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Qin Lore
Includes works used as references in biographies |
古琴傳說 1 |
This page has basic information about some English and Chinese language reference materials important for traditional Chinese lore but not introduced elsewhere on the site.2 Some of the English references are translations of Chinese works. On this site many of the qin biographies are more lore than history. Other basic sources of qin lore are included either with melody introductions in the qin handbook section, or with stories themselves, particularly those in the collection in Qinshu Daquan (QSDQ), Folio 17, which includes many more references, but with few translations at yet. Links are being made connect these other pages and the listing below.
English language reference materials, a selected list
Relevant references on this site, in addition to those in QSDQ, Folio 17, #18 and #42, include,
Yang Chun (quoted)
Bai Xue (referenced)
Yang Chun (quoted)
Biography of Zuo Si (referenced)
(In QSDQ, Folio 16, #53 Su Dongpo mentions a different Zhang Hua)
Guo Pu (276 - 322; 40338.365, Strange Writing, ICTCL, Giles) was a 方士 master of esoteric skills connected to several works on anomalies: Shanhai Jing and 穆天子傳 (An Account of Emperor Mu; edited and perhaps augmented); 玄中記 Xuanzhong Ji (Records from Within the Recondite; author). He also wrote glosses for 爾雅 Er Ya.
Shan Hai Jing itself was apparently compiled from earlier sources, many or most dating from the Warring States period or earlier. It has been translated by Anne Birrell with the title The Classic of Mountains and Seas. Her translation refers to people mainly by translated names (e.g., Shun is "Hibiscus") and there are no Chinese characters, no index, and no Chinese to English glossary. This plus the translations of musical instrument names in particular makes it difficult to know their actual identity without looking at the original text. Here are four examples from the Penguin edition:
Guo Pu and Shanhai Jing references on this site include,
Original is 顓頊棄其琴瑟 Zhuanxu threw away his qin se (a common pairing in early sources).
Original is 晏龍是為琴瑟 Yanlong was the one who invented the qin and se (or qinse: zithers; Yanlong was a son of 俊 Jun, i.e.,
Di Ku).
QSCM 18, #30 (Guo Pu)
By 杜光庭 Du Guangting (850 - 933; ICTCL). References include QSDQ,
Folio 17, #2.
Also by Du Guangting; QSDQ,
Folio 17, #3, quotes two qin-related entries. Altogether this book has "careers, both mortal and immortal, of Taoist women and goddesses" (ICTCL). Of the apparently 109 original biographies 79 have survived, of which 27 are translated by Suzanne Cahill in her Divine Traces of the Daoist Sisterhood. This does not seem to include any of those with qin connections.
This "collection of the biographies of 84 Daoist immortals (mostly) extracted from various earlier works" (ICTCL, p.677) was written by 葛洪 Ge Hong (283 - 343), but commonly available Chinese versions (or quotations) are often from later works. Campany (see above) attempted as much as possible to reconstruct Ge Hong's original. Relevant references to it on this site include comments on the melodies
Gu Guan Yu Shen and
Yasheng Cao.
See Mather above and
details below.
12365.33: originally by 符秦方士王嘉 Wang Jia (4th c.; Bio/148), also called 王子年 Wang Zinian. The original is lost; a new edition from fragments was compiled in the 6th c. by 蕭綺 Xiao Qi. References include
QSDQ, Folio 17, #17 and
Huaxu Yin.
Only one story in the earlier Jiandeng Xinhua mentions qin: in Marvelous Encounter at Wei Pond (渭塘奇遇記 Wei Tang Qiyu Ji; source: http://zh.wikisource.org/zh/剪燈新話) there is a poem with a couplet that says, "箏許秦宮奪，琴從卓氏猜。" (a reference to 卓文君 Zhuo Wenjun?).
In contrast nine of its 21 stories in Jiandeng Yuhua mention qin. These nine are as follows (with the number of occurrences based on the version at http://zh.wikisource.org/zh/剪燈餘話):
Five of the 21 stories are translated in Wolfgang Bauer and Herbert Franke (ed), The Golden Casket (New York, Harcourt, Brace and World, 1964). Li Zhen has women playing the qin in two of these five (3.1 and 3.5) as well as in Jia Yunhua's Return from the Grave (6.1); a man plays in Playing the Qin on a Moonlit Night (2.3).
Liaozhai stories commonly mention 琴瑟 qinse to mean marital love, and at least one story has had a qin added in a film version re-telling:2
Nie Xiaoqian (聶小倩 Nie Xiaoqian)
The 1960 film The Enchanting Shadow, based on this story, features a qin, but no music instrument is mentioned in the original Liaozhai version of the story. (As of 2010 the translation by Wong Juan could be found online.)
Two other stories mention qin, but not the classical version:5
At least four Liaozhai stories actually mention or feature the qin as a music instrument. These latter include the following:6
After Wen Ruchun arrived home he met a rich girl 良工 Lianggong who loved both the qin and him, and against the wishes of her family he somehow managed to marry her. One night they heard his qin being played, but they found no one playing it. His wife suggested using an ancient mirror belonging to her family, as if it was a ghost playing they would then be able to see it. They did this and found it was Huanniang. Huanniang confessed that she had been dead now for 100 years. When young she had always loved zheng and qin, but she had died before learning qin. When she heard Wen playing it, she decided to help him marry the beautiful Lianggong. She then asked Wen to teach qin to her, and she in turn taught zheng to Lianggong. Before she left, she gave Wen a picture of her, and told him that if from time to time he would hang up the picture, light incense, and play a tune, she would then be very happy. Upon saying this she disappeared. (Thanks to Lau Shing Hon for the translation.)
Giles translates only up to here; so far there has been no mention of qin. In the final third of the original story Zhen, having married Chen Yunqi, is persuaded by her also to marry Sheng Yunmian, whom Chen claims as a sister. The three live together, with the two women entertaining him by playing qin. (Thanks to Lau Shing Hon for help with this part.)
When Yang Ridan finally arrived home he found out he had actually disappeared for 16 years. His grandmother told him that Shigu was indeed his aunt, but she had married Yan, but he had left home when she was 16. She stayed at home and died 4 years later, but this was 30 years ago. When they looked in her coffin they had found no body.
Now in their village there is a beautiful girl of 16 called 荷生 Hesheng. She has been engaged three times, but all three men died before they could marry. Yang Ridan marries her, and when he sees her he thinks she is in fact Fendie. But she knows nothing about having met him, being in fact a reincarnation of Fendie. So whenever Yang plays Celestial Maiden Banished from Heaven, Hesheng is really moved by it. (Thanks to Lau Shing Hon for the translation. In a modern version Fendie is a reincarnation of a butterfly spirit and Hesheng is said to have evolved from silk string.)
Some of these stories have been adapted for television or film.
1.
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2.
Other collections of lore discussed on this site
For example, Liexian Zhuan and Lienü Zhuan are introduced with the author, Liu Xiang.
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3.
Ge Hong (葛洪 283 - 343)
Ge Hong, nicknamed 抱朴子 Baopuzi, in addition to his
Shenxian Zhuan, is said to have written a Baopuzi 內篇 Nei Pian (the Daoist and esoteric Inner Chapters) and a Baopuzi 外篇 Wai Pian (the exoteric and Confucian Outer Chapters); there is further discussion in Wiki. His name is also romanized Ko Hung; and one biography, for some reason, calls him Kou Hong. He has a temple in Hangzhou named after him.
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4.
劉義慶 Liu Yiqing (403 - 444)
Bio/660 (and 2270.919) say nothing about music or poems, the only literary reference being Shishuo Xinyu. A noted scholar-official, Liu Yiqing was a member of the Southern Song dynasty imperial clan. His official positions included being cishi (inspector) of Linchuan in Jiangxi as well as governor of Yanzhou in Shandong. His writings are said to have included:
Liu Yiqing himself is the subject of the earliest commentary on the melody Wu Ye Ti (details).
Shishuo Xinyu has a number of guqin related stories. They do not include the Wu Ye Ti story, but they do include these (and others):
There are many more references here, but it is generally beyond the scope of this site to determine which first survive from Shi Shuo Xin Yu.
There is some further speculation about Liu Yiqing under the melody
Yu Shu Lin Feng.
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5.
聊齋誌異 Liaozhai Zhi Yi original text for 聶小倩 Nie Xiaoqian
As mentioned above, the qin is added only for the film versions - this original version does not mention any music instrument at all (copied from open-lit):
甯采臣，浙人。性慷爽，廉隅自重。每對人言：「生平無二色。」適赴金華，至北郭，解裝蘭若。寺中殿塔壯麗；然蓬蒿沒人，似絕行蹤。東西僧舍，雙扉虛掩；惟南一小舍，扃鍵如新。又顧殿東隅，修竹拱把；階下有巨池，野藕已花。意甚樂其幽杳。會學使按臨，城舍價昂，思便留止，遂散步以待僧歸。日暮，有士人來，啟南扉。甯趨為禮，且告以意。士人曰：「此間無房主，僕亦僑居。能甘荒落，旦晚惠教，幸甚。」甯喜，藉藁代床，支板作几，為久客計。是夜，月明高潔，清光似水，二人促膝殿廊，各展姓字。士人自言：「燕姓，字赤霞。」甯疑為赴試諸生，而聽其音聲，殊不類浙。詰之，自言：「秦人。」語甚樸誠。既而相對詞竭，遂拱別歸寢。
甯以新居，久不成寐。聞舍北喁喁，如有家口。起伏北壁石窗下，微窺之。見短牆外一小院落，有婦可四十餘；又一媼衣緋，插蓬沓，鮐背龍鐘，偶語月下。婦曰：「小倩何久不來？」媼云：「殆好至矣。」婦曰：「將無向姥姥有怨言否？」曰：「不聞，但意似蹙蹙。」婦曰：「婢子不宜好相識！」言未已，有一十七八女子來，彷彿豔絕。媼笑曰：「背地不言人，我兩個正談道，小妖婢悄來無跡響。幸不訾著短處。」又曰：「小娘子端好是畫中人，遮莫老身是男子，也被攝魂去。」女曰：「姥姥不相譽，更阿誰道好？」婦人女子又不知何言。
甯意其鄰人眷口，寢不復聽。又許時，始寂無聲。方將睡去，覺有人至寢所。急起審顧，則北院女子也。驚問之。女笑曰：「月夜不寐，願修燕好。」甯正容曰：「卿防物議，我畏人言；略一失足，廉恥道喪。」女云：「夜無知者。」甯又咄之。女逡巡若復有詞。甯叱：「速去！不然，當呼南舍生知。」女懼，乃退。至戶外復返，以黃金一鋌置褥上。甯掇擲庭墀，曰：「非義之物，污吾囊橐！」女慚，出，拾金自言曰：「此漢當是鐵石。」
詰旦，有蘭溪生攜一僕來候試，寓於東廂，至夜暴亡。足心有小孔，如錐刺者，細細有血出。俱莫知故。經宿，僕一死，症亦如之。向晚，燕生歸，甯質之，燕以為魅。甯素抗直，頗不在意。宵分，女子復至，謂甯曰：「妾閱人多矣，未有剛腸如君者。君誠聖賢，妾不敢欺。小倩，姓聶氏，十八夭殂，葬寺側，輒被妖物威脅，歷役賤務；顏向人，實非所樂。今寺中無可殺者，恐當以夜叉來。」甯駭求計。女曰：「與燕生同室可免。」問：「何不惑燕生？」曰：「彼奇人也，不敢近。」問：「迷人若何？」曰：「狎昵我者，隱以錐刺其足，彼即茫若迷，因攝血以供妖飲；又惑以金，非金也，乃羅剎鬼骨，留之能截取人心肝：二者，凡以投時好耳。」甯感謝。
問戒備之期，答以明宵。臨別泣曰：「妾墮玄海，求岸不得。郎君義氣干雲，必能拔生救苦。倘肯囊妾朽骨，歸葬安宅，不啻再造。」甯毅然諾之。因問葬處，曰：「但記取白楊之上，有烏巢者是也。」言已出門，紛然而滅。
明日，恐燕他出，早詣邀致。辰後具酒饌，留意察燕。既約同宿，辭以性癖耽寂。甯不聽，強攜臥具來。燕不得已，移榻從之。囑曰：「僕知足下丈夫，傾風良切。要有微衷，難以遽白。幸勿翻窺篋襆，違之，兩俱不利。」甯謹受教。既而各寢。燕以箱篋置窗上，就枕移時，齁如雷吼。甯不能寐。近一更許，窗外隱隱有人影。俄而近窗來窺，目光睒閃。甯懼，方欲呼燕，忽有物裂篋而出，耀若匹練，觸折窗上石櫺，歘然一射，即遽斂入，宛如電滅。燕覺而起，甯偽睡以覘之。燕捧篋檢徵，取一物，對月嗅視，白光晶瑩，長可二寸，徑韭葉許。已而數重包固，仍置破篋中。自語曰：「何物老魅，直爾大膽，致壞篋子。」遂復臥。
甯大奇之，因起問之，且以所見告。燕曰：「既相知愛，何敢深隱。我，劍客也。若非石櫺，妖當立斃；雖然，亦傷。」問：「所緘何物？」曰：「劍也。適嗅之，有妖氣。」甯欲觀之。慨出相示，熒熒然一小劍也。於是益厚重燕。明日，視窗外，有血蹟。遂出寺北，見荒墳纍纍，果有白楊，烏巢其顛。迨營謀既就，趣裝欲歸。燕生設祖帳，情義殷渥。以破革囊贈甯，曰：「此劍袋也，寶藏可遠魑魅。」甯欲從授其術。曰：「如君信義剛直，可以為此；然君猶富貴中人，非此道中人也。」甯乃託有妹葬此，發掘女骨，斂以衣衾，賃舟而歸。甯齋臨野，因營墳葬諸齋外。祭而祝曰：「憐卿孤魂，葬近蝸居，歌哭相聞，庶不見陵於雄鬼。一甌漿水飲，殊不清旨，幸不為嫌。」祝畢而返。後有人呼曰：「緩待同行！」回顧，則小倩也。歡喜謝曰：「君信義，十死不足以報。請從歸，拜識姑嫜，媵御無悔。」審諦之，肌映流霞，足翹細筍，白晝端相，嬌豔尤絕。
遂與俱至齋中。囑坐少待，先入白母。母愕然。時甯妻久病，母戒勿言，恐所駭驚。言次，女已翩然入，拜伏地下。甯曰：「此小倩也。」母驚顧不遑。女謂母曰：「兒飄然一身，遠父母兄弟。蒙公子露覆，澤被髮膚，願執箕帚，以報高義。」母見其綽約可愛，始敢與言，曰：「小娘子惠顧吾兒，老身喜不可已。但生平止此兒，用承祧緒，不敢令有鬼偶。」女曰：「兒實無二心。泉下人，既不見信於老母，請以兄事，依高堂，奉晨昏，如何？」母憐其誠，允之。即欲拜嫂。母辭以疾，乃止。女即入廚下，代母尸饔，入房穿榻，似熟居者。日暮，母畏懼之，辭使歸寢，不為設床褥。女窺知母意，即竟去。
過齋欲入，卻退，徘徊戶外，似有所懼。生呼之。女曰：「室有劍氣畏人。向道途之不奉見者，良以此故。」甯悟為革囊，取懸他室。女乃入，就燭下坐。移時，殊不一語。久之，問：「夜讀否？妾少誦楞嚴經，今強半遺忘。浼求一卷，夜暇，就兄正之。」甯諾。又坐，默然，二更向盡，不言去。甯促之。愀然曰：「異域孤魂，殊怯荒墓。」甯曰：「齋中別無床寢，且兄妹亦宜遠嫌。」女起，容顰蹙而欲啼，足㑌儴而懶步，從容出門，涉階而沒。甯竊憐之。欲留宿別榻，又懼母嗔。
女朝旦朝母，捧匜沃盥，下堂操作，無不曲承母志。黃昏告退，輒過齋頭，就燭誦經。覺甯將寢，始慘然去。先是，甯妻病廢，母劬不可堪；自得女，逸甚。心德之。日漸稔，親愛如己出，竟忘其為鬼；不忍晚令去，留與同臥起。女初來未嘗食飲，半年漸啜稀。母子皆溺愛之，諱言其鬼，人亦不之辨也。無何，甯妻亡。母陰有納女意，然恐於子不利。女微窺之，乘間告母曰：「居年餘，當知兒肝鬲。為不欲禍行人，故從郎君來。區區無他意，止以公子光明磊落，為天人所欽矚，實欲依贊三數年，借博封誥，以光泉壤。」母亦知無惡，但懼不能延宗嗣。女曰：「子女惟天所授。郎君註福籍，有亢宗子三，不以鬼妻而遂奪也。」母信之，與子議。甯喜，因列筵告戚黨。或請覿新婦，女慨然華妝出，一堂盡眙，反不疑其鬼，疑為仙。由是五黨諸內眷，咸執贄以賀，爭拜識之。
女善畫蘭梅，輒以尺幅酬答，得者藏之什襲以為榮。一日，俛頸窗前，怊悵若失。忽問：「革囊何在？」曰：「以卿畏之，故緘置他所。」曰：「妾受生氣已久，當不復畏，宜取挂床頭。」甯詰其意，曰：「三日來，心怔忡無停息，意金華妖物，恨妾遠遁，恐旦晚尋及也。」甯果攜革囊來。女反復審視，曰：「此劍仙將盛人頭者也。敝敗至此，不知殺人幾何許！妾今日視之，肌猶粟慄。」乃懸之。
次日，又命移懸戶上。夜對燭坐，約甯勿寢。歘有一物，如飛鳥墮。女驚匿夾幙間。甯視之，物如夜叉狀，電目血舌，睒閃攫拏而前。至門卻步；逡巡久之，漸近革囊，以爪摘取，似將抓裂。囊忽格然一響，大可合簣；恍惚有鬼物，突出半身，揪夜叉入，聲遂寂然，囊亦頓縮如故。甯駭詫。女亦出，大喜曰：「無恙矣！」共視囊中，清水數斗而已。後數年，甯果登進士。女舉一男。納妾後，又各生一男，皆仕進有聲。
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3.
聊齋誌異 Liaozhai Zhi Yi stories that mention "qin" but not the guqin
Here is the original Chinese for two 聊齋誌異 Liao Zhai Zhiyi stories that mention the "qin" but not the classical instrument (copied from
open-lit):
忽念下方景界，未審何似；隱將兩眸微開一線，則見大海茫茫，渾無邊際。大懼，即復合，而身已隨石俱墮，砰然一聲，汨沒若鷗。幸夙近海，略諸泅浮。聞人鼓掌曰：「美哉跌乎！」危殆方急，一女子援登舟上，且曰：「吉利，吉利，秀才『中溼』矣！」視之，年可十六七，顏色豔麗。王出水寒慄，求火燎之。女子言：「從我至家，當為處置。苟適意，勿相忘。」王曰：「是何言哉！我中原才子，偶遭狼狽，過此圖以身報，何但不忘！」女子以棹催艇，疾如風雨，俄已近岸。於艙中攜所採蓮花一握，導與俱去。半里許入村，見朱戶南開，進歷數重門，女子先馳入。少間，一丈夫出，是四十許人，揖王升階，命侍者取冠袍襪履，為王更衣。既，詢邦族。王曰：「某非相欺，才名略可聽聞。崔真人切切眷戀，招昇天闕。自分功名反掌，以故不願棲隱。」丈夫起敬曰：「此名仙人島，遠絕人世。文若，姓桓。世居幽僻，何幸得近名流。」因而殷懃置酒。又從容而言曰：「僕有二女，長者芳雲，年十六矣，祗今未遭良匹。欲以奉侍高人，如何？」王意必採蓮人，離席稱謝。桓命於鄰黨中，招二三齒德來。顧左右，立喚女郎。無何，異香濃射，美姝十於輩，擁芳雲出，光豔明媚，若芙蕖之映朝日。拜已，即坐，群姝列侍，則採蓮人亦在焉。酒數行，一垂髫女自內出，僅十餘齡，而姿態秀曼，笑依芳雲肘下，秋波流動。桓曰：「女子不在閨中，出作何務？」乃顧客曰：「此綠云，即僕幼女。頗惠，能記典、墳矣。」因令對客吟詩。遂誦竹枝詞三章，嬌婉可聽。便令傍姊隅坐。桓因謂：「王郎天才，宿搆必富，可使鄙人得聞教乎？」王即慨然誦近體一作，顧盼自雄，中二句云：「一身剩有鬚眉在，小飲能令塊磊消。」鄰叟再三誦之。芳雲低告曰：「上句是孫行者離火雲洞，下句是豬八戒過子母河也。」一座撫掌。桓請其他。王述水鳥詩云：「瀦頭鳴格磔，……」忽忘下句。甫一沉吟，芳雲向妹咕咕耳語，遂掩口而笑。綠雲告父曰：「渠為姊夫續下句矣。云：『狗腚響弸巴。』」合席粲然。王有慙色。桓顧芳雲，怒之以目。王色稍定，桓復請其文藝。王意世外人必不知八股業，乃炫其冠軍之作，題為孝哉閔子騫二句，破云：「聖人贊大賢之孝……」綠雲顧父曰：「聖人無字門人者，『孝哉……』一句，即是人言。」王聞之，意興索然。桓笑曰：「童子何知！不在此，只論文耳。」王乃復誦。每數句，姊妹必相耳語，似是月旦之詞，但嚅囁不可辨。王誦至佳處，兼述文宗評語，有云：「字字痛切。」綠雲告父曰：「姊云：『宜刪「切」字。』」眾都不解。桓恐其語嫚，不敢研詰。王誦畢，又述總評，有云：「羯鼓一撾，則萬花齊落。」芳雲又掩口語妹，兩人皆笑不可仰。綠雲又告曰：「姊云：『羯鼓當是四撾。』」眾又不解。綠雲啟口欲言，芳雲忍笑訶之曰：「婢子敢言，打煞矣！」眾大疑，互有猜論。綠雲不能忍，乃曰：「去『切』字，言『痛』則『不通』。鼓四撾，其聲云『不通又不通』也。」眾大笑。桓怒訶之。因而自起泛卮，謝過不遑。王初以才名自詡，目中實無千古；至此，神氣沮喪，徒有汗淫。桓諛而慰之曰：「適有一言，請席中屬對焉：『王子身邊，無有一點不似玉。』」眾未措想，綠雲應聲曰：「黽翁頭上，再著半夕即成龜。」芳雲失笑，呵手扭脅肉數四。綠雲解脫而走，回顧曰：「何預汝事！汝罵之頻頻，不以為非；寧他人一句，便不許耶？」桓咄之，始笑而去。鄰叟辭別。諸婢導夫妻入內寢，燈燭屏榻，陳設精備。又視洞房中，牙籤滿架，靡書不有。略致問難，響應無窮。王至此，始覺望洋堪羞。女喚「明璫」，則採蓮者趨應，由是始識其名。屢受誚辱，自恐不見重於閨闥；幸芳雲語言雖虐，而房幃之內，猶相愛好。王安居無事，輒復吟哦。女曰：「妾有良言，不知肯嘉納否？」問：「何言？」曰：「從此不作詩，亦藏拙之一道也。」王大慚，遂絕筆。久之，與明璫漸狎。告芳雲曰：「明璫與小生有拯命之德，願少假以辭色。」芳雲乃即許之。每作房中之戲，招與共事，兩情益篤，時色授而手語之。芳雲微覺，責詞重疊；王惟喋喋，強自解免。
一夕，對酌，王以為寂，勸招明璫。芳雲不許。王曰：「卿無書不讀，何不記『獨樂樂』數語？」芳雲曰：「我言君不通，今益驗矣。句讀尚不知耶？『獨要，乃樂於人要；間樂，孰要乎？曰：不。』」一笑而罷。適芳雲姊妹赴鄰女之約，王得間，急引明璫，綢繆備至。當晚，覺小腹微痛；痛已，而前陰盡腫。大懼，以告芳雲。雲笑曰：「必明璫之恩報矣！」王不敢隱，實供之。芳雲曰：「自作之殃，實無可以方略。既非痛癢，聽之可矣。」數日不瘳，優悶寡歡。芳雲知其意，亦不問訊，但凝視之，秋水盈盈，朗若曙星。王曰：「卿所謂『胸中正，則眸子瞭焉』。」芳雲笑曰：「卿所謂『胸中不正，則瞭子眸焉』。」蓋「沒有」之「沒」，俗讀似「眸」，故以此戲之也。王失笑，哀求方劑。曰：「君不聽良言，前此未必不疑妾為妒意。不知此婢原不可近。曩實相愛，而君若東風之吹馬耳，故唾棄不相憐。無已，為若治之。然醫師必審患處。」乃探衣而咒曰：「『黃鳥黃鳥，無止于楚！』」王不覺大笑，笑已而瘳。逾數月，王以親老子幼，每切懷憶。以意告女。女曰：「歸即不難，但會合無日耳。」王涕下交頤，哀與同歸，女籌思再三，始許之。桓翁張筵祖餞。綠雲提籃入，曰：「姊姊遠別，莫可持贈。恐至海南，無以為家，夙夜代營宮室，勿嫌草創。」芳雲拜而受之。近而審諦，則用細草製為樓閣，大如櫞，小如橘，約二十餘座，每座梁棟榱題，歷歷可數；其中供帳床榻，類麻粒焉。王兒戲視之，而心竊歎其工。芳雲曰：「實與君言：我等皆是地仙。因有夙分，遂得陪從。本不欲踐紅塵，徒以君有老父，故不忍違。待父天年，須復還也。」王敬諾。桓乃問：「陸耶？舟耶？」王以風濤險，願陸。出則車馬已候於門。謝別而邁，行蹤騖駛。俄至海岸，王心慮其無途。芳雲出素練一疋，望南拋去，化為長堤，其闊盈丈。瞬息馳過，堤亦漸收。至一處，潮水所經，四望遼邈。芳雲止勿行，下車取籃中草具，偕明璫數輩，布置如法，轉眼化為巨第。並入解裝，則與島中居無稍差殊，洞房內几榻宛然。時已昏暮，因止宿焉。早旦，命王迎養。王命騎趨詣故里，至則居宅已屬他姓。問之里人，始知母及妻皆已物故，惟老父尚存。子善博，田產並盡，祖孫莫可棲止，暫僦居於西村。王初歸時，尚有功名之念，不恝於懷；及聞此況，沉痛大悲，自念富貴縱可攜取，與空花何異。驅馬至西村，見父衣服滓敝，衰老堪憐。相見，各哭失聲。問不肖子，則出賭未歸。王乃載父而還。芳雲朝拜已畢，燂湯請浴，進以錦裳，寢以香舍。又遙致故老與談嚥，享奉過於世家。子一日尋至其處，王絕之，不聽入，但予以廿金，使人傳語曰：「可持此買婦，以圖生業。再來，則鞭打立斃矣！」子泣而去。王自歸，不甚與人通禮；然故人偶至，必延接盤桓，撝抑過於平日。獨有黃子介，夙與同門學，亦名士之坎坷者，王留之甚久，時與秘語，賂遺甚厚。居三四年，王翁卒，王萬錢卜兆，營葬盡禮。時子已娶婦，婦束男子嚴，子賭亦少間矣；是日臨喪，始得拜識姑嫜。芳雲一見，許其能家，賜三百金為田產之費。翼日，黃及子同往省視，則舍宇全渺，不知所在。
異史氏曰：「佳麗所在，人且於地獄中求之，況享受無窮乎？地仙許攜姝麗，恐帝闕下虛無人矣。輕薄減其祿籍，理固宜然，豈仙人遂不之忌哉？彼婦之口，抑何其虐也！」
(Return)
6.
聊齋誌異 Liao Zhai Zhiyi stories that mention qin
These four have been copied from
open-lit:
副將軍某，負貲入都，將圖握篆，苦無階。一日，有裘馬者謁之，自言：「內兄為天子近侍。」茶已，請間云：「目下有某處將軍缺，倘不吝重金，僕囑內兄游揚聖主之前，此任可致，大力者不能奪也。」某疑其妄。其人曰：「此無須踟躕。某不過欲抽小數於內兄，於將軍錙銖無所望。言定如干數，署券為信。待召見後，方求實給；不效，則汝金尚在，誰從懷中而攫之耶？」某乃喜，諾之。次日，復來引某去，見其內兄，云：「姓田。」暄赫如侯家。某參謁，殊傲睨不甚為禮。其人持券向某曰：「適與內兄議，率非萬金不可，請即署尾。」某從之。田曰：「人心叵測，事後慮有翻覆。」其人笑曰：「兄慮之過矣。既能予之，寧不能奪之耶？且朝中將相，有願納交而不可得者，將軍前程方遠，應不喪心至此。」某亦力矢而去。其人送之，曰：「三日即覆公命。」逾兩日，日方西，數人吼奔而入，曰：「聖上坐待矣！」某驚甚，疾趨入朝。見天子坐殿上，爪牙森立。某拜舞已。上命賜坐，慰問殷勤。顧左右曰：「聞某武烈非常，今見之，真將軍才也！」因曰：「某處險要地，今以委卿，勿負朕意，侯封有日耳。」某拜恩出。即有前日裘馬者從至客邸，依券兌付而去。於是高枕待綬，日誇榮於親友。過數日，探訪之，則前缺已有人矣。大怒，忿爭於兵部之堂，曰：「某承帝簡，何得授之他人？」司馬怪之。及述寵遇，半如夢境。司馬怒，執下廷尉。始供其引見者之姓名，則朝中並無此人。又耗萬金，始得革職而去。異哉！武弁雖騃，豈朝門亦可假耶？疑其中有幻術存焉，所謂「大盜不操矛弧」者也。
(琴家？ Minford translates this as a separate story, #94, "The lutenist"
(sic.)
嘉祥李生，善琴。偶適東郊，見工人掘土得古琴，遂以賤直得之。拭之有異光；安絃而操，清烈非常。喜極，若獲拱璧，貯以錦囊，藏之密室，雖至戚不以示也。邑丞程氏，新蒞任，投刺謁李。李故寡交游，以其先施故，報之。過數日，又招飲，固請乃往。程為人風雅絕倫，議論瀟灑，李悅焉。越日，折柬酬之，懽笑益洽。從此月夕花晨，未嘗不相共也。年餘，偶於丞廨中，見繡囊裹琴置几上。李便展玩。程問：「亦諳此否？」李曰：「生平最好。」程訝曰：「知交非一日，絕技胡不一聞？」撥爐爇沉香，請為小奏。李敬如教。程曰：「大高手！願獻薄技，勿笑小巫也。」遂鼓《御風曲》，其聲泠泠，有絕世出塵之意。李更傾倒，願師事之。自此二人以琴交，情分益篤。年餘，盡傳其技。然程每詣李，李以常琴供之，未肯洩所藏也。一夕，薄醉。丞曰：「某新肄一曲，無亦願聞之乎？」為秦《湘妃》，幽怨若泣。李亟贊之。丞曰：「所恨無良琴；若得良琴，音調益勝。」李欣然曰：「僕蓄一琴，頗異凡品。今遇鍾期，何敢終密？」乃啟櫝負囊而出。程以袍袂拂塵，憑几再鼓，剛柔應節，工妙入神。李擊節不置。丞曰：「區區拙技，負此良琴。若得荊人一奏，當有一兩聲可聽者。」李驚曰：「公閨中亦精之耶？」丞笑曰：「適此操乃傳自細君者。」李曰：「恨在閨閣，小生不得聞耳。」丞曰：「我輩通家，原不以形跡相限。明日，請攜琴去，當使隔簾為君奏之。」李悅。次日，抱琴而往。程即治具懽飲。少間，將琴入，旋出即坐。俄見簾內隱隱有麗妝，頃之，香流戶外。又少時，絃聲細作；聽之不知何曲，但覺蕩心媚骨，令人魂魄飛越。曲終便來窺簾，竟二十餘絕代之姝也。丞以巨白勸釂，內復改絃為《閑情之賦》，李形神益惑。傾飲過醉，離席興辭，索琴。丞曰：「醉後防有磋跌。明日復臨，當今閨人盡其所長。」李歸。次日詣之，則廨舍寂然，惟一老隸應門。問之，云：「五更攜眷去，不知何作，言往復可三日耳。」如期往伺之，日暮，並無音耗。吏皂皆疑，白令破扃而窺其室，室盡空，惟几榻猶存耳。達之上臺，並不測其何故。李喪琴，寢食俱廢，不遠數千里訪諸其家。──程故楚產，三年前，捐貲受嘉祥。──執其姓名，詢其居里，楚中並無其人。或云：「有程道士者，善鼓琴；又傳其有點金術。三年前，忽去不復見。」疑即其人。又細審其年甲、容貌，吻合不謬。乃知道士之納官，皆為琴也。知交年餘，並不言及音律；漸而出琴，漸而獻技，又漸而惑以佳麗；浸漬三年，得琴而去。道士之癖，更甚於李生也。天下之
騙機多端，若道士，猶騙中之風雅者也。
(Not translated by Giles:) 先是，女與雲眠俱依王道成。道成居隘，雲眠遂去之漢口。女嬌癡不能作苦，又羞出操道士業，道成頗不善之。會京氏如黃岡，女遇之流涕，因與俱去，俾改女冠裝，將論婚士族，故諱其曾隸道士籍。而問名者，女輒不願，舅及妗皆不知其意向，心厭嫌之。是日，從夫人歸，得所託，如釋重負焉。合巹後，各述所遭，喜極而泣。女孝謹，夫人雅憐愛之；而彈琴好弈，不知理家人生業，夫人頗以為憂。積月餘，母遣兩人如京氏，留數日而歸，泛舟江流，欻一舟過，中一女冠，近之，則雲眠也。雲眠獨與女善。女喜，招與同舟，相對酸辛。問：「將何之？」盛雲：「久切懸念。遠至棲鶴觀。則聞依京舅矣。故將詣黃岡，一奉探耳。竟不知意中人已得相聚。今視之如仙，剩此漂泊人，不知何時已矣！」因而欷歔。女設一謀：令易道裝，偽作姊，攜伴夫人，徐擇佳耦。盛從之。既歸，女先白夫人，盛乃入。舉止大家；談笑間，練達世故。母既寡，苦寂，得盛良懽，惟恐其去。盛早起，代母劬勞，不自作客。母益喜，陰思納女姊，以掩女冠之名，而未敢言也。一日，忘某事未作，急問之，則盛代備已久。因謂女曰：「畫中人不能作家，亦復何為。新婦若大姊者，吾不憂也。」不知女存心久，但懼母嗔。聞母言，笑對曰：「母既愛之，新婦欲效英、皇，何如？」母不言，亦囅然笑。女退，告生曰：「老母首肯矣。」乃另潔一室，告盛曰：「昔在觀中共枕時，姊言：『但得一能知親愛之人，我兩人當共事之。』猶憶之否？」盛不覺雙眥熒熒，曰：「妾所謂親愛者，非他：如日日經營，曾無一人知其甘苦；數日來，略有微勞，即煩老母卹念，則中心冷暖頓殊矣。若不下逐客令，俾得長伴老母，於願斯足，亦不望前言之踐也。」女告母。母今姊妹焚香，各矢無悔詞，乃使生與行夫婦禮。將寢，告生曰：「妾乃二十三歲老處女也。」生猶未信。既而落紅殷褥，始奇之。盛曰：「妾所以樂得良人者，非不能甘岑寂也；誠以閨閣之身，腆然酬應如勾欄，所不堪耳。借此一度，挂名君籍，當為君奉事老母，作內紀綱，若房闈之樂，請別與人探討之。」三日後，襆被從母，遣之不去。女早詣母所，占其床寢，不得已，乃從生去。由是三兩日輒一更代，習為常。夫人故善弈，自宴居，不暇為之。自得盛，經理井井，晝日無事，輒與女弈。挑燈瀹茗，聽兩婦彈琴，夜分始散。每與人曰：「兒父在時，亦未能有此樂也。」盛司出納，每記籍報母。母疑曰：「兒輩常言幼孤，作字彈棋，誰教之？」女笑以實告。母亦笑曰：「我初不欲為兒娶一道士，今竟得兩矣。」忽憶童時所卜，始信定數不可逃也。生再試不第。夫人曰：「吾家雖不豐，簿田三百畝，幸得雲眠紀理，日益溫飽。兒但在膝下，率兩婦與老身共樂，不願汝求富貴也。」生從之。後雲眠生男女各一；雲棲女一男三。母八十餘歲而終：孫皆入泮；長孫，雲眠所出，已中鄉選矣。
See also:
This story, in spite of the title, does not mention qin:
繆永定，江西拔貢生。素酗於酒，戚黨多畏避之。偶適族叔家。繆為人滑稽善謔，客與語，悅之，遂共酣飲。繆醉，使酒罵座，忤客。客怒，一座大譁。叔以身左右排解。繆謂左袒客，又益遷怒。叔無計，奔告其家。家人來，扶挾以歸。纔置床上，四肢盡厥。撫之，奄然氣盡。繆死，有皂帽人縶去。移時，至一府署，縹碧為瓦，世間無其壯麗。至墀下，似欲伺見官宰。自思我罪伊何，當是客訟鬥毆。回顧皂帽人，怒目如牛，又不敢問。然自度貢生與人角口，或無大罪。忽堂上一吏宣言，使訟獄者翼日早候於是堂下人紛紛藉藉，如鳥獸散。繆亦隨皂帽人出，更無歸著，縮首立肆簷下。皂帽人怒曰：「顛酒無賴子！日將暮，各去尋眠食，而何往？」繆戰慄曰：「我且不知何事，並未告家人，故毫無資斧，庸將焉歸？」皂帽人曰：「顛酒賊！若酤自啗，便有用度！再支吾，老拳碎顛骨子！」繆垂首不敢聲。忽一人自戶內出，見繆，詫異曰：「爾何來？」繆視之，則其母舅。舅賈氏，死已數載。繆見之，始恍然悟其已死，心益悲懼。向舅涕零曰：「阿舅救我！」賈顧皂帽人曰：「東靈非他，屈臨寒舍。」二人乃入。賈重揖皂帽人，且囑青眼。俄頃，出酒食，團坐相飲。賈問：「舍甥何事，遂煩勾致？」皂帽人曰：「大王駕詣浮羅君，遇令甥顛詈，使我捽得來。」賈問：「見王未？」曰：「浮羅君會花子案，駕未歸。」又問：「阿甥將得何罪？」答言：「未可知也。然大王頗怒此等輩。」繆在側，聞二人言，觳觫汗下，盃箸不能舉。無何，皂帽人起，謝曰：「叨盛酌，已經醉矣。即以令甥相付託。駕歸，再容登訪。」乃去。賈謂繆曰：「甥別無兄弟，父母愛如掌上珠，常不忍一訶。十六七歲時，每三盃後，喃喃尋人疵；小不合，輒撾門裸罵。猶謂穉齒。不意別十餘年，甥了不長進。今且奈何！」繆伏地哭，惟言悔無及。賈曳之曰：「舅在此業酤，頗有小聲望，必合極力。適飲者乃東靈使者，舅常飲之酒，與舅頗相善。大王日萬幾，亦未必便能記憶。我委曲與言，浼以私意釋甥去，或可允從。」即又轉念曰：「此事擔負頗重，非十萬不能了也。」繆謝，銳然自任，諾之。繆即就舅氏宿。次日，皂帽人早來覘望。賈請間，語移時，來謂繆曰：「諧矣。少頃即復來。我先罄所有，用壓契；餘待甥歸，從容湊致之。」繆喜曰：「共得幾何？」曰：「十萬。」曰：「甥何處得如許？」賈曰：「只金幣錢紙百提，足矣。」繆喜曰：「此易辦耳。」待將亭午，皂帽人不至。繆欲出市上，少遊矚。賈囑勿遠蕩，諾而出。見街里貿販，一如人間。至一所，棘垣峻絕，似是囹圄。對門一酒肆，紛紛者往來頗夥。肆外一帶長溪，黑潦湧動，深不見底。方佇足窺探，聞肆內一人呼曰：「繆君何來？」繆急視之，則鄰村翁生，故十年前文字交。趨出握手，懽若平生。即就肆內小酌，各道契闊。繆慶幸中，又逢故知，傾懷盡釂。酣醉，頓忘其死，舊態復作，漸絮絮瑕疵翁。翁曰：「數載不見，若復爾耶？」繆素厭人道其酒德，聞翁言，益憤，擊桌頓罵。翁睨之，拂袖竟出。繆追至溪頭，捋翁帽。翁怒曰：「是真妄人！」乃推繆顛墮溪中。溪水殊不甚深；而水中利刃如麻，刺穿脅脛，堅難動搖，痛徹骨腦。黑水半雜溲穢，隨吸入喉，更不可過。岸上人觀笑如堵，並無一引援者。時方危急，賈忽至。望見大驚，提攜以歸，曰：「爾不可為也！死猶弗悟，不足復為人！請仍從東靈受斧鑕。」繆大懼，泣言：「知罪矣！」賈乃曰：「適東靈至，候汝為券，汝乃飲蕩不歸。渠忙迫不能待。我已立券，付千緡令去；餘者，以旬盡為期。子歸，宜急措置，夜於村外曠莽中，呼舅名焚之，此願可結也。」繆悉應之。乃促之行。送之郊外，又囑曰：「必勿食言累我。」乃示途令歸。時繆已僵臥三日，家人謂其醉死，而鼻氣隱隱如懸絲。是日蘇，大嘔，嘔出黑瀋數斗，臭不可聞。吐已，汗溼裀褥，身始涼爽。告家人以異。旋覺刺處痛腫，隔夜成瘡，猶幸不大潰腐。十日漸能杖行。家人共乞償冥負。繆計所費，非數金不能辦，頗生吝惜，曰：「曩或醉夢之幻境耳。縱其不然，伊以私釋我，何敢復使冥主知？」家人勸之，不聽。然心惕惕然，不敢復縱飲。里黨咸喜其進德，稍稍與共酌。年餘，冥報漸忘，志漸肆，故狀亦漸萌。一日，飲於子姓之家，又罵主人座。主人擯斥出，闔戶逕去。繆噪逾時，其子方知，將扶而歸。入室，面壁長跪，自投無數，曰：「便償爾負！便償爾負！」言已，仆地。視之，氣已絕矣。
Not translated
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