辛弃疾书画作品

 早年经历

辛弃疾出生时，北方就已沦陷于金人之手。他的祖父辛赞虽在金国任职，却一直希望有机会能够拿起武器和金人决一死战，因为辛弃疾的先辈和金人有不共戴天之仇，并常常带着辛弃疾“登高望远，指画山河”（出自《美芹十论》），同时，辛弃疾也不断亲眼目睹汉人在金人统治下所受的屈辱与痛苦。这一切使他在青少年时代就立下了恢复中原、报国雪耻的志向。因而他有一种燕赵奇士的侠义之气。

起义反金

绍兴三十一年（1161年），金主完颜亮大举南侵，在其后方的汉族人民由于不堪金人严苛的压榨，奋起反抗。二十一岁的辛弃疾也聚集了两千人，参加了由耿京领导的一支声势浩大的起义军，并担任掌书记。

当金人内部矛盾爆发，完颜亮在前线为部下所杀，金军向北撤退时，辛弃疾于绍兴三十二年（1162年）奉命南下与南宋朝廷联络。在他完成使命归来的途中，听到耿京被叛徒张安国所杀、义军溃散的消息，便率领五十多人袭击几万人的敌营，把叛徒擒拿带回建康，交给南宋朝廷处决（当街游行示众，后砍头）。

步入仕途

在起义军中的表现，以及辛弃疾惊人的勇敢和果断，使他名重一时 。宋高宗便任命他为江阴签判，从此开始了他在南宋的仕宦生涯，这时他才二十五岁。

南下地方

辛弃疾初来到南方时，对南宋朝廷的怯懦和畏缩并不了解，加上宋高宗赵构曾赞许过他的英勇行为，不久后即位的宋孝宗也一度表现出想要恢复失地、报仇雪耻的锐气，所以在他南宋任职的前一时期中，曾写了不少有关抗金北伐的建议，像著名的《美芹十论》、《九议》等。尽管这些建议书在当时深受人们称赞，广为传诵，但已经不愿意再打仗的朝廷却反应冷淡，只是对辛弃疾在建议书中所表现出的实际才干很感兴趣，于是先后把他派到江西、湖北、湖南等地担任转运使、安抚使一类重要的地方官职，去治理荒政、整顿治安。这显然与辛弃疾的理想大相径庭，虽然他干得很出色，但由于深感岁月流驰、人生短暂而壮志难酬，内心也越来越感到压抑和痛苦。

现实对辛弃疾是残酷的。他虽有出色的才干，但他的豪迈倔强的性格和执着北伐的热情，却使他难以在官场上立足。另外，“归正人”的尴尬身份也阻拦了他仕途的发展。使他的官职最高为从四品龙图阁待制。

人生起落

淳熙七年（1180年），四十一岁的辛弃疾再次任隆兴（南昌）知府兼江西安抚使时，拟在上饶建园林式的庄园，安置家人定居。淳熙八年（1181年）春，开工兴建带湖新居和庄园。他根据带湖四周的地形地势，亲自设计了“高处建舍，低处辟田”的庄园格局，并对家人说：“人生在勤，当以力田为先。”因此，他把带湖庄园取名为“稼轩”，并以此自号“稼轩居士”。并且他也意识到自己“刚拙自信，年来不为众人所容”（《论盗贼札子》），所以早已做好了归隐的准备。果然，同年十一月，由于受弹劾，官职被罢，带湖新居正好落成，辛弃疾回到上饶，开始了他中年以后的闲居生活。此后二十年间，他除了有两年一度出任福建提点刑狱和福建安抚使外，大部分时间都在乡闲居。

淳熙十五年（1188年）冬，其友陈亮从故乡浙江永康专程拜访辛弃疾，两人于铅山（yán shān）长歌互答，称第二次鹅湖之会——辛陈之晤；鹅湖之会后又陆续出山两次做官。

绍熙五年（1194年）夏，辛弃疾又被罢官回上饶，住在瓢泉，动工建新居，经营瓢泉庄园，决意“便此地、结吾庐，待学渊明，更手种、门前五柳”。

庆元二年（1196年）夏，带湖庄园失火，辛弃疾举家移居瓢泉。辛弃疾在瓢泉过着游山逛水、饮酒赋诗、闲云野鹤的村居生活。瓢泉田园的恬静和期思村民的质朴使辛弃疾深为所动，灵感翻飞而歌之，写下了大量描写瓢泉四时风光、世情民俗和园林风物、遣兴抒怀的诗词。《临江仙·戏为期思詹老寿》、《浣溪沙·父老争言雨水匀》、《玉楼春戏赋云山》等等，都是辛词中描写瓢泉村居生活的代表作。“青山意气峥嵘，似为我归来妩媚生”（《沁园春·再到期思卜筑》）：“我见青山多妩媚，料青山、见我应如是。情与貌，略相似”（《贺新郎·邑中园亭》）。这些词句表现了辛弃疾对瓢泉山水风物一往情深。

庆元四年（1198年），辛弃疾被授予主管冲佑观之职。

折叠壮志未酬

嘉泰三年（1203年），主张北伐的韩侂胄起用主战派人士，已六十四岁的辛弃疾被任为绍兴知府兼浙东安抚使，年迈的辛弃疾精神为之一振。他先后被起用为绍兴知府、镇江知府等职。次年，他晋见宋宁宗，认为金国“必乱必亡”（《建炎以来朝野杂记》乙集），被加为宝谟阁待制、提举佑神观，并奉朝请。不久后，被任命为知镇江府，获赐金带。

辛弃疾任镇江知府时，登临北固亭，感叹对自己报国无门的失望，凭高望远，抚今追昔，于是写下了《永遇乐·京口北固亭怀古》这篇传唱千古之作。但在一些谏官的攻击下，辛弃疾被降为朝散大夫、提举冲佑观，又被差知绍兴府、两浙东路安抚使，但他推辞不就职。之后，他还被进拜为宝文阁待制，又进为龙图阁待制、知江陵府。朝廷令辛弃疾赶赴行在奏事，试任兵部侍郎，但辛弃疾再次辞免。

开禧三年（1207年）秋，朝廷再次起用辛弃疾为枢密都承旨，令他速到临安（杭州）赴任。但诏令到铅山时，辛弃疾已病重卧床不起，只得上奏请辞。同年九月初十（10月3日），辛弃疾带着忧愤的心情和爱国之心离开人世，享年六十八岁。据说他临终时还大呼“杀贼！杀贼！”（《康熙济南府志·人物志》）。朝廷闻讯后，赐对衣、金带，视其以守龙图阁待制之职致仕，特赠四官。绍定六年（1233年），追赠光禄大夫。德祐元年（1275年），经谢枋得申请，宋恭帝追赠辛弃疾为少师，谥号“忠敏”。

辛弃疾

折叠思想内容

辛弃疾有许多与陆游相似之处：他始终把洗雪国耻、收复失地作为自己的毕生事业，并在自己的文学创作中写出了时代的期望和失望、民族的热情与愤慨。在文学创作方面，他不像陆游喜欢写作诗歌尤其是格式严整的七律，而是把全部精力投入词这一更宜于表达激荡多变的情绪的体裁。

辛弃疾在词史上的一个重大贡献，就在于内容的扩大，题材的拓宽。他现存的六百多首词作，写政治，写哲理，写朋友之情、恋人之情，写田园风光、民俗人情，写日常生活、读书感受，可以说，凡当时能写入其他任何文学样式的东西，他都写入词中，范围比苏词还要广泛得多。而随着内容、题材的变化和感情基调的变化，辛词的艺术风格也有各种变化。虽说他的词主要以雄伟奔放、富有力度为长，但写起传统的婉媚风格的词，却也十分得心应手。如著名的《摸鱼儿》，上阕写惜春，下阕写宫怨，借一个女子的口吻，把一种落寞怅惘的心情一层层地写得十分曲折委婉、回肠荡气，用笔极为细腻。他的许多描述乡村风光和农人生活的作品，又是那样朴素清丽、生机盎然。如《鹧鸪天》的下阕：

“山远近，路横斜，青旗沽酒有人家。城中桃李愁风雨，春在溪头荠菜花。”以及《西江月》的下阕：“七八个星天外，两三点雨山前。旧时茅店社林边，路转溪桥忽见。”于简朴中见爽利老到，是一般人很难达到的境界。所以刘克庄《辛稼轩集序》说：“公所作，大声鞺鞳，小声铿鍧，横绝六合，扫空万古，自有苍生以来所无。其秾纤绵密者，亦不在小晏、秦郎之下。”这是比较全面也比较公允的评价。

辛词和苏词都是以境界阔大、感情豪爽开朗著称的，但不同的是：苏轼常以旷达的胸襟与超越的时空观来体验人生，常表现出哲理式的感悟，并以这种参透人生的感悟使情感从冲动归于深沉的平静，而辛弃疾总是以炽热的感情与崇高的理想来拥抱人生，更多地表现出英雄的豪情与英雄的悲愤。因此，主观情感的浓烈、主观理念的执着，构成了辛词的一大特色。

折叠艺术风格

宋词在苏轼手中开创出一种豪放阔大、高旷开朗的风格，却一直没有得到强有力的继承发展。直至南渡之初张元干、张孝祥、叶梦得、朱敦儒等人以抗金雪耻为主题的词，才较多继承了苏轼的词风，起到一种承前启后的作用。但他们的这一类词作，主要是在特殊的时代背景下为内心激情所支配的结果，而没有成为有意识的艺术追求，也没有更大幅度地向其他题材拓展，所以成就不是很高。到辛弃疾出现在词坛上，他不仅沿续了苏词的方向，写出许多具有雄放阔大的气势的作品，而且以其蔑视一切陈规的豪杰气概，和丰富的学养、过人的才华，在词的领域中进行极富于个人特色的创造，在推进苏词风格的同时也突破了苏词的范围，开拓了词的更为广阔的天地。

在他的词中，如“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”（《贺新郎》），“夜半狂歌悲风起，听铮铮、阵马檐间铁。南共北，正分裂”（《贺新郎》），乃至“恨之极，恨极销磨不得。苌弘事、人道后来，其血三年化为碧”（《兰陵王》），都是激愤不能自已的悲怨心声，如“天风海雨”，以极强烈的力度震撼着读者的心灵。辛弃疾也信奉老庄，在词中作旷达语，但他并不能把冲动的感情由此化为平静，而是从低沉甚至绝望的方向上宣泄内心的悲愤，如“元龙老矣，不妨高卧，冰壶凉簟。千古兴亡，百年悲笑，一时登览”（《水龙吟》），“甚矣吾衰矣。怅平生、交游零落，只今余几。白发空垂三千丈，一笑人间万事”（《贺新郎》），“身世酒杯中，万事皆空。古来三五个英雄，雨打风吹何处是，汉殿秦宫”（《浪淘沙》），这些表面看来似旷达又似颓废的句子，却更使人感受到他心中极高期望破灭成为绝望时无法销磨的痛苦。

而他的英雄的豪壮与绝望交织纽结，大起大落，反差强烈，更形成瀑布般的冲击力量。如《破阵子·为陈同甫赋壮词以寄之》，从开头起，一路写想象中练兵、杀敌的场景与气氛，痛快淋漓，雄壮无比。但在“了却君王天下事，赢得生前身后名”之后，突然接上末句“可怜白发生”，点出那一切都是徒然的梦想，事实是白发无情，壮志成空，犹如一瓢冰水泼在猛火上，令人不由得惊栗震动。

在意象的使用上，辛弃疾也自有特点。他一般很少采用传统词作中常见的兰柳花草及红粉佳人为点缀；与所要表达的悲凉雄壮的情感基调相吻合，在他的笔下所描绘的自然景物，多有一种奔腾耸峙、不可一世的气派。如“峡束苍江对起，过危楼、欲飞还敛”（《水龙吟》），“谁信天峰飞堕地，傍湖千丈开青壁”（《满江红》）；他所采摭的历史人物，也多属于奇伟英豪、宕放不羁，或慷慨悲凉的类型，如“射虎山横一骑，裂石响惊弦”的李广（《八声甘州》），“金戈铁马，气吞万里如虎”的刘裕（《永遇乐》），“年少万兜鍪，坐断东南战未休”的孙权（《南乡子》）等等。这种自然和历史素材的选用，都与词中的感情力量成为恰好的配合，令人为之感奋。

所以，同属于豪放雄阔的风格，苏轼词较偏于潇洒疏朗、旷达超迈，而辛词则给人以慷慨悲歌、激情飞扬之感。

辛弃疾和苏轼在词的语言技巧上都是有力的开拓者。前人说苏轼是以诗为词，辛弃疾是以文为词，这当然有些简单化，但确实也指出：到了辛弃疾手中，词的语言更加自由解放，变化无端，不复有规矩存在。在辛词中，有非常通俗稚拙的民间语言，如“些底事，误人那。不成真个不思家”（《鹧鸪天》），“近来愁似天来大，谁解相怜？谁解相怜，又把愁来做个天”（《丑奴儿》），也有夹杂许多虚词语助的文言句式，如“不知云者为雨，雨者云乎”（《汉宫春》），“不恨古人吾不见，恨古人不见吾狂耳”（《贺新郎》）；有语气活跃的对话、自问自答乃至呼喝，如“天下英雄谁敌手？曹刘”（《南乡子》），“杯，汝来前！”（《沁园春》）也有相当严整的对句，如“八百里分麾下炙，五十弦翻塞外声”（《破阵子》）……。概括起来说，辛词在语言技巧方面的一大特色，是形式松散，语义流动连贯，句子往往写得比较长。文人词较多使用的以密集的意象拼合成句、跳跃地连接句子构成整体意境的方式，在辛词中完全被打破了。但并不是说，辛弃疾的所谓“以文为词”不再有音乐性的节奏。在大量使用散文句式、注意保持生动的语气的同时，他仍然能够用各种手段造成变化的节奏。如《水龙吟》中“落日楼头，断鸿声里，江南游子。把吴钩看了，栏干拍遍，无人会，登临意”，意义联贯而下，在词中是很长的句子，但却是顿挫鲜明，铿锵有力，决不是把一段文章套在词的形式中而已。

辛词在语言技巧方面的又一大特色，是广泛地引用经、史、子各种典籍和前人诗词中的语汇、成句和历史典故，融化或镶嵌在自己的词里。这本来很容易造成生硬艰涩的毛病，但是以辛弃疾的才力，却大多能够运用得恰到好处、浑成自然，或是别有妙趣，正如清人刘熙载《艺概》所说：“任古书中理语、廋语，一经运用，便得风流”。以《永遇乐·京口北固亭怀古》一篇为例，百余字的篇幅，叙及孙权、刘裕、刘义隆、拓跋焘、廉颇五个历史人物的事迹，而与作者所要表达的主观情感、意念丝丝入扣；不仅内涵极为丰厚，而且语气飞动，神情毕露，实在是不容易的事情。

当然，辛弃疾的词时常也有过分散文化、议论太多，以及所谓“掉书袋”即用典用古语太多的毛病，但不管怎么说，他确实把词大大地改造了；他的词不仅是 “无意不可入，无事不可言”，而且是任何“意”和“事”都能表达得很自由很充分。这样，词的创作才完全摆脱了羁绊，进入了自由的境界。

折叠贡献影响

辛弃疾在词史上的一个重大贡献，就在于内容的扩大，题材的拓宽。他现存的六百多首词作，写政治，写哲理，写朋友之情、恋人之情，写田园风光、民俗人情，写日常生活、读书感受，可以说，凡当时能写入其他任何文学样式的东西，他都写入词中，范围比苏词还要广泛得多。而随着内容、题材的变化和感情基调的变化，辛词的艺术风格也有各种变化。

虽说他的词主要以雄伟奔放、富有力度为长，但写起传统的婉媚风格的词，却也十分得心应手。如著名的《摸鱼儿·淳熙己亥……》，上阕写惜春，下阕写宫怨，借一个女子的口吻，把一种落寞怅惘的心情一层层地写得十分曲折委婉、回肠荡气，用笔极为细腻。他的许多描述乡村风光和农人生活的作品，又是那样朴素清丽、生机盎然。如《鹧鸪天》的下阕：“山远近，路横斜，青旗沽酒有人家。城中桃李愁风雨，春在溪头荠菜花。”以及《西江月》的下阕：“七八个星天外，两三点雨山前。旧时茅店社林边，路转溪桥忽见。”于简朴中见爽利老到，是一般人很难达到的境界。

辛词以其内容上的爱国思想，艺术上的创新精神，在文学史上产生了很大影响。与辛弃疾以词唱和的陈亮、刘过等，或稍后的刘克庄、刘辰翁等，都与他的创作倾向相近，形成了南宋中叶以后声势浩大的爱国词派。后世每当国家、民族危急之时，不少作家从辛词中汲取精神上的鼓舞力量。

折叠艺术造诣

辛词现存六百多首，是两宋存词最多的作家。其词多以国家、民族的现实问题为题材，抒发慷慨激昂的爱国之情。如《水龙吟》 （渡江天马南来）、《水调歌头》（千里渥洼种）、《满江红》（鹏翼垂空）等，表现了恢复祖国统一的豪情壮志；《驾新郎》（细把君诗说）、《菩萨蛮》（郁孤台下清江水）、《破阵子》（醉里挑灯看剑）等，表现对北方地区的怀念和对抗金斗争的赞扬。《水龙吟》（楚天千里清秋）、《摸鱼儿》（更能消几番风雨）、《贺新郎》（老大那堪说）、《鹧鸪天》（壮岁旌旗拥万夫）、《永遇乐》（千古江山）等，表现对南宋朝廷屈辱苟安的不满和壮志难酬的忧愤。这些作品大都基调昂扬，热情奔放。

此外，其描写农村景物和反映农家生活的作品，如《清平乐》（茅檐低小）、《西江月》（明月别枝惊鹊）、《玉楼春（三三两两谁家女）等，都富有生活气息，给人以清新之感。其抒情小词，如〈丑奴儿〉（少年不识愁滋味）、〈青玉案〉（东风夜放花千树）等，写得储蓄蕴藉，言短意长。辛词继承了苏轼豪放词风和南宋初期爱国词人的战斗传统，进一步开拓了词的境界，扩大了词的题材，几乎达到无事无意不可入词的地步，又创造性地融汇了诗歌、散文、辞赋等各种文学形式的优点，丰富了词的表现手法，形成了辛词的独特风格。

辛词以豪放为主，但又不拘一格，沈郁、明快、激励、妩媚，兼而有之。他善于运用比兴手法和奇特想象，对自然界的山、水、风、月、草、木都赋予情感和性格，并有所寄托。他还善于吸收民间口语入词，尤其善于用典、用事和引用前人诗句、文句，往往稍加改造而别出新意。但也有些作品因用典、议论过多而显得晦涩、呆滞。《四库全书总目提要》说：“其词慷慨纵横，有不可一世之概，于倚声家为变调，而异军突起，能于剪红刻翠之外，屹然别立一宗。”吴衡照《莲子居词话》说：辛稼轩别开天地，横绝古今，论、孟、诗小序、左氏春秋、南华、离骚、史、汉、世说、选学、李、杜诗，拉杂运用，弥见其笔力之峭。”

折叠书法成就

故宫博物院藏南宋辛弃疾的《行书去国帖》为纸本，是辛弃疾目前仅见的书法作品。行书十行，为酬应类信札。末署“宣教郎新除秘阁修撰权江南西路提点刑狱公事辛弃疾札子”。中锋用笔，点画规矩，书写流畅自如，于圆润爽丽中不失挺拔方正之气象。曾经过元朝赵孟頫，明 黄琳、项元沛，清朝永理等鉴藏，《书画鉴影》著录。

 刘克庄《辛稼轩集序》说：“公所作，大声鞺鞳（tāng tà），小声铿鍧（kēng hōng），横绝六合，扫空万古，自有苍生以来所无。其秾纤绵密者，亦不在小晏、秦郎之下。”

刘辰翁《辛稼轩词序》说：“自辛稼轩前，用一语如此者，必且掩口。及稼轩，横竖烂熳，乃如禅宗棒喝，头头皆是；又如悲笳万鼓，平生不平事并巵酒，但觉宾主酣畅，谈不暇顾。词至此亦足矣。”

后世人云：稼轩者，人中之杰，词中之龙

折叠词中之龙

辛弃疾善诗文，但以词明世。其《稼轩词》收六

百二十余首，无论数量之富，质量之优，皆冠两宋。乃人中之杰，词中之龙。

稼轩词向来被人称为「英雄之词」。这些词主要表现了词人以英雄自许，以恢复中原为己任的壮志豪情。他时常回忆起少年十突入金营，生擒叛徒张安国的英雄事迹。如《鹧鸪天》上片道「壮岁旌旗涌万夫，锦襜突骑渡江初。燕兵夜娖银胡騄，汉箭朝飞金仆姑。」辛词还表现了壮志难酬，报国无路的悲愤心情。如《水龙吟．登建康赏心亭》上片﹕「楚天千里清秋，水随天去秋无际。遥岑远目，献愁供恨，玉簪螺髻。落日楼头，断鸿声里，江南游子。把吴钩看了，栏杆拍遍，无人会，登临意。」词中通过看吴钩宝剑，拍遍栏杆的典型动作，生动表现了英雄无用武之地的悲愤心情。辛弃疾这类「英雄之词」，大都使气岑才而作，情感激昂悲壮，风格沉郁雄放。

此外，辛弃疾也有写一些乡村景物和田园情趣的词﹕《清平乐．村居》「茅檐低小，溪上青青草。醉里吴音相媚好，白发谁家翁媪？大儿锄豆溪东，中儿正织鸡笼。最喜小儿无赖，溪头卧剥莲蓬。」。辛弃疾的词也不乏风格婉约，又寓意深曲的作品。如《青玉案．元夕》，上片铺叙元宵夜的欢乐场面，下片转写一位幽居自处，不同凡响的女子﹕「蛾儿雪柳黄金缕，笑语盈盈暗香去。众里寻他千；蓦然回首，那人却在、灯火阑珊处。」实际上表现词人「自怜幽独」的情怀。

辛弃疾以其独特的英雄壮志和豪情，极力使气逞辞，以文为词，大为扩展了词体的题材范围，形成了沉郁豪壮的主体风格，又兼有婉约深曲和清新质朴的格调，可谓熔铸百家，自由挥洒，多姿多彩。

折叠酷吏之名

淳熙八年冬天，辛弃疾由江西安抚使改任浙西提刑，还没有走马上任，就遭到了监察御史王蔺的弹劾，“台臣王蔺，劾其用钱如泥沙，杀人如草芥”，意思是他用起钱来就像用泥沙，杀起人来就像割草。由此，辛弃疾有了酷吏的名声，还没来得及去上任，就被撤销了一切职务。

辛弃疾给人留下冷酷的印象并不奇怪，他年轻的时候，在北方义军中曾单人独骑杀了偷盗义军大印的和尚义端。后来，又有过率领五十骑突袭金营活捉叛徒张安国的壮举，这足以证明他是一个敢于出手杀人的狠角色。但真实的情况又如何呢？

事实上，辛弃疾对普通老百姓宽厚，对下属官吏严酷。他曾奉命平定南方的茶商叛乱，在给宋孝宗的报告《论盗贼札子》中，一针见血地指出：“田野之民，郡以聚敛害之，县以科率害之，吏以取乞害之，豪民大姓以兼并害之，而又盗贼以剽杀攘夺害之。臣以谓，不去为盗，将安之呼，正谓是耳。”意思是说，这些种田的老百姓，州郡一级的官员用过度的征收赋税来害他们；县一级的官员呢，用征购各种名目的物资来害他们；底下的办事人员用各种名义索、拿、卡、要来害他们；地主豪强用兼并田产来害他们；而盗贼又用抢劫和掠夺来害他们，老百姓不去当盗贼又能往哪里去呢？

辛弃疾认识到真正该严格管理的是各级官吏，而不是平民百姓。这成了他的执政理念和处理政务的出发点。据《真西山集》记载，辛弃疾“历威严，轻以文法绳下，官吏惴栗，唯恐奉教条，不逮得遣”。就是说，他对底下的官吏非常威严，动不动就对手下进行法律追究，那些官员都吓得心惊胆战，生怕遵守教条不到位而被谴责。

相反，他对百姓却非常宽厚、关心。楼钥所著的《攻愧集》中说，“比居外台，谳议从厚，闽人户知之”。意思是辛弃疾在做福建提点刑狱时，给犯人判罪遵从的是宽厚的原则。这件事，福建人家家户户都知道。有一次，他派一个叫傅大声的官员到下辖的一个县里，去复审牢狱中的囚徒。傅大声到了那个县之后，经过仔细的审核，释放了五十多个人，只留下十多人。这么多的案子被翻案，让那个县令脸上火辣辣的，于是拒绝招待傅大声，连饭也不管了。辛弃疾听说后，亲自对这些案件进行审核，最后全部依照了傅大声的处理意见。

辛弃疾所以被人污以酷吏的名声，主要还是他不肯与当时的官场同流合污。在给皇帝的上书中，辛弃疾自己都说：“臣平生刚拙自信，年来不为众人所容，顾恐言未脱口而祸不旋踵。”因为“刚拙自信”的性格，他敢说敢做，不愿意迎合别人，为了求得事业的成功，他可以不拘小节，更加不理会各种各样的潜规则。于是，他和庸碌保守的南宋官场风气之间的矛盾冲突就不可避免了。不过这一切放在今天，却格外让我们肃然起敬。

辛弃疾书画品

 折叠义斩义端

金主完颜亮迁都燕京之后，一些长期受奴役和压迫的汉人再也忍无可忍，终于扛起了反金大旗，其中声势最浩大的一支队伍是山东境内揭竿起义的一支队伍，领头的耿京是一位农民出身的济南人。为了响应义军的反金义举，时年二十二岁的辛弃疾，也乘机拉起了两千人的队伍投奔耿京。但耿京对这个前来投军的秀才并没有过多的青睐，只命他做了一名无足轻重的文官，掌管文书和帅印。在此年中发生的一件事，令耿京对辛弃疾从此刮目相看。

当初和辛弃疾一块儿来投奔义军的还有一位叫义端的和尚。义端本身就是个守不了清规戒律的花和尚，因为受不了在义军里当差的苦头，竟偷偷的盗走了经由辛弃疾保管的帅印，准备去金营里邀功。义端本身也是一小股义军的首领，是被辛弃疾说服一起投奔耿京帐下的，耿京盛怒之下，只得拿辛弃疾问罪。辛弃疾理屈词穷，自知交友不慎，羞愧难当，当场向耿京立下了军令状，追回帅印。

当晚，辛弃疾带了一小队人马埋伏在了去往金营必经的路上，果然，天快亮了的时候，义端真的骑马来到，辛弃疾不由分说，一刀将义端砍下马来。义端见是辛弃疾，吓得魂飞魄散，当即跪地求饶说：“我知道您的真身是一头青兕，您力大能拔山，将来定有大造化。您饶了我的小命吧！”面对这样贪生怕死的变节份子，嫉恶如仇的辛弃疾哪里肯听，不由分说，手起刀落，义端身首异处。

折叠名士相会

鹅湖山、灵山、博山等地，都是辛弃疾常去寻古觅幽的地方。鹅湖山下的鹅湖寺，在通往福建的古驿站旁。1175年农历六月初三至初八，著名学者朱熹、吕祖谦、陆九龄、陆九渊等在鹅湖寺举行了中国哲学史上著名的“鹅湖之会”（第一次鹅湖之会）。鹅湖因而成了文化胜地。辛弃疾常去鹅湖游憩。

1188年秋天，陈亮写信给辛弃疾和朱熹，相约到铅山紫溪商讨统一大计。但后来，朱熹因故推辞了这次铅山之会。这年冬，到了相约之期，辛弃疾正染病在床，于瓢泉养息等待陈亮。傍晚，雪后初晴，夕照辉映白雪皑皑的大地，辛弃疾在瓢泉别墅扶栏远眺，一眼看见期思村前驿道上骑着大红马而来的陈亮，大喜过望，病痛消散，

辛弃疾

下楼策马相迎。两人在村前石桥上久别重逢，感慨万端：伫立石桥，沐浴着雪后初晴的夕阳，纵谈国事，为金瓯残缺而痛心疾首，爱国之情汹涌澎湃于胸，拔剑斩坐骑，盟誓为统一祖国奋斗不止。辛弃疾在与陈亮别后写的《贺新郎·同父见和，再用韵答之》中发出“男儿到死心如铁，看试手，补天裂”的呐喊，正是这种豪情壮志的写照。

辛弃疾和陈亮这次会晤，瓢泉共酌，鹅湖同游，长歌相答，极论世事，逗留弥旬乃别，成为文坛佳话。后人为了纪念这两位爱国志士，将这次会晤称为第二次“鹅湖之会”，将期思村前的石桥称为“斩马桥”，并在桥旁建了斩马亭。至今，当地还流传辛弃疾和陈亮“斩马盟誓”的故事。斩马亭还在，虽经历风雨，仍有不少刻有“斩马亭”字样的釉瓦覆盖其上，为铅山县文物保护单位。

折叠哭祭朱熹

朱熹病逝时，他的学说已被宣布为“伪学”。在当权者韩侂胄一派的压力下，许多朱熹的门人弟子不敢前往吊唁，而被朱熹“断过财路”的辛弃疾，却不畏禁令，前往哭祭，并留下了一句留传千古的悼词：“所不朽者，垂万世名，孰谓公死？凛凛犹生！”

稼轩中学

历城二中位于历城区遥墙镇，为了学习纪念史上这位有名的大诗人，历城二中还有一个响亮的名字-稼轩中学。

辛弃疾纪念馆

弃疾疾念馆位于济南市历城区遥墙镇四风闸村南，占地总面积31亩，由纪念馆和辛家坟两部分组成，总建筑面积4000多平方米。建有石坊、六角碑亭、辛弃疾塑像、辛弃疾纪念祠、稼轩词书法艺术刻石碑廊等景观以及文物、书画、民俗、图片、“一代词宗”、“义胆忠魂”6个展室。

故居和墓葬

在济南小清河畔，有一个乡镇，名叫遥墙镇，那就是名闻遐迩的宋代杰出词人辛弃疾的故乡。他就是在那里起身，拉起队伍抗金的。辛弃疾在我国文学史上是一个非常有特色的作家，他不同于一般的封建社会文人，不仅是一位著名的爱国词人，而且还是一个优秀的爱国将领、民族英雄。

辛弃疾死后葬于江西上饶的铅山县永平镇。辛弃疾墓在铅山县瓜山虎头门阳原山腰。坐北朝南。立于绍定年间（1228—1233），其侧驿路旁有稼轩先生神道金字碑。原碑毁墓残。清代辛弃疾后裔于墓前又立新碑，今亦斑驳陆离，字迹模糊，碑文上行是“皇清乾隆癸卯年季春月重修”。中间是“显故考率公稼轩府君之墓”。下行是“廿五代玄玄孙囗囗霞溪囗囗囗凌湖囗东山辜染安北囗立”，据考，此为辛弃疾之仲子辛柜之后裔所立。建国后，1959年辛弃疾墓被列为省重点保护文物。1971年和1981年又先后两次修整。墓系麻石砌就，分四层，顶堆黄土，两连围以坟柜。墓高2.5米，直径2.5米，占51.5平方米。墓道很短，有郭沫若撰并书之挽联：“铁板铜琶，继东坡高唱大江东去；美芹悲黍，冀南宋莫随鸿雁南飞。”

纪念馆

辛弃疾纪念馆位于济南市历城区遥墙镇四风闸村南，占地总面积31亩，由纪念馆和辛家坟两部分组成，总建筑面积4000多平方米。建有石坊、六角碑亭、辛弃疾塑像、辛弃疾纪念祠、稼轩词书法艺术刻石碑廊等景观以及文物、书画、民俗、图片、“一代词宗”、“义胆忠魂”6个展室。

 Early experience

When Xin Qiji was born, the north had fallen into the hands of the Jin people. Although his grandfather, Xin Zan, served in the Kingdom of Jin, he always hoped that he would have the opportunity to take up arms and fight with the people to death, because Xin Qiji's ancestors and the people had a common hatred, and often carried Xin Qiji "to climb the high horizon, to draw mountains and rivers" (from the Ten Treatises on Celery). At the same time, Xin Qiji kept witnessing the Han people. The humiliation and suffering suffered under the rule of the Jin people. All these made him set up the ambition of restoring the disgrace of the Central Plains and serving the country in his youth. Therefore, he has a chivalrous spirit of Yan Zhao Qishi.

Uprising against gold

In the 31st year of Shaoxing (1161), Wan Yanliang, the gold lord, invaded the South in a large scale, and the Han people behind him rose up against the severe oppression of the Jin people. Xin Qiji, a 21-year-old, also gathered 2,000 people to join a powerful rebellion led by Geng Jing and serve as secretary-in-chief.

When contradictions broke out among the Jin people, Wan Yanliang was killed by his subordinates on the front line and the Jin army retreated northward, Xin Qiji was ordered to contact the Southern Song Dynasty in the thirty-second year of Shaoxing (1162). On his way back from his mission, when he heard that Gengjing had been killed by the traitor Zhang Anguo and that the rebels had collapsed, he led more than 50 people to attack tens of thousands of enemy camps, captured the traitors and brought them back to Jiankang, where they were executed by the court of the Southern Song Dynasty (when they marched in the streets and beheaded).

Entering the official career

His performance in the Rebel Army and Xin Qiji's astonishing courage and decisiveness made him famous for a time. Song Gaozong appointed him to sign the judgment for Jiangyin and began his official career in the Southern Song Dynasty when he was only 25 years old.

Down South

When Xin Qiji first came to the south, he did not know about the cowardice and cowardice of the Southern Song Dynasty. In addition, Zhao Gu of Song Gaozong had praised his heroic deeds. Soon after, Song Xiaozong, who took office, also showed a keen desire to recover his lost land and avenge his shame. Therefore, during the period before he took office in the Southern Song Dynasty, he wrote a lot about resisting Jinbei. Suggestions on cutting, such as the famous Ten Treatises on Celery and Nine Comments, etc. Although these proposals were highly praised and widely read at that time, the imperial court, which was no longer willing to fight, was indifferent. It was only interested in Xin Qiji's practical abilities in the proposals, so he was successively assigned to Jiangxi, Hubei, Hunan and other places as transit envoys and pacifiers. Official positions, to control famine and rectify public order. This is obviously quite different from Xin Qiji's ideal. Although he has done a good job, he feels more and more depressed and painful because he feels the passage of time, the short and ambitious life is hard to pay.

Reality is cruel to Xin Qiji. Despite his outstanding talent, his heroic and stubborn character and persistent enthusiasm for the Northern Expedition made it difficult for him to gain a foothold in official circles. In addition, the embarrassing status of "returning to the right person" also hindered the development of his official career. Making his official position as high as possible from the four-pin Dragon Pavilion.

Rise and fall of life

In the seventh year of Chunxi (1180), when Xin Qiji, 41, was appointed the Zhifu of Longxing (Nanchang) and the Minister of Jiangxi, he planned to build a garden-like manor in Shangrao and settle his family. Chunxi eight years (1181) spring, construction began with the lake new residence and manor. According to the topography around the lake, he personally designed the manor pattern of "building buildings at high altitudes and cultivating fields at low altitudes", and said to his family, "Life is diligent, we should take Litian as the first place." Therefore, he named Daihu Manor Jiaxuan, and named himself Jiaxuan Resident. He also realized that he was "self-confident and ungrateful for many years" (On Thieves'Notes), so he was ready to retire. Sure enough, in November of the same year, because of impeachment, the official position was dismissed, and the new residence with Lake was just completed. Xin Qiji returned to Shangrao and began his leisure life after middle age. During the next 20 years, he spent most of his time in the countryside, except for his two annual appointments as Fujian Tiding Prison and Fujian Conciliation Envoy.

In the winter of the fifteenth year of Chunxi (1188), Chen Liang, his friend, visited Xin Qiji from Yongkang, Zhejiang Province. They sang and answered each other in a long song at Yn shn, calling the second meeting of the Goose Lake, Xin Chen's meeting. After the meeting of the Goose Lake, they became officials twice in succession.

In the summer of Shaoxi's fifth year (1194), Xin Qiji was dismissed from office and returned to Shangrao. He lived in Poquan. He started to build a new house and run Poquan Manor. He was determined to "come here and settle down, wait for learning, grow more and grow five willows in front of his door".

In the summer of the second year of Qingyuan (1196), a fire broke out in the Daihu Manor. Xin Qiji and his family moved to Laoquan. Xin Qiji lived in the village life of traveling mountains and rivers, drinking poems and idle wild cranes in Laoquan. Xin Qiji was deeply moved by the tranquility of the countryside and the simplicity of the villagers in Shisi. He was inspired to sing about it. He wrote a lot of poems describing the four seasons scenery, customs and gardens of Panquan, and expressing his feelings. "Linjiang Xian Jiu Sizhan Laoshou", "Huanxi Sha Father and Lao Zhengyun even", "Yulou Spring Opera Fuyunshan" and so on are all the representative works of Xin Ci describing the life of the village of Pouquan. "Castle Peak is full of vigor and vitality, which seems to be a charming life for me to come back" ("Qinyuan Spring, and then the expiration of Sibu"): "I see many charming Castle Peak, I should like to see Castle Peak, see me like this. The feeling and appearance are slightly similar ("He Groom Yizhong Garden Pavilion"). These words and sentences show Xin Qiji's deep love for the scenery and scenery of Laoquan.

In the fourth year of Qingyuan (1198), Xin Qiji was awarded the post of director Chong You Guan.

Unpaid ambition

Jiatai three years (1203), advocating the Northern Expedition of Han Youqi to use the main Warring faction, 64-year-old Xin Qiji was appointed as Shaoxing Zhifu and Eastern Zhejiang comfort envoy, the elderly Xin Qiji spirit is one of the revitalization. He was successively appointed as Shaoxing Zhifu and Zhenjiang Zhifu. Next year, he came to see Song Ningzong, believing that the Kingdom of Jin was "doomed to chaos" (the second volume of Chao Ye Za Ji since the founding of Yan Dynasty), and was added to the Pavilion of Baomo to treat the system, to promote the concept of God-blessing, and to submit a petition. Shortly afterwards, he was appointed Zhizhenjiang Prefecture and was awarded a gold belt.

When Xin Qiji was appointed to Zhenjiang Zhifu, he came to Beigu Pavilion and lamented his disappointment that he had no way to serve his country. With his high vision, he traced back the past and wrote "Yongyule Beigu Pavilion in Jingkou" which is a masterpiece of singing for thousands of years. However, under the attack of some admonishers, Xin Qiji was demoted to be a doctor of Chaoshang and promoted to Chongyou. He was also sent to Shaoxing Prefecture and Eastern Zhejiang Road to appease the ambassadors, but he refused to take office. Later, he was worshipped as Baowen Pavilion, Longtou Pavilion and Zhijiang Lingfu. The court ordered Xin Qiji to go to perform a memorial service and try to serve as a waiter in the military department, but Xin Qiji was dismissed again.

In the autumn of the third year of Kaixi (1207), Xin Qiji was once again appointed by the imperial court as the Privy council, so that he could come to Linan (Hangzhou) as soon as possible. But by the time the edict arrived at Mount Lead, Xin Qiji was seriously ill and was confined to bed, so he had to play his resignation. On the tenth day of September of the same year (October 3), Xin Qiji died at the age of 68 with a sense of sadness and patriotism. It is said that on his deathbed he shouted "Kill thieves!" Kill thieves!" (Records of Jinan Fuzhi and Characters in Kangxi). After the court heard the news, he gave the clothes and gold ribbons to the four officials as his duty of guarding the Dragon Pavilion. Shaoding six years (1233), a gift to Dr. Guanglu. In the first year of Deyou (1275), after Xie Huade's application, Emperor Gongdi of Song bestowed Xin Qiji as a teacher with the nickname "Zhongmin".

Ideological content

Xin Qiji has many similarities with Lu You: he always regards washing the national shame and recovering lost land as his lifelong career, and in his literary creation he writes the expectations and disappointments of the times, the enthusiasm and indignation of the nation. In terms of literary creation, unlike Lu You, who likes to write poems, especially the seven regular patterns, he devotes all his energies to words, which is more suitable for expressing turbulent and changeable moods.

Xin Qiji's great contribution in the history of Ci lies in the expansion of content and theme. His existing more than 600 poems, writing politics, philosophy, friendship, love, rural scenery, folklore, daily life, reading experience, can be said that anything that could be written into any other literary style at that time, he wrote in the poems, the scope is much wider than that of Su Ci. With the change of content, theme and emotional tone, Xin Ci's artistic style has also changed. Although his words are mainly magnificent, bold and vigorous, they are also very handy in writing traditional euphemistic style words. Such as the famous "Touching Fish", Shangtai writes about cherishing spring, Xia writes about Palace grievances, borrows a woman's tone, writes a lonely and frustrated mood layer by layer in a very tortuous and euphemistic way, with a very delicate pen. Many of his works describing rural scenery and peasant life are so simple and beautiful and full of vitality. For example, the lower part of Parakeet Sky:

"Mountains are far and near, roads are inclined, and there is a house for Qingqi Gu wine. Peaches and plums are sad in the city, and shepherd's purse and cauliflower are in Xitou in spring. As well as Xijiang Moon's Xia Qian: "Seven or eight stars, two or three points in front of the rain mountain. In the old days, Maodian club was near the forest, but the road turned to the river bridge was not seen. It is difficult for ordinary people to reach the realm of being refreshing and old in simplicity. Therefore, Liu Kezhuang's Preface to Xinjiaxuan Collection said: "The public works, loud, low-pitched, absolutely six-in-one, swept away all ages, since the beginning of life nothing. The slim and dense grain is not under Xiaoyan and Qinlang either. This is a more comprehensive and fair evaluation.

Xin Ci and Su Ci are both famous for their broad realm and open-minded feelings, but the difference is that Su Shi often experiences life with broad-minded mind and transcendent view of time and space, often expresses philosophical perception, and uses this perception to penetrate life to turn emotion from impulse to deep calm, while Xin Qiji always uses hot feelings. Embrace life with lofty ideals, showing hero's pride and grief more. Therefore, the strong subjective feelings and the persistence of subjective ideas constitute a major feature of Xin Ci.

Style of Art

Song Ci created a bold, broad and open style in Su Shi's hands, but it has not been strongly inherited and developed. Until the beginning of Nandu, Zhang Yuangan, Zhang Xiaoxiang, Ye Mengde, Zhu Dunru and others took the theme of resisting the golden shame as their lyrics, which inherited more of Su Shi's style of Ci and played a role of connecting the past with the future. However, their works are mainly the result of their inner passion under the special background of the times. They have not become conscious artistic pursuit, nor have they expanded to other subjects in a larger scale, so their achievements are not very high. When Xin Qiji appeared in the field of Ci, he not only followed the direction of Su Ci, wrote many works with magnificent momentum, but also with his heroic demeanor of contempt for all stereotypes, rich literacy and outstanding talent, created his own unique style in the field of Ci, and promoted the style of Su Ci. It breaks through the scope of Su Ci and opens up a broader world of Ci.

In his words, such as "General Hundred Battles Fame Break". Looking back to the river and back for thousands of miles, we have a long history. Yi Shui Xiaoxiao westerly wind cold, full of clothes like snow. The hero, the sad song is not thorough"("He Groom"),"at midnight, the wild song and sad wind, listen to the clang, the iron between the eaves. Southern Communist Party and Northern Communist Party are splitting ("He Groom") and even "hate the extreme, hate the extreme can not be grinded. Afterwards, Qian Hongshi and Humanity changed their blood into blue for three years, which is the sad voice of indignation, such as "the wind, the sea and the rain", which shocked the readers'hearts with great strength. Xin Qiji also believed in Laozhuang and spoke broad-mindedly in his poems, but he could not turn his impulsive feelings into calm ones. Instead, he vented his grief and indignation in the direction of depression and even despair, such as "when Yuanlong is old, he might as well lie high and cool curling pot". The rise and fall of thousands of years, a hundred years of grief and laughter, a temporary visit"("Water Dragon Yin"),"I'm dying. I am sad all my life and have few friends. White hair hangs 3,000 feet, laughing at everything in the world"("He Groom"),"Everything is empty in the cup of life. Three or five heroes from ancient times, where is the rain and wind blowing, the Qin Palace of the Han Dynasty ("Lang Tao Sha"), these seemingly broad-minded and decadent sentences, but also make people feel his heart's extremely high expectations shattered into despair can not wear away the pain.

And his hero's heroism and despair intertwined knots, ups and downs, strong contrast, but also formed a waterfall-like impact force. For example, from the beginning, I wrote the scene and atmosphere of training and killing the enemy in my imagination, which was full of joy and magnificence. But after "the king's world, win the name before and after life", suddenly followed by the last sentence "pitiful white happened", pointing out that all that is a vain dream, the fact is that white hair, empty ambition, like a ladle of ice water spilled on the fiery fire, it is shocked and shocked.

In the use of images, Xin Qiji has his own characteristics. Generally, he seldom uses orchids, willows, flowers and pink beauties as ornaments, which are common in traditional ci-poetry. They are consistent with the melancholy and magnificent emotional tone to be expressed. The natural scenery depicted in his works has a surging and unconstrained air. For example, "Xiashu Cangjiang opposite, dangerous buildings, want to fly back to convergence" ("Water Dragon Yin"), "Who believes that Tianfeng falls to the ground and opens Qingbi by the lake"("Man Jianghong"); the historical figures he picks also belong to the type of magnificent heroes, unrestrained, or generous and sad, such as "Shehushan riding horizontally, cracking rocks and striking strings". Li Guang (Eight Voices of Ganzhou), Liu Yu (Yongyule), the "Golden Golden Horse" and Sun Quan (Nanxiangzi), who was young and had never stopped the Southeast War, and so on. This selection of natural and historical materials, and the emotional power of the words become just the right match, it is exciting.

Therefore, both belong to the bold and magnificent style. Su Shi's Ci prefers to be unrestrained, open-minded and superb, while Xin Ci gives people a feeling of generosity, tragedy and passion.

Xin Qiji and Su Shi are both powerful pioneers in the language skills of Ci. The predecessors said that Su Shi used poetry as his Ci and Xin Qiji used Wen as his Ci. Of course, this is somewhat simplified, but it does point out that in Xin Qiji's hands, the language of Ci is more liberated, unprovoked and no rules exist. In Xin Ci, there are very popular and childish folk languages, such as "some facts, misleading people that". Not really homesick"("Parrot Sky"),"Recently sad like heaven, who pity each other? Who can solve mutual pity and make sorrow a day"("Ugly Nur"), there are also many classical sentence patterns with function words, such as"those who do not know the clouds are rain, those who do not know the rain are cloudy"("Hangong Chun"),"those who do not hate the ancients do not see me, and those who hate the ancients do not see my crazy ears"("Congratulations to the bridegroom"); there are lively dialogues, self-questions and self-answers. To shout, such as "the hero of the world who adversaries? Cao Liu"("Nanxiangzi"),"Cup, come before you!" (Qin Yuan Chun) also has quite complete sentences, such as "Eight hundred miles under the scorch, fifty strings turn over and plug the sound outside" ("Break the time").... Generally speaking, one of the characteristics of Xin Ci's language skills is its loose form, coherent semantic flow and long sentences. In Xin Ci, the way that literati use intensive imagery to assemble sentences and jump to connect sentences to form the whole artistic conception is completely broken. But it does not mean that Xin Qiji's so-called "writing as a word" no longer has a musical rhythm. While using a lot of prose sentences and keeping a vivid tone, he can still use various means to create a rhythm of change. Such as "Water Dragon Yin" in the "sunset tower, broken Hongsheng, Jiangnan tourists. Looking at Wu Gou, taking pictures all over the column, nobody knows how to do it. The meaning is coherent. It is a long sentence in the word, but it is frustrating and powerful. It is not just a paragraph of article in the form of the word.

Another major feature of Xin Ci in terms of language skills is that it extensively quotes vocabulary, sentences and historical allusions from various classics, histories, sub-classics and predecessors'poems, melting or embedding them in its own words. This is easy to cause rigid and difficult problems, but with Xin Qiji's talent, most of them can be used appropriately, naturally, or otherwise interesting. As Liu Xizai of the Qing Dynasty said in his Yixue, "Ren Gushu's rationale and parole, once used, will be popular." Taking "Yongyule Jingkou Beigu Ting Nostalgia" as an example, more than a hundred words are used to narrate the deeds of Sun Quan, Liu Yu, Liu Yilong, Tuobatao and Lianpo, which are closely related to the subjective feelings and ideas expressed by the author. It is not only rich in connotation, but also vivid in tone and expressive in expression. Easy things.

Of course, Xin Qiji's words are often too prose-oriented, too talkative, and the so-called "lost book bags" are too many old allusions, but in any case, he did greatly change the words; his words are not only "inaccessible, nothing to say", but also any "meaning" and "things" can be expressed. Very free and full. In this way, the creation of Ci completely got rid of the fetters and entered the realm of freedom.

Contribution impact

Xin Qiji's great contribution in the history of Ci lies in the expansion of content and theme. His existing more than 600 poems, writing politics, philosophy, friendship, love, rural scenery, folklore, daily life, reading experience, can be said that anything that could be written into any other literary style at that time, he wrote in the poems, the scope is much wider than that of Su Ci. With the change of content, theme and emotional tone, Xin Ci's artistic style has also changed.

Although his words are mainly magnificent, bold and vigorous, they are also very handy in writing traditional euphemistic style words. Such as the famous "Touching Fish". Chunxi Jihai... "Shang Ta writes about cherishing spring, Xia Ta writes about Palace grievances, borrows a woman's tone, writes a lonely and desolate mood layer by layer in a very tortuous and euphemistic way, with a very delicate pen. Many of his works describing rural scenery and peasant life are so simple and beautiful and full of vitality. For example, "Parrot Sky" Xia Wan: "The mountains are far and near, the road is inclined, Qingqi Gu wine has a home. Peaches and plums are sad in the city, and shepherd's purse and cauliflower are in Xitou in spring. As well as Xijiang Moon's Xia Qian: "Seven or eight stars, two or three points in front of the rain mountain. In the old days, Maodian club was near the forest, but the road turned to the river bridge was not seen. It is difficult for ordinary people to reach the realm of being refreshing and old in simplicity.

Xin Ci, with its patriotic thought in content and innovative spirit in art, has exerted a great influence in the history of literature. Chen Liang and Liu Guo, who were singing with Xin Qiji, or Liu Kezhuang and Liu Chenweng later, were similar to his writing tendency, forming a great patriotic poetry school after the middle of the Southern Song Dynasty. Whenever the country and nation are in crisis, many writers draw spiritual inspiration from Xin Ci.

Folding Art Achievement

Xin Ci, which has more than 600 poems, is the most popular writer in the Song Dynasty. His poems mainly focus on the realistic problems of the country and the nation, expressing the generous and passionate patriotism. Such as "Water Dragon Yin", "Water Tune Song Tou", "Man Jianghong" (Peng Wing hanging in the sky) and so on, which show the great ambition of restoring the reunification of the motherland; Driving the bridegroom (a detailed poem of the emperor), "Bodhisattva Man" (clear river water under Yu Gutai), "Breaking the Front" (picking up the lamp and looking at the sword in drunkenness), and so on. He expressed his nostalgia for the northern region and praise for the struggle against gold. "Shuilong Yin" (Chu Tian Qianli Qingqiu), "Tou Yu Er" (more than a few storms), "He Xinlang" (elder brother Nakang said), "Parrot Heaven" (strong banner support Wanfu), and "Yong Yue Yue" (thousands of years old rivers and mountains), and so on, show their discontent with the Southern Song Dynasty court's humiliation and ungrateful ambition. Most of these works have a high-pitched and enthusiastic tone.

In addition, his works describing rural scenery and reflecting peasant life, such as Qing Ping Yue (low eaves), Xijiang Moon (another Magpie in the bright moon), Yulou Chun (which daughter in twos and threes), are full of life flavor and give people a fresh feeling. His lyrics, such as "ugly slaves" (young people do not know the feeling of sadness), and "Qingyu case" (thousands of trees blooming at night in the East Wind), are short and meaningful. Xin Ci inherits Su Shi's bold and unconstrained style of Ci poetry and the fighting tradition of patriotic CI poets in the early Southern Song Dynasty, further expands the realm of CI poetry, expands the subject matter of CI poetry, almost to the point that it can't enter CI without incident or intention, and creatively combines the advantages of various literary forms such as poetry, prose, Ci and fu, enriching the expressive techniques of Ci It has become the unique style of Xin Ci.

Xin's Ci is mainly bold and unconstrained, but not rigid. It is melancholy, lively, inspiring and charming. He is good at using metaphor and fantastic imagination to endow the mountains, rivers, winds, moons, grass and trees with emotion and character, and to place some trust in them. He is also good at absorbing folk spoken words, especially in using allusions, using things and quoting predecessors'poems and sentences, often slightly modified and innovative. But some works are obscure and dull because of too many allusions and discussions. "The summary of the general catalogue of Siku Quanshu" said: "Its words are generous, vertical and horizontal, and can not be generalized for a lifetime. Wu Hengzhao's "Lianzi Ju Ci Hua" said: Xin Jiaxuan is different from the world and transcends the past and the present. On, Meng, the preface of poems, Zuo's Spring and Autumn Period, Nanhua, Lisao, history, Han, Shishuo, Xue Xue, Li, Du's poems, and their miscellaneous use reveals the steepness of his brushwork.

Folding Calligraphy Achievements

Xin Qiji's Exercise Book to the State Title of the Southern Song Dynasty is a paper book in the Palace Museum, which is the only calligraphic work Xin Qiji has ever seen. Ten lines of running letters are reward letters. At the end of the paper, Xin Qiji's Notes on the Official Affairs of the Penitentiary in Jiangnan West Road was signed. The center uses his pen, draws rules and writes smoothly and smoothly, which makes him stand tall and upright. Zhao Mengfu, Ming Huanglin, Xiang Yuanpei and Yongli of the Qing Dynasty were collected and recorded in JianYing of Calligraphy and Painting.

Ideological content

Xin Qiji has many similarities with Lu You: he always regards washing the national shame and recovering lost land as his lifelong career, and in his literary creation he writes the expectations and disappointments of the times, the enthusiasm and indignation of the nation. In terms of literary creation, unlike Lu You, who likes to write poems, especially the seven regular patterns, he devotes all his energies to words, which is more suitable for expressing turbulent and changeable moods.

Xin Qiji's great contribution in the history of Ci lies in the expansion of content and theme. His existing more than 600 poems, writing politics, philosophy, friendship, love, rural scenery, folklore, daily life, reading experience, can be said that anything that could be written into any other literary style at that time, he wrote in the poems, the scope is much wider than that of Su Ci. With the change of content, theme and emotional tone, Xin Ci's artistic style has also changed. Although his words are mainly magnificent, bold and vigorous, they are also very handy in writing traditional euphemistic style words. Such as the famous "Touching Fish", Shangtai writes about cherishing spring, Xia writes about Palace grievances, borrows a woman's tone, writes a lonely and frustrated mood layer by layer in a very tortuous and euphemistic way, with a very delicate pen. Many of his works describing rural scenery and peasant life are so simple and beautiful and full of vitality. For example, the lower part of Parakeet Sky:

"Mountains are far and near, roads are inclined, and there is a house for Qingqi Gu wine. Peaches and plums are sad in the city, and shepherd's purse and cauliflower are in Xitou in spring. As well as Xijiang Moon's Xia Qian: "Seven or eight stars, two or three points in front of the rain mountain. In the old days, Maodian club was near the forest, but the road turned to the river bridge was not seen. It is difficult for ordinary people to reach the realm of being refreshing and old in simplicity. Therefore, Liu Kezhuang's Preface to Xinjiaxuan Collection said: "The public works, loud, low-pitched, absolutely six-in-one, swept away all ages, since the beginning of life nothing. The slim and dense grain is not under Xiaoyan and Qinlang either. This is a more comprehensive and fair evaluation.

Xin Ci and Su Ci are both famous for their broad realm and open-minded feelings, but the difference is that Su Shi often experiences life with broad-minded mind and transcendent view of time and space, often expresses philosophical perception, and uses this perception to penetrate life to turn emotion from impulse to deep calm, while Xin Qiji always uses hot feelings. Embrace life with lofty ideals, showing hero's pride and grief more. Therefore, the strong subjective feelings and the persistence of subjective ideas constitute a major feature of Xin Ci.

Style of Art

Song Ci created a bold, broad and open style in Su Shi's hands, but it has not been strongly inherited and developed. Until the beginning of Nandu, Zhang Yuangan, Zhang Xiaoxiang, Ye Mengde, Zhu Dunru and others took the theme of resisting the golden shame as their lyrics, which inherited more of Su Shi's style of Ci and played a role of connecting the past with the future. However, their works are mainly the result of their inner passion under the special background of the times. They have not become conscious artistic pursuit, nor have they expanded to other subjects in a larger scale, so their achievements are not very high. When Xin Qiji appeared in the field of Ci, he not only followed the direction of Su Ci, wrote many works with magnificent momentum, but also with his heroic demeanor of contempt for all stereotypes, rich literacy and outstanding talent, created his own unique style in the field of Ci, and promoted the style of Su Ci. It breaks through the scope of Su Ci and opens up a broader world of Ci.

In his words, such as "General Hundred Battles Fame Break". Looking back to the river and back for thousands of miles, we have a long history. Yi Shui Xiaoxiao westerly wind cold, full of clothes like snow. The hero, the sad song is not thorough"("He Groom"),"at midnight, the wild song and sad wind, listen to the clang, the iron between the eaves. Southern Communist Party and Northern Communist Party are splitting ("He Groom") and even "hate the extreme, hate the extreme can not be grinded. Afterwards, Qian Hongshi and Humanity changed their blood into blue for three years, which is the sad voice of indignation, such as "the wind, the sea and the rain", which shocked the readers'hearts with great strength. Xin Qiji also believed in Laozhuang and spoke broad-mindedly in his poems, but he could not turn his impulsive feelings into calm ones. Instead, he vented his grief and indignation in the direction of depression and even despair, such as "when Yuanlong is old, he might as well lie high and cool curling pot". The rise and fall of thousands of years, a hundred years of grief and laughter, a temporary visit"("Water Dragon Yin"),"I'm dying. I am sad all my life and have few friends. White hair hangs 3,000 feet, laughing at everything in the world"("He Groom"),"Everything is empty in the cup of life. Three or five heroes from ancient times, where is the rain and wind blowing, the Qin Palace of the Han Dynasty ("Lang Tao Sha"), these seemingly broad-minded and decadent sentences, but also make people feel his heart's extremely high expectations shattered into despair can not wear away the pain.

And his hero's heroism and despair intertwined knots, ups and downs, strong contrast, but also formed a waterfall-like impact force. For example, from the beginning, I wrote the scene and atmosphere of training and killing the enemy in my imagination, which was full of joy and magnificence. But after "the king's world, win the name before and after life", suddenly followed by the last sentence "pitiful white happened", pointing out that all that is a vain dream, the fact is that white hair, empty ambition, like a ladle of ice water spilled on the fiery fire, it is shocked and shocked.

In the use of images, Xin Qiji has his own characteristics. Generally, he seldom uses orchids, willows, flowers and pink beauties as ornaments, which are common in traditional ci-poetry. They are consistent with the melancholy and magnificent emotional tone to be expressed. The natural scenery depicted in his works has a surging and unconstrained air. For example, "Xiashu Cangjiang opposite, dangerous buildings, want to fly back to convergence" ("Water Dragon Yin"), "Who believes that Tianfeng falls to the ground and opens Qingbi by the lake"("Man Jianghong"); the historical figures he picks also belong to the type of magnificent heroes, unrestrained, or generous and sad, such as "Shehushan riding horizontally, cracking rocks and striking strings". Li Guang (Eight Voices of Ganzhou), Liu Yu (Yongyule), the "Golden Golden Horse" and Sun Quan (Nanxiangzi), who was young and had never stopped the Southeast War, and so on. This selection of natural and historical materials, and the emotional power of the words become just the right match, it is exciting.

Therefore, both belong to the bold and magnificent style. Su Shi's Ci prefers to be unrestrained, open-minded and superb, while Xin Ci gives people a feeling of generosity, tragedy and passion.

Xin Qiji and Su Shi are both powerful pioneers in the language skills of Ci. The predecessors said that Su Shi used poetry as his Ci and Xin Qiji used Wen as his Ci. Of course, this is somewhat simplified, but it does point out that in Xin Qiji's hands, the language of Ci is more liberated, unprovoked and no rules exist. In Xin Ci, there are very popular and childish folk languages, such as "some facts, misleading people that". Not really homesick"("Parrot Sky"),"Recently sad like heaven, who pity each other? Who can solve mutual pity and make sorrow a day"("Ugly Nur"), there are also many classical sentence patterns with function words, such as"those who do not know the clouds are rain, those who do not know the rain are cloudy"("Hangong Chun"),"those who do not hate the ancients do not see me, and those who hate the ancients do not see my crazy ears"("Congratulations to the bridegroom"); there are lively dialogues, self-questions and self-answers. To shout, such as "the hero of the world who adversaries? Cao Liu"("Nanxiangzi"),"Cup, come before you!" (Qin Yuan Chun) also has quite complete sentences, such as "Eight hundred miles under the scorch, fifty strings turn over and plug the sound outside" ("Break the time").... Generally speaking, one of the characteristics of Xin Ci's language skills is its loose form, coherent semantic flow and long sentences. In Xin Ci, the way that literati use intensive imagery to assemble sentences and jump to connect sentences to form the whole artistic conception is completely broken. But it does not mean that Xin Qiji's so-called "writing as a word" no longer has a musical rhythm. While using a lot of prose sentences and keeping a vivid tone, he can still use various means to create a rhythm of change. Such as "Water Dragon Yin" in the "sunset tower, broken Hongsheng, Jiangnan tourists. Looking at Wu Gou, taking pictures all over the column, nobody knows how to do it. The meaning is coherent. It is a long sentence in the word, but it is frustrating and powerful. It is not just a paragraph of article in the form of the word.

Another major feature of Xin Ci in terms of language skills is that it extensively quotes vocabulary, sentences and historical allusions from various classics, histories, sub-classics and predecessors'poems, melting or embedding them in its own words. This is easy to cause rigid and difficult problems, but with Xin Qiji's talent, most of them can be used appropriately, naturally, or otherwise interesting. As Liu Xizai of the Qing Dynasty said in his Yixue, "Ren Gushu's rationale and parole, once used, will be popular." Taking "Yongyule Jingkou Beigu Ting Nostalgia" as an example, more than a hundred words are used to narrate the deeds of Sun Quan, Liu Yu, Liu Yilong, Tuobatao and Lianpo, which are closely related to the subjective feelings and ideas expressed by the author. It is not only rich in connotation, but also vivid in tone and expressive in expression. Easy things.

Of course, Xin Qiji's words are often too prose-oriented, too talkative, and the so-called "lost book bags" are too many old allusions, but in any case, he did greatly change the words; his words are not only "inaccessible, nothing to say", but also any "meaning" and "things" can be expressed. Very free and full. In this way, the creation of Ci completely got rid of the fetters and entered the realm of freedom.

Folding Liu Kezhuang's "Preface to Xinjiaxuan Collection" said: "The public office, made loudly (t_ng t225;), low-pitched (k ng h ng), cut across six in one, swept through the ages, since the beginning of life nothing. The slim and dense grain is not under Xiaoyan and Qinlang either.

Liu Chenweng's Preface to Xinjiaxuan Ci Poetry says, "If you use such a phrase before Xinjiaxuan, you must hide it. He Jiaxuan is like a Zen stick, and his head is everywhere. He is also like a tragic drum, and he has a lifetime of injustice and drinking, but he has a good feeling of being a guest, and he is too busy to talk about it. So far, words are enough.

Later generations: Jiaxuan, the outstanding person, the dragon in Ci

Dragon in Folding Words

Xin Qiji is good at poetry and prose, but his poetry is of the Ming Dynasty. His "Jiaxuan Ci" contains six

More than 120 pieces, regardless of the quantity and quality, are crowned in the Song Dynasty and the Song Dynasty. He is the greatest of men and the dragon of words.

Jiaxuan's Ci has always been called "the Ci of Heroes". These words mainly express the hero's ambition and pride to restore the central plains. He often recalls the heroic deeds of the teenager who broke into the Jinying camp and captured the traitor Zhang Anguo. For example, the film "Parrot Sky" says, "In the prime of life, Banner Chung Wanfu, Jin Xiantu rides across the river at the beginning. Yanbing nighttime silver beard, Han arrow toward flying golden maid. Xin Ci also expresses his grief and indignation that his ambition is hard to pay and his country has no way to repay. For example, "Water Dragon Yin. Dengjiankang Appreciation Pavilion" on the film: "Chutian Qianli Qingqiu, water with the sky to the autumn endless. Far from sight, offering sorrow for hatred, Jade Hammer snail bun. Sunset Tower, Broken Hongshengli, Jiangnan Tourist. Look at the Wu hook, the railings are patted all over, no one will, landing. "By looking at Wu Jiao Baojian and taking pictures of the typical movements of the railings, the lyrics vividly show the grief and indignation of the hero in his useless place. Xin Qiji's "heroic words" mostly make Qi Cen-cai's works, which are emotionally exciting and solemn, and have a melancholy and magnificent style.

In addition, Xin Qiji also wrote some words about rural scenery and idyllic interest: "Qingping Yue. Village Residence", "The eaves are low and the streams are green grass. In drunkenness, Wu Yin is beautiful. Whose family is Weng Yan with white hair? Daer hoes Dou Xidong, Zhonger is weaving chicken cage. The most favorite child scoundrel, Xitou lie in the lotus peel. " Xin Qiji's poems are also graceful in style and implied deep music works. For example, "Qingyu Case. New Year's Eve", the first film depicts the happy scenes of the Lantern Festival Night, and the second film depicts a quiet, extraordinary woman: "Moth snow willow golden thread, laughter Ying Ying Ying Ying Ying fragrance. Thousands of people searched for him, but suddenly looking back, the man was in a lamp-house. In fact, it expresses the poet's feelings of "self-pity and solitude".

Xin Qiji, with his unique heroic ambition and pride, tried his best to make his words succeed and use the prose as his lyrics, greatly expanding the scope of the subject matter of the lyrics, forming a melancholy and magnificent main style, as well as a graceful and profound melody and a fresh and simple style, which can be described as casting a hundred schools of thought, freely playing and colorful.

Name of Folding Cool Official

In the winter of Chunxi eight years, Xin Qiji was transferred from Jiangxi Province to West Zhejiang Province to be sentenced. Before he took office, he was impeached by King Shi, who supervised him. "Taichen Wang Jian, impeaching him to use money like mud, killing people like grass mustard." This means that he uses money like mud, killing people like mowing grass. As a result, Xin Qiji had a reputation as a cool official and was dismissed from all positions before he had time to take office.

It is not surprising that Xin Qiji left a cold impression. When he was young, he rode alone in the Northern Rebel Army to kill the monk Yiduan who stole the Rebel's seal. Later, he led a 50-horse raid on Jinying to capture the traitor Zhang An-guo, which proved that he was a ruthless character who dared to kill people. But what about the real situation?

In fact, Xin Qiji was generous to ordinary people and harsh to subordinate officials. He had been ordered to calm the tea merchants'rebellion in the south. In his report "On the Thieves' Notes" to Song Xiaozong, he pointed out clearly: "The people in the fields, the counties gather to harm them, the counties take advantage of their departments to harm them, the officials take advantage of their begging to harm them, the big names of the powerful people merge to harm them, and the thieves take advantage of them. The minister calls it "ear" if he does not go for theft and calls for peace." That is to say, the common people who farm the fields, the officials at the state and county levels use excessive taxation to harm them; the officials at the county level use various kinds of names and materials to harm them; the staff at the bottom use various names to claim, take, card and harm them; the landlords use mergers to harm them; and the thieves use mergers to harm them. Where can the common people go if they don't become thieves when robberies and plunders are used against them?

Xin Qiji realized that it was the officials at all levels, not the common people, who should be strictly managed. This has become the starting point of his ruling idea and government affairs. According to the collection of Zhenxi Mountain, Xin Qiji "has been authoritative, light on grammar, officials are afraid of dogmatism, not to be caught and sent". That is to say, he is very dignified to the officials under him, and he always pursues the law against them. Those officials are frightened and afraid of being condemned for not observing the doctrine in place.

On the contrary, he is very generous and caring to the people. Lou Kei's Collection of Attacking Shame says that "people in Fujian know more about prophecy than living outside the stage." It means that when Xin Qiji was a prisoner in Fujian Province, he obeyed the principle of leniency in sentencing prisoners. Every family in Fujian knows this. On one occasion, he sent an official named Fu Shou to a county under his jurisdiction to review prisoners in prison. After calling out to that county, Fu released more than fifty people after careful examination, leaving only more than ten. So many cases have been overturned that the county magistrate's face is hot, so he refused to entertain Fu loudly, even regardless of the meal. Xin Qiji personally examined these cases after hearing about them, and finally all the cases were handled in accordance with Fu's loud opinions.

Xin Qiji was thus stigmatized as a cruel official, mainly because he refused to mix with the official at that time. In his book to the emperor, Xin Qiji himself said, "In his life, his ministers were stubborn and confident. They had not been tolerated by the public for many years. They feared that they would not blurt out their words, and that they would suffer a lot." Because of his "stubborn and self-confident" character, he dares to say and do, and is unwilling to cater to others. In order to achieve success in his career, he can ignore all kinds of hidden rules. Therefore, the contradiction and conflict between him and the mediocre and conservative official atmosphere of the Southern Song Dynasty can not be avoided. But all of this, put in today, but let us particularly awe.

Righteousness and righteousness

After Yan Liang moved to Yanjing, some Han people who had been enslaved and oppressed for a long time could not bear it any longer. Finally, they carried the banner of anti-Jin. The most powerful one was the team of the uprising in Shandong Province. Geng Jing, the leader, was a Jinan man of peasant origin. In response to the Rebel's anti-Jin campaign, Xin Qiji, who was 22 years old, also took the opportunity to pull up a contingent of 2,000 people to Gengjing. But Geng Jing did not give too much favor to this talent who came to join the army. He was ordered to be an insignificant civilian officer, who was in charge of documents and seals. One thing that happened in the middle of this year made Geng Jing look at Xin Qiji with great surprise.

There was also a monk named Yiduan who joined Xin Qiji to join the Rebel Army. Yiduan himself is a flower monk who can not abide by the rules and regulations, because he can not stand the hardship of being a servant in the Rebel Army. He steals the commander-in-chief seal kept by Xin Qiji and is ready to go to the Jinying camp to invite meritorious deeds. Yiduan himself was also the leader of a small group of the Rebel Army. He was persuaded by Xin Qiji to join Geng Jing's account together. Geng Jing was so angry that he had to ask Xin Qiji for guilt. Xin Qiji Li Quci was poor, self-conscious of inadvertent friendship, shame, on the spot to Geng Jing issued a military warrant, to recover the commander-in-chief.

That night, Xin Qiji took a small group of people and horses to ambush on the way to Jinying. Sure enough, when daybreak came, Yiduan really came riding. Xin Qiji could not help saying that he cut off Yiduan with a knife. When I saw that Xin Qiji was frightened to death, I knelt down and begged for mercy and said, "I know your real body is a green bag. You can pull up mountains with great strength, and there will be a great transformation in the future. You spare my life!" In the face of such a rebel who is greedy for life and fears death, Xin Qiji, who is jealous and hateful, will listen to it. He can not help but say that his hands rise and fall, and his righteousness is different.

Folding celebrities meet

Ehu Mountain, Lingshan Mountain and Boshan are places where Xin Qiji often searches for ancient times and seclusion. The Goose Lake Temple under the Goose Lake Mountains is next to the ancient post station leading to Fujian Province. From the third to the eighth day of the sixth month of the lunar calendar in 1175, famous scholars Zhuxi, Lv Zuqian, Lu Jiuling and Lu Jiuyuan held the famous "Goose Lake Meeting" (the first Goose Lake Meeting) in the history of Chinese philosophy at the Goose Lake Temple. Hence, the Goose Lake has become a cultural resort. Xin Qiji often goes to Goose Lake for recreation.

In the autumn of 1188, Chen Liang wrote to Xin Qiji and Zhu Xi and made an appointment to Zixi in Lead Mountain to discuss a unified plan. But later, Zhu Xi dismissed the meeting for some reason. This winter, when it came to the date, Xin Qiji was sick in bed, waiting for Chen Liang to rest in Pouquan. In the evening, after the snow, the sunset shines brightly on the snow-covered land. Xin Qiji looks over the railings of Pouquan Villa. He sees Chen Liang riding a big red horse on the post road in front of Jisi Village. He is overjoyed and his illness disappears.

Xin Qiji

Downstairs to meet the horse. The two met on the stone bridge in front of the village for a long time, feeling a lot: standing on the stone bridge, bathing in the sunset after the snow, talking about state affairs, grieving over the incompleteness of Jinou, the feeling of patriotism surging in their hearts, pulling out their swords and chopping their horses, pledging to fight for the reunification of the motherland. Xin Qiji's cries of "men die hard, see their hands and mend the fissure" in "See and answer with rhyme" written after his farewell to Chen Liang are just the reflection of this kind of heroism and ambition.

The meeting between Xin Qiji and Chen Liang made a good story in the literary circle by sharing a drink in Pouquan, traveling together in the Goose Lake, answering each other with long songs, making a critical comment on the world and staying at the end of the twentieth day. In order to commemorate these two patriots, later generations called this meeting the second "Goose Lake Meeting", called the stone bridge in front of Jisi Village "Chopping Horse Bridge", and built a Chopping Horse Pavilion beside the bridge. Up to now, there are also stories about Xin Qiji and Chen Liang's "Chopping Horses to Make Oaths". The Cutting Horse Pavilion is still there. Despite the storms, there are still many glazed tiles inscribed with the words "Cutting Horse Pavilion" covering it, which is the cultural relics protection unit of Qianshan County.

Folding and crying for Zhuxi

When Zhu Xi died of illness, his theory had been declared "pseudo-learning". Under the pressure of the Han You-xi faction, many disciples of Zhu Xi's disciples dared not go to mourn, but Xin Qiji, who had "cut off the road of wealth" by Zhu Xi, went to cry and offered sacrifices in spite of the prohibition, leaving a memorial message that was passed down for thousands of years: "The immortal, dying for thousands of generations, what is public death? Rigorously and respectfully!"

Jiaxuan Middle School

Licheng No. 2 Middle School is located in Yaoqiang Town, Licheng District. In order to study and commemorate this famous poet in history, there is also a resounding name in Licheng No. 2 Middle School - Jiaxuan Middle School.

Xin Qiji Memorial

Qiji Memorial Hall is located in the south of Sifeng Gate Village, Yaoqiang Town, Licheng District, Jinan City. It covers an area of 31 mu. It consists of a memorial hall and Xinjiafen grave, with a total building area of more than 4000 square meters. There are six exhibition rooms, such as Shifang, Hexagonal Stele Pavilion, Xin Qiji Statue, Xin Qiji Memorial Temple, Jiaxuan Ci Calligraphy Art Stele Gallery, as well as cultural relics, calligraphy and painting, folk customs, pictures, "a generation of Ci Zong" and "Yidan Zhongsoul".

Former residences and tombs

On the banks of Xiaoqing River in Jinan, there is a town called Yaoqiang Town, which is the home of Xin Qiji, a famous poet of the Song Dynasty. It was there that he got up and pulled up his team to fight against gold. Xin Qiji is a very distinctive writer in the history of Chinese literature. He is different from the general feudal literati. He is not only a famous patriotic poet, but also an excellent patriotic general and national hero.

Xin Qiji died and was buried in Yongping Town, Shangrao County, Jiangxi Province. Xin Qiji's tomb is on the hillside of Yangyuan, Hutoumen, Guashan County. Look south. Standing in the period of Shaoding (1228-1233), there is a Golden Inscription of Mr. Jiaxuan's Shinto beside its side post road. The original monument destroyed the remains of the tomb. The descendants of Xin Qiji in the Qing Dynasty erected new tablets in front of their tombs. Today, they are also mottled and separated. Their handwriting is vague. The inscriptions on the tablets are "Renovated in Spring and Moon in the Mao Year of Emperor Qianlong in the Qing Dynasty". In the middle is the tomb of Gongjia Xuanfujun. The descent is "Xuanxuan Sun Kou Xia Xia Kou Kou Ling Hu Kou Dong Shan Gu Ran An Bei Kou Li" which was established by descendants of Xin Qiji's Zhongzi Xin Cabinet. After the founding of the People's Republic of China, the tomb of Xin Qiji was listed as a key protected cultural relic in 1959. In 1971 and 1981, they were renovated twice. The tomb is lined with stone and divided into four layers, with loess piled on the top and two consecutive enclosures surrounded by a grave cabinet. The tomb is 2.5 meters high and 2.5 meters in diameter, accounting for 51.5 square meters. The tomb path is very short, there is a couplet written by Guo Moruo: "Iron plate and copper pa, following the east slope singing the river east; celery and millet, southern Hebei Song Dynasty with wild goose flying south."

Memorial Hall

Xin Qiji Memorial Hall is located in the south of Sifengzhan Village, Yaoqiang Town, Licheng District, Jinan City. It covers an area of 31 mu. It consists of two parts: the memorial hall and Xinjiafen, with a total building area of more than 4000 square meters. There are six exhibition rooms, such as Shifang, Hexagonal Stele Pavilion, Xin Qiji Statue, Xin Qiji Memorial Temple, Jiaxuan Ci Calligraphy Art Stele Gallery, as well as cultural relics, calligraphy and painting, folk customs, pictures, "a generation of Ci Zong" and "Yidan Zhongsoul".