念奴娇·登建康赏心亭呈史留守致道的原文翻译赏析

念奴娇·登建康赏心亭呈史留守致道的原文翻译赏析

导读：我来吊古，上危楼，赢得闲愁千斛。虎踞龙蟠何处是？只有兴亡满目。柳外斜阳，水边归鸟，陇上吹乔木。片帆西去，一声谁喷霜竹。

却忆安石风流，东山岁晚，泪落哀筝曲。儿辈功名都付与，长日惟消棋局。宝镜难寻，碧云将暮，谁劝杯中绿？江头风怒，朝来波浪翻屋。

【前言】

《念奴娇·登建康赏心亭呈史留守致道》是辛弃疾在一次登建康赏心亭时，触景生情，感慨万千，便写下此作，呈送建康行宫留守史致道，以表达对国家前途的忧虑，对议和派排斥爱国志士的激愤。全词采用吊古伤今的手法，来表现主题思想，写景时，寓情于景，感情极其浓郁；抒情时，吊古伤今，笔调极为深沉悲凉。

【注释】

赏心亭：位于建康下水门之上，下临秦淮河，是当时的游览名胜，辛弃疾特爱登此亭眺望。留守：即行宫留守、宋室南渡初，高宗一度驻跸建康，故称建康为行宫。

危楼：高楼，此代指赏心亭。斛：古人以十斗为一斛。

虎踞龙盘：诸葛亮曾目睹金陵地形而感慨说：“钟山龙盘，石城虎踞，真帝王之都也。”兴亡：指六朝兴亡古迹。三国时吴国孙权，东晋司马睿及南朝的宋、齐、梁、陈曾先后建都于金陵（建康）。

陇上：田埂，此泛指田野。喷霜竹：印吹笛。黄庭坚（念奴娇）：“孙郎微笑，坐来声喷霜竹。”霜竹：秋天之竹，代指竹笛。

安石：谢安，字安石，东晋著名政治家。泪落哀筝曲：谢安晚年位高遭忌，孝武帝曾召善乐者桓伊饮宴，桓伊抚筝唱道：“为君既不易，为臣良独难。忠信事不显，乃有见疑患。”谢安适在座，闻歌而泪下。

【翻译】

此言登亭凭吊古代遗迹，只落得满腔愁绪。钟山龙盘，石城虎踞，真帝王之都在哪里呢？只留下了六朝兴亡古迹。夕阳斜照在迷茫的柳树上；在水边觅食的鸟儿，急促地飞回窝巢；垅上的乔木，被狂风

吹打，飘落下片片黄叶；一只孤零零的小船，漂泊在秦淮河中，匆匆地向西边驶；不知何人，吹奏起悲凉的笛声。

官谢安一代风流，晚年仍不免忧谗畏讥，至有泪落哀筝之悲。谢安将建功立业的机会都交付给儿辈如谢玄等，自己则以下棋消磨时光。官耿耿心曲难为人知，时不我待，惟有借酒浇愁。朝来遥望江头，风急浪高，直有推翻房屋之势。

【鉴赏】

公元1168年（宋孝宗干道四年），辛弃疾任建康（今江苏南京）通判，当时他南归已经七个年头，而他期望的抗金复国事业，却毫无进展，而且还遭到朝中议和派的排挤打击。词人在一次登健康赏心亭时，触景生情，感慨万千，便写下此作，呈送健康行宫留守史致道，

以表达对国家前途的忧虑，对议和派排斥爱国志士的激愤。全词采用吊古伤今的手法，来表现主题思想，写景时，寓情于景，感情极其浓郁；抒情时，吊古伤今，笔调极为深沉悲凉。

这首词分以下几个方面下笔：建康的地理形势、眼前的败落景象，并用东晋名相谢安的遭遇自喻，表达词人缺乏知音同志之士的苦闷，最后用长江风浪险恶，暗指南宋的危局。

开头三句，开门见山，直接点明主题，抒发内心感情基调。然后再围绕主题，一层一曲地舒展开来。“上危楼，赢得闲愁千斛”，是说词人登上高楼，触景生情，引起无限感慨。“闲愁千斛”，是形容愁苦极多。“闲愁”，是作者故作轻松之笔，其实是他关心国事但身不在要位始终不能伸抗金之志的深深忧愁。

四、五两句，采用自问自答的方式，把“吊古伤今”落到实处。“虎踞龙蟠何处是”？问话中透出今不比昔的悲凉。据《金陵图经》记载：“石头城在健康府上元县西五里。诸葛亮谓吴大帝曰：‘秣陵地形，钟山龙蟠，石城虎踞，真帝王之都也。’”正因为如此，健康曾经成为六朝的国都。但在辛弃疾看来，此时却徒留空名，和一片败亡的气息。这里暗中，谴责南宋朝廷不利用健康的有利地形抗击金兵、收复中原饱含感情的问答异常生动地勾画出词人大声疾呼、痛苦欲绝、气愤填膺的形象。“兴亡满目”，“兴亡”是偏义词，侧重于“亡”字。

“柳外斜阳”五句，是健康眼前的.景象，把“兴亡满目”落到

实处，渲染一种国势渐衰悲凉凄楚的气氛：夕阳斜照在迷茫的柳树上；在水边觅食的鸟儿，急促地飞回窝巢；垅上的乔木，被狂风吹打，飘落下片片黄叶；一只孤零零的小船，漂泊在秦淮河中，匆匆地向西边驶；不知何人，吹奏起悲凉的笛声。映入词入眼帘怎能不勾起作者忧国的感叹。同时词人独选此景，也正是意在表达自己内心的情感。从构思而言，上片三个层次，采用层层递进、环环紧扣的笔法，衔接极为严密。而各个层次，又都从不同的角度，加深和强化主题。

上片十句侧重于吊古伤今。下片十句则侧重于表现词人志不得神、无法实现抗金国收河山壮志的愁苦，及其对国家前途的忧虑。下片亦分三个层次，前五句为一个层次，是曲笔。次三句为一个层次，是直抒胸臆。最后两句为一个层次，是比喻。各层次的笔法虽不相同，但能相辅相成，浑然符契。

“却忆安石风流”五句，用谢安（安石）受谗被疏和淝水之战等典故。前三句写谢安早年寓居会稽，与王羲之等知名文人，“渔弋山水”、“言咏属文”，风流倜傥逍遥洒脱。作者借此表达自己本也可隐居安逸但忧国之心使其尽小国事，以至“泪落哀筝曲”。晋孝武帝司马曜执政，谢安出任宰相，后来受谗被疏远。

“泪落哀筝曲”，是写谢安被疏远后，孝武帝有次设宴款待大将桓伊，谢安在座。桓伊擅长弹筝，他为孝武帝弹一曲《怨诗》，借以表白谢安对皇帝的忠心，和忠而见疑的委屈，声节慷慨，谢安深受感动，泪下沾襟。孝武帝亦颇有愧色。词人在此借古人之酒杯，浇自己

之块垒，曲折隐晦地表达未见重用志不得伸的情怀。“儿辈”两句，写谢安出任宰相未被疏前，派弟弟谢石和侄儿谢玄领兵八万，在淝水大败前秦苻坚九十万大军的事。当捷报传到健康，谢安正在和别人下棋。他了无喜色，仍下棋如故。别人问他战况时，他才漫不经心的答道：“小儿辈遂已破贼。”这段历史，本来说明谢安主持国事，沉着与矜持。可是，辛弃疾改变了它的原意，把词意变成：建立功名的事，让给小儿辈干吧，我只须整天下棋消磨岁月！不难看出，这里包含着词人壮志未酬、虚度年华的愁苦，同时也给予议和派以极大的讽刺。

辛弃疾为词气魄不亚于东坡，但这里却屡用喻指，语含讥讽，可见长期的压抑使之极度愤懑，而面对现实除了无奈更别无他法。

“宝镜”三句，笔锋又双从历史转到现实，词人用寻觅不到“宝镜”、夜幕降临、无人劝酒，暗喻壮志忠心不为人知、知音难觅的苦闷。“宝镜”，唐李浚《松窗杂录》载秦淮河有渔人网得宝镜，能照见五脏六腑，渔人大惊，失手宝镜落水，后遂不能再得。这里借用此典，意在说明自己的报国忠心保国之才无人鉴察。刘熙载说：“稼轩词龙腾虎掷，任古书中俚语、瘦语，一经运用，便得风流，天姿是何敻异！”（《艺概·词曲概》）的确，“宝镜”三句，感情基调虽然悲愤沉郁，但词句却含蓄蕴藉，优美动人。

最后两句，境界幽远，寓意颇深。它写词人眺望江面，看到狂风怒号，便预感到风势将会愈来愈大，可能明朝长江卷起的巨浪，会把岸上的房屋推翻。这两句不仅写出江上波涛的险恶，也暗示对时局险

恶的忧虑。

“吊古”之作，大都抒发感慨或鸣不平。辛弃疾这首吊古伤今的词作，写得尤其成功，感人至深。《宋史》本传称其“雅善长短句，悲壮激烈”。即说明辛词此类作品的豪放风格。

上文是关于念奴娇·登建康赏心亭呈史留守致道的原文翻译赏析，感谢您的阅读，希望对您有帮助，谢谢

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