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| QSDQ ToC ; Other poetry: Folio 18 / Folio 19A / / Folio 20A / Folio 20B | 首頁 |
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Qin Poems, I B
Qinshu Daquan Folio 19 B (V/424-443) 1 |
詩上，乙
琴書大全十九卷，乙 |
聽琴 Listening to a Qin
一百六十三首 163 in number
Comment: Elsewhere the first phrase of this poem is given as, "清月轉瑤軫.... With a clear moon turn the jade pegs...."; otherwise the poem is the same. I do not know how this version came to be different, though "jade pegs" is a clear reference to qin. "Qingming" may also simply be "bright and clear", rather than referring to the festival of that name. Note, however, the mention in line 3 of "spirits coming out".
Translated in HJAS 57, Ronald Egan, Music, Sadness and the Qin, p. 52.
董夫子，通神明，深山竊聽來妖精。
Master Dong, who communes with spirits,
draws in even mountain sprites to steal near and listen.
言遲更速皆應手，將往復旋如有情。
Slow or swift — all respond to his hands;
advancing and returning, the sound coils as if alive.
空山百鳥散還合，萬里浮雲陰且晴。
In empty mountains, birds scatter and regroup;
across ten thousand li drifting clouds darken and clear.
嘶酸雛鴈失羣夜，斷絕胡兒戀母聲。
Goslings cry harshly at night when lost from the flock;
the nomad children’s longing-for-mother voices break off.
川爲淨其波，鳥亦罷其鳴。
Rivers grow pure, calming their waves;
birds, too, cease their calls.
烏孫部落家鄉遠，邏娑沙塵哀怨生。
The Wusun nomads dwell far from home;
Luosuo's sand and grit give rise to grief and resentment. (Luosuo was in the Turfan desert)
幽音變調忽飄灑，長風吹林雨墮瓦。
(Then) the subtle tone shifts mode and suddenly scatters;
long winds sweep through forests, rain strikes roof-tiles.
迸泉颯颯飛木末，野鹿呦呦走堂下。
Bursting springs hiss and spray into the treetops;
wild deer call softly as they run beneath the hall.
長安城連東掖垣，鳳凰池對青瑣門。
Chang’an city joins the Eastern Secretariat walls;
Phoenix Pools face Azure-Latticed Gate.
高才脫略名與利，日夕望君抱琴至。
(Master Dong), you of lofty talent, you cast off fame and gain;
day and night I long for you to come, qin in your arms.
"東掖垣 Eastern Secretariat walls" refers to the inner zone of high civil governance. In general the description of Chang'an refers to the areas of importance to the literati in the bureaucracy.
Compare this poem with the one by Rong Yu about Du Ling below as well as the one about Xiao Hujia.
Translated in HJAS 57, Ronald Egan, Music, Sadness and the Qin, p. 51.
綠琴胡笳誰妙彈，山人杜陵名庭蘭。
Who can wondrously play both green-lacquered qin and the nomad reed-pipe?
It is the mountain recluse Du of Duling, reknowned from his
Tinglan lineage.
杜君少與山人友，山人沒來今已久。
Master Du in his youth was a friend of that recluse;
Since the recluse’s death, many years have passed.
當時海內求知音，囑付胡笳入君手。
In those days, throughout the realm he had sought one of true understanding;
So the nomad reed-pipe song was entrusted into his hands.
杜陵攻琴四十年，琴聲在音不在弦。
Du of Duling (you have) devoted forty years to the qin;
your qin sound lies in the tones, not just the strings.
座中為我奏此曲，滿堂蕭飋如窮邊。
Now, seated here, you play for me this piece;
filling the whole hall with a chill, as if at the desolate frontier.
第一第二拍，淚盡蛾眉沒蕃客。
First beat, second beat,
tears are spent; arched brows sink among the barbarian captives.
更聞出塞入塞聲，穹廬氈帳難為情。
Again one hears sounds of leaving the passes and entering them;
felt tents and dome dwellings stir unbearable emotions.
胡天雨雪四時下，五月不曾芳草生。
In the nomad lands, rain and snow fall through all seasons;
even by the fifth month, fragrant grass never grows.
須臾促軫變宮徵，一聲悲兮一聲喜。
In an instant, the tuning pegs are tightened, modes shift from gong to zhi;
One note is sorrow, the next is joy.
南看漢月雙眼明，卻顧胡兒寸心死。
Looking south at the Han moon, both eyes shine;
turning back toward the nomad children, the inch-heart dies.
迴鶻數年收洛陽，洛陽士女皆驅將。
Years ago the Uyghurs overran Luoyang;
Luoyang’s men and women were all driven off.
豈無父母與兄弟，聞此哀情皆斷腸。
Did they not have parents and brothers?
Hearing this sorrow, who would not be heart-broken.
杜陵先生證此道，沈家祝家皆絕倒。
(I,) Master Du of Duling bear witness to this truth;
and the Shen and Zhu (music schools) have nothing more to add.
如今世傷雅風衰，若箇深知此聲好。
Today's age laments the decline of refined taste;
how many truly know the beauty of such sound?
世上愛箏不愛琴，則明此調難知音。
The world loves the zheng but not the qin;
thus those who can truly understand this tune are rare.
今朝促軫為君奏，不向俗流傳此心。
So today I tighten the pegs and played this for you;
I will not pass to vulgar ears this heart.
Compare the poem by Li Qi above.
公詩周魯後，
(omits: 曳曳垂天雲。
府中顧長康，風味如麴君。
非公無此客，請壽兩山樽。
叔季大儒後，
(Continues :) 偏醒亦同醺。
心與柏石堅，章成綺繡紋。
多難獨不補，少戇今無聞。
時無古今異，智有功名昏。
可使百尺底，不作數斗渾。
The moonlight reflects off the surface of your qin;
Since your couch is no longer in the shade of trees.
Many sounds come from Guangling San;
but it is only a small part of the ancient's heart.
"Tossing away the dagger" did not repair matters;
"Hair-raising anger" was also profound.
Letting loose can clear the ears of the guests,
it is still the sound of chaotic times.
The full title of this seems to be 聽賓州仙人彈琴 Listening to the Binzhou Immortal Play Qin. The content is,
虞公為海東之作歌舊矣惠之赴吳縣簿俾. 次其韻送行辭之不獲遂用倒韻一篇以塞責咲雲耳是亦例松陵倡和也
Not yet translated
The translation by Stephen Owen begins,
The original text here is,
伊誰識古鐵，遂將銘雅琴。
Who is there that recognizes ancient iron, and thus engraves it upon an elegant qin?
金木有相感，況乃達人心。
Metal and wood respond to one another; how much more the heart of a man who truly understands.
無心始朝徹，有耳皆哇滛。
Only when free of selfish intent does the morning ring clear;
those who merely lend an ear fall into vulgar clamor.
自非一再行，終作千丈沈。
If one does not tread this path again and again,
in the end it sinks into a depth of a thousand fathoms.
素絃山雨㡢，石薦紫苔侵。
Its plain strings murmur like mountain rain;
the stone stand (on which it is played) is worn and overgrown with purple moss.
我來為拂拭，懷古抑何深。
I come to brush it clean; my feelings for antiquity are profoundly stirred.
抱之望虞舜，願鼓南風音。
Embracing it, I gaze toward (emperor) Yu Shun,
longing to strike forth the sound of the Southern Wind.
Apparently "中庸子 Zhongyongzi" is a reference to the Song dynasty official and literatus 陳充 Chen Chong. As for 芳洲法師 for the Dharma Monk of Fangzhou, see his entry in Qin Shi Xu.
Footnotes (Shorthand references are explained on a
separate page)
1.
Qin Poems, I B
There is further information in the Preface. (V/...) refers to page numbers in Vol. V of Qinqu Jicheng. The division of Section 19 into two parts is not in the original; part I B begins with the third entry on the top half of V/424.
(Return)
Return to the annotated handbook list or to the Guqin ToC.