Mei Yaochen

Mei Yaochen (1002 - 1060),¹ style name 聖俞 Shengyu, was one of the Song dynasty's most influential writers. In particular, he, 歐陽修 Ouyang Xiu and 蘇舜欽 Su Shunqin are said to have been the most important of the early northern Song dynasty poets.

Ouyang Xiu, said to have been Mei Yaochen's closest friend, once sent him two poems called Seated at Night Playing the Qin. In return, Mei Yaochen wrote two poems for Ouyang Xiu. The first of Ouyang Xiu's poems, with translation by Jonathan Chaves, is included here. Prof. Chaves has also translated the first poem in Mei Yaochen's response (with matching rhyme) as follows:

次韻和永叔夜坐鼓琴有感二首
Following the Rhyme Words and Harmonizing with Yongshu's Two Poems, Sitting at Night and Playing the Qin (#1; neither this nor #2 seems to be included in Qinshu Daquan)

夜坐彈玉琴， Sitting at night, you play your qin of jade,
琴韻與指隨。 The instrument’s tones following as fingers move.
不辭再三彈， You do not decline to play again, a third time—
但恨世少知。 Only regretting so few now understand.
知公愛陶潛， I know how you love Tao Qian,
全身衰弊時。 Especially with body in decline.
有琴不安弦， Like him, your qin has no strings on it,
與俗異所為。 Different from the vulgar way to play.
寂然得真趣， In silence, you get the truest essence,
乃至無言期。 And end where there are simply no words to say.

The lines at the end of Ouyang Xiu's poem alluded that their relationship could be compared to the famous relationship between Boya and Ziqi. This is also mentioned in another poem, with sketch, that Ouyang Xiu wrote for Mei, included in the footnote below.³ The portion, in the sketch at the end, mentioning Boya and Ziqi, is as follows:

聖俞久在洛中，其詩亦往往人皆有之，今將告歸，余因求其稿而寫之。然夫前所謂「心之所得」者，如伯牙鼓琴，子期聽之；不相語而意相知也。余今得聖俞之稿，猶伯牙之琴絃乎！
Shengyu (Mei Yaochen) had been in Luoyang quite some time, and his poems were widely circulated there. Now that he was about to return home, I requested his drafts and copied them down. Now, as for what is called "the understanding of the heart", this is like Bo Ya playing the qin while Ziqi listens; though they do not speak, their thoughts are mutually understood. Now that I have obtained Shengyu’s drafts, is it not like having Bo Ya’s qin strings?

Ouyang Xiu enjoyed very much playing qin, as did another friend (though sometimes politcal opponent) of Mei's, Fan Zhongyan, an accomplished qin player as well as poet. From this, plus Ouyang Xiu's essay and other poems by Mei, one might assume that Mei Yaochen played as well. However, there seems to be no evidence for that, and it seems more likely that Mei completely focused his artistic impulses on writing poetry.

The following are some more of Mei Yaochen's own poetry that mentions qin (beginning with poems included in Qinshu Daquan):

Folio 18, #13 (V/393)
梅堯臣魚琴賦 Rhapsody on a Qin (made from a wooden) Fish (宛陵先生集卷第六十)
- A muyu (wooden fish; Wiki) is usually much smaller than the one shown in the image at right, but it would have had to be very big for its wood to be sufficient to make the top and bottom boards of a qin. Interestingly, a qin should be made with two types of wood: light for the top, heavy for the bottom. Here the qin seems to have been made from a block of wood from one tree, but the narration says that the best tree trunk would be heavy on its yin side and light on its yang side. As for the translation here of the comment near the end about reviving metal and stone instrument, this is a wild guess. Something like that did happen during the Song dynasty, but it was apparenently after Mei Yaochen. Finally, I am at a loss as to why qin was compared to stone and metal.

Wooden fish: a percussion instument

「丁從事獲古寺破木魚，斲為琴，可愛玩，潘叔冶從而為賦，余又和之，將以道其事，而寄其懷。賦曰：『為琴之美者，莫若梧桐之孫枝。夫其生也，附崖石，遠水涯，陰凝其液，陽削其皮，曾無漫戾，而沈實之韻資。噫！始其遇匠氏也。有幸不幸焉。故未得盡厥宜，其於不偶，若陷於夷。刳中刻鱗，加尾及髻，宛然而魚，曰擊而椎，主彼齊眾之律令，則聲聞囂爾而四馳。粵有好事者，竭來睨之，取為雅器。制擬庖犧，徽以黃金，弦以纏絲。音和律調，乃升堂室，嗚呼，琴兮！遇與不遇，誠由於通窒。始其效材雖甚辱兮，於道無所失，今而決可以參金石之春天焉。無忘在昔為魚之日。』」
Ding Congshi obtained an old wooden fish from an ancient temple. He carved it into a qin, making it a delightful object of appreciation. Pan Shuye composed a rhapsody on it, then I did so as well, intending to describe the matter and express my sentiments." My rhapsody says,
"Of all the fine materials for making a qin, none surpasses lineage-grown timber from a wutong (paulownia) tree. When it grows, it clings to cliffs and stones, far from riverbanks. The yin (shady) side condenses its essence; the yang sunny side peels its bark. It never spreads recklessly but accumulates a deep and resonant tone.
Here was a shock! First it fell into the hands of an artisan. This was both fortune and misfortune. Thus it was not used to its best potential, but was instead cast into a lowly state, as if trapped among barbarians. Hollowed out and carved with scales, fitted with a tail and crest, it became a fish in form. When struck with a mallet, it led the chants of monastic rules, its sound spreading noisily in all directions.
And yet this turned into good fortune, as there was someone who delighted in such things. As it was getting worn out he noticed it, and identified it as good for making a refined instrument. He shaped it after Fuxi's design, adorned it with golden pitch markers and fixed it with silk strings. Tuned in harmony with correct pitch standards, it was elevated to the halls and chambers of elegance.
Ah, the qin! Whether one encounters it or not, fortune or misfortune is truly a matter of whether one is blocked or allowed to flow freely. Though at first your skill level may be humiliating, if you do not deviate from the Way, when it comes to today you will be ready to join a spring-like renewal such as is being done with the metal and stone instruments. Just never forget the days when all you had was a wooden fish.
Folio 20A, #44 - 47 (four entries, V/448),
- 送彈琴僧知白 Seeing off the Qin-Playing Monk Zhi Bai
  See under Zhi Bai
- 若訥上人彈琴 On Venerable Ruo Ne Playing the Qin
  祥哀已踰月，遇子彈鳴琴。
  安得不成聲，子心異吾心。
  十日成笙歌，尼父非好音。
  先王禮有節，不可過於今。
  莫作《風入松》，懷壟情未任。
  一聞《流水》曲，歸思在溪陰。
  此焉吾所樂，目極送歸禽。
  The mourning period had already exceeded one month,
  when I met you, plucking a resonant qin.
  How could it fail to have a distinctive sound?
  Your heart is different from mine.
  Just ten days may suffice to make a song for sheng mouth organ;
  but Confucius did not care just for beautiful sound.
  The rites of the former kings put time limits on grief;
  these should not be surpassed in our own time.
  So do not play “Wind Through the Pines”;
  my heart cannot bear grave-mound grief.
  But as soon as I hear the "Flowing Streams" melody,
  my longing to return settles in shade of a stream.
  This, then, is my true joy,
  and my eyes strain as far as they can go to follow the homebound birds.
  若訥字號 31508.79 若訥 Ruo Ne: 字號 nickname of several people; 上人 often suggests a monk.
  祥哀: here "祥" seems to refer to a one month mourning period that takes place some time after a death
- 宮承胡平易彈琴 In a Hall Receiving the Qin Playing of Hu Pingyi
  昌黎嘗試聽琴詩，六一謂是琵琶詞。
  琴與琵琶孰能辨，世上寧無鐘子期？
  Changli (Han Yu) once tried writing a "Listening to Qin" poem,
  but Mr. Six-One (Ouyang Xiu) said it was really a poem about pipa.
  As for who can truly distinguish qin from pipa,
  Is there truly no Zhong Ziqi left in this world?
- 鳴琴 A Resonating Qin
  雖傳古人聲，不識古人意。
  古人今已遠，悲哉廣陵思。
  Though the sounds of the ancients are passed down,
  their intentions are no longer understood.
  With the ancients now far removed in time,
  how sorrowful, this longing for the Guangling melody.
  The melody Guangling San did exist in Mei Yaochen's time but there is almost no record of anyone actually playing it then.
Folio 20B, #47 (V/456)
- 風琴聯句 Linked-verse on a Wind-Qin
  The poem elsewhere is called 風瑟聯句 Linked-verse on a Wind-Se (not a music instrument but a metaphor for nature's music). The author of the first half, 謝絳 Xie Jiang（994 - 1039), 字希深 style name Xishen (same style name as that of Fan Zhongyan), was a brother of Mei Yaochen's first wife and part of a very distinguished family (see Chaves, p.4, etc.).
  竅竹漏天風，張絃擬嶧桐。
  佳名從此得，妙響未曾窮。（希深）
  夜靜危臺上，人閑皎月中。
  依依聽不足，秋露滿蘭叢。（堯臣）
  Hollowed bamboo produces a heavenly breeze;
  Taut strings recall the sacred tong wood of Yi Peak.
  The fame of this wood comes from this (sound),
  Its wondrous tones never become impoverished. (Xie Jiang)
  The night is still atop a perilous terrace;
  All is calm beneath the clear moonlight.
  Lingering, one cannot hear enough,
  As autumn dew soaks the clustered orchids. (Mei Yaochen)
Folio 20B, #55 (V/457)
- 遊元紫芝琴臺 Going to the Qin Terrace of Yuan Zizhi (元德秀 Yuan Dexiu, 696 - 754)
  訪古歷荒城，城孤落日鳴。
  人琴兩不見，破月高臺傾。
  Visiting ancient sites, I pass through a desolate city;
  The city lies solitary, echoing under the setting sun.
  Neither man nor qin can be seen —
  A broken moon hangs above the high terrace at a slant.
  Yuan Dexiu's qin terrace was (is?) in what is today 魯山縣; Lushan County, Henan.

Apparently not in Qinshu Daquan is Mei Yaochen's 依韻和邵不疑寄杜挺之以病雨止冷淘會
Matching Rhyme: A Response to Shao Buyi’s Letter to Du Tingzhi About Recovering from Illness, Rain Stopping and so Meeting over Cold Noodles

彈琴閱古畫，煮茗仍有期！
一夕風雨來，且喜農畝滋。
中河不阻澀，舟楫亦所宜。
況聞新疾愈，當與嗜好睽。
何須顧小約，豈不是他時。
淡泊全精神，老氏吾將師。
幸因答來章，敢不以此咨。
此咨有深理，願君勸且思。

Playing qin, viewing ancient paintings,
boiling tea - once again there is time!
All night wind and rain came;
so fortunately the farmlands are nourished.
The center of the river is not obstructed or stagnant,
boats with oars have the space they need.
Also I hear your recent illness has healed,
so should we still stay away from shared pleasures?
Why concern ourselves with trivial appointments?
Is there not always another time?
Simplicity allows one to preserve the spirit;
thus shall I take Laozi as my teacher.
Having luckily received your letter,
how could I not respond with my own thoughts?
This discussion contains deep meaning;
I hope you will reflect and consider them.

Cold noodles were once a popular summertime dish, and meeting over cold noodles suggests a gathering where the food is simple, with the emphasis on literati pleasures. Here it seems as though this poem was written in response to a rhymed letter Shao Buyi had addressed to another friend, Du Tingzhi, but that was circulated to several friends; Mei's response might then also have been circulated to all those included in the gathering. Unfortunately, Shao Buyi's original poem does not seem to have survived.

Mei Yaochen also wrote what seem to be at least two further related poems that still exist. That they are all (5+5)x 2 couplets with a similar rhyme patterns (though differing lengths) emphasizes the connection. One concerns 邵不疑學士 Scholar (Academician?) Shao Buyi's book and painting collection; the other concerns Du Tingzhi giveng Mei a gift , has a similar theme. Neither one mentions qin or gives any other details about either person, and I do not know whether they were written around the same time as the poem translated above.

觀邵不疑學士所藏名書、古畫 Viewing Scholar Shao Buyi’s Collection of Famous Books and Ancient Paintings

野性好書畫，無力能自致，每遇高趣人，常許出以視。
邵侯多奇玩，留我特開笥，首觀阮與杜，驢上瞑目醉（阮籍、杜甫）。
韓乾貌四馬，臨流解鞍轡，花驄照夜白，正側各畜意。
系衣穿褲靴，坐立皆廄吏，精神宛如生，於囟復穿鼻。
梅雞徐熙花，竹間寒雀睡，逸少自寫真，對鏡絕相類。
數本失姓名，古胡並老驥，山水樹石硬，荊關藝能至（荊皓、關穜）。
巨然李成者，落筆愈奇異，人物張僧繇，雖傳恐非是。
其餘又莫究，模搭似未備。周秦已來書，行草楷篆隸，
聲名舊烜赫，一一果可喜。邵侯愛我曹，咸使紙尾記，
況侯有古學，小字刻瑉翠，各贈墨本歸，懷寶誰肯忌？

杜挺之贈端溪圓硯 Du Tingzhi’s Gift of a Round Duanxi Inkstone（詩詞正文）

雪壓古寺深，中有臥病客。訪之語久清，飢馬齧庭柏。
案頭蠻溪硯，其狀若圓璧。指此欲為贈，而將助吟席。
非意予敢貪，既拒頗不懌。大出楮中有，素許當自擇。
強持慰勤心，歸以示朋戚。哂曰豈其然，為汲寒泉滌。
滌彼偽飾物，紙乾見頑石。清晨走髯奴，無厭願求易。
拜賜遂如初，明月懷吞蝕。微分鴝目瑩，尚漬墨花碧。
詞答謂我愚，悔復料已逆。明日未央朝，執手笑啞啞。

未央宮 Weiyang Palace ("Endless Palace"; 14753.18) in Chang'an was once the largest palace on earth but it was destroyed by invaders during the Tang dynasty. As for 未央朝 Weiyang Chao (14753.xxx), there is no such known palace during the time of Mei Yaochen so the name is presumably used in a figurative sense.

Footnotes (Shorthand references are explained on a separate page)

1. 梅堯臣 Mei Yaochen (1002 - 1060; Wikipedia)
ICTCL 620; 15223.162 字聖俞 style name Shengyu; no other alternate names mentioned.

Nienhauser, Indiana Companion to Traditional Chinese Literature, p.620.
Jonathan Chaves, Mei Yao-ch'en and the Developent of Early Sung Poetry, NY, Columbia University Press, 1976.

Mei lived during the Northern Song dynasty (960–1127), which had its capital in 汴京 Bianjing (Kaifeng). He was born in 宣城 Xuancheng, today in the southeast corner of Anhui province, and periodically returned there especially when his mother and father died, but he spent most of his career in minor posts around Henan province before the last four in Bianjing (Kaifeng).
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2. Image: 梅堯臣 Mei Yaochen
Copied from zhihu.com, which does not give its source. Compare zh.wikipedia.org, etc.
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3. Ouyang Xiu writing about Mei Yaochen
The full text of this poem and sketch, as included in Qinshu Daquan, Folio 18, #85 (V/417), is as follows:

書梅聲俞詩藁後 Shu Mei Shengyu Shi Gao Hou
(9/597 藁 gao: same as 稾 or 稿 sketch )
凡樂，達天地之和而與人之氣相接，故其疾徐奮動可以感於心，歡欣惻愴可以察于聲。五聲單出於金石，不能自和也，而工者和之。然抱其器，知其聲，節其廉肉而調其律呂，如此者，工之善也。今指其器以問于工曰：彼簨者，堵而編、執而列者，何也？彼必曰：鞀鼓、鐘磬、絲管、干戚也。又語其聲以問之曰：彼清者，濁者，剛而奮、柔而曼衍者，或在郊、或在廟堂之下而羅者，何也？彼必曰：八音，五聲，六代之曲，上者歌而下者舞也。其聲器名物，皆可以數而對也。然至乎動盪血脈，流通精神，使人可以喜，可以悲，或歌或泣，不知手足鼓舞之所然，問其何以感之者，則雖有善工，猶不知其所以然焉，蓋不可得而言也。樂之道深矣，故工之善者，必得於心，應于手，而不可述之言也。聽之善，亦必得於心而會以意，不可得而言也。堯、舜之時，夔得之，以和人神、舞百獸。三代、春秋之際，師襄、師曠、州鳩之徒得之，為樂官，理國家，知興亡。周衰官失，樂器淪亡，散之河海，逾千百歲間，未聞有得之者。其天地人之和氣相接者，既不得泄于金石，疑其遂獨鍾於人。故其人之得者，雖不可和于樂，尚能歌之為詩。
古者登歌清廟，太師掌之，而諸侯之國亦各有詩，以道其風土性情。至于投壺、饗射，必使工歌，以達其意，而為賓樂。
蓋詩者，樂之苗裔歟！漢之蘇、李，魏之曹、劉，得其正始。宋、齊而下，得其浮淫流佚。唐之時，子昂、李、杜、沈、宋、王維之徒，或得其淳古淡泊之聲，或得其舒和高暢之節，而孟郊、賈島之徒，又得其悲愁鬱堙之氣。由是而下，得者時有，而不純焉。
今聖俞亦得之。然其體長於本人情，狀風物，英華雅正，變態百出。哆兮其似春，淒兮其似秋，使人讀之可以喜，可以悲，陶暢酣適，不知手足之將鼓舞也。斯固得深者邪！其感人之至，所謂與樂同其苗裔者邪！余嘗問詩于聖俞，其聲律之高下，文語之疵病，可以指而告余也，至其心之得者，不可以言而告也。余亦將以心得意會，而未能至之者也。
聖俞久在洛中，其詩亦往往人皆有之，今將告歸，余因求其稿而寫之。然夫前所謂心之所得者，如伯牙鼓琴，子期聽之，不相語而意相知也。余今得聖俞之稿，猶伯牙之琴弦乎！

Jonathan Chaves has translated the third and fourth paragraphs in his book cited above (pp. 9 and 10 respectively).

The fifth paragraph is extracted above.
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