+ 813.1 0303 ISBN 957- 05- 0392-0138)AH Sr Sm + Mase AAR ICA ee He REAR T RS WR) CE ALR) Het ARAMA)» Ot wm CRED CR AREA) TAFE PERE G RAE) EID) OBE HY Se MRA iF HTH) AUREKAPEI) © About the Translator Xu Yuan-ahong i roessor of Engleh at Peking University, Baling, Ho has translated (1) fom English ito Chinese, Dryden's Al for Love and Scot's Quenin Durward: (2) tom French into Chinese, Hugo Tha, Bobac's Un dt dans ‘a vi, Moupassants Su oou, Rollan’s (Colss Brevgron: (3) trom Chinese nto French. 42 podmes de Mao Zedong ond 100 potmes Iyiques des Tang ot des ‘Song fom Chinese into English, Eoih- shaking Songe-€pi of Chinese Reval, Su Dong-po-A New Translation, 150 Tang Poors, He ie the author of The At (of Transaion and 100 Cries! Easoys (on Tong Pooms in English Tansoton == — — ° DOUATIYS Ueto. Roberto dunceTo Nancy T. 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UT re Z A LMR» ATURE CENA) St © BARELEREH OT ERMAN RATER CR GM) + RANT ERRRMM LCA) a RREKZ © BSL ABR SCE TONE “AR RTE EER PHAR” + NS SER eam Le UTERO RR” REGRET SERA CISCO SN” rina “AREARPHA IeeePREFACE ‘The word “lyric” used in this anthology refers to a poem composed to a certain tune. During the Tang Dynasty (618 — 907), the subject matter of a lyric often corresponded to the ‘meaning of its tune title. For example, The Magpie on a Branch, the first popular song selected here, deals with « magpie in the cage; the Dream of a Maid of Honor, the first literary lyric attributed to Li Bai, depicts the solitude of a young woman waking ftom the dream of her husband; Zhang Zhi-he's Fisherman's Song describes the happiness of a fisherman; Bai usy’s Everlasting Longing depicts the lorging of a young wife for the return of her husband; Liv Yuxi's Ripples Sifting Sand deals with the women washing gold from sand; Huang.fu Song’s The South Recalled reveals the poet’s nostalgia for the Southern Country. Since the Late Tang, the subject of the lyric had gradually Jost its thematic connection with the tune pattern. In 1909, in a Buddhist monastery of Dunhuang were found the hand-copied manuscripts of over a thousand lyrics and songs which had been sealed and preserved there for almost a thousand years. Among the manuscripts we find a considerable number of popular songs that may be dated back to the Early Tang (c. 650) and that were sung during the Tang and Five Dynasties (007 ~ 960) period. Originally the lyric was considered a popular song form. The differences between a literary lyric and a popular song are as follows: (1) The former is characterized almost exclusively by the lyrical mode while the latter contains a variety of modes ~ narrative, dramatic and lyrical. For example, in the first popular song selected in this anthology, a dialogue is used to heighten the effect of dramatic action. (2) A popular song states feelings in a straightforward manner, simple and direct, while a literary lyric is subtle and refined. (3) The diction of the former is generally closer to the spoken, colloquial usage while that of 14 the latter is literary, Popular songs were composed by unknown poets or common people and sung by courtesans and musicians. The first literate ‘who began to write lyrics was supposed to be Li Bai (701 ~ 762), whose two poems collected here deal with the sorrow of farewell, and separation. Some scholars claimed that the Buddhist Dancers attributed to him was forgery for, in their view, that tune could not have been produced as early as the High Tang (c. 713 — 755). In fact, it was proved that in 742 a certain monk of Longxing ‘Temple composed a song to the tune of Buddhist Dancers, which was found in the Thousand Buddha Caves at Dunhuang and is now preserved in the British Museum. At first, the literary lyric was based on the poetics of the seven-charactered quatrain, which could be set to music during. the High Tang. The favorite tunes among the literati poets of the Middle Tang were those whose song words were written in exactly the same pattern as the seven-charactered quatrain, for example, Bai Jury's and Liv Yu-xi’s Bamboo Branch Song and Willow Branch ‘Song. Gradually some popular tunes changed into different mettical patterns, for instance, Liu Yuxi’s and Li Yu's Ripples Sifting Sand. The contribution of literati poets to the lyric is that, while the persona in popular songs often starts by expressing a particular feeling explicitly and then dwells on it throughout the poem, the literati poets combine carefully the persona’s inner feeling and natural scenes to form a world of correspondence. Wen Ting-yun (812 — 870) was the most important literati poet of Late Tang, in whose hands lyric was transformed from mere song of entertainment to verse of high literary quality. One of the distinctive features of his style is the juxtaposition of scenes vaguely linked by the rhetoric of implicit meaning, which creates a sense of ambiguity admired by critics. “He often takes several harmonious colourful images” centered on the lives of women, says Yu Ping-bo, “and randomly places them together, letting them blend naturally.” “While the images of women are generally static and pictorial,” says Kang Sun, “physical objects are often animated. This technique of inversion of animated and 15inanimated attributes has contributed greatly to the power of Wen’s implicit rhetoric.” But in his one-stanza lyric, for example, Dreaming of the South selected here, we discover a style that is characterized by explicit expressions echoing the popular song style, The popular songs exercised a greater influence on Wei Zhuang (836 — 910), whose poetic style is straightforward, direct, narrative and colloquial. Wei did not have the peaceful life Wen had, so many of his poems express his nostalgia for the past and his sorrow over the dismal situation after the down- fall of the Tang Dynasty. This implies his painful realization of the discrepency between a desirable wish and an undesirable reality and his disappointment in life. His lyrics include direct expression of personal feelings and autobiographical details as ‘opposed to Wen’s indirect depiction of feminine feelings. What hae adds to the lyric reveals a reaction ageinst the omate style of Wen, who excels in writing poems with implicit meaning while Wei is famed for explicit poetry. Li Yu (937 — 978), the last monarch of the Southern Tang (037 — 975), represents the highest achievement of the lyric poets during the Five Dynasties period. “Not until Li Yu,” says Wang Guo-wei, “did lyric poets expand their field of vision and deepen their feelings. Consequently, the lyric of musi formers was transformed into that of literary scholars. of Li Yu's works are direct lyrical expression, revealing the depth of his private feelings. His unusual accomplishment was closely related to his personal experiences. Very few poets have gone through such a drastic change in the circumstance of their personal lives as he did. In his early years, as reigning emperor, he indulged in a luxurious life at court. After losing his kingdom to the Northern Song emperor in 976 and becoming a political prisoner in the Song capital, he began to live a life of suffering until his death four years later. The striking contrast of past and present provided him with the need to express his innermost feelings in poetry intensely lyrical In terms of rhetorical devices, he has followed the style of, Wei who enhances the effect of subjective rhetoric, rather than 16 that of Wen who creates deliberately an impersonal voice, Yet his lyric often seems far more subjective in tone than Wei’s. One of his great achievements lies in his ability to use the simplest kind of sentence to express the most profound and complex emotions. ‘Another is his creation of poetic images. To the poet, human emotions do not remain static; they grow and flow. Thus, the images of growing grass and flowing river are used to emphasize the temporal dimension and the changing nature of human feelings. In point of characterization, we may say that Wen’s poem is descriptive and static, The well-known image he used to describe the mental state of a deserted woman is a pair of birds, which subtly implies the loneliness of the persona. On the other hend, Wei’s lyric is narrative and active, yet it is confined to the traditional stereotyped image of @ woman in the chamber. By contrast, Li's images of women are quite unconventional. His success lies in his technique of focussing on certain unique movement performed by the character. In short, we may con- clude that Wen's lyric is written with coloured ink, Wei's with bitter tears and Li's with the blood pouring out of his own heart Li Yu represents the highest achievement of the lyric poets in composing shorter poems. On the other hand, Liu Yong (987 1053) invents a large number of longer tune patterns. The poet’s innovation lies for the most part, says James J. Y. Liu, “in his introduction of a new reatism in the expression of emo- tion, a much freer use of colloquial language.” His realism is shown in his lyrics dealing with his emotional experiences with singing girls and his feelings of nostalgia during his wandering years, His colloquial style is skilfully combined with literary diction. One of his great artistic achievements is his careful blending of expressive and imagistic language: now he expresses feelings in a straight forward manner, now he describes perceptual experiences through imagistic presentation. He is the first lyric poet, says Kang-i Sun, “to bring the complex lytical incorpora- tion of narrative and descriptive elements into full play.” ‘Liu Yong’s innovation in the formal aspects parallels Su 7Shi’s (1037 — 1101) achievement in extending the poetic scope of the lyric. “There is no idea which cannot be expressed,” says the traditional critic Liu Xi-zai, “and no subject which cannot be treated” in the lyrics of Su Shi, which are not confined to farewell poems and elegies, but used to express-political mbition, patriotism and philosophical ideas, or to describe the life of farmers. Unlike Liu Yong who mainly expresses love for women, ‘Su Shi broadens the concept of love to include his affection for friends. He is considered to be the founder of the school of “heroic lyric” for his style tends to be vigorous and unrestrained. He is the fitst lyric poet to include long prefaces revealing the serious intent behind the act of composition. “By combining the preface and the poem,” says Kang: Sun, “the poet can achieve harmonious unification of the real and the imaginetive, the prosaic and the poetic.” Another poetic device of his is the use of historical allusions, which reflects his tendency to transcend both time and space, for it is a device for viewing history and reality as timeless visionary images. A third characteristic feature of his lytic is its tendency to provide a condensed view of natural settings in support of the lyrical voice. His images of natural settings appear to be larger in scale and more expressive in func- tion than Liu Yong’s elaboration of descriptive details, In a way, he combines Liu Yong'’s structure and Li Yu's images in constructing his poetic world. “The natural images in Liu Yong'’s poetry,” says Kangi Sun, “may be compared to very fine, delicate drawings: in Su’s, they become larger pieces of impres- sionistic painting,” His lyric poems appear sometimes to be more intellectual than emotional, but through poetic reflections he reveals his private feelings toward the external world. In a word, his lyric poetry represents a climax in the development of the genre. While Su Shi remained an observer in creating a metaphorical relation between external objects and universal human feelings, Zhou Bang-yan (1056 — 1121) developed a situation of poetic ‘empathy in which the lyric self maintains a symbolic correspond- ence with external objects. This growing complexity in the direction of symbolism was to characterizé the school of “gentle 18 lyric” in the Southern Song (1127 — 1279), Li Qing-zhao (1084 — 1141), the famous poetess, was considered to be the leader of the “gentle school”. She con- tributed, according to Kai-yu Hsu, to the literary stream in several respects: (1) Her dexterous injection of many extremely callo- quial expressions into her poetry did much to enrich the classical Chinese poetic language. (2) Her ephithets and perfectly fitting allusions also left her imitators in despair, (3) The reduplicative ‘words in her poems are onomatopoetic in more than one way. (@) The musical quality of her poems reflects her mastery of the musical force of the language. (5) More important than all these innovations are her metaphorically suggestive devices that identify an extemal landscape or a trivial object with the internal, most private sentiment of the poet. “It is this supremely quiet restraint,” says Kai-yu Hsu, “‘this nonchalance so artfully covering a sea of boiling emotion, that Li Qingzhao lodges her claim as the greatest woman poet in classical Chinese literature.” ‘Xin Qiji (1140 — 1207) was regarded as the greatest lyric poet of the Southern Song Dynasty, and a patriotic poet par excellence, “This reputation,” says Irving Y. Lo, “rests on his allusive style and on the heroic sentiments expressed in some of his verses.” (e.g. Song of the Cavairy) Especially adept in the ‘composition of the longer tune-patterns, he frequently larded them with events and borrowings not only from ancient poetry but from prose classics (e.g. The Moon over the West River) His efforts in this direction succeeded in broadening the scope of lyric poetry. Thus, he and Su Shi are often mentioned as the two great masters of lyrics and the exponents of the “heroic” style. In other moments, however, Xin wrote bucolic poetry and love songs. In depicting the life of peasants, unlike Su Shi who wrote as their governor, Xin wrote as their equal (e.g. Pure Serene Music). His descriptions of nature are direct and simple (e.g. The Moon over the West River). Even his love songs are some- times permeated with patriotic sentiment, For instance, in his Groping for Fish, the late spring may be said to be an image of the precarious Southern Song Dynasty. But, “gazing afar on 19lands long lost in the northwest,” he revealed in Buddhist Dancers a sentiment quite different from that of Li Yu's in The Beaueifiul Lady Yu, You will observe the difference if only you compare the following verses: Li: If you would ask me how my sorrow increased, Just see the over-brimming river flowing east! Xin: But biue hills can’t stop water flowing, Eastward the river keeps on going. If we compare Xin's Green Jade Cup with Ow-yang Xin’s Mountain Hawthom, we will find a lofty character in the person the poet was looking for, who is none other than the patriotic poet himself, His patriotism has exercised a strong influence on other lyric poets. ‘Among the Southern Song lyric poets the best-known were Jiang Kui (1155 — 1221) and Wu Wen-yin (1200 — 1260), They hhad certain common features such as their painstaking choice of words and phrases, and the great attention they paid to the music and the description of subtle feelings. Their one common shortcoming was that the content of their poems tended to be ambiguous and empty, full of ornate classical allusions. Towards the end of the Southern Song period when lyric poetry became ‘more and more concerned with technical details of embellish- ‘ment, it lost its vitality. John Turner (1909 — 1971) says in his Introduction to A Golden Treasury of Chinese Poetry, “Chinese literature is the high artistic peak of the most literary, the most artistic, the ongestestablished civilization that exists.” “My intention is to ‘make the translation of a poem read like a poem itself. Accord- ingly 1 do not comply with the modern fashion of putting Chinese verse into line by line prose or into unmeasured sprung rhythm, which is the same thing....1 believe that poetry cannot really be translated into prose. The translation of @ poem into prose, which is merely verbally accurate, is not itself a poem and remains a crib. It misses the point and soul and reason of @ oem, its specific beauty.” Therefore, in translating the lyrics in this anthology, my intention is not tormiss the specific beauty of 4 poem, so I have tried to make my translations not only faithful 20 but also beautiful, as beautiful as the original in sense, in sound and in form, X.Y.Z, Peking University Beijing, China December 1985 21HO & (FREED ABE oo ereoeeeceeee WB Preface f% 8 Anonymous 1 §8#itE Tune: “The Magpie on a Branch” ++» $4 K Anonymous 2 $8 GE Mh Tune : “Broken Form of Sand of Silk-washing Stream’ . # @ Li Bai 3 $f Tune : “Buddhist Dancers” +++» renee 4 {8 eH’ Tune : “Dream of a Maid of Honour” +--+ 8 skAF0 Zhang Zhi-he 5 MIKE Tune: “A Fisherman's Song’ « @4% Bai Ju-yi 6 FAVE Tune: “Everlasting Longing” ‘| £88 Liu Yu-xi 7 4833] Tune : “Bamboo Branch Song” 8 ide) Tune : “Ripples Sifting Sand’ GRAS} Wen Ting-yun 9 SILA Tune: “Dreaming of the South” ed 10 #/# Tune: “From the River"++++++--" ' 20 LHe Huang-fu Song 11 {ILI Tune: “The South Recalled” --------0--01-22 ‘ i Wei Zhuang 12 #GEME Tune: “Buddhist Dancers”: 216#3 Li Xun 13. MIMIF Tune: “Song of a Southern Country” HAE Sun Guang-xian 14 WRF Tune: “Fountain of Wine” 30. BeBR% Tune : “Sand of Silk-washing Stream” -----66 31 EIR Tune : “Dance of the Cavalry” ss68 % % Zhang Bian 32, MFA Tune: “Swallow Leaving Pavilion” ------"~-70 WL. Feng Yan-yi eos 15 #@M"l Tune: “Paying Homage at the Golden 33. 4:48 Tune: “Mountain Hawthorn" 72 Gate” pessentsee 34 MEBITE Tune : “Butterflies Lingering over Flowers” 74 ER Wang An-shi 35 HEHE# Tune: “Fragrance of Laurel Branch” Liu 16 WF Tune : “Dance of the Cavalry”: 17 #UBR Tune: “Joy at Meeting” +++ 76 36 IMF Tune “Song of a Southern Country” *---80 18 S&F Tune: “Crows Crying at Night” “£ & Wang Guan 19 (Ei? Tune : “Ripples Sifting Sand’ 37 | HF Tune: “Song of Divination” B82 20 BIA Tune: “The Beautiful Lady Yu" = BR Su Shi ae ea 38 BSA Tune: “The Beautiful Lady Yu" es------84 21 ABER Tune : “Everlasting Longing” 39 (EMF Tune: “A Riverside Town’"ssosssesseeseseeeB6 & Mt Pan Lang 40 iLBRF Tune :“A Riverside Town" 88 22 HRT Tune: “Fountain of Wine” 41 oi Tune : “Prelude to the Melody of Water” 90 meas] 42. BE8K% Tune: “Sand of Silk-washing Stream” =-""-94 23, BAH Tune: “Joy of Day and Night’ 46 43 BEEP Tune : “Sand of Sill-washing 24 FSF Tune : “Bells Ringing in the Rain” 48 44 BM Tune: “Joy of Eternal Union” ener 45. PHILA Tune :“The Moon over the West River” «102 26 ASEtt/H Tune: “Eight Beats of a Ganzhou Song” 56 2 46 29 Tune: “Calming the Waves” 104 APs Fan Zhong-yan 47 Ap{088 Tune “Charm of a Maiden Singer” ~~ 106 27 Wilt Tome : “Pride of Fisherman" 60 48. BBIT(N Tune:: “Immortal at the River” “10 28 BRHEME Tune: “Screened by Southern Curtain” +62 492M Tune: “Water Dragon Chant” “2 & & Zhang Xian 50 S#RME Tune: “Butterflies Lingering over 29 E484 Tune: “Spring in Jade Pavilion’ -~ Flowers” “16 & & Yan Shu FRM Li Zhi-yi 251 hf Tune: "Song of Divination” SPL Huang Ting-jian 52 iH7E48 Tune: “Pure Serene Musi” 4% # Qin Guan 53 BGHEAll Tune: “Immortal at the Magpie Bridge” 122 118 +120 54 BEGSAT Tune: “Treading on Grass” « +124 M0 8h He Zhu 55. #9HEF Tune: “Song of Broken Chains’ 126 56 BABI Tune: “Phe Partridge Sky” ~~~ 128 JRA Zhou Bang-yan 57 SRABXE Tune: “Screened by Southern Curtain” 58 QRRTE Tune : “Butterflies Li Flowers” «+ FRAG Zhu Dun-ru 59 SEK Tune: “Joy at Meeting” PiR Li Qing-zhao 60 $44 Tune: “Like A Dream” 61 —I§# Tune: “A Twig of Mume Blossoms” « 62 BEEKR Tune: “Tipsy in the Flower’s Shade” +~--- 140 63 YAH Tune: “Pride of Fisherman” 142 64 IRL £14 MMH Tune : “Playing Flute Recalled on Phoenix Terrace” ences “14 65. SE5¢1% Tune: “Slow, Slow Tune” “148 66 skMHME Tune: “Joy of Eternal Union’ +152 RIA, Chen Yu-yi 67. BIT Tune : “Immortal at the River” ~ aA Zhang Yuan-gan 68 RH Tun - 130 gering ov “134 136 138 156 Congratulating the Bridegroom” ~- 158 ae A Yue Fei 69 WALKIE Tune: “The River All Red” 162 70 WULAL Tune : “The River All Red” 166 71 ANE Tune : “Manifold Little Hill” ~ fe it Lu You 72 §29HIB, Tune : “Phoenix Hairpin” 73 SRW Tune : “Telling of Innermost Feelings 170 172 176 74 WHE Tune: “Song of Divination” 178 HARM Zhang Xiao-xiang 75 Af Tune: “The Charm of A Maiden Singer” “ a) . 180 76 ILA Tune: FER Xin Qiji 77 fl Tune ; “Water Dragon Chant” 78 ‘if Tune: “Buddhist Dancers” “The Moon over the West 184 186 +190 79 {452 Tune : “Groping for Fish” 192 80. i7E48 Tune: “Pure Serene Music” ~ 196 81 #87648 Tune: “Pure Serene Music” => 198 82 IRF Tune: “Song of Picking Mulberry” 83 WRK Tune: “Green Jade Cuy 84 RIF Tune : “Dance of the Cavalry”---~ 85 IL! Tune: “The Moon over the West River’ 86 ILA Tune: “The Moon over the West River” * 208 87 BBAHK Tune: “The Partridge Sky” se 210 88 3848 Tune: “Joy of Eternal Union” « 212 89 49 Tune: “Song of a Southern Country” =" 216 R % Chen Liang 90 KMBMKIK Tune : “Prelude to Water Melody” +" 218 200 202Hi Liu Guo 91 TILA Tune: “The Moon over the West River” +222 % = # Jiang Kui 92 #/HI8 Tune: “Slow Tune of Yangzhou” 224 93 #448% Tune: “The Partridge Sky” 228 BURAK Liu Ke-zhuang 94 E484 Tune: “Spring in Jade Pavilion” 230 HK Wu Wen-ying 95 ASH] Tune: “Eight Beats of a Ganzhou Song” z + 282 96 MRAM Tune: “Wind Through Pines” + 236 SUR Liu Chen-weng 97 AFF Tune: “Green XR Wen Tian-xiang 98 4248 Tune: “Charm of a Maiden Singer” “~~~ 240 99 IBF Tune: “Spring in the Garden of Qin” ~~ 244 #% HK Zhang Yan 100 WE4% Tune: “Pure Serene Music” s+ 248 ip of Willow Branch” ++ 238 BSH Bibliography 250— wR RAK ELIS AG iB HA» SEE (ol IR © ME RATHER » LESSEE © HRP LAGER » HARES AR © LAER PA » He eA RIEL © ‘The Magpie on a Branch” ‘Anonymous How can I bear to hear the chattering magpie Announce the happy news on which T can’t rely? So thus I catch it alive when it flies to me again ‘And shut it in a cage where lonely “twill remain, — With good intent I brought her a happy message. Who would expect she'd shut me in a golden cage? | wish her husband would come back soon so that I Might be set free and take my flight to the blue sky. This is a popular song written by an unknown poet of the Tang Dynasty (618 — 907) and unearthed in one of the chapels in the Thousand Buddhs Caves at Ounhuang, Gansu, in 1900. Unlike a literary lyric in ‘which everything is sen through the eye ofthe persons, this song prosents two distinct points of view by using a dialogue between a woman who it ‘siting in vain for the return of her husband, and a magpie who is sup- Posed to announce the expected arival.= eR SEK EAT + OLB HEAT © FA te FA FAME © WIRE SBS + BiLt Cla Fave RANT © 2. Tune: “Broken Form of Sand of ‘Silk-washing Stream” Anonymous After passing the five-mile beach, the breeze stops blowing, With sails unfurled, the boat seems light when we are rowing. We use no scull and take our oars from water flowing, But still the boat is going. ‘The water shimmers in the breeze before the eye; As if to bid us welcome, the mountain comes high, Ona close look, it does not move but towers high: ‘The boat is going by. ‘This is another popul life and joy of ¢ boatman. .0ng unearthed at Dunhuang. It deplets theeA FA EPA FLU HO © BE AA > HARE EAK © CERASST IZ + DERE © ‘ei GRRE? SAE TEAIAE © 3 Tune: “Buddhist Dancers” Li Bai O'er far-flung wooded plain wreaths of smoke weave a screen, Cold mountains stretch into a belt of sorrowful green. ‘The dusk invades the tower high Where someone sighs a longing sigh. On marble steps she waits in vain But to see birds fly back amain, Where should she gaze to find her dear? She sees but stations far and near. 18 the Northern Song Dynasty (960 ~ 1127), this paem and the following were considered to be the two earlier literary Iyries written by Li Bai (701 ~ 762). This poem describes the sorrow of @ Young woman Who mounts a high tower at dusk, looks far into the wooded plain and the belttike mountains, but falls to find her husband oi his way homeNFR A SER + RAPALA © A EME + BEDS Bl ° SUL LTA + aR EE © FB > Pa RRIR » WARE © 4 Tune: “Dream of a Maid of Honor” Li Bai ‘The flute plays a sobbing tune, She wakes from dreams when o'er her bower wanes the moon. When o'er her bower wanes the moon, Year after year green willows grieve [As from the Bridge the people leave. All's merry on Clear Autumn Day, But she receives no word from ancient northwest way. And now o’er ancient northwest way The sun declines, the west wind falls O’er royal tombs and palace walls. This Iyrie depicts the solitude of a young woman who wakes from a dream of her hutband on the eve of Cleer Autumn Day or Mountain: climbing Day, that is, the Oth day of the Sth luner month. It recalls his ting with her at the Bridge east of the capital. Sho then goes to the ‘making Plain where she waite until sunset without seeing @ mar enger coming from her husband, Another commentator says that the people taking leave were those who were going to the war against the rebels in 785, t0 this lyre predicted the decline and fall ofthe Tang Empire10 Bh aK eat PU LUR A © PETER ADR AUIE © HEE EER > RB FA © 5 Tune: “A Fisherman's Song” Zhang Zbi-he In front of western hills white egrets fly up and down, In peach-mirrored stream mandarin fish are full grown, In my blue bamboo hat ‘And green straw cloak, I'd fain Go fishing careless of slanting wind and fine rain. Zhang Zhiche (730 — 782) served in the court as a petty official and ‘and lived in saclusion. This poam describing the happiness of @ fisherman was wide spread and soon reached Japan Even the Jepanete Emperor (reigned 804 — 823) wrate five lyri following the rhyme of his poem. 4A BAUS ABS TRAE > GE » PAUL TA BES © SLL © FBURIE BURA + ‘LEURRIG Fa tat © FUBRA fit © 12 6 Tune: “Everlasting Longing” Bai Juyi See the Bian River flow ‘And the Si River flow! By Ancient Ferry, mingling waves, they go, ‘The Southern hills reflect my woe. My thought stretches endlessly, My grief wretches endlessly, So thus until my husband comes to me, ‘Alone on moontit balcony. (772 ~ 846) was 2 popular realistic poet who served as official in the south of the Yangzi River. This Iyrle depts the longing of /oung woman for the return of her husbend. Leaning on the railings of alcony on a moonlit night, she sees the two ri "y where people used t0 bid ferowell, but wh husband hhome-coming, so she feels the hills there saddened by her griet. 134 TH BBR LLPBBEL TERESA + BLA ATALLGE © TERT FELD: + TR STE ARR LUBE © a 7 Tune: “Bamboo Branch Song” Liv Yuxd ‘The mountain’s red with peach blossoms above; ‘The shore is washed by spring water below. Red blossoms will fade as my gallant’s love; The river as my sorrow will e’er flow. Liu Yurxi (772 — #42) wae well known for hs popular songs which depict the life and love of the common people. This song displays @ happy combination of natural scenery and inner fealing ofthe persona 1sJ pula 8 Tune: “Ripples Sifting Sand” BLS | Liu Yuxi ee ‘The sun dispels the mist and shines on riverstrand, maxtmnn. The crak om th omen wasn om AFH EE + | The seals of kings and lords, tinsel of ladies fair AED PUREE » } ‘Are taken from the sand and by these poor women's care, In this poem the ‘women washing gold gold tinses in the pale 16 q7 will find @ striking contrast between the gravel in the river and the fair ladies wearing18 nn RI ER bRDERE + MS LL o 5A TOL ASE © SA BTR Ak HEI» TBH © 9 Tune: “Dreaming of the South” Wen Ting-yun After dressing my hair, Talone climb the stair. On the railings I ean, To view the river soene. Many sails pass me by, But not the one for which wait I. ‘The slanting sun sheds a sympathetic ray, ‘The carefree river carries it away. My heart breaks athe sight OF the islet with duckweed white. Wen Tingyun (813 — 870) was traditionslly regerded as the first ‘major lyricist. His tries are richly embellished and full of implicit meaning, but this poem simply narrates in the folk-tong manner the sorrow of a ‘young woman vito, gazing on the river and the Islet where people used 10 bid farewell is waiting all day long forthe return of her husband. 19+ te REE WE» BASE ° dame > SITE © BR ARRAN + $i) © BAB © BRIERE © OM: IRSA © SBR WK & ‘mise » AUB AEI © 20 10 Tune: “From the River” Wen Ting-yun Unoceupied By the lakeside, She gazes on far-flung pathways, Flowery bridges and beach in rainy haze. It’s a sad sight the songstress fair Knitting her soft brows cannot bear All the day long, How can she forget the evening tidal song? Where is his boat which has to roam Far, far from her and far from home? Itis late spring, ‘And her heart will break to hear oriole sing Taking a look, West of the brook, AAt the long willowy pathway, SShe cannot hear the horse of the roamer neigh.+— fT nite Baie FRLIBALAR © DASE HERA + PA SAAR» SABRE © 22 11 Tune: “The South Recalled” Huang-fu Song, Candle-wick burned, Red cannas painted on the sereen dark turned. I dreamed of mume-fruit rip ning on the Southern shore, Of flute-songs played adrift one rainy night of yore, Of whispers lost In running stream below the bridge beside the post. Huang-fu Song was one of the precursors of the Iyrle poots of the “school among Flowers.” Thie lyric deseribes one of his dreams on a night when the candle-wick was burned out. It reveals his nostalgia for the Southern country 23+= Spee 12 Tune: “Buddhist Dancers” aE Wei Zhuang AASEBRIL IGE + ‘All men will say the Southern land is fair, WARSI © ‘A wanderer is willing to spend his whole life there. FAEME + He'd like to see spring water bluer than the sky SARTIR © ‘And, listening to rain, in painted ship to lie. MAAWA + ‘The wine-shop waitress looks like the moon bright, REDIF T © Like snow or frost congealed her arms are white, RERRG » Till he grows old, from South lands he won’t part, SABI © ‘To eave this land for home would break his heart. Wei Zhuang (836 ~ 910) of the leaders of the "School emong Flowers.” In contrast to the ornate rhetoric of other Iyric poets of this School, his diction is simple and direct and explicit In this Iyeie revealed a Northerner's love for the besutiful Southern land 2526 RRM SEEN + HEME © WACHTER + FOR: RTI AT EWEI © 13 Tune: “Song of a Southern Country” LiXun A Skiff goes alone Allotus pond, Sleeping lovebirds start at oarswomen’s song. Perfumed maidens leaning on each other make fun, Vying to be the fairest one, ‘They take round lotus leaves to shun ‘The setting sun. Li Xun was 0 Iyrie post of the “Schoo! among Flowers." His Ivries ‘are ful of loca! color. a7+m wR PER SURE + SERB © iat: ABE? FREAK © ARB RA » RTE o BEL» STR + L518 © 28 14 Tune: “Fountain of Wine” ‘Sun Guang-xian ‘The boundless desert tooked desolate, Long, long the road to Southern Gate. ‘Your horse was heard to neigh, ‘You were seen on your way, Ben border clouds felt sad. ‘The sable coat in which you're clad May be outworn, your uniform too tight, ‘The thousand-mile Northwest frontier with frost is white. In silk I'm dressed, But my heart cannot fly In dreams to the Northwest, So I mount the tower high. ‘Sun Guangxian (e, 800 ~ 988) was 9 iyrie post of the “Schoo! ‘Tis Iyrie depicts @ young woman recalling her husband parting Shir even in her dreams. 2930 +H EP BEB BERG + HEA © DG ROG FS + FIALAES © FURS IF AES» EE ATARIE © WAHSAALT ABE © 15 Tune: “Paying Homage at the Golden Gate” Feng Yan-yi ‘The breeze begins to blow ‘And it ruffles @ poo! of spring water below. Crushing pink apricot petals in hand, I play With a pair of lovebirds on the fragrant pathway. Seeing ducks fight, alone on the railings I lean, Slanting upon my head a hairpin of jade green. Waiting for you the whole day long wears out my eyes, Raising my head, I'm glad to hear magpies. Feng Yan-yi (903 — 960) was prime minister in the court of the second ruler of the Southern Tang (837 ~ 976). His Iyrles show the subtle refinement of 2 courtior. In32. + BRB IE eS =F Bea ; RRL EAM FRASER FABRE © MABEL? AEB URRY RII © REASRBH BTA BIER + RNA Ro 16 Tune: “Dance of the Cavalry” Liu A reign of forty years O'era land of three thousand li, My royal palaces touching the celestial spheres, My shady forest looking like a hazy sea. What did I know of shiolds and spears? A captive now, I'm worn away, ‘Thinner I grow, my hair tums gray. © how could I forget the hurried parting day ‘When by the band the farewell songs were played ‘And I shed tears before my palace maid! Li Yu (937 ~ 978) was the la his capital fell and he himself was t ‘many of his best Iyris which repr Poets of that period. In this Irie we fi Inthe first stenza and the present in the 3317 Tune: “Joy at Meeting” ++ fab EE LiYu Seva > Silent, I climb the Western Tower alone Fits © ‘And see the hook-like moon. BDC ARBE SHIEK © Parasol-trees lonesome and drear Lock in the courtyard autumn clea. a + smal Cut, it won't severs JAK Be ruled, “will never BLEW ECB © What sorrow "ts to part! It’s an unspeakable taste in the heart. can find that after an implicit descr stanza, the poet utters three short Ii sorrow and then the fine! lie revealing the 4 a)36 + Rotel he PREY TAAL KDB Fe AE SE, © HAIER BAR FH? BEMER KER © 18 Tune: “Crows Crying at Night” LiYu Spring’s rosy color fades from forest flowers Too soon, too soon. How can they bear cold morning showers ‘And winds at noon! Your rouged tears like crimson rain Intoxicate my heart, When shall we meet again? ‘As water eastward flows, so shall we part, ‘The image of crimson flowers falling in the cold morning rain Is compared 10 the rouged tears of a beautiful woman the poet is going to rough this image he conveys the idea that even the extemal world Personal sorrow. 37+iu NY EME aL + EIN © SORE I © BRIERE: wg © RAR > PRTC © SHUR AS Ss FAN HE © URED + REAR! 19 Tune: “Ripples Sifting Sand” LiYu ‘The curtain cannot keep out the patter of rain, Springtime is on the wane. In the deep of the night my quilt is not cold-proof, Forgetting I am under hospitable roof, Still in my dream I seek for pleasures vain. Don't lean alone on the railings and Yearn for the boundless land! To bid farewell is easier to leave it than to meet again. With flowers fallen on the waves spring’s gone amain, So is the paradise of men, ‘This is,one of the best Iyries writen by Li Yu after he wes taken as 8 captive north to the Song capital. Fallen flowers, rolling waves, departing ‘spring ll reminded him of hs lost county. 39= BRA #H8 HEAR AINE T+ ERMS 0 AMBRERC BUS + BR7SHRIT ET BAR EBA i PORE HE: » REABI © FETHE A BES; LARK BE © 20 Tune: “The Beautiful Lady Yu" LiYu When will there be no more an autumn moon and spring time flowers For me who had so many memorable hours? My attic which last night in the east wind did stand Reminds me cruelly of the lost moonlit land. Carved balustrades and marble steps must still be there, But rosy faces cannot be as fair. If you would ask me how my sorrow increased, Just see the over-brimming river flowing east! suppotad to be the last yrie written by Li Yu before AAs John Mill says, “all poetry i of the nature of soliloquy." "The appears to us to lie in the post's utter unconsciox oncept that al literature must be written in blood.