-stable mind's vivid portrait.
杯再拜，道“麾之即去，招则须来”
The cup bows again and says: 'Wave and I go; call and I must come.'
酒杯再拜道：「挥手便去，招唤即来。」
The cup bows twice and says: wave me away and I go; beckon me and I must come.
结句是酒杯的应答，也是全词的收束，稼轩以八字的狡黠应答写尽戒酒的「不彻底」，余味无穷。「杯再拜」写酒杯的恭敬——面对主人的驱逐，酒杯不失礼节，再拜而答，拟人化到极致，仿佛一个有教养的仆从；「道麾之即去，招则须来」是酒杯的答辞：挥手便去，招唤即来。「麾之即去」是顺从，答应退下；「招则须来」却是留了一手——只要主人招呼，我随叫随到。这八个字妙极：表面是酒杯的谦卑，实则暗含「你戒不了酒」的预言——以稼轩好酒之深，戒酒岂能持久？酒杯的狡黠应答，正是词人自我调侃的笔法：他知道自己戒酒多半是一时之念，故借酒杯之口说出「招则须来」的实情。全词以这场貌似胜利的「逐客」作结，实则胜负未分，戒酒的决心与好酒的天性在最后一刻打了个平手，戏谑之下，是词人对自己的无奈与宽容，笑中有泪，正是此词的绝妙收束。
The closing line is the cup's reply, and the whole ci's close, the Jiaxuan's using eight characters' sly reply's exhausting the stop-drinking's incompleteness, the aftertaste endless. The cup-bows-twice writing the cup's reverence — facing the master's expulsion, the cup's not losing the etiquette, bowing-twice-and-replying, the personification to the extreme, as if a well-bred servant; the wave-me-away-and-I-go-beckon-me-and-I-must-come the cup's answer: wave-me-away-and-I-go, the beckon-me-and-I-must-come. The wave-me-away's obedience, the agreeing-to-withdraw; the beckon-me-and-I-must-come's and yet leaving-a-trick — as long as the master's calling, I'm the answer-to-the-call. These eight characters' wondrous: the surface's the cup's humility, actually's secretly carrying the you-cannot-stop-drinking prophecy — with the Jiaxuan's wine-love's depth, how long can the stop-drinking last? The cup's sly reply, precisely the poet's self-mockery brush: he knows his own stop-drinking's mostly the passing thought, hence borrowing the cup's mouth's saying the beckon-me-and-I-must-come truth. The whole ci's closing on this seeming-victory expulsion, actually's the victory-undecided, the stop-drinking's determination and the wine-loving nature's at the last moment's drawn even, beneath the teasing's, the poet's on his own helplessness-and-tolerance, the laughter-within-tears, precisely this ci's wondrous close.
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Both from Xin's bold hand; this states ambition, that climbs a tower to pour the breast—read together.
《水龙吟·过南剑双溪楼》「举头西北浮云，倚天万里须长剑」与此词同出辛弃疾之手，同为闲居或宦游时期的抒怀之作，而面目迥异：双溪楼词以倚天长剑、斩蛟之事写收复中原的壮怀，气势雄杰，是稼轩「豪放正格」的代表；此词以呼杯对话、戒酒成言写日常生活的自嘲，诙谐戏谑，是稼轩「以文为词」的变格。一写家国大志，一写个人琐事；一正一谐、一庄一谑，而骨子里都是英雄失路的悲慨——双溪楼词悲在「报国无门」，此词悲在「连酒也戒得如此艰难」。二词并读，正可见稼轩词豪放风格的两种面目，亦可比较其面对同一命运在不同题材、不同心境下的表达，一个是慷慨悲歌，一个是笑中带泪。
苏轼·西江月·世事一场大梦 Xi Jiang Yue · The World's Affairs, a Great Dream 苏轼 · 同以词抒人生感慨，可比较苏辛豁达与沉郁之别 Same (Song · expressing the breast / openness)Both Su and Xin use the lyric for life's sighs—compare their openness and depression.
苏轼《西江月·世事一场大梦》「世事一场大梦，人生几度秋凉」与此词同属宋人借酒抒怀、感慨人生的名篇，而情调迥异：苏词以「世事一场大梦」的彻悟化解失意，以「中秋谁与共孤光」的淡然面对孤独，是「看得破」的旷达，愁而不苦；辛词以「杯汝来前」的戏谑排遣郁闷，以「招则须来」的自嘲面对无奈，是「放不下」的沉郁，笑中有泪。同是饮酒，苏轼「酒酣胸胆尚开张」是真豪放，辛弃疾戒酒而屡戒屡犯，是假旷达；同是失意，苏轼在黄州写出了「一蓑烟雨任平生」，辛弃疾在带湖写出了「醉里挑灯看剑」。二词并读，可见苏辛「豪放」的根本区别：苏之豪是超越，辛之豪是执著，一个是哲学家的通透，一个是英雄的悲歌。
辛弃疾·念奴娇·书东流村壁 Nian Nu Jiao · Inscribed on the Wall at Dongliu Village 辛弃疾 · 同出稼轩之手，同见其刚柔相济、沉郁顿挫的一面 Same (author / depressed style)Both show Xin's soft-and-hard-joined, depressed-and-stalled side.
《念奴娇·书东流村壁》「野棠花落，又匆匆过了，清明时节」与此词同出辛弃疾之手，同写中年以后的深沉感慨，而笔法一柔一刚：《念奴娇》以「野棠花落」的春景起兴，写旧地重游、人事已非的怅惘，「旧恨春江流不断，新恨云山千叠」以江流云山写恨之绵长，是稼轩词「婉约」的一面，情致缠绵；此词以「杯汝来前」的呼喝起势，写戒酒不成、自嘲自解的无奈，「吾力犹能肆汝杯」以豪语写衰病，是稼轩词「豪放」的一面，笔致峭拔。一写情之柔、一写气之刚，而皆为稼轩中年「英雄失路」心境的不同投影。二词并读，可见辛词「刚柔并济」的完整风貌，亦可比较其在同一时期以不同笔调、不同题材抒写同一情怀的高超手段。