Zui Weng Yin

Fengxuan Xuanpin (1539) has the earliest surviving musical setting of the lyrics here. Attributed to the famous poet Su Shi (Su Dongpo, 1037-1101), they are said to have been written by him to honor his equally famous mentor, Ouyang Xiu (1007-1072), also known as the Old Toper.

The same lyrics subsequently appear in the handbook Longhu Qinpu (1571) but with a different melody and the title Zui Weng Cao (Old Toper's Melody) instead of Zui Weng Yin (Old Toper's Chant). Melodies with either title have survived in at least six publication.⁴ These include two different sets of lyrics and three different melodies, but the music and lyrics still have the same or almost the same structure and so could perhaps be considered interchangeable.

Although these lyrics have been included in copies of the complete works of Su Dongpo their provenance is not undisputed as they seem apparently not to have been included amongst the earliest publications of his known works. Thus the details of the account given below are not certain; and although later poems (or at least one) were written that fit the structure of this poem, Zui Weng Yin itself is not included in old lists of the poetic structures called ci pai.⁵

Neither Fengxuan Xuanpin nor any of the versions copied in Japan has any commentary, so the only surviving contemporary commentary on this melody comes from the second surviving melody with this title, the Zui Weng Yin in Longhu Qinpu (1571).⁶ It says that the melody expresses a joyful inebriation and adds a few other poetic comments, but says nothing of the origin. It might be noted here that, although both the Fengxuan Xuanpin and the Longhu Qinpu versions are said to be in shang mode, the former actually seems to use jue mode, and to modern ears the latter melody seems more joyful.⁷

The source and inspiration of the lyrics here are said to go back to Ouyang Xiu and his famous Account of the Old Toper' Pavilion.⁸ He then wrote a poem called the Old Toper's Chant.⁹ The title of the first referred to a pavilion at his estate by the Langya mountains, near Chuzhou in eastern Anhui province, about 100 km northwest of Nanjing.¹¹

In the preface to Old Toper's Chant, Ouyang Xiu says that after he wrote An Account of the Old Toper' Pavilion, the scholar Shen Zun ¹² was inspired to go walking in the surrouding area. He loved the landscape there so much that when he returned he composed a qin melody in three sections describing it, called Old Toper's Chant. The following autumn Shen and Ouyang met again. Under the influence of wine Shen played the melody again, and music so moved Ouyang that he then created lyrics for it.

Over thirty years later Su Shi wrote his own poem about the pavilion. From his preface (see below) it seems that the melody of Shen Zun was either lost or had changed, because Su Shi says the reason he wrote new lyrics was that the existing qin melody did not match Ouyang Xiu's lyrics. He adds that his version follows tablature written by a famous qin player from Lu Shan named Cui Xian.¹³

Su Shi's preface is as follows,¹⁴

In a hidden valley at Langya the scenery is marvelously beautiful. A spring resounds from a dry gully, in a medley of moderate tones. The Old Toper enjoyed this, and brought wine to listen nearby, appreciating it so much he would forget to return home.

Ten years later the marvel-loving scholar Shen Zun heard of it and traveled there. He used his qin to describe the sounds, and called the melody Zuiweng Cao. The rhythm was exceptional and the music from the fingering was splendid. Qin connoisseurs considered it incomparable. However, although there was now music, it had no words.

Although the Old (Toper) has written a song (of this title), it does not match (Shen Zun's) qin melody. In addition, using the model of the Chu Ci to write (lyrics for the Shen Zun's) Zuiweng Yin, well-meaning people have written melodies in accord with his lyrics; but although these roughly match the modal requirements, and the qin sounds are bound to the lyrics, they do not appear natural.

(Now), over 30 years later, the Old (Toper) has already passed on, and (Shen) Zun is also long deceased. (However), there is a Jade Torrent Daoist Cui Xian of Lu Shan who is especially good at the qin. Hating the fact that this melody has no lyrics, he has written down tablature for the sounds and asked me, Dongpo Jushi, to append (lyrics). These are as follows...."

(For the lyrics see Melody and Lyrics, below).

Qinyuan Yaolu, a collection of qin essays printed in the Yuan dynasty, includes Zuiweng Yin in its list of old melodies. It also has an intriguing essay on qin rhythm, describing for its example what it says is a melody for Su Dongpo's Zuiweng Cao.¹⁵ It is possible that this essay could be used to help reconstruct the rhythm of the melody originally applied to these lyrics.¹⁶ Unfortunately, the Qinyuan Yaolu article includes no music, and does not specifically identify the actual version of Zuiweng Cao under consideration. And I have not been able to apply its principles to any of the surviving qin versions of the melody.

A poem by Huang Tingjian called Auspicious Crane Immortal (Rui He Xian), which also concerns the Old Toper's Pavilion, is set for qin in a handbook surviving in Japan.

Original preface
None: see the 1679 preface above.

Melody and Lyrics (1539 & 1571; transcriptions, audio recording and two videos for students) ¹⁷
(1539 does not divide the piece, but later versions have two untitled sections, in accord with the lyrics. On the linked recordings, both the audio recording and one of the two videos for students, I play and sing first the 1539 setting then play and sing the 1571 setting. With the 1539 setting the voice can closely follow the melody; with the 1571 setting the melody leaps around so I level the vocal line through octave transpositions.

琅然清圓，誰彈響空山？
Láng rán qīng yuán, sheí tán xiǎng kōng shān?
Tinkling, pure and round, whose playing resounds in the empty mountains?
無言，惟翁醉中知其天。
Wú yán, wéi wēng zuì zhōng zhī qí tiān.
There are no words, only an old man who when drunk knows of heaven.
月明，風露娟娟，人未眠。
Yuè míng, fēng lù juān juān, rén wèi mián.
The moon is bright, the wind (causes the) dew to shimmer, people are not yet asleep.
荷蕢過山前，
Hé kuì guò shān qián,
A carrier of baskets passing the front of the hill
（曰）﹕有心也哉此賢。
Yuē﹕yǒu xīn yě zāi cǐ xián.
Says, "He has great feelings, does this worthy person."
醉翁嘯詠，聲和流泉。
Zuì wēng xiào yǒng, shēng hé liú quán.
As the Old Toper whistles and sings, the sounds harmonize with the flowing streams.
醉翁去後，空有朝禽、夜猿。 (Japan: ...朝唫、夜怨 zhao jin ye yuan)
Zuì wēng qù hòu, kōng yǒu zhāo qín, yè yuán.
After the Old Toper leaves,
the void is filled with (sounds of) morning birds and evening gibbons.
山有時而童顛，水有時而回川， (for 回川 huichuan 1539 had 回笑 huixiao)
Shān yǒu shí ér tóng diān, shuǐ yǒu shí ér huí chuān,
Mountains sometimes collapse, (and) rivers sometimes reverse course,
思翁無歲年。
Sī wēng wú suì nián.
(but) I think the Old (Toper) is completely ageless.
翁今為飛仙，此意在人間﹕
Wēng jīn wéi fēi xiān, cǐ yì zài rénjiān﹕
The Old (Toper) now being an airborne immortal, this thought should be with people:
試聽徽外三兩絃。
Shì tīng huī wài sān liǎng xián.
Try to listen to listen (to the ethereal resonances) beyond sounds (defined by) finger positions and strings.

Footnotes (Shorthand references are explained on a separate page)

1. Old Toper's Chant (醉翁吟 Zui Weng Yin)
40778.64 醉翁吟 zui weng yin: "name of a qin song, by 沈遵 Shen Zun of the Song dynasty" (lyrics below); it then quotes a passage in Dongpo Bieji describing it and giving the attribution to Shen Zun. "Zui Weng Yin" might also be translated as "Old Toper's Intonation".
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2. Shang mode 商調
For more on shang mode see Shenpin Shang Yi.
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3. Old Toper's Melody (醉翁操 Zuiweng Cao)
"Zuiweng Cao" might also be translated as "Old Toper's Lament"; this is the title of the setting of these lyrics in Japan.

40778.68 醉翁操 zui weng cao: originally a qin melody, then later the name of a 詞牌 cipai poetic rhythm; it quotes the story given here. The calligraphy is discussed on a separate page. The structure can be seen by examining the original lyrics, below.
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4. Tracing Zui Weng Yin
The information here is largely from two entries in Zha's Guide: 16/--/362 (4 pieces that follow the original structure) and 27/--/418 (2 pieces that do not). Page references are to Qinqu Jicheng.

16/--/362, 醉翁亭 Zuiweng Ting (! none of the versions use this title: perhaps this was to distinguish it from #2?)
- Fengxuan Xuanpin (1539; II/168, 醉翁吟 Zuiweng Yin; lyrics 琅然清圓....; present version)
- Hewen Zhuyin Qinpu (XII/190): 醉翁操 Zuiweng Cao (ca. 1676?); lyrics almost same but different melody and with a third section added)
- Toko Kinpu (1898; XII/269): identical to previous
- Shu Huai Cao (1682; XII/357; Zuiweng Cao; same pattern but different melody and lyrics [曾傳成連清彈....])
- Songsheng Cao (1687?; XII/395, Zuiweng Cao; same as previous)
Zha's Guide does not include
- Qin Handbook (龍湖琴譜 Longhu Qinpu, 1571); see TKW Qin Fu, p.232 (Zuiweng Yin; virtually same lyrics but different melody).
27/--/418, 醉翁吟 Zuiweng Yin
- Qinshu Daquan (1590; V/499); unrelated melody with different lyrics ("光陰光陰...." q.v.);
  currently there is a recording (by 陳濬寬 Chen Junkuan; here) but the accompanying text is quite misleading
- Taoshi Qinpu (late Ming; IX/474); diff. melody (like that of Liang Xiao Yin) and diff. lyrics ("世道如何...." q.v.)

An examination of these versions shows the following.

Fengxuan Xuanpin: lyrics fit the form though rhythms implied by the music suggest a changed phrasing on the first line (shown below).
Longhu Qinpu has a Zui Weng Yin set to virtually the same lyrics as here. It has completely different music, but the music fits to the same revised pattern as does 1539.
As discussed further in a separate entry, Japanese handbooks such as Hewen Zhuyin Qinpu and Donggao Qinpu (Toko Kinpu) have a 醉翁操 Zui Weng Cao with the same lyrics as here but a completely different melody. It also adds a new section at the end.

Zui Weng Yin from 1682
Shuhuai Cao (XII/357) and Songsheng Cao (XII/395), companion books to Songfengge Qinpu (ca. 1677), have a Zui Weng Cao in almost the same structure but again with different lyrics and music. Regarding the structure, the first line of 1682 has a different punctuation, as explained below, and the tablature at right shows this cannot naturally be changed even though having the punctuation after 年 seems to make better sense. In addition, there is here a very strange tuning; called 側楚 cechu, it calls for raising the 7th string and lowering the 2nd (1 1 4 5 6 1 3b?). The tablature does not include any plucking of the open second string, but the tablature as shown at left was not printed very clearly (1687 has no punctuation and is hardly any clearer) and since I have not been able to transcribe the melody I cannot confidently comment on the results of or reasons for the tuning.
The lyrics in 1682 (and 1687) are as follows:
曾傳成連淸彈，淼千年， Céng chuán Chéng Lián qīng dàn, miǎo qiān nián.
難言，誰畱此曲於人間。 Nán yán, shuí liú cǐ qū yú rén jiān.
惟君能繼前賢，風月間， Wéi jūn néng jì qián xián, fēng yuè jiān.
幽興托林泉， Yōu xìng tuō lín quán,
便時時抱琴往還。 Biàn shí shí bào qín wǎng huán.
金徽一曲，響振林巒， Jīn huī yī qū, xiǎng zhèn lín luán,
長空秋淨，一霎天風颯然。 Cháng kōng qiū jìng, yī shà tiān fēng sà rán.
泉細流兮娟娟，葉翻飛兮珊珊， Quán xì liú xī juān juān, yè fān fēi xī shān shān.
行雲兮不前。 Xíng yún xī bù qián.
淒淸悲啼猿，宛轉舞飛鸞， Qī qīng bēi tí yuán, wǎn zhuǎn wǔ fēi luán.
但無知者惟自憐。 Dàn wú zhì zhě wéi zì lián.
It has been said that Cheng Lian played clear melodies and they have flourished for a thousand years;
It's difficult to say: who left this tune for humanity.
Only a worthy who can carry on the wisdom of past sages, midst wind and moon;
Quiet enthusiasm finds solace among the woods and springs,
So we often carry a qin as we go to and fro.
From golden studs comes a melody, resonating through woods and hills.
Vast and empty the autumn sky, a sudden breeze soughing.
A stream gently flows gracefully, and leaves flutter and shimmer,
Even the passing clouds pause.
There are the mournful cries of gibbons, as phoenixes gracefully whirl in flight;
But the ignorant only feel self-pity.
Qinshu Daquan (1585) has a Zui Weng Yin that seems completely unrelated, with both a different melody and different lyrics:
光陰光陰，似水轉流東。
古往今來，英雄富貴，
都是一場空，都是一場空。
這事總不如我眼前一醉，樂意在琴中。
Taoshi Qinpu (late Ming; IX/474) again a completely different melody and new lyrics, as follows:
世道如何，看那世道如何，噫，我而今可奈何。欲待要鞠躳盡瘁，學那諸葛，眼見得英雄個個的那零落，慨嘆世路的那難著腳，再四斟酌。宦海風波，莫待錯下了那一著，莫待悞入了天羅，蹉跎蹉跎。噫，學雌雉見幾而作。磨樵斧，整漁簑，不要緊的生活。登高遠眺，拾松枝，煮可口的桑落，呼童頻酌，頻頻酌，快樂，天空海闊。比衣紫的如何，又比那待漏的如何，如何如何。噫，多少英雄不似我，終日碌碌枉奔波，這機關無人看破。
The melody is clearly a version of Liang Xiao Yin. However, it is just different enough (particularly during an expansion in the second half) that its lyrics cannot be sung either to the original 1614 version or to the version still played today.

(The Japanese handbooks have only qin songs. Evidence suggest there was a connection with the handbook 松絃館琴譜 Songxianguan Qinpu (1614; QQJC, VIII), but that handbook has no melodies with lyrics.
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5. Pairing lyrics and music
This is particularly interesting in light of the comment below that Su Dongpo wrote the lyrics because the existing ones did not the existing melody. So although the reason for pairing these lyrics to differing music is unclear, likewise with different music being paired to the same lyrics, it sounds a bit like something in the ci tradition.
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6. Preface in Longhu Qinpu
The preface here is as follows:

龍湖曰按：是曲沈酣醁醞，放志林泉。鼓之令人猒心勢、利之私。猶懷憂世之意。"
Longhu (Dragon Lake) remarks: This tune deeply intoxicates like a potent wine, releasing the spirit into forests and springs. Playing it causes one to feel an aversion to selfish pursuits of power and profit, yet still harbor concern for the world's troubles.
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7. This is my own feeling and also the reaction of people who have heard me play these two versions.
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8. An Account of the Old Toper's Pavilion (醉翁亭記 Zuiweng Ting Ji)
40778.66 醉翁亭記 Zuiweng Ting Ji describes the essay; compare Ouyang Xiu's Zuiweng Yin (next). Translations include those in Stephen Owen, An Anthology of Chinese Literature, p.613; and Victor Mair, The Columbia Anthology of Traditional Chinese Literature, p.590. Online translations include this one. The original text can be found here and elsewhere.
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9. Ouyang Xiu's poem Old Toper's Chant (醉翁吟 Zuiweng Yin)
For 40778.64 醉翁吟 see above. This poem by Ouyang Xiu, also translated as Old Toper's Intonation, can be found in his complete works. Unlike with Zuiweng Ting Ji, I have not yet found a translation, so have had to attempt my own, as follows.

Miscellaneous Writings: Five in all

Old Toper's Chant (with a preface dated first year of Jiayou)

(Preface)
It begins, "(After) I wrote Zuiweng Ting (Zuiweng Ting Ji?) in Chuzhou, the Erudite of the Court of Imperial Sacrifices Shen Zun, a quite remarkable person, heard of it and took a trip there. Loving its environs, he returned used his qin to describe it, writing Old Toper's Chant, three verses. Then last autumn...." (see summary)

(Lyrics)
When the Old (Dotard) first arrived, beasts saw him and deeply hid, birds saw him and high they flew.
The Old (Dotard) sober went out, drunk he returned.
At dawn he was sober, at sunset drunk; the four seasons were all the same.
Birds called, enjoying their forests; beasts came out, wandering in their streams.
"Yiying, zhaozha" (they call out) in front of the Old (Dotard).
When drunk he loses awareness that those with human emotions cannot be like those who have none.
When there is coming together there must also be separating.
The streams flow on: the Old (Toper) suddenly leaves without looking back.
The mountains provide solitude: the Old (Toper) will return when he can.
The breeze wafts gently: mountain trees lose their leaves.
Spring comes every year: mountain grass then flourishes.
Alas! I have no virtue among other people.
I have feelings for the mountain birds and wild deer.
Worthy indeed is Master Shen. He is the one who can describe my feelings and comfort our mutual longing.

Here is the original Chinese, first the preface then the poem:

雜文五首

醉翁吟（並序嘉祐元年）

餘作醉翁亭於滁州，太常博士沈遵，好奇之士也，聞而往遊焉。愛其山水，歸而以琴寫之，作《醉翁吟》三疊。去年秋，餘奉使契丹，沈君會余恩冀之間。夜闌酒半，援琴而作之，有其聲而無其辭，乃為之辭以贈之。其辭曰：

始翁之來，獸見而深伏，鳥見而高飛。
翁醒而往兮，醉而歸。
朝醒、暮醉兮，無有四時。
鳥鳴樂其林。獸出遊其溪。
咿嚶、啁哳，於翁前兮。
醉不知有情不能以無情兮，
有合必有離。
水潺潺兮，翁忽去而不顧。
山岑岑兮，翁復來而幾時？
煖爙鶪慼，山木落。
春年年兮，山草菲。
嗟！我無德於其人兮。
有情於山禽與野麋。
賢哉沈子兮。能寫我心而慰彼相思。
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11. Old Toper's Pavilion (醉翁亭 Zuiweng Ting)
40778.65 醉翁亭 Zuiweng Ting says the pavilion at 琅琊 Langya (also written 瑯琊 and 琅玡) southeast of 滁州 Chuzhou had been made for Ouyang Xiu by the monk 智遷 Zhi Qian. Today there is a park here, with a relatively recent pavilion with this name. Here I found a set of scrolls with Su Dongpo's poem.
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12. 沈遵 Shen Zun
bio.xxx; but see biographical notes in Qinshi Bu
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13. Cui Xian 崔閑
Cui Xian, the Jade Torrent Daoist, is discussed in Xu Jian, Chapter 6A (p.87). Xu Jian says he played over 30 qin melodies and also wrote (transcribed?) Zuiweng Yin.
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14. Preface by Su Shi
From 蘇軾詩集合注 The Annotated Collected Poems of Su Shi, pp.2483-4:

琅琊幽谷，山川奇麗，泉鳴空澗，若中音會。醉翁喜之，把酒臨聽，輒欣然忘歸。既去十餘年，而好奇之士沈遵聞之往遊，以琴寫其聲，曰《醉翁操》，節奏疏宕，而音指華暢，知琴者以為絕倫。然有其聲而無其辭。翁踓為作歌，而與琴聲不合。又依《楚辭》作《醉翁引》，好事者亦倚其辭以製曲。踓粗合韻度，而琴聲為詞所繩約，非天成也。後三十餘年，翁既捐館舍，遵亦沒久矣。有廬山玉澗道人崔閒，特妙於琴。恨此曲之無詞，乃譜其聲，而請東坡居士以補之云。（見下）
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15. 琴苑要彔 Qinyuan Yaolu. See the chapter 節奏 Rhythm, which begins on page 29b of the photocopy edition.
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16. Essay on Rhythm in Qinyuan Yaolu
At the 1998 CHIME conference in Prague Marnix Wells presented a paper trying to connect the poems by Ouyang Xiu and later Su Dongpo, discussed above. Wells suggested that comments by Yi Hai in the Qinyuan Yaolu essay prescribed an isorhythm of 13 beats:

v v v v v v v 　v v v (? I did not fully understand this)

This does seem to accord with a possible reading of the article, and Wells supported his interpretation as follows (see also the original text of the poem, below).

Su Shi's poem has 39 characters for the first verse and 52 for the second. Some versions suggest Su Shi's first verse be repeated in harmonics, making 39+39+52=130 characters. Ouyang Xiu's poem has 129 characters, so if an extra character can be added somewhere, it could also be made to fit the same isorhythm.

Unfortunately, the isorhythm goes completely against any possible grammatical phrasing of either poem, and in particular it ignores both the parallel structures in Ouyang Xiu's poem, and the fact that the structure he used was very much like a ci pattern. It also does not accord with any rhythms naturally implied by the fingering of the version here in Fengxuan Xuanpin.
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17. 歐陽修，醉翁吟歌詞 Original Chinese lyrics (English)
For both the tablature and lyrics, the first line in 1539 (II/168) and all of 1571 (QF/232) have no punctuation. After the first line the 1539 punctuation follows that of what has been considered the standard structure for Zuiweng Cao based on the account above. However, my understanding of the melodic phrasing in the first line required me to change one punctuation mark from that structure; the original punctuation apparently came after "響", not the "山" two characters later. This works fine for both the 1539 and 1676 tablatures, but the 1582/1587 version is clearly designed for what was apparently considered the original punctuaion.

The original lyrics alone for both 1539 and 1571 are thus as follows (each line ends with a rhyme):

琅然清圓，誰彈響空山？ 4,5 ( 9 [elsewhere: 4,3])

無言，惟翁醉中知其天。 2,7 ( 9 [elsewhere: 4,7])

月明，風露娟娟，人未眠。 2,4,3 ( 9)

荷蕢過山前， 5 ( 5)

曰﹕有心也哉此賢。 7 ( 7; total for verse: 39)

醉翁嘯詠，聲和流泉。 4,4 ( 8)

醉翁去後，空有朝禽、夜猿。 4,6 (10)

山有時而童顛，水有時而回川， 6,6 (12)

思翁無歲年。 5 ( 5)

翁今為飛仙，此意在人間﹕ 5,5 (10)

試聽徽外三兩絃。 7 ( 7; total for verse: 52; total for poem: 91)

The result gives music that flows freely, following a pattern that complements the meaning of the lyrics very well.

By contrast, the 1676 setting from Japan has the same lyrics but punctuates them following the normal standard; it also adds an extra verse at the end. For this version I have made a transcription, I have so far failed to be able to give the lyrics a rhythm that similarly fits the pattern and also complements the meaning.

As for the later versions (1682 and 1687) that set different lyrics to this pattern, the one from 1687 has the same overall word count as 1676, and each line still ends with a rhyme, but to make the count in the first two lines the same as in 1876 requires moving the last two characters from line one in 1687 and putting them at the beginning of line 2. The original is as follows:

曾傳成連淸彈，淼千年難言， 6,5 (11 [elsewhere: 4,3])

誰畱此曲於人間。 7 ( 7 [elsewhere: 4,7])

惟君能繼前賢，風月間， 6,3 ( 9)

荷蕢過山前， 5 ( 5)

便時時抱琴往還。 7 ( 7; total for verse: 39)

金徽一曲，響振林巒， 4,4 ( 8)

長空秋淨，一霎天風颯然。 4,6 (10)

泉細流兮娟娟，葉翻飛兮珊珊， 6,6 (12)

行雲兮不前。 5 ( 5)

淒淸悲啼猿，宛轉舞飛鸞， 5,5 (10)

但無知者惟自憐。 7 ( 7; total for verse: 52; total for poem: 91)

Translation above.
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Return to the annotated handbook list or to the Guqin ToC.

琅然清圓，誰彈響空山？	4,5	( 9 [elsewhere: 4,3])
無言，惟翁醉中知其天。	2,7	( 9 [elsewhere: 4,7])
月明，風露娟娟，人未眠。	2,4,3	( 9)
荷蕢過山前，	5	( 5)
曰﹕有心也哉此賢。	7	( 7; total for verse: 39)

醉翁嘯詠，聲和流泉。	4,4	( 8)
醉翁去後，空有朝禽、夜猿。	4,6	(10)
山有時而童顛，水有時而回川，	6,6	(12)
思翁無歲年。	5	( 5)
翁今為飛仙，此意在人間﹕	5,5	(10)
試聽徽外三兩絃。	7	( 7; total for verse: 52; total for poem: 91)

曾傳成連淸彈，淼千年難言，	6,5	(11 [elsewhere: 4,3])
誰畱此曲於人間。	7	( 7 [elsewhere: 4,7])
惟君能繼前賢，風月間，	6,3	( 9)
荷蕢過山前，	5	( 5)
便時時抱琴往還。	7	( 7; total for verse: 39)

金徽一曲，響振林巒，	4,4	( 8)
長空秋淨，一霎天風颯然。	4,6	(10)
泉細流兮娟娟，葉翻飛兮珊珊，	6,6	(12)
行雲兮不前。	5	( 5)
淒淸悲啼猿，宛轉舞飛鸞，	5,5	(10)
但無知者惟自憐。	7	( 7; total for verse: 52; total for poem: 91)