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宋 Song · 词 Ci lyric

玉楼春·戏赋云山

The, Spring, in, the, Jade, Pavilion: The, Playfully, Writing, of, the, Cloud, Mountains

辛弃疾

Xin Qiji

山水Landscape 诙谐Theme

何人半夜推山去？
四面浮云猜是汝。
常时相对两三峰，走遍溪头无觅处。
西风瞥起云横度，忽见东南天一柱。
老僧拍手笑相夸，且喜青山依旧住。

何人半夜推山去？四面浮云猜是汝。
常时相对两三峰，走遍溪头无觅处。
西风瞥起云横度，忽见东南天一柱。
老僧拍手笑相夸，且喜青山依旧住。

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Meaning

A lyric of the clouds and the play, written by Xin Qiji. Who in the midnight pushed the mountains away, the four sides the floating clouds guessing it is you — the clouds of the opening. The usual times facing the two or the three peaks, walking all over the end of the creek no place of the finding — the seeking of the middle. The west wind suddenly rising the clouds crossing over, suddenly seeing the southeast the one pillar of the heaven — the returning of the middle. And the close's the old monk clapping the hands laughing and praising, moreover rejoicing the green mountains still the same staying — the close's joy. The lyric is the clouds and the play: the hiding, the returning, and the close's joy.

何人半夜推山去？四面浮云猜是汝。常时相对两三峰，走遍溪头无觅处。西风瞥起云横度，忽见东南天一柱。老僧拍手笑相夸，且喜青山依旧住。

Appreciation

[Plain Paraphrase] Who, in, the, midnight, pushed, the, mountains, away, the, four, sides, the, floating, clouds, guessing, it, is, you. The, usual, times, facing, the, two, or, the, three, peaks, walking, all, over, the, end, of, the, creek, no, place, of, the, finding. The, west, wind, suddenly, rising, the, clouds, crossing, over, suddenly, seeing, the, southeast, the, one, pillar, of, the, heaven. The, old, monk, clapping, the, hands, laughing, and, praising, moreover, rejoicing, the, green, mountains, still, the, same, staying. [Structure and Thought] The lyric moves from the clouds of the pushing away with the guessing, through the seeking of the walking with the no finding, to the close's the joy of the green mountains staying. [Key Technique] The lyric's art is the close of the joy: the west wind suddenly rising the clouds crossing over, and the close's the old monk clapping the hands laughing and praising moreover rejoicing the green mountains still the same staying — the clouds gathered in the returning and the close's joy. [Emotional Tone] Playful, light, and joyful: the lyric is the hiding, the returning and the close's joy.

【白话串讲】辛弃疾写《玉楼春·戏赋云山》：“何人半夜推山去？四面浮云猜是汝”——“常时相对两三峰，走遍溪头无觅处”——“西风瞥起云横度，忽见东南天一柱”——“老僧拍手笑相夸，且喜青山依旧住”——他写云遮山又云开。【意象与手法】此词写云山，以戏笔写山水，是辛弃疾的名篇。上阕写山隐：「何人半夜推山去？四面浮云猜是汝」写何人半夜推山去、四面浮云猜是汝——写尽山被云遮；「常时相对两三峰，走遍溪头无觅处」写常时相对两三峰、走遍溪头无觅处——写尽寻山不见；下阕写山现：「西风瞥起云横度，忽见东南天一柱」写西风瞥起云横度、忽见东南天一柱——写尽山忽出现；「老僧拍手笑相夸，且喜青山依旧住」写老僧拍手笑相夸、且喜青山依旧住——写尽山仍在。全词以戏笔写山水，写尽云遮山现的变幻，是辛弃疾的代表作。【情感与主旨】此词写云山，以戏笔写山水，是辛弃疾的名篇。此词写诗人居瓢泉时所见云山变幻之景。上阕写山隐：何人半夜推山去？四面浮云猜是汝——写何人半夜推山去、四面浮云猜是汝，写尽山被云遮；常时相对两三峰，走遍溪头无觅处——写常时相对两三峰、走遍溪头无觅处，写尽寻山不见；下阕写山现：西风瞥起云横度，忽见东南天一柱——写西风瞥起云横度、忽见东南天一柱，写尽山忽出现；老僧拍手笑相夸，且喜青山依旧住——写老僧拍手笑相夸、且喜青山依旧住，写尽山仍在。全词以戏笔写山水——那「何人半夜推山去」写尽山被云遮的戏笔，「且喜青山依旧住」写尽山仍在的欣喜，写尽云遮山现的变幻，是理解辛弃疾山水词的重要篇章。【名句点睛】常考「何人半夜推山去？四面浮云猜是汝」写山被云遮的戏笔；「西风瞥起云横度，忽见东南天一柱」写山忽出现的惊喜；「且喜青山依旧住」写山仍在的欣喜；以及全词以戏笔写山水、以拟人写云山的手法。

Background

Xin Qiji (1140-1207), the great poet of the Southern Song, wrote this 'The, Spring, in, the, Jade, Pavilion: The, Playfully, Writing, of, the, Cloud, Mountains' of the clouds and the play — the play of the clouds hiding the mountains. The clouds of the pushing away with the seeking, the returning of the pillar, and the close's the joy of the green mountains staying — the lyric gathers the playfulness of the poet, the joy of the scenes. The lyric is one of the famous works of the poet's lyrics of the play.

此词写云山，以戏笔写山水，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，南宋伟大的词人，与苏轼并称「苏辛」。此词写诗人居瓢泉时所见云山变幻之景。辛弃疾晚年退居铅山瓢泉，常游于山水之间。瓢泉一带峰峦叠翠，云雾缭绕，此词即写云遮山、云散山现的变幻之景。上阕写山隐：「何人半夜推山去？四面浮云猜是汝」写何人半夜推山去、四面浮云猜是汝——写尽山被云遮（何人半夜推山去，四面浮云猜是汝）；「常时相对两三峰，走遍溪头无觅处」写常时相对两三峰、走遍溪头无觅处——写尽寻山不见（常时相对两三峰，走遍溪头无觅处）。下阕写山现：「西风瞥起云横度，忽见东南天一柱」写西风瞥起云横度、忽见东南天一柱——写尽山忽出现（西风瞥起云横度，忽见东南天一柱）；「老僧拍手笑相夸，且喜青山依旧住」写老僧拍手笑相夸、且喜青山依旧住——写尽山仍在（老僧拍手笑相夸，且喜青山依旧住）。全词以戏笔写山水，写尽云遮山现的变幻，是理解辛弃疾山水词的重要篇章。

Art

The lyric's art is the art of the joy. The clouds open: who, in, the, midnight, pushed, the, mountains, away — the mountains of the pushing away; the, four, sides, the, floating, clouds, guessing, it, is, you — the floating clouds of the guessing; the, usual, times, facing, the, two, or, the, three, peaks — the two or the three peaks of the facing; walking, all, over, the, end, of, the, creek, no, place, of, the, finding — the end of the creek of the finding. The returning follows: the, west, wind, suddenly, rising, the, clouds, crossing, over — the west wind of the crossing; suddenly, seeing, the, southeast, the, one, pillar, of, the, heaven — the pillar of the heaven. And the close gathers the joy: the, old, monk, clapping, the, hands, laughing, and, praising — the old monk of the praising; moreover, rejoicing, the, green, mountains, still, the, same, staying — the green mountains of the staying — the clouds, the returning and the close's joy, gathered in the lyric.

此词的艺术特色可从四个方面解析。其一，以问起写云遮。「何人半夜推山去」以问起写云遮——那「何人」写尽发问，以问起写尽山被云遮。其二，以拟人写浮云。「四面浮云猜是汝」以拟人写浮云——那「猜是汝」写尽猜云，以拟人写尽云的淘气。其三，以对照写山现。「西风瞥起云横度，忽见东南天一柱」以对照写山现——那「瞥起」「忽见」写尽云散山现，以对照写尽山现的惊喜。其四，以白描写欣喜。「老僧拍手笑相夸」以白描写欣喜——那「拍手笑」写尽老僧的欣喜，以白描写尽山仍在的欣慰。此外，此词上阕写云遮山隐，下阕写云散山现，由隐及现，正是山水词「即景成趣」的写法。四重手法，使此词以戏笔写山水，写尽云遮山现的变幻，是辛弃疾的代表作。此词尤可注意其章法的跌宕：全词以「推山去」起、以「依旧住」结，中间一「问」一「猜」一「觅」一「见」，极尽回环之致——问而无人应，猜而云作祟，觅而无所见，忽而西风起、云横度、天柱现，老僧拍手而笑，青山依旧——正是一出短小的「云山喜剧」，在极短的篇幅内完成悬念的设、转、解；而那「猜是汝」的拟人，「依旧住」的拟人，两处点眼，皆以戏笔出之，可见稼轩晚年山水词「以庄语写趣、以戏语写真」的独特风趣。

Allusions

'The one pillar of the heaven' (tian yi zhu) is the one pillar of the heaven — the pillar of the one, the seeing of the middle; 'the old monk' (lao seng) is the old monk — the monk of the old, the praising of the close.

此词的用语深植于山水与戏笔的传统。「推山去」令人想到「推山」写移山的典故——也令人想到愚公移山的典故（《列子·汤问》）；「浮云」令人想到「浮云」写云的意象——「四面浮云猜是汝」正是辛弃疾的名句，也令人想到「浮云蔽日」的意象；「天一柱」令人想到「天一柱」写天柱的典故——《神异经》载昆仑山有铜柱承天，也令人想到「天柱」「一柱擎天」的意象；「老僧」令人想到「老僧」写僧人的意象——也令人想到「偶来松树下，高枕石头眠」（太上隐者）的僧人意象；「青山依旧」令人想到「青山依旧」写青山不改的意象——「且喜青山依旧住」正是辛弃疾的名句，也令人想到「青山依旧在，几度夕阳红」（杨慎）的意象。全词化用推山、浮云、天一柱的意象典故，以戏笔写山水，正是辛弃疾「雄深雅健」而善用戏笔、承山水传统写趣味的本领。又「推山」意象可联系中国文学移山开路的传统：《列子·汤问》愚公移山，谓「子子孙孙无穷匮也」，本写人力胜天；辛弃疾反其意而用之，谓「何人半夜推山去」，以问句写云遮山之戏，正是化庄重为诙谐的「反用典」；而「天一柱」暗用《神异经》昆仑天柱与「擎天一柱」之喻，以孤峰为擎天之柱，正见其对故山故水的深情——在稼轩笔下，一峰之出，竟如天柱之现，可见其胸中丘壑。

Commentary

This lyric is one of the famous works of Xin Qiji's lyrics of the play, quoted for the playfulness of its opening and the joy of its close. The pushing away of the mountains, and the pillar of the heaven, are among the admired passages of the poet's lyrics. Critics praise the lyric's play: the clouds gathered in the returning, to the close's joy.

此词历来被推为辛弃疾山水词的名篇，也是宋人戏笔写山的代表。历代论者对此词评价极高：清人评此词「以戏笔写山水，灵趣盎然」；近人更指出「何人半夜推山去」写山被云遮的戏笔，是此词的名句。在词史上，此词的特殊价值在于：它以四韵的短调写尽云遮山现的变幻——那半夜推山的人，那四面浮云，那两三峰，那溪头，那西风，那云横度，那东南天一柱，那拍手的老僧，那依旧的青，都写尽了辛弃疾笔下的云山；那「且喜青山依旧住」更以白描写尽山仍在的欣喜。此词与辛弃疾《西江月·夜行黄沙道中》（「明月别枝惊鹊」）同为写景名篇，一写「听取蛙声一片」的夏夜（西江月·夜行黄沙道中），一写「何人半夜推山去」的云山（玉楼春·戏赋云山）；又与陶渊明「云无心以出岫」的云山传统一脉相承，可见中国词写山水的意趣。对于今日读者，此词是理解辛弃疾山水词的窗口，也是中国词写云山的经典——那依旧住的青山，穿越千年，仍在诉说着云散山现的欣喜。

Prosody

Form A lyric of the tune of the Spring in the Jade Pavilion (ci)词·玉楼春

Rhyme The lyric rhymes on the level of the group — the cadence of the ci that carries the playful joy.《玉楼春》双调五十六字，押「汝」「处」「柱」「住」韵（上声/去声），一韵到底，音节轻快

Tone pattern The cadence is that of the joy: the level opening with the clouds, the turning with the returning, and the close's fall with the staying.此词为《玉楼春》调，押仄声韵，一韵到底，音节轻快，正合戏笔的轻快。

Reading note The lyric's sound matches its playfulness: the cadences of the ci, and the close — 'qie xi qing shan yi jiu zhu' — falls with the staying, the sound of the joy of the cloud poet.此词为《玉楼春》双调五十六字，上阕——「何人半夜推山去？四面浮云猜是汝。常时相对两三峰，走遍溪头无觅处」，下阕——「西风瞥起云横度，忽见东南天一柱。老僧拍手笑相夸，且喜青山依旧住」，押仄声韵（汝、处、柱、住），一韵到底，音节轻快。全词以戏笔写山水：上阕写云遮山隐（何人半夜推山去、走遍溪头无觅处），下阕写云散山现（忽见东南天一柱、且喜青山依旧住）。两阕由隐及现，层层写尽云遮山现的变幻，正是辛弃疾山水词即景成趣的典型结构。诵读此词，宜以轻快的语调读「何人半夜推山去」的戏笔，以欣喜的语调读「且喜青山依旧住」的欣喜，结句要读得轻快而有余韵，方能传达出辛弃疾的趣味。辛弃疾词以「雄深雅健」著称，此词正是其山水词戏笔的典范。

Line by line

何人半夜推山去？四面浮云猜是汝

Who pushed the mountains away at midnight? The drifting clouds on every side - I guess it was you.

何人半夜推山而去？四面浮云，猜是汝。

Who pushed the mountains away in the deep of night? The floating clouds on all sides - I guess it was you.

此二句是全词写云遮的核心，以何人半夜推山写问，以四面浮云猜是汝写猜，写尽山被云遮的戏笔，是千古名句。「何人半夜推山去」写何人半夜推山而去——那「何人」写何人，「半夜推山去」写半夜推山而去，写尽山去的疑惑；「四面浮云猜是汝」写四面浮云，猜是汝——那「四面浮云」写四面浮云，「猜是汝」写猜是汝，写尽浮云的淘气。这句的深意在于：它以「何人半夜推山去」的问与「四面浮云猜是汝」的猜，写尽山被云遮的戏笔——何人半夜推山而去，那「何人半夜推山去」写尽山去的疑惑——山半夜而去，正是山被云遮的写照，那「推山去」写尽戏笔；四面浮云，猜是汝，那「四面浮云猜是汝」写尽浮云的淘气——四面浮云，猜是浮云推山，那「猜是汝」写尽戏笔的猜测；那「何人半夜推山去」写尽山去的疑惑，那「四面浮云猜是汝」写尽浮云的淘气，一写问，一写猜，写尽山被云遮的戏笔——山去而浮云推，正是戏笔的想象；此二句以问、猜写尽山被云遮的戏笔，也让此二句成为全词写云遮的核心与千古名句。若换作直说「山被云遮住了」，则失其趣味；唯以「何人半夜推山去」写问、「四面浮云猜是汝」写猜，写尽山被云遮的戏笔，也让此二句成为全词写云遮的核心。

These two lines are the core of the ci's cloud-veil - a famous line. 'Who pushed the mountains away at midnight?' the mock question at the vanished hills; 'the drifting clouds on every side - I guess it was you' the playful guess at the clouds. The hills gone, the clouds guessed - the playful fancy of the hills veiled by cloud, turning a natural change into a game of question and guess.

老僧拍手笑相夸，且喜青山依旧住

The old monk claps his hands, laughing and praising; glad that the green hills are still abiding.

老僧拍手笑相夸，且喜青山依旧住。

The old monk claps his hands, laughing and approving; glad that the green hills still abide.

此二句是全词写欣喜的核心，以老僧拍手写笑，以且喜青山依旧住写喜，写尽山仍在的欣喜，是千古名句。「老僧拍手笑相夸」写老僧拍手笑相夸——那「老僧」写老僧，「拍手笑相夸」写拍手笑相夸，写尽老僧的欣喜；「且喜青山依旧住」写且喜青山依旧住——那「且喜」写且喜，「青山依旧住」写青山依旧住，写尽山仍在的欣慰。这句的深意在于：它以「老僧拍手笑相夸」的欣喜与「且喜青山依旧住」的欣慰，写尽山仍在的欣喜——老僧拍手笑相夸，那「老僧拍手笑相夸」写尽老僧的欣喜——老僧拍手，笑而相夸，正是山现的欣喜，那「拍手笑」写尽老僧的欣喜；且喜青山依旧住，那「且喜青山依旧住」写尽山仍在的欣慰——青山依旧住，正是山未被推走的欣慰，那「依旧住」写尽山仍在的欣喜；那「老僧拍手笑相夸」写尽老僧的欣喜，那「且喜青山依旧住」写尽山仍在的欣慰，一写笑，一写喜，写尽山仍在的欣喜——老僧拍手而青山依旧，正是云散山现的欣喜；此二句以笑、喜写尽山仍在的欣喜，也让此二句成为全词写欣喜的核心与千古名句。若换作直说「山又出现了，大家很高兴」，则失其情趣；唯以「老僧拍手笑相夸」写笑、「且喜青山依旧住」写喜，写尽山仍在的欣喜，也让此二句成为全词写欣喜的核心。

These two lines are the core of the ci's delight - a famous line. 'The old monk claps his hands, laughing and praising' the old monk's glee; 'glad that the green hills are still abiding' the relief that the hills have not gone. The clapping hands and the glad heart - the joy when the clouds part and the hills reappear, the simple delight of the old monk mirroring the poet's own.

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Word focus

猜 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「四面浮云猜是汝」之「猜」字是写戏笔的关键词，一个「猜」字写尽戏笔的趣味。猜者，猜测也。辛弃疾以「四面浮云猜是汝」写云，这个「猜」字至少有双重意味：其一，写猜测之趣——那「四面浮云猜是汝」写四面浮云，猜是汝，那「猜」字写尽猜测的趣味——猜是浮云推山，正是戏笔的猜测，那「猜」字写尽戏笔的趣味；其二，写拟人之趣——那「猜」字更是写拟人——猜是汝，正把浮云当作推山者，那「猜」字写尽拟人的生动。以「猜」字写戏笔，正是辛弃疾写趣味的枢纽——若换作「想」「料」等字，则或失其与「四面浮云」的配合，或失其写猜的意味；唯「猜」字，以四面浮云猜是汝写尽猜测的趣味与拟人的生动，与「何人半夜推山去」的推山相合，写尽山被云遮的戏笔，也让「四面浮云猜是汝」成为全词写戏笔的名句。

瞥 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「西风瞥起云横度」之「瞥」字是写云散的关键词，一个「瞥」字写尽云散的迅疾。瞥者，倏忽、一瞥也。辛弃疾以「西风瞥起云横度」写云，这个「瞥」字至少有双重意味：其一，写云散之疾——那「西风瞥起云横度」写西风瞥起云横度，那「瞥」字写尽云散的迅疾——西风瞥起，云即横度，正是云散的迅疾，那「瞥」字写尽云散的倏忽；其二，写山现之骤——那「瞥」字更是写骤——瞥起，正见山现之骤，那「瞥」字写尽山现的突然。以「瞥」字写云散，正是辛弃疾写山现的枢纽——若换作「忽」「骤」等字，则或失其与「西风」「云横度」的配合，或失其写瞥的意味；唯「瞥」字，以西风瞥起云横度写尽云散的迅疾与山现的突然，与「忽见东南天一柱」的忽见相合，写尽云散山现的变幻，也让「西风瞥起云横度」成为全词写云散的名句。