Poems about music: Ming
compiled by David Badagnani (rev. 20 December 2023)
《秦筝曲》
(Qin Zheng Qu)
作者：高启（明初）
by Gao Qi (early Ming Dynasty, 1336-1374)
娇弦细语发砑罗，臂动玉钏鸣相和。
关云陇月愁思多。
愁思多，听此曲。
停蜀琴，罢燕筑。
Notes:
Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.
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《夜饮丁二侃宅听琵琶》
Drinking All Night [at] Ding Erkan's Residence [while] Listening to the Pipa (Ye Yin Ding Erkan Zhai Ting Pipa)
作者：高启（明初）
by Gao Qi (early Ming Dynasty, 1336-1374)
江月未出明星悬，主人饮客夜不眠。
坐呼伶儿拨四弦，龙头高撚玉轸圆。
转关未奏濩索先，劳嘈咽切断复连。
涩如清涧溜冻泉，细若碧树吟秋蝉。
忽然繁急何轰阗，风沙满把撒四筵。
雁行惊起飞不联，浮云落叶俱绵绵。
一声抹断万里烟，梦入紫塞愁胡天。
问渠怨恨有几千，口不能说指为传。
令人怅望思往年，梁园楚榭长周旋。
帷中曲宴罗绮鲜，夜遣飞骑迎婵娟。
低鬟出拜绛烛前，文丝香绦搭左肩。
曲项紫凤抱半偏，枫香一调妙入玄。
好手正可羞红莲，座间豪客皆词仙。
举杯邀我赋短篇，赠之醉写蜀锦笺，可当十万缠头钱。
如今远客江海边，欲闻丝音久无缘。
故人已散陵谷迁，生死流落俱堪怜。
今宵听此真偶然，顾影憔悴非昔妍。
长河毾曙落远川，暂当欢娱反忧煎。
向隅无言涕泪涟，此身如在浔阳船。
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《黄圣生》
作者：何良俊（明）
by He Liangjun (Ming Dynasty, 1506-1573)
月照高楼弹玉筝，泠泠飞峡泻寒冰。
羁人一听阳春曲，不畏秋风客秣陵。
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《盛仲交原倡》
(Sheng Zhongjiao Yuan Chang)
or 《闻筝诗》
(Wen Zheng Shi)
or 《听李节弹筝》
(Ting Li Jie Tan Zheng)
(Ting Li Jie Tan Zheng)
作者：何良俊（明）或盛仲交（明）或盛时泰（明）
by He Liangjun (Ming Dynasty, 1506-1573)
or Sheng Zhongjiao (Ming Dynasty, b. 1502)
or Sheng Shitai (Ming Dynasty, 16th century)
酒清香蔼夜搊筝，弦上凉生六月冰。
但许风流擅南馆，不教飞梦绕西陵。
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《听李节弹筝和文文水韵》
作者：何良俊（明）
by He Liangjun (Ming Dynasty, 1506-1573)
汩汩寒泉泻玉筝，泠泠标格映清冰。
愁中为鼓秋风曲，不负移家住秣陵。
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《文休承和》
作者：何良俊（明）
by He Liangjun (Ming Dynasty, 1506-1573)
泠泠寒玉泻秦筝，片片清声似断冰。
一曲浑疑李凭在，不知秋旅是金陵。
Notes:
Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.
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《张玄超》
作者：何良俊（明）
by He Liangjun (Ming Dynasty, 1506-1573)
披帷月底理鸣筝，哀调澄于镜里冰。
试使楚王闻一曲，可怜应不数安陵。
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《伊州曲》
Yizhou Tune (Yizhou Qu)
作者：胡应麟（明）
by Hu Yinglin (Ming Dynasty, 1551-1602)
碧天如水暮云收，明月平铺翡翠楼。
Yizhou Tune (Yizhou Qu)
作者：胡应麟（明）
by Hu Yinglin (Ming Dynasty, 1551-1602)
碧天如水暮云收，明月平铺翡翠楼。
The blue sky is like water as the evening clouds withdraw,
And the brightness of the moon spreads out upon the kingfisher-green tower.
楼上美人三十六，夜弹瑶瑟唱伊州。
Upstairs, the beauties are 36 in number,
At night, while playing exquisite se, they sing "Yizhou."
Notes:
The se (瑟) was a 25-stringed bridge zither, used in Chinese court music since ancient times.
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Dongxiao Song (Dongxiao Xing)
作者：邝露（明末清初）
by Kuang Lu (late Ming Dynasty/early Qing Dynasty, 1604-1650)
贵不愿夔龙侍辇歌九韶，富不愿金谷秦筝按六幺。
但愿中秋无云月当午，王郎酒酣为余吹洞箫。
洞箫翕兮天气清，北斗插地天河倾。
洞箫急兮天气肃，秦娥咽月湘妃哭。
大簥箫箫风入松，崩云裂石吟水龙。
小言札札机弄杼，一声两声落花雨。
欲啭不啭态自生，上林学语调春莺。
天声竹声妙无间，紫塞衔芦迭秋雁。
秋雁春莺嗾嗾啼，尽随明月霭金闺。
鸳鸯机上流黄妾，络纬镫边织锦妻。
别有关山限城阙，风吹不到音尘绝。
纨扇朝辞汉辇恩，琵琶夜控胡天月。
月中霜杵响泠泠，孤猿啸月不可听。
开处乍疑花踯躅，放时还作雨淋铃。
淋铃踯躅成幽咽，幽咽不通声暂歇。
定有肝肠未许人，指中飞出莲花舌。
自言结客少年场，芙蓉出水未有霜。
十年学调白翎雀，四海难逢金凤凰。
今夕何夕是三五，夜如何其夜未央。
请君徘徊三五弄，请君为作洞箫行。
我初好音惟好此，羌篴胡笳空聒耳。
不惜黄金铸子期，不遇平原不买丝。
秦时弄玉去不返，嗟君此曲出已晚。
不羡君家王子渊，青宫作赋万人传。
不羡君家王子晋，玉笙一阕花千仞。
羡君颜色簺花红，呼吸噫气通玄风。
会须控鹤归缑岭，不教吹箫入汉宫。
Notes:
Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.
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《听胡琴》
作者：刘绩（明）
by Liu Ji (Ming Dynasty)
胡弦轻轧语星星，破入《甘州》便泪零。
一种尊前沉醉客，解听争似不曾听。
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《夜晏》
作者：刘仔肩（明初）
by Liu Zijian (early Ming Dynasty, fl. 1370)
上相勋庸盛，羁人会合难。
昔曾陪剑戟，今乃厕衣冠。
酒向佳人醉，花随锦障看。
篆香雕鸭换，银甲小筝弹。
内屋开新色，重帘护薄寒。
旨肴呈海陆，妙舞播椒兰。
贤达侪梁苑，才华拟建安。
任情从客狎，剧饮乐杯干。
门第青春迥，星河五夜阑。
归鞍拂华薄，零露已漙漙。
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《病里思听音乐戏呈诸公》
作者：茅维（明）
by Mao Wei (Ming Dynasty, c. 1575-c. 1640)
绕篱黄蝶隐秋花，病里闲情遣狭斜。
伎作东山怀谢傅，笛吹古墓忆桓家。
那堪残曲歌《金缕》，敢向今时斗丽华。
红烛最娇丸髻妓，胡床企脚听琵琶。
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《闻筝》
Listening to the Zheng (Wen Zheng)
作者：欧大任（明）
by Ou Daren (Ming Dynasty, 1516-1596)
秦声何处奏，花落玉尊前。
In which place are the sounds of Qin being played,
While blossoms fall before [my] jade winecup?
无限佳人思，春风十二弦。
Immeasurable is the excellent beauty's yearning,
As the spring breeze [animates/infuses/caresses her zither's] twelve strings.
Notes:
Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument. In the last line, it is up to the reader to guess whether the spring breeze is animating, infusing, or caressing the zither's strings. Depending on the context, chun feng (春风, literally "[warm] spring breeze") may have a number of implied meanings, including "pleasant/joyful/happy" or "graceful," and may also have erotic implications.
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《江都曲》
作者：石珝, 石珤, or 石宝（明）by Shi ? (Ming Dynasty)
金篦吹笙绛裤讴，君王自理卧箜篌。
夜深未唤憨憨寝，一曲归飞万里愁。
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《宫人入道》
作者：田汝𦓹（明）
by Tian Rulai (Ming Dynasty)
妾身自侍昭阳殿，锦幕云屏朝复晏。
艳舞云飘绮席香，娇歌声断金壶箭。
金壶箭涩漏声寒，闷倚𥱧筝不忍弹。
凤凰钗冷云鬟湿，翡翠罗轻玉骨单。
红楼紫殿春将暮，卢橘杨梅委墀路。
玉兔西沈不复东，可怜春色花朝露。
朝露才晞霜霰濛，梧桐金井落秋风。
妾身自念非金石，敢望君恩岁岁同。
君恩自古谁能保，愿请瑶池弄瑶草。
吸露餐霞学驻颜，青蛾皓齿年年好。
珠帘绣箔锦云绦，侧想钧天奏玉璈。
暗解同心鸳帐结，竟随玄圃凤群翱。
凤翱飞入碧云里，可怜呜咽宫前水。
宫水东流竟不还，玉阶琪树空连理。
殷勤再拜嘱宫官，好向宫中奉御欢。
异日丹成升碧落，尚迎金跸共骖鸾。
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《闻王优弹唱》
作者：屠滽（明）
by Tu Yong (Ming Dynasty, 1440-1512)
班里当歌让早名，临觞一曲使人惊。
板回促拍翻新调，丝引余腔转慢声。
萱草泥融蚯蚓细，桃花风悄栗留生。
白头重洗青春耳，不向何戡数渭城。
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《胡琴行》
(Huqin Xing)
作者：王钝（明）
by Wang Dun (Ming Dynasty, 1334-c. 1404)
馆陶巡简鄩州客，煮酒烹羊留悦怿。
席前白发老伶人，手操胡琴声裂帛。
初如岩溜响秋风，又若林莺调晓舌。
嘤嘤咿咿离鸾鸣，切切嘈嘈丹凤别。
座中万壑松涛生，鹤梦惊回山月白。
忆昔戎王马上弹，紫塞风寒霜草折。
旃庐再鼓明姬愁，黑河水浅波声咽。
流落中原今几年，北鄙宫商犹未绝。
高山流水更无闻，别恨离情转悲切。
我胸磊落虽难平，自许肝肠如削铁。
肯为儿女生悲酸，泪痕轻渍青衫血。
君不见江州司马好襟怀，至今恨压浔阳月。
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作者：王世贞（明）
by Wang Shizhen (Ming Dynasty, 1526-1590)
至后今年雪未匀，江南梅柳剧含春。
自缘衣食犹关世，仅有篇章肯向人。
沧海渔竿容独把，白云华省更谁亲。
闻君日逐荆卿饮，击筑长歌渐隐沦。
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《闻筝二首》
作者：王廷陈（明）
by Wang Tingchen (Ming Dynasty, 1493-c. 1550 or 1551)
楚馆名娃出，秦筝逸响传。
徘徊芳树侧，掩映杂花前。
雁促玫瑰柱，莺喧锦绣筵。
年来哀怨切，复此感繁弦。
花月可怜春，房栊映玉人。
思繁纤指乱，愁剧翠蛾颦。
授色歌频变，留宾态转新。
曲终仍自叙，家世本《西秦》。
Notes:
Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.
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《梅花折枝图》
作者：王行（元末明初）
by Wang Xing (late Yuan/early Ming Dynasty, 1331-1395)
映水一枝开，春从笔底来。
高楼漫吹笛，终不点苍苔。
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《梅花折枝图》
作者：王行（元末明初）
by Wang Xing (late Yuan/early Ming Dynasty, 1331-1395)
映水一枝开，春从笔底来。
高楼漫吹笛，终不点苍苔。
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《追和元张伯淳学士赠长芦弹琵琶者 木兰花慢》
作者：吴宽（明）
by Wu Kuan (Ming Dynasty, 1435-1504)
自浔阳客散，千古事、少风情。
忽丹穴将雏，空山啄木，上下和鸣。
谁云不如竹也，却千愁万恨托丝声。
好把金龟当酒，莫将银甲弹筝。
玉堂风静落花轻。
学士旧曾听。
想泪湿青衫，情缠綵笔，沉醉初醒。
长芦往时年少，怅悠然对坐到天明。
空使后人怀古，夜窗怏雪时晴。
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《伯劳吟》
作者：杨慎（明）
by Yang Shen (Ming Dynasty, 1488-1559)
南中有鸟名伯劳，禽经羽族称雄豪。
曾隶九苞来拣竹，耻随百舌绕蓬蒿。
青春受谢，四月维夏。
茂树薰风，长林短夜。
伊伊喔喔未有声，架架格格先鸡鸣。
阶前停蚓笛，江上住鼍更。
熠耀收灯火，蟋蟀罢𥱧筝。
村妇侵星提瓮汲，山农带月架犁耕。
戴胜降桑人共羡，鶗鴂歇芳君不见。
寄信难凭北去鸿，单栖肯逐西飞燕。
故乡迢递水云深，客游闻此几惊心。
何时高枕松窗下，细听桐花小凤吟。
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《赠筝人》
(Zeng Zheng Ren)
作者：杨慎（明）
by Yang Shen (Ming Dynasty, 1488-1559)
绮筵雕俎换新声，博取琼花出玉英。
肯信博陵崔十四，平生愿作《乐中筝》。
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《题颜悦堂孝禅图》
作者：袁华（明）
by Yuan Hua (Ming Dynasty, c. 1316-c. 1373)
堂背谖华黄鹄觜，堂下江波流瀰瀰。
白头阿母在庭闱，寸草春晖感游子，颜师僧中学禅解。
谈空忆得离家时，屋头霜叶绕红紫，白云英英度娄水。
迎母南来奉甘旨，金缕赐衣光纚纚。
献寿称觞母心喜，越州剃发睦州屦，千载高风差可拟。
初日照青桐，哑哑语慈乌。
念母不复见，粉墨间新图。
君不见东家甲第连朱楼，千金买妾楼上头。
筝笛琵琶间箜篌，俾夜作昼肆盘游。
妇姑勃蹊兄弟雠，不顾父母养而令父母忧。
颜师颜师曾闵俦，乌乎颜师颜师曾闵俦，孝禅之书鲁春秋。
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《赠弹筝人》
(Zeng Tan Zheng Ren)
(Zeng Tan Zheng Ren)
作者：张羽（元末明初）
by Zhang Yu (late Yuan/early Ming Dynasty)
先辈曾将旧曲传，纤纤银甲更堪怜。
清和未数《湘灵瑟》，哀怨浑同蜀国弦。
莺弄晚风啼复歇，雁飞秋水断还连。
坐中北客听来少，暗想当时一惘然。
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(Sai Shang)
作者：郑伯兴 （明）
by Zheng Boxing (Ming Dynasty)
绝塞万山秋，筹边更筑楼。
马肥春苜蓿，人醉卧箜篌。
图画云台列，功名铁柱留。
上公蒙宠异，方赐紫云裘。
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《弹琴》
Playing the Qin (Tan Qin)
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
泠泠太古音，淡淡分宫徵。
吁嗟𥱧与筝，繁听恼人耳。
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《席上音乐杂咏十首 其一 筝》
Ten Miscellaneous Chants about Banquet Music
No. 1: Zheng
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
银甲玉纤轻，花间乍啭莺。
琤琤倾四座，尽是断肠声。
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《席上音乐杂咏十首 其二 琵琶》
Ten Miscellaneous Chants about Banquet Music
No. 2: Pipa
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
掩面出昭阳，伤心泪几行。
胡沙天万里，何地吊王嫱。
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《席上音乐杂咏十首 其三 笙》
Ten Miscellaneous Chants about Banquet Music
No. 3: Sheng
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
凤翼象参差，清音真妙绝。
鹤背载刚风，缑山弄明月。
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《席上音乐杂咏十首 其四 笛》
Ten Miscellaneous Chants about Banquet Music
No. 4: Di
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
牛背晚风清，渔舟夜月明。
征人肠欲断，出塞不胜情。
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《席上音乐杂咏十首 其五 箫》
Ten Miscellaneous Chants about Banquet Music
No. 5: Xiao
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
赤壁坡仙赋，秦台弄玉祠。
韶音今再作，应见凤来仪。
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《席上音乐杂咏十首 其六 箜篌》
Ten Miscellaneous Chants about Banquet Music
No. 6: Konghou
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
狂夫渡河死，丽玉独伤情。
翻入梨园谱，都成堕泪声。
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《席上音乐杂咏十首 其七 胡琴》
Ten Miscellaneous Chants about Banquet Music
No. 7: Huqin
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
紫竹掣冰丝，繁声厌靡靡。
阿谁瘴乡来，传得蛮人语。
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《席上音乐杂咏十首 其八 鼓》
Ten Miscellaneous Chants about Banquet Music
No. 8: Drum
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
奋迅鸣沙碛，欢娱佐玉堂。
阅音思魏武，解秽笑明皇。
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《席上音乐杂咏十首 其九 𥱧》
Ten Miscellaneous Chants about Banquet Music
No. 9: Qin
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
妙响杂笙竽，度词应不误。
几多儿女情，昵昵凭谁诉。
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《席上音乐杂咏十首 其十 拍板》
Ten Miscellaneous Chants about Banquet Music
No. 10: Paiban
No. 10: Paiban
作者：朱诚泳（明）
by Zhu Chengyong (Ming Dynasty, 1458-1498)
细看番绰谱，应悟耳通心。
If you look closely at Fanchuo's score,
You should understand that the ears are directly connected to the mind.
将谓非丝竹，翻能统八音。
Though some may claim it's neither silk nor bamboo,
Playing it can unify the Eight Tones.
Notes:
The paiban (拍板) is a clapper usually comprising six long, flat pieces of dense hardwood, hinged at the top and played as a concussion idiophone in Chinese music since the Northern Qi Dynasty (北齐, 550-577), one of the Northern Dynasties (北朝) during the Northern and Southern Dynasties (南北朝) period, which was founded by a ruler of mixed Han/Xianbei origin. This poem refers to an anecdote about this instrument that is related in Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau), a collection of small essays (biji, 笔记) by the scholar Duan Anjie (段安节, fl. 880-898), which was published around 890 near the end of the Tang Dynasty:
The paiban originally had no notation. Minghuang [i.e., Emperor Xuanzong of Tang, r. 713-756] sent [his court musician] Huang Fanchuo [(黄幡绰)] to make a score, and, to start with, he drew two ears on the paper. When asked why [he had done that], he replied: "If you have a good ear, you won't lose the rhythm." Han Wengong [(韩文公, 768-824, a Tang-era historian, poet, philosopher, and politician)] [explained that this] referred to [the marking of] musical phrases.
"Silk" and "bamboo" (si zhu, 丝竹) are metonymic references to musical instrument types: "silk" referring to string instruments (twisted silk having been the normal material used for the strings of most Chinese chordophones until the 20th century) and "bamboo" referring to flutes and reed pipes.
"Eight Tones" or "Eight Sounds" (Ba Yin, 八音) is an ancient Chinese system of categorizing musical instruments according to the primary material from which each is made: metal, stone, silk, bamboo, gourd, clay, skin, and wood. The term may also be used to refer to the whole inventory of instruments of diverse types, which are played together in court ensembles, or to an ensemble comprising instruments of many different types.
"Eight Tones" or "Eight Sounds" (Ba Yin, 八音) is an ancient Chinese system of categorizing musical instruments according to the primary material from which each is made: metal, stone, silk, bamboo, gourd, clay, skin, and wood. The term may also be used to refer to the whole inventory of instruments of diverse types, which are played together in court ensembles, or to an ensemble comprising instruments of many different types.
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《元宫词（一百三首）》其五十六
103 Yuan Palace Lyrics, no. 56 (Yuan Gong Ci, Yibaisan Shou [Qi Wushiliu])
作者：朱有燉（明）
作者：朱有燉（明）
by Zhu Youdun (Ming Dynasty, 1379-1439)
月夜西宫听按筝，文殊指拨太分明。
On a moonlit night in the Western Palace, listening to the pressing [of the strings of the] zheng,
The Manjushri's fingers pluck, [producing] exceedingly distinct [tones].
清音浏亮天颜喜，弹罢还教合凤笙。
The crystalline sounds are clear and bright, and the emperor's countenance [shows a] pleased [expression];
The playing finished, [he] immediately calls for the phoenix sheng to join in.
Notes:
1) The "Yuan Palace" (Yuan Gong, 元宫) in the title probably refers to the imperial palace of the Yuan Dynasty.
2) Zhu Youdun, a famous and prolific zaju playwright with 31 plays surviving to the present day, was the fifth son of the Hongwu Emperor (the founding emperor of the Ming Dynasty).
2) Zhu Youdun, a famous and prolific zaju playwright with 31 plays surviving to the present day, was the fifth son of the Hongwu Emperor (the founding emperor of the Ming Dynasty).
2) The Western Palace (Xi Gong, 西宫) was the residence of the emperor's concubines in China's imperial period.
3) The zheng is a plucked bridge zither with 13 silk strings, which enjoyed special prestige in court entertainment ensembles in the Northern and Southern Dynasties, Sui, and Tang periods.
4) Mañjuśrī (Chinese: Wenshu, 文殊) is a bodhisattva associated with prajñā (wisdom) in Mahayana Buddhism. Here, the poet appears to be using the term metaphorically, comparing the dress and headgear of the female court musicians to the exquisite and ornate bodily adornment characterizing artistic depictions of such bodhisattvas.
5) The sheng is a mouth organ whose shape is described as similar to that of a phoenix with wings folded behind itself; it was thus sometimes referred to as feng sheng (凤笙, literally "phoenix sheng").
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《筝》
《筝》
Zheng
作者：朱曰藩（明）
by Zhu Yuefan (Ming Dynasty, 1501-1561)
日者西园宴，云和独未收。
弦张鹍转急，柱促雁相求。
靡靡萦怀恶，纤纤绕指柔。
多情如有待，庭树莫先秋。
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Thanks to David Fang for assistance with this page.
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