Friday, October 5, 2018

Poems about music: Six Dynasties

Poems about music: Six Dynasties
compiled by David Badagnani (rev. 31 December 2023)

《晋四厢乐歌》三首 其三 食举东西厢歌
作者：无名氏（晋）
Anonymous (Jin Dynasty, 265-420)

 天命大晋，载育群生。
于穆上德，随时化成。
自祖配命，皇皇后辟。
继天创业，宣文之绩。
不显宣文，先知稼穑。
克恭克俭，足教足食。
既教食之，弘济艰难。
上帝是佑，下民所安。
天佑圣皇，万邦来贺。
虽安勿安，乾乾匪暇。
乃正丘郊，乃定冢社。
廙廙作宗，光宅天下。
惟敬朝飨，爰奏食举。
尽礼供御，嘉乐有序。
树羽设业，笙镛以间。
琴瑟齐列，亦有篪埙。
喤喤鼓钟，枪枪磬管。
八音克谐，载夷载简。
既夷既简，共大不御。
风化潜兴，如云如雨。
如云之覆，如雨之润。
声教所暨，无思不顺。
教以化之，乐以和之。
和而养之，时惟邕熙。
礼慎其仪，乐节其声。
于铄皇繇，既和且平。


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《善哉行》
作者：曹丕（三国 – 魏）
by Cao Pi (Three Kingdoms:  Wei, 187-226)

朝日乐相乐，酣饮不知醉。
悲弦激新声，长笛吐清气。
弦歌感人肠，四坐皆欢悦。
寥寥高堂上，凉风入我室。
持满如不盈，有德者能卒。
君子多苦心，所愁不但一。
慊慊下白屋，吐握不可失。
众宾饱满归，主人苦不悉。
比翼翔云汉，罗者安所羁。
冲静得自然，荣华何足为。

Notes:

《诗纪》云。《初学记》载第一解。题云于讲堂作。


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《燕歌行二首 其一》
作者：曹丕（三国 – 魏）
by Cao Pi (Three Kingdoms:  Wei, 187-226)

秋风萧瑟天气凉。
草木摇落露为霜。
群燕辞归雁南翔。
念君客游思断肠。
慊慊思归恋故乡。
君何淹留寄他方。
贱妾茕茕守空房。
忧来思君不敢忘。
不觉泪下沾衣裳。
援琴鸣弦发清商。
短歌微吟不能长。
明月皎皎照我床。
星汉西流夜未央。
牵牛织女遥相望。
尔独何辜限河梁。


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《箜篌引》
K'ung-hou Song (Konghou Yin)
作者：曹植（三国 – 魏）
by Cao Zhi (Three Kingdoms:  Wei, 192-232)
translated by J. D. Frodsham, with the collaboration of Ch'eng Hsi

 置酒高殿上，亲友从我游。
Inside the lofty hall they have set out wine,
Relatives and friends are coming to drink with me,
中厨办丰膳，烹羊宰肥牛。
In the kitchens they're preparing delicate dishes,
Such boiling of lambs and slaughter of fat beeves!
秦筝何慷慨，齐瑟和且柔。
The cheng of Ch'in is sounding stirringly,
The se of Ch'i plays soft, harmonious tunes.
阳阿奏奇舞，京洛出名讴。
They're dancing weird dances from Yang-o,
And singing well-known ballads from Lo-yang.
乐饮过三爵，缓带倾庶羞。
We love to drink much more than just three flagons,
To loosen our belts and wolf down dainty food.
主称千金寿，宾奉万年酬。
The host drinks to 'Ten thousands pieces of gold!'
His guests toast back 'Ten thousand years of life!'
久要不可忘，薄终义所尤。
Old loyalties should never be forgotten,
All righteous men condemn a stingy host.
谦谦君子德，磬折欲何求。
These gentlemen are modest in their virtue,
They bow like musical stones—yet what do they seek?
惊风飘白日，光景驰西流。
A startling wind blows the bright sun away,
Shadow and light go racing back to the west.
盛时不再来，百年忽我遒。
Our vigorous years will not come back again,
Even a century comes to a sudden end.
生存华屋处，零落归山丘。
Alive, we live in gaily-painted halls,
But one by one we go to our graves on the hill.
先民谁不死，知命复何忧。
Who's living now of the men who went before?
Once you know your fate, what's left to worry about?

Notes:

The konghou mentioned in this poem's title is most likely the fretted zither known as wo konghou (卧箜篌) rather than the angular harp later known as shu konghou (竖箜篌).  Qin 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 based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

Notes by J. D. Frodsham and Ch'eng Hsi:

1   The k'ung-hou was an ancient, vertical, angular harp, with between 16 and 25 strings.  During this period the term was also used for a small lute; We are not sure which is meant here.  The k'ung-hou yin was a type of yüeh-fu ballad, which was ranked among the first of the six yin, or modes.  The original tune was supposed to have been written down by Li-yü, the wife of a ferryman in Korea by the name of Ho-li Tzu-kao.  The story goes that an old man attempted to cross the river and was drowned, whereupon his wife sang a lament for him and then threw herself in the river too.  Li-yü then wrote down the melody which she had heard the old woman singing.
2   The cheng is a half-tube zither, with 13 (sometimes 16) brass strings.  The se also is a half tube zither, with 26 strings of silk-gut.  See L. Picken, 'Music of Far Eastern Asia (China)', in Oxford History of Music, vol. i (London, 1957), pp. 92-94.
3   Yang-o is a place in Shansi, north-west of Feng-t'ai.  It was there that the Empress Chao, consort of Emperor Ch'eng of Former Han (regnet 33-7 B.C.), learnt the dances for which she was notorious.
4   Three flagons was the maximum that the rules of ritual permitted the gentleman to drink.  See Li Chi, Yü-ts'ao:  'After he has drunk his three flagons he retires softly and respectfully.'  For those who did not heed this warning see Shih-ching, Song CCXX.  5:  'After three cups, they don't remember a thing.'
5   Lun-yü, XIV.  12:  'Never to forget the old loyalties one has acquired during the course of one's life.'
6   Literally, 'Stinginess at the end is what the righteous condemn', an allusion to Lieh-tzu's dictum, 'Some are generous at the beginning but stingy at the end.'
7   The Chinese musical stone was shaped like an inverted letter V.  Chou-yi, Hex. XV, says:  'The gentleman is modest about his modesty.'

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《歌》
Song (Ge)
作者：陈后主陈叔宝（南朝 – 陈）
by Emperor Chen Houzhu, personal name Chen Shubao (Southern Dynasties:  Chen, 553-604)

玉树后庭花，花开不复久。

More information:

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《听筝诗》
Poem:  Listening to the Zheng (Ting Zheng Shi)
作者：陈后主陈叔宝（南朝 – 陈）
by Chen Houzhu, personal name Chen Shubao (Southern Dynasties:  Chen, 553-604)

文窗玳瑁影婵娟。香帷翡翠出神仙。
促柱点唇莺欲语。调弦系爪雁相连。
秦声本自杨家解。《吴歈》那知谢傅怜。
秪愁芳夜促。兰膏无那煎。

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《玉树后庭花》
A Jade Tree's Rear-Court Blossom (Yushu Hou Ting Hua)
作者：陈后主陈叔宝（南朝 – 陈）
by Emperor Chen Houzhu, personal name Chen Shubao (Southern Dynasties:  Chen, 553-604)

丽宇芳林对高阁，新装艳质本倾城。
映户凝娇乍不进，出帷含态笑相迎。
妖姬脸似花含露，玉树流光照后庭。
花开花落不长久，落红满地归寂中。

Notes:

The version of this poem in Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099) does not include the fourth couplet, which seems to have been composed by another poet who wished to normalize the six-line poem to one of eight lines.

More information:

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 《歌》
(Ge)
作者：傅玄（三国 – 魏、西晋）
by Fu Xuan (Three Kingdoms: Wei; Western Jin Dynasty, 217-278)

煌煌芙蕖。从风芬葩。照以皎日。灌以清波。阴结其实。阳发其华。
金房绿叶。素株翠柯。宝剑神奇。镂象龙离。通犀文玉。明珠错地。
光如电影。拟之则离。有所思兮。在天一方。何以赠之。玉佩珠璜。
飞沉殊厥趣。草木以区别。鸾鹥乐山林。龙蛇安薮穴。
雷师鸣钟鼓。风伯吹笙簧。西母出穴听。王父吟安厢。
黄叶离高柯。丹棘坐自零。不惜棘自零。念我少弟兄。
日中万影正。夕中万影倾。渡江南。采莲花。芙蓉增敷。晔若星罗。
绿叶映长波。回风容与动纤柯。曲池何澹澹。芙蓉敞清源。
荣华盛壮时。见者谁不赏叹。一朝光采落。故人不回颜。
歌者齐弦。舞者振铎。弦铮铮。铎朗朗。所乐亦非琴。唯言琵琶与筝。
能娱我心。兔捣药月间安足道。神乌戏云间安足道。青云徘徊谓我愁。
我家近宫掖。易知复难忘。黄金为閤门。白玉为殿堂。

 More information:
http://www.skyjiao.com/shici/list_483153.html

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《筝赋》并序（残）
Preface to "A Rhapsody on the Zheng" (incomplete)
("Zheng Fu" Bing Xu)
作者：傅玄（三国 – 魏、西晋）
by Fu Xuan (Three Kingdoms:  Wei; Western Jin Dynasty, 217-278)

世以为蒙恬所造，今会观其器，上崇似天，下平似地，中空准六合，弦柱拟十二月，设之列四象在，鼓之列五音发。体合法度，节究哀乐，斯乃仁智之器，岂蒙恬亡国之臣所能关思运巧哉？
追赴促弹，急击扣危；洪纤杂奋，或合或离。
阴沉阳升，柔屈刚兴；玄黄之分，推故引新。迭为主宾，四时之陈。
清浊代兴，有始有终；哀起清羽，乐混大宫。

[ ? ]; [ ? ]; its upper part is convex like the [vault of] heaven, its bottom flat like the earth; its inside is hollow to accommodate the Six Directions; its strings and bridges symbolize the twelve months [of the year]; [ ? ] Four Symbols [ ? ]; play it, and it issues a succession of the Five Tones.  [ ? ]; [ ? ]; therefore, it is an instrument of benevolence and wisdom; [ ? ]?
[ ? ], [ ? ]; [ ? ], [ ? ].
[ ? ], [ ? ]; [ ? ], [ ? ].  [ ? ], [ ? ].
[ ? ], [ ? ]; [ ? ], [ ? ].


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《法婴玄灵之曲二首》
作者：葛洪（晋）
by Ge Hong (Jin Dynasty, c. 284-364)

Preface:
《汉武帝内传》曰：元封元年七月七日，西王母降于汉宫，王母自设天厨，精妙非常。酒觞数遍，王母命诸侍玉女作乐，命法婴歌《玄灵之曲》。乃遣侍女招上元夫人。夫人至，自弹云琳之琴，歌《步玄之曲》，曰：

其一
大象虽寥廓，我把天地户。
披云沉灵舆，倏忽适下土。
空洞成玄音，至精不容冶。
太真嘘中唱，始知风尘苦。
颐神三田中，纳精六阙下。
遂乘万龙楯，驰骋眄九野。

其二
玄圃遏北台，五城焕嵯峨。
启彼无涯津，泛此织女河。
仰止升绛庭，下游月窟阿。
顾盻八落外，指招九云遐。
忽已不觉劳，岂悟少与多。
抚璈命众女，咏歌发中和。
妙畅自然乐，为此玄云歌。
韶尽至韵存，真音辞无邪。

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《筝赋》
A Rhapsody on the Zheng (Zheng Fu)
作者：顾野王（南朝 – 梁、陈）
by Gu Yewang (Southern Dynasties:  Liang, Chen, 519-581)

调宫商于促柱，转妙音于繁弦；
既留心于《别鹤》，亦含情于《采莲》。
始掩抑于《纨扇》，时怡畅于《升天》。

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《赋得长笛吐清气诗》
作者：贺彻（南朝 – 陈）
by He Che (Southern Dynasties:  Chen, c. 557-c. 589)

胡关氛雾侵，羌笛吐清音。
韵切山阳曲，声悲陇上吟。
柳折城边树，梅舒岭外林。
方知出塞虏，不惮武溪深。

Notes:

《诗纪》云。魏文帝善哉行。悲弦激清声。长笛吐清气。


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《伤章公大将军诗》
作者：何胥（南朝 – 陈）
by He Xu (Southern Dynasties:  Chen, c. 557-c. 589)

百万横行罢，三千白日新。
短箫应出塞，长笛反惊邻。
槐庭惨芳树，舞阁思阳春。
所悲金谷妓，坐望玉关人。


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《铜雀妓》
Bronze Bird Female Performers (Tong Que Ji)
作者：何逊（南朝 – 梁）
by He Xun (Southern Dynasties:  Liang, fl. 480-c. 519)

 秋风木叶落，萧瑟管弦清。
In the autumn breeze, leaves fall from the trees,
And the desolate [sound of the] orchestra [literally "pipes and strings"] is clear.
望陵歌对酒，向帐舞空城。
Gazing at the grave mound, they sing "To Wine";
Facing the curtains, they dance [in the] empty city.
寂寂檐宇旷，飘飘帷幔轻。
Absolutely still, the eaves of the buildings are broad and deserted,
And the drapery gently flutters.
曲终相顾起，日暮松柏声。
As the piece ends, they look [blankly] at one another;
Dusk [having fallen], there [remains only] the sound of pines and cypresses.

Notes:

This poem describes the performances of dance and music, which were, according to the will dictated by Cao Cao to his sons while on his deathbed, presented in his memory at Bronze Bird Terrace in the city of Ye (modern-day Linzhang County, Handan, southern Hebei province), on the first and fifteenth day of each month following his death in 220.

"Dui Ge" (对酒, "To Wine") is a reference to "Duan Gexing"《短歌行》, a song by Cao Cao, whose lyrics begin with these two words.  Songbai (松柏, literally "pines [and] cypresses") is a metaphor for the grave, as Chinese cemeteries were traditionally planted with these trees.


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《琴赋》
A Rhapsody on the Qin (Qin Fu)
作者：嵇康（三国 – 魏）
by Ji Kang (Three Kingdoms:  Wei, 223-262)
translated by David R. Knechtges

Preface:
余少好音声，长而玩之。以为物有盛衰，而此无变；滋味有厌，而此不倦。可以导养神气，宣和情志。处穷独而不闷者，莫近于音声也。是故复之而不足，则吟咏以肆志；吟咏之不足，则寄言以广意。然八音之器，歌舞之象，历世才士，并为之赋颂。其体制风流，莫不相袭。称其才干，则以危苦为上；赋其声音，则以悲哀为主；美其感化，则以垂涕为贵。丽则丽矣，然未尽其理也。推其所由，似原不解音声；览其旨趣，亦未达礼乐之情也。众器之中，琴德最优。故缀叙所怀，以为之赋。其辞曰：
When I was young I was fond of music, and as I grew older, I was able to study it.  I believe that all things flourish and decay, but music never changes, and although one may eat his fill of rich flavors, he never tires of music.  It can guide and nourish spirit and breath, relax and harmonize the emotions and feelings.  For dwelling alone in dire straits without feeling sad, nothing is better than music.  For this reason, if repeated performance on an instrument is insufficient, then one may hum or sing in order to release his feelings.  If humming and singing are not sufficient, then one may confer his words to writing in order to express his thoughts.  Thus, talented men throughout the ages have written rhapsodies and odes for the instruments of the eight musical sounds, and the various types of song and dance.  In the form and style of their works they all imitate one another.  When they acclaim the material from which an instrument is made, they place paramount importance on its perilous and precarious location.  When they describe its sounds, they place emphasis on sadness and sorrow.  When they praise its influence and effect, they place highest value on the shedding of tears.  These works are beautiful to be sure, but they do not fully convey the inherent principle of the instrument.  If one were to deduce the reason for this, it would seem that it is basically because they do not understand music.  And if one examines the fundamental ideas of their pieces, one finds that they do not comprehend the feelings involved in rites and music.  Of all of the various musical instruments, the virtue of the zither is the highest.  Thus, I have put my feelings in writing, and I have composed a rhapsody on this subject. The piece reads:

I.
惟椅梧之所生兮，托峻岳之崇冈。
披重壤以诞载兮，参辰极而高骧。
含天地之醇和兮，吸日月之休光。
郁纷纭以独茂兮。飞英蕤于昊苍。
夕纳景于[吁]虞渊兮，旦晞干于九阳。
经千载以待价兮，寂神跱而永康。
The place where the paulownia grows
Rests on a high ridge of a lofty mountain.
Pushing its roots through the layered earth, tall it rises;
Reaching to the Northern Dipper, it soars on high.
Enveloped in the pure harmony of Heaven and Earth,
It inhales the auspicious radiance of sun and moon.
Lush and thick, it stands in unique luxuriance,
Letting its blossoms fly into the great azure.
At dusk it receives the rosy rays from the Gulf of Yu;
At dawn it dries its trunk in the nine suns.
For a thousand years it waits to have its worth recognized,
Quiet it stands, spiritlike, eternally healthy and strong.

II.
且其山川形势，则盘纡隐深，磪嵬岑嵓。亘岭巉岩，岞崿岖崟。丹崖崄巇，青壁万寻。
As for the shape and contours of the mountains and rivers around it:
Twisting and twining, dark and deep,
Tall and towering, perilously poised,
Dark peaks, sharp cliffs,
Spire upwards rugged and steep.
Vermilion banks precipitously plunge,
Green walls soar a myriad fathoms high.
若乃重巘增起，偃蹇云覆。邈隆崇以极壮，崛巍巍而特秀。蒸灵液以播云，据神渊而吐溜。尔乃颠波奔突，狂赴争流。触岩抵隈，郁怒彪休。汹涌腾薄，奋沫扬涛。瀄汩澎湃，蜿蟺相纠。放肆大川，济乎中州。安回徐迈，寂尔长浮。澹乎洋洋，萦抱山丘。
And then, layered crests rising one upon another,
Soar so high they seem enveloped in clouds.
From afar, they arch over all in supreme grandeur,
Standing tall and imposing in solitary splendor.
They exhale numinous vapors to scatter the clouds,
From their divine founts they spurt flowing water.
And then, tumbling waves dash forth,
Wildly coursing in contentious flow,
Smashing into cliffs, battering crooks and crannies,
Seething with anger, roaring with rage.
Soaring and leaping, clashing and colliding
Rushing and racing, swelling and surging
Sinuously snaking, as if coiled together,
With wild abandon they pour into great rivers,
And cross the central realm.
Now placidly swirling, slowly coursing,
The waters quietly flow into the distance,
Calmly spreading and sprawling,
Encircling and embracing mountains and hills.
详观其区土之所产毓，奥宇之所宝殖，珍怪琅玕，瑶瑾翕赩，丛集累积，奂衍于其侧。
Carefully observe what grows in this region,
What treasures it produces in its most secret domains:
Rubies, rare and wondrous,
Carnelian and jade, rich and glittering,
Gathered in clusters, collected in piles,
Are scattered about the sides of the tree.
若乃春兰被其东，沙棠殖其西。涓子宅其阳，玉醴涌其前。玄云荫其上，翔鸾集其巅。清露润其肤，惠风流其间。竦肃肃以静谧，密微微其清闲。
Then, spring boneset spreads to the east,
Crab apple trees grow on the west.
Master Juan resides on the southern slope,
Elixir of jade bubbles in the front.
Dark clouds cover its top,
Soaring simurghs perch on the crest,
Pure dew soaks its bark,
A gentle breeze blows through it.
Its branches thrust upward in silent solemnity,
Its lush leaves unfold in quiet repose.
夫所以经营其左右者，固以自然神丽，而足思愿爱乐矣。
The reason that people linger about it is truly because of its natural divine beauty, which is enough to inspire admiration and interest.

III.
于是遁世之士，荣期绮季之畴，乃相与登飞梁，越幽壑，援琼枝，陟峻崿，以游乎其下。
Then, gentlemen who have fled from the world,
Men like Rong Qi and Qi Ji:
Together climb soaring bridges,
Cross dark ravines,
Grasp jasper branches,
Climb steep slopes,
In order to play beneath it.
周旋永望，邈若凌飞，邪睨昆仑，俯阚海湄。指苍梧之迢递，临回江之威夷。悟时俗之多累，仰箕山之余辉。羡斯岳之弘敞，心慷慨以忘归。
Long they gaze all about them—
Their vista is as broad as that of birds soaring the skies.
Sidewards they glimpse Kunlun,
See below them the shores of the sea.
They point out Cangwu far in the distance,
Look down on winding rivers, turning and twisting.
Aware of the many burdens of the profane world,
They see above them the lingering brilliance of Mount Ji.
They admire the broad expanse of this peak,
And their hearts are so stirred they forget to return.
情舒放而远览，接轩辕之遗音。慕老童于騩隅，钦泰容之高吟。顾兹梧而兴虑，思假物以托心。乃斫孙枝，准量所任。至人摅思，制为雅琴。
Their feelings released, they gaze into the distance,
And receive the melody left by Xuanyuan.
They revere the Aged Boy in his Mount Gui nook,
Admire the lofty singing of Tairong.
Beholding this paulownia gives rise to thoughts,
And they wish to avail themselves of it to convey their feelings.
They then lop off a young bough,
Measure a piece that can be put to use.
Using it to release their cares, these Perfected Men
Make it into an Elegant Zither.

IV.
乃使离子督墨，匠石奋斤，夔襄荐法，般倕骋神。锼会裛厕，朗密调均。华绘雕琢，布藻垂文。
Then, they have Master Li inspect the marking line,
Craftsman Shi wield the axe,
Kui and Xiang present the rules of construction,
Ban and Chui display their divine craft.
They chisel out the center, join the seams, fitting them tightly together,
Achieving a perfect balance between gaps and joints.
They paint and carve it,
Adorn it with designs and patterns.
错以犀象，籍以翠绿。弦以园客之丝，徽以钟山之玉。
They inlay it with rhinoceros horn and ivory,
Apply a layer of blue and green.
The strings are made of Yuan Ke's silk,
For the studs they use Mount Zhong jade.
爰有龙凤之象，古人之形。伯牙挥手，钟期听声。华容灼爚，发采扬明，何其丽也！
It has figures of dragons and phoenixes,
The forms of ancient worthies.
Bo Ya moves his fingers across the strings,
And Zhong Qi listens to the sounds.
Its ornate surface glitters and glistens,
Casting off color and light.
Oh how beautiful it is!
伶伦比律，田连操张。进御君子，新声憀亮，何其伟也！
Ling Lun arranges the pitches,
Tian Lian plays the tune.
As performed by a worthy gentleman,
New melodies are clear and loud.
How grand indeed they are!

V.
及其初调，则角羽俱起，宫徵相证，参发并趣，上下累应。踸踔磥硌，美声将兴，固以和昶而足耽矣。
When the strings are first tuned,
The jiao and yu resound together,
The gong and zhi confirm one another.
Notes separately go forth, then blend together,
From high to low continuously resonating.
First weak and feeble, then strong and robust,
Lovely melodies begin to sound.
They are smooth and harmonious indeed, all worthy of providing joy.
尔乃理正声，奏妙曲，扬《白雪》，发《清角》。纷淋浪以流离，奂淫衍而优渥。粲奕奕而高逝，驰岌岌以相属。沛腾遌而竞趣，翕韡晔而繁缛。
And now can the proper music be played,
And sublime melodies be performed.
They play forth "White Snow,"
Sound forth "Clear Jiao."
A flurry of sounds, steadily streaming, smoothly flowing,
Profusely pours forth, rich and mellow.
Tones, bright and vigorous, rise on high,
Racing swiftly one after another.
Full and strong, leaping into one another, they race forth,
Then blend together, vibrant and rich, delicate and fine.
状若崇山，又象流波。浩兮汤汤，郁兮峨峨。怫烦冤，纡余婆娑。陵纵播逸，霍濩纷葩。
Their manner is like lofty mountains,
And also resembles rolling waves:
Now full and flowing,
Then tall and stately.
Rumbling and grumbling, troubled and tormented,
The sounds twist and twine, whirl and twirl.
Then with wild abandon, they disperse and drift,
Rolling and swelling, unfolding and spreading.
检容授节，应变合度。兢名擅业，安轨徐步。洋洋习习，声烈遐布。含显媚以送终，飘余响乎泰素。
With solemn expression, the musician follows the rhythm,
Adapting to changing harmonies, conforming to proper measure.
Striving for fame, he masters his art:
All in accord with the rules, slow and sure.
In stately solemnity, in refined harmony,
The notes grandly spread into the distance,
Then, clear and graceful, they send off the finale,
As their lingering echoes drift into Grand Simplicity.

VI.
若乃高轩飞观，广夏闲房，冬夜肃清，朗月垂光，新衣翠粲，缨徽流芳。
Then, on high verandas, soaring towers,
In tall mansions, secluded chambers,
On winter nights, cold and still,
The bright moon shining down its light,
New clothes rustling and swishing,
Colored tie-strings wafting a sweet scent:
于是器冷弦调，心闲手敏。触批如志，唯意所拟。
Then, the instrument is cold, but its strings are tuned;
The heart is relaxed, but the hands are nimble.
One touches and plucks the strings at will,
And all is played only as intended.
初涉《渌水》，中奏《清徵》。雅昶《唐尧》，终咏《微子》。宽明弘润，优游躇跱。拊弦安歌，新声代起。
One first launches into "Limpid Waters,"
Midway plays "Clear Zhi,"
Gracefully plays "Tang Yao,"
Ends by intoning "Viscount of Wei."
These melodies are magnanimous and wise, broad and rich,
Relaxed and at ease, hesitant and slow.
To the strumming of strings songs are gently sung,
New melodies begin one after another.
歌曰：
凌扶摇兮憩瀛洲，要列子兮为好仇。
餐沆瀣兮带朝霞，眇翩翩兮薄天游。
齐万物兮超自得，委性命兮任去留。
The song goes:
"Soaring on the whirling wind, I come to rest in Yingzhou;
I invite Liezi as my boon companion.
I dine on midnight vapors, weave morning mists into a belt;
Gliding and soaring afar, near Heaven I roam.
Viewing all things as the same, I am free from worldly cares;
I yield to fate, go or stay at will."
激清响以赴会，何弦歌之绸缪！
The sounds resonate clearly, in accord with the cadence;
How harmoniously blended are song and zither tune!

VII.
于是曲引向阑，众音将歇，改韵易调，奇弄乃发。
And then, as the song comes to a close,
And the various sounds are about to cease,
Chords are changed, modes are altered,
And a wonderful melody sounds forth.
扬和颜，攘皓腕。飞纤指以驰骛，纷（涩去掉三点水加单人旁）譶以流漫。或徘徊顾慕，拥郁抑按，盘桓毓养，从容秘玩。闼尔奋逸，风骇云乱。牢落凌厉，布濩半散。丰融披离，斐韡奂烂。英声发越，采采粲粲。或间声错糅，状若诡赴。双美并进，骈驰翼驱。初若将乖，后卒同趣。或曲而不屈，直而不倨。或相凌而不乱，或相离而不殊。时劫掎以慷慨，或怨㜘而踌躇。忽飘飖以轻迈，乍留联而扶疏。
The players raise their heads and reveal a mild expression,
Lift their sleeves and display gleaming wrists.
Their slender fingers swiftly fly over the strings,
And a profusion of tones flows forth.
At times the sounds are hesitant, as if looking back with longing:
Held in and held back, restrained and repressed,
Lingering and loitering, reticent and reserved,
All is calm and composed, well-practiced.
Then swiftly they race off,
Like a startling breeze agitating the clouds:
Thin and faint, they fly into the air,
Scattering and spreading in all directions,
Full and strong, broadly dispersed,
Resplendently beautiful, vibrant and bright.
Grand strains issue forth,
Richly colored, brilliantly toned.
Sometimes mixed harmonies are intermingled,
As if two separate melodies are counterpoised.
Two beautiful strains advance together,
Like two horses galloping in double-harness.
At first they seem about to part,
Then, blend together at the end.
At times they bend, but are not obsequious,
Are straightforward, but not overbearing.
Sometimes they cross into one another, but are never disorderly,
Sometimes they separate, but never break apart.
Sometimes they seem compelled and constrained, beset with frustration;
Sometimes they are plaintive and sad, timid and tentative.
Suddenly they whirl away, as if lightly traveling on the wind,
Then linger for a moment before spreading out in all directions.
或参谭繁促，复叠攒仄。纵横骆驿，奔遁相逼。拊嗟累赞，间不容息。瑰艳奇伟，殚不可识。
Sometimes they follow each other in hasty pursuit,
Resounding and re-echoing, as if pushed and pressed together.
This way and that, in an unending stream,
They race and run, pushing each other along,
And the audience repeatedly claps and sighs its praise;
There is not even a moment to draw a breath.
This melody is so ornate and rich, so wondrous and grand,
One cannot comprehend it completely.

VIII.
若乃闲舒都雅，洪纤有宜。清和条昶，案衍陆离。穆温柔以怡怿，婉顺叙而委蛇。或乘险投会，邀隙趋危。譻若离鹍鸣清池，翼若游鸿翔层崖。纷文斐尾，慊縿离纚。微风余音，靡靡猗猗。或搂批攦捋，缥缭潎冽。轻行浮弹，明婳𥉻慧。疾而不速，留而不滞。翩绵飘邈，微音迅逝。
Then, if one plays slowly and refined,
The broad and delicate tones are in their proper place.
The sounds are clear and harmonious, graceful and smooth,
Now high, now low, in manifold forms,
Gentle and soft, joyful and gay,
Mild and compliant, swaying to and fro.
Sometimes through a difficult passage the notes follow the beat,
Then, awaiting an opening, they go to a more perilous height:
Screeching like a stray jungle fowl crying by a limpid pond,
Winging like a wandering  swan soaring over steep cliffs.
The tones, diversely hued, brightly colored,
Hang thickly like drooping fringe.
The echoing sounds carried by a gentle breeze,
Dainty and delicate, linger in the air.
Sometimes the strumming and thrumming
Is like the sound of the plashing and splashing of waves.
The strings are lightly touched, barely plucked,
Yet the sounds are clearly and distinctly perceived.
They are fast but never hurried,
Slow but never sluggish.
Fluttering about, distant and far,
Faint tones swiftly depart.
远而听之，若鸾凤和鸣戏云中；迫而察之，若众葩敷荣曜春风。既丰赡以多姿，又善始而令终。嗟姣妙以弘丽，何变态之无穷！
Heard from afar,
They are like the harmonious singing of simurgh and phoenix playing amidst the clouds;
Examined more closely,
They are like a cluster of spreading blossoms glistening in a spring breeze.
The music is rich and of manifold elegance,
Is excellent from beginning to end.
Oh, what charming grace and grand beauty!
How inexhaustible its changing forms!

IX.
若夫三春之初，丽服以时。乃携友生，以遨以嬉。涉兰圃，登重基，背长林，翳华芝，临清流，赋新诗。嘉鱼龙之逸豫，乐百卉之荣滋。理重华之遗操，慨远慕而长思。
In the first of the three spring months,
Clad in pretty clothes fit for the season,
Hand in hand with good friends,
We go for a stroll to amuse ourselves.
We enter a garden of fragrant herbs,
Climb a lofty knoll.
With a tall grove at our backs,
Covered by a flowery sunshade,
We go down to a limpid stream,
And compose new songs.
We admire the relaxed ease of fish and dragon,
Enjoy the fecund splendor of the many plants.
We then play the zither song handed down from Chonghua;
Heaving sighs, we long for the distant, ponder the far away.

X.
若乃华堂曲宴，密友近宾，兰肴兼御，旨酒清醇。进《南荆》，发《西秦》，绍《陵阳》，度《巴人》。变用杂而并起，竦众听而骇神。料殊功而比操，岂笙籥之能伦？
Then, at an informal banquet in an ornate hall,
With intimate friends and close companions:
Savory viands are served to all,
Fine wine is clear and mellow.
We then present "Southern Jing,"
Sound forth "Western Qin,"
Continue with "Lingyang,"
Play "Man of Ba."
Vulgar and elegant sounds, mingling and rising together,
Stir the listeners' ears and startle their souls.
Judging the zither's incomparable merits and comparing its tunes,
How could it be matched by mouth organ and flute?

XI.
若次其曲引所宜，则《广陵》《止息》，《东武》《太山》。《飞龙》《鹿鸣》，《鹍鸡》《游弦》。更唱迭奏，声若自然。流楚窈窕，惩躁雪烦。下逮谣俗，蔡氏五曲，王昭楚妃，《千里别鹤》。犹有一切，承间簉乏，亦有可观者焉。
If one orders the tunes in their proper places,
There are "Guangling" and "Stopping the Breath,"
"Dongwu" and "Mount Tai,"
"Flying Dragon" and "Deer Calls,"
"Jungle Fowl" and "Roaming Strings."
They are alternately sung and played,
Their sounds seem as if spontaneously born.
Smooth and clear, gracile and graceful,
They dispel anxiety, wash away cares.
Next come popular ballads,
Master Cai's five tunes,
Songs of Wang Zhao and the Consort of Chu,
"Crane Separated a Thousand Leagues,"
As well as ordinary tunes
That can be used to fill in the gaps,
And these, too, may be appreciated.
然非夫旷远者，不能与之嬉游；非夫渊静者，不能与之闲止；非夫放达者，不能与之无（希去布加厷）；非夫至精者，不能与之析理也。
However, only he who is detached and carefree
Can share in the enjoyment of the zither music.
Only he whose thoughts are profound and tranquil
Can comfortably dwell with it.
Only he who is unrestrained and untrammeled
Can devote himself to it without begrudging the effort.
And only he who is of the most refined attainment
Can understand its inherent principle.

XII.
若论其体势，详其风声，器和故响逸，张急故声清，间辽故音庳，弦长故徽鸣。性洁静以端理，含至德之和平。诚可以感荡心志，而发泄幽情矣！
Now let us discuss its form and structure,
And examine the manner of its tones:
The instrument has a mellow quality and thus its sounds are resonant;
Its strings are strung tight and thus the tones are clear.
The spacing between the strings is far, and thus low notes can be played;
The strings are long, and thus the studs can be used to sound the notes.
Its nature is pure and tranquil, upright and true,
And it embraces the harmonious peace of perfect virtue.
Truly it can be used to stir the heart,
And release deep emotions.
是故怀戚者闻之，莫不憯懔惨凄，愀怆伤心，含哀懊咿，不能自禁。其康乐者闻之，则欨愉欢释，抃舞踊溢，留连澜漫，嗢噱终日。
Thus, if the downhearted and dejected hear it,
They will not fail to shudder and shake from sorrow and sadness;
Anguish and care will pain their hearts.
The grief they feel will be so bitter and strong,
They will be unable to restrain their feelings.
If the content and happy hear it,
They will be joyful and glad.
Clapping and dancing, they will leap about,
Lingering on in wild abandon,
Laughing heartily all day long.
若和平者听之，则怡养悦愉，淑穆玄真，恬虚乐古，弃事遗身。是以伯夷以之廉，颜回以之仁，比干以之忠，尾生以之信，惠施以之辩给，万石以之讷慎。
If the placid and serene hear it,
They will be contented and pleased.
Solemn and sedate, natural and unaffected,
Unperturbed and empty of care, rejoicing in antiquity,
They abandon worldly affairs and are oblivious of self.
Thus, from the zither Boyi obtained his incorruptibility,
From it Yan Hui obtained his benevolence,
From it Bi Gan obtained his loyalty,
From it Wei Sheng obtained his fidelity,
From it Hui Shi obtained his gift for argument,
And from it Wanshi obtained his circumspection.
其余触类而长，所致非一，同归殊途。或文或质，总中和以统物，咸日用而不失。其感人动物，盖亦弘矣。
A list of other worthies can be extended from these examples.
The effects the music achieves are manifold—
They attain the same ends, albeit by different paths:
Sometimes it is elaborate, sometimes plain.
It embraces central harmony and thereby controls all things,
And one can use it every day and never be led astray.
Its influence on humankind, its effects on things
Are great indeed!

XIII.
于时也，金石寝声，匏竹屏气，王豹辍讴，狄牙丧味。天吴踊跃于重渊，王乔披云而下坠。舞鸑鷟于庭阶，游女飘焉而来萃。感天地以致和，况蚑行之众类。嘉斯器之懿茂，咏兹文以自慰。永服御而不厌，信古今之所贵。
At the time it is played:
Metal and stone silence their sounds,
Gourd and bamboo hold back their air,
Wang Bao stops singing,
Di Ya loses his sense of taste,
Tianwu leaps from his deep pool,
Wang Qiao unfolds the clouds and descends to earth,
The phoenix dances on the courtyard steps,
River nymphs come floating in and gather here.
Since zither music influences Heaven and Earth and thereby brings about harmony,
How much more does it affect common creatures that creep on the ground?
To praise the great splendor of this instrument
I intone the poem to console myself.
Never shall I tire of its use,
For in truth it has been treasured, both in the past and present.

XIV.
乱曰：
愔愔琴德，不可测兮；
体清心远，邈难极兮；
良质美手，遇今世兮；
纷纶翕响，冠众艺兮；
识音者希，孰能珍兮；
能尽雅琴，唯至人兮！ 
The finale says:
Quiet and gentle is the zither's virtue—
It cannot be fathomed.
Its purity of essence, detachment of purpose
Are truly hard to attain.
Instruments of good quality and fine players
Can be found in this age.
Its rich and harmonious sound
Surpasses all other arts.

But those who understand its music are few,
And who can truly treasure it?
For fully comprehending the elegant zither,
There is only the Perfected Man. 

Notes:

This extended poetic text about the qin zither was written by Ji Kang (嵇康, 223-262), an official of the state of Cao Wei, to whom is attributed the composition of the famous qin piece "Guangling San"《广陵散》.

More information:

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 《赠兄秀才入军》 (or 《四言赠兄秀才入军诗》)
作者：嵇康（三国 – 魏）
by Ji Kang (Three Kingdoms:  Wei, 223-262)

〖《诗纪》并双鸾匿景曜一首为赠秀才入军十九首。并注曰：集云。兄秀才公穆入军。赠诗。旧抄本集作四言十八首赠兄秀才入军。注云。兄秀才公穆入军。赠诗。刘义庆曰：嵇喜。字公穆。举秀才。○逯案。此诗乃十八章。作十八首非是。并五言诗而曰十九首。尤谬。今据本集为此题。〗

 鸳鸯于飞，肃肃其羽。
朝游高原，夕宿兰渚。
邕邕和鸣，顾眄俦侣。
俛仰慷慨，优游容与。

 鸳鸯于飞，啸侣命俦。
朝游高原，夕宿中洲。
交颈振翼，容与清流。
咀嚼兰蕙，俯仰优游。

 泳彼长川，言息其浒。
陟彼高冈，言刈其楚。
嗟我征迈，独行踽踽。
仰彼凯风，涕泣如雨。

 泳彼长川，言息其沚。
陟彼高冈，言刈其杞。
嗟我独征，靡瞻靡恃。
仰彼凯风，载坐载起。

 穆穆惠风，扇彼轻尘。
奕奕素波，转此游鳞。
伊我之劳，有怀遐人。
寤言永思，寔钟所亲。

 所亲安在，舍我远迈。
弃此荪芷，袭彼萧艾。
虽曰幽深，岂无颠沛。
言念君子，不遐有害。

 人生寿促，天地长久。
百年之期，孰云其寿。
思欲登仙，以济不朽。
缆辔踟蹰，仰顾我友。

 我友焉之，隔兹山梁。
谁谓河广，一苇可航。
徒恨永离，逝彼路长。
瞻仰弗及，徙倚彷徨。

 良马既闲，丽服有晖。
左揽繁弱，右接忘归。
风驰电逝，蹑景追飞。
凌厉中原，顾盻生姿。

 携我好仇，载我轻车。
南凌长阜，北厉清渠。
仰落惊鸿，俯引渊鱼。
盘于游田，其乐只且。

 凌高远盻，俯仰咨嗟。
怨彼幽絷，室迩路遐。
虽有好音，谁与清歌。
虽有姝颜，谁与发华。
仰讯高云，俯托轻波。
乘流远遁，抱恨山阿。

 轻车迅迈，息彼长林。
春木载荣，布叶垂阴。
习习谷风，吹我素琴。
交交黄鸟，顾俦弄音。
感悟驰情，思我所钦。
心之忧矣，永啸长吟。

 浩浩洪流，带我邦畿。
萋萋绿林，奋荣扬晖。
鱼龙瀺灂，山鸟群飞。
驾言出游，日夕忘归。
思我良朋，如渴如饥。
愿言不获，怆矣其悲。

(translated by J. D. Frodsham, with the collaboration of Ch'eng Hsi):
 息徒兰圃，秣马华山。
You halt your troops in a grove of orchids,
And graze your horse on a flowering hill,
流磻平皋，垂纶长川。
Shoot stone-tipped arrows in the marshes,
And drop your line in the long streams.
目送归鸿，手挥五弦。
Your eyes follow the homeward geese,
Your fingers strum a five-string lute.
俯仰自得，游心太玄。
Your self-content is all-embracing,
Your heart roams the Great Mystery.
嘉彼钓叟，得鱼忘筌。
That old fisherman was lucky,
When he caught the fish, forgot the trap.
郢人逝矣，谁与尽言？
Since the man from Ying has gone from us,
These questions can't be ravelled out.

闲夜肃清，朗月照轩。
微风动袿，组帐高褰。
旨酒盈樽，莫与交欢。
鸣琴在御，谁与鼓弹？
仰慕同趣，其馨若兰。
佳人不存，能不永叹。

 乘风高逝，远登灵丘。
托好松乔，携手俱游。
朝发太华，夕宿神州。
弹琴咏诗，聊以忘忧。

 琴诗自乐，远游可珍。
含道独往，弃智遗身。
寂乎无累，何求于人。
长寄灵岳，怡志养神。

 流俗难悟，逐物不还。
至人远鉴，归之自然。
万物为一，四海同宅。
与彼共之，予何所惜。
生若浮寄，暂见忽终。
世故纷纭，弃之八戎。
泽雉虽饥，不愿园林。
安能服御，劳形苦心。
身贵名贱，荣辱何在。
贵得肆志，纵心无悔。

 *   *   *   *   *   *   *   *   *

《宛转歌》
作者：江总（南朝 – 陈）
by Jiang Zong (Southern Dynasties:  Chen, 519-594)

七（乐府作九。）夕天河白露明，八月涛水秋风惊。
楼中恒闻哀响曲（徐集作曲响。文苑同。），塘上复有辛苦行。
不解何意悲秋气，直置无秋悲自生。
不怨前阶促织鸣，偏愁别路捣衣声。
别燕差池自有返，离蝉寂寞讵含情。
云聚怀情四望台，月冷相思九重观。
欲题芍药诗不成，来采芙蓉花已散。
金樽送曲韩娥起，玉柱调弦楚妃叹。
翠眉结恨不复开，宝鬓迎秋度前乱。
湘妃拭泪洒贞筠，筴药浣衣何处人。
步步香飞金薄（徐集作箔。）履，盈盈扇掩珊瑚唇。
已言采桑期陌上，复能解佩就江滨。
竞入华堂要花枕，争开羽帐奉华茵。
不惜独眠（乐府作眼。）前下钓，欲许便作后来薪（徐集作新。文苑、乐府同。）。
后来瞑瞑同玉床，可怜颜色无比方。
谁能巧笑特窥井，乍取新声学（徐集作举。）绕梁。
宿处留娇堕黄珥，镜前含笑弄明珰。
菤（乐府作采。）葹摘心心不尽，茱萸折叶叶更芳。
已闻能歌洞箫赋，讵是故爱邯郸倡。

Notes:

Dongxiao (洞箫) refers not to a vertical end-blown flute that is today often referred to as dongxiao, but instead to the panpipe that is today called paixiao (排箫).

More information:

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《生别离》
作者：梁简文萧纲（南朝 – 梁）
by Emperor Jianwen of Liang, personal name Xiao Gang (Southern Dynasties:  Liang, 503-551)

别离四弦声，相思双笛引。
一去十三年，复无好音信。


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《九日侍宴乐游苑正阳堂诗》
作者：刘苞（南朝 – 梁）
by Liu Bao (Southern Dynasties:  Liang, 482-511)

六郡良家子，幽并游侠儿。
立乘争钦羽，侧骑竞纷驰。
鸣珂饰华眊，金鞍映玉羁。
膳羞殚海陆，和齐视秋宜。
云飞雅琴奏，风起洞箫吹。
曲终高宴罢，景落树阴移。
微薄承嘉惠，饮德良不赀。
取效绩无纪，感恩心自知。

Notes:

Dongxiao (洞箫) refers not to a vertical end-blown flute that is today often referred to as dongxiao, but instead to the panpipe that is today called paixiao (排箫).

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《北芒客舍诗》
作者：刘伶（西晋）
by Liu Ling (Western Jin Dynasty, c. 221-c. 300)

泱漭望舒隐，黤黮玄夜阴。
寒鸡思天曙，拥翅吹长音。
蚊蚋归丰草，枯叶散萧林。
陈醴发悴颜，巴歈畅真心。
缊被终不晓，斯叹信难任。
何以除斯叹，付之与瑟琴。
长笛响中夕，闻此消胸襟。


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《咏竹诗》
作者：刘孝先（南朝 – 梁）
by Liu Xiaoxian (Southern Dynasties:  Liang, c. 502-c. 557)

竹生荒野外，梢云耸百寻。
无人赏高节，徒自抱贞心。
耻染湘妃泪，羞入上宫琴。
谁能制长笛，当为吐龙吟。


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《咏箫诗》
(Yong Xiao Shi)
作者：刘孝仪（南朝 – 梁）
by Liu Xiaoyi (Southern Dynasties:  Liang, 484-550)

危声合鼓吹，绝弄混笙篪。
管饶知气促，钗动觉唇移。
箫史安为贵，能令秦女随。

Notes:

题注：《诗纪》云。英华作孝绰。今从艺文作孝仪。


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《奉和晚日诗》
作者：刘孝威（南朝 – 梁）
by Liu Xiaowei (Southern Dynasties:  Liang, c. 496-549 or 548)

虬檐挂珠箔，虹梁卷霜绡。
迷迭涵香长，芙蓉逐浪摇。
飞轮搏羽扇，翻车引落潮。
甘泉推激水，迎风惭远飙。
寄言王待诏，因声张子侨。
吾君安已乐，无劳诵洞箫。

Notes:

Dongxiao (洞箫) refers not to a vertical end-blown flute that is today often referred to as dongxiao, but instead to the panpipe that is today called paixiao (排箫).

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《长歌行 》
Long Ballad (Chang Gexing)
作者：陆机（西晋）
by Lu Ji (Western Jin Dynasty, 261-303)

逝矣经天日，悲哉带地川。
寸阴无停晷，尺波岂徒旋。
年往迅劲矢，时来亮急弦。
远期鲜克及，盈数固希全。
容华夙夜零，体泽坐自捐。
兹物苟难停，吾寿安得延。
俛仰逝将过，倏忽几何间。
慷慨亦焉诉，天道良自然。
但恨功名薄，竹帛无所宣。
迨及岁未暮，长歌乘我闲。

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《玄圃宴各咏一物须筝》诗
or 《元圃宴各咏一物得筝》
作者：陆琼（南朝 – 陈）
by Lu Qiong (Southern Dynasties:  Chen, 537-586)

“《三五》并时年，二八共来前。
今逢泗滨树，定减琴中弦。”
“鹤别霜初紧，乌啼月正悬。”

Notes:

《初学记》十六。文苑英华二百十二。《诗纪》百一。

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《笙赋》
A Rhapsody on the Sheng (Sheng Fu)
作者：潘岳（西晋）
by Pan Yue  (Western Jin Dynasty, 247-300)
translated by David R. Knechtges

I.
河汾之宝，有曲沃之悬匏焉。邹鲁之珍，有汶阳之孤筱焉。
Among the treasures of the land between the Fen and the Yellow rivers,
There is the gourd of Quwo.
The rarities of Zou and Lu
Include the unique bamboo of Wenyang.
若乃绵蔓纷敷之丽，浸润灵液之滋，隅隈夷险之势，禽鸟翔集之嬉，固众作者之所详，馀可得而略之也。
As for the lush and spreading beauty of their trailing stalks,
The richness of the divine moisture that soaks them,
The level and rugged contours of the nooks and bends that surround them,
The delightful play of the birds that soar and land in them:
These are things that have been thoroughly described by numerous writers,
And I thus allow myself to omit them from my piece.
徒观其制器也，则审洪纤，面短长。戾刂生簳，裁熟簧。设宫分羽，经徵列商。泄之反谧，厌焉乃扬。管攒罗而表列，音要妙而含清。各守一以司应，统大魁以为笙。基黄锺以举韵，望凤仪以擢形。写皇翼以插羽，摹鸾音以厉声。
Simply behold how the instrument is made:
After carefully examining the size,
And measuring the length,
They cut off a fresh culm,
And fashion it into cured reeds.
They set the gong note in place, demarcate the yu,
Arrange the zhi, order the shang.
Expel air through the tube and all is silent;
But cover a finger hole, and sounds come forth.
The pipes are arrayed on the outside, gathered together;
The sound is clear within, subtle and refined.
Each tube holds a single pitch, and thereby controls the resonance of the sounds;
And a large-headed gourd serves as the wind-box.
With yellow bell as the base note, euphonious melodies are played;
From the demeanor of the phoenix it takes its shape.
It emulates the phoenix by thrusting out its wings,
And imitates the voice of the simurgh with its piercing sound.
如鸟斯企，翾翾歧歧。明珠在咮，若衔若垂。脩楇内辟，馀箫外逶。骈田獦攦，魻鲽参差。
Like a bird standing on tiptoe,
It cranes its neck as if ready to fly.
The bright pearl is in its beak,
Seemingly about to be swallowed, about to be dropped.
The long tubes are open within,
The remaining pipes bend outward,
Closely clustered, diversely disposed,
Aligned like fish scales, short and long.

II.
于是乃有始泰终约，前荣後悴。激愤于今贱，永怀乎故贵。众满堂而饮酒，独向隅以掩泪。援鸣笙而将吹，先嗢哕以理气。初雍容以安暇，中佛郁以怫忄胃。终嵬瓘以蹇愕，又飒遝而繁沸。罔浪孟以惆怅，若欲绝而复肆。懰檄籴以奔邀，似将放而中匮。愀怆恻淢，虺韡煜熠。泛淫汜豔，霅晔岌岌。或桉衍夷靡，或竦踊剽急。或既往不反，或已出复入。徘徊布濩，涣衍葺袭。舞既蹈而中辍，节将抚而弗及。乐声发而尽室欢，悲音奏而列坐泣。纤翮以震幽簧，越上筩而通下管。应吹噏以往来，随抑扬以虚满。勃慷慨以憀亮，顾踌躇以舒缓。辍《张女》之哀弹，流《广陵》之名散。咏园桃之夭夭，歌枣下之纂纂。歌曰：
And then, one who once lived in luxury and now is in straitened circumstances,
Who formerly basked in glory but is now haggard and worn,
Who feels frustrated by his present lowly condition,
Who constantly yearns for honors of the past:
While all those in the hall merrily drink,
He sits alone facing the wall, wiping his tears.
He picks up the mouth organ and is about to play,
But first he clears his throat to control his breath.
At first, he plays calm and composed, relaxed and at ease,
Then, midway he seems troubled and tormented, pent-up with grief.
At the end, the sounds are high and stately, straightforward and direct,
And also welling and swelling like seething waters.
Distraught and dispirited, sad and sorrowful,
They seem about to cease, then pour forth again.
They briefly halt, then swiftly dash off,
As if racing in wild abandon, then breaking off midway.
They are mournful and plaintive,
Yet vibrant and bright.
Full and overflowing, they pour forth,
Whizzing and whirring along, fast and furious.
Sometimes they meander about, level and low;
Sometimes they leap up, vigorous and quick.
Sometimes, once gone, they do not return;
Sometimes, having departed, they enter again.
Pausing, delaying, then dispersing,
They slowly spread, one following upon another.
The dancers stop their stepping in mid-course,
And the one who taps the rhythm stick cannot keep up with the beat.
Happy sounds come forth, and the entire hall rejoices;
Sad sounds are played, and the whole company weeps.
Tiny featherlike holes are pressed to rouse the dark reed,
And air reaches the upper pipes, passes to the lower tubes.
In accord with blowing and inhaling, it goes back and forth,
Following the rise and fall, now empty, now full.
The blowing is strong and vigorous, and the sound is resonant and clear;
Then, looking back hesitantly, he plays leisurely and slowly.
Ceasing the mournful strains of "Lady Zhang,"
He then breaks into the famous melody of "Guangling,"
Praises the tender beauty of the garden peach,
Sings of the lush luxuriance of the date tree.  The song goes:
枣下纂纂，朱实离离。宛其落矣，化为枯枝。人生不能行乐，死何以虚谥为！
"The date tree, how lush and luxuriant!
Its vermilion fruits thickly hang.
But after it sheds its leaves,
It will become a mass of withered branches.
If one cannot make merry while alive,
What good is the empty honorific given after death?"

III.
尔乃引《飞龙》，鸣《鶤鸡》。《双鸿翔》，《白鹤》飞。子乔轻举，明君怀归。荆王喟其长吟，楚妃叹而增悲。夫其凄戾辛酸，嘤嘤关关，若离鸿之鸣子也含？胡嘽谐，雍雍喈喈，若群雏之从母也。郁捋劫悟，泓宏融裔，哇咬嘲？喆，一何察惠。诀厉悄切，又何磬折。
And then, he plays "Flying Dragon,"
Intones "Jungle Fowl."
"A Pair of Swans" soars off,
"White Crane" flies away.
Ziqiao lightly rises,
Mingjun longs to return,
The King of Jing wails his sad lament,
The Chu Consort sighs with recurring grief.
The sounds are sad and bitter—
Calling yee yee, gwa gwa—
Like a stray swan crying for her young.
Then, muffled and muted, soft and gentle,
They harmoniously sound,
Like a flock of baby cranes following their mother.
Pressing his lips to the mouthpiece, he blows a powerful burst of air,
And the sound becomes loud and deep, sustained and long.
The intricate skirling, delicate chirring—
Oh, how clear and distinct!
The notes, shrill and sharp, sad and plaintive,
Oh, how they bend like a stone chime!

IV.
若夫时阳初暖，临川送离。酒酣徒扰，乐阕日移。疏客始阑，主人微疲。弛弦韬籥，彻埙屏篪。
Then, in a sunny season just as the weather is turning warm,
We go down to a stream to send off a parting friend.
Merry with drink, we roister and revel;
The music ends as the sun shifts westward.
The few remaining guests begin to leave,
And the host feels a slight fatigue.
They put down the zithers, store the flutes,
Clear the ocarinas, remove the pipes.

V.
尔乃促中筵，携友生。解严颜，擢幽情。披黄包以授甘，倾缥瓷以酌酃。光歧俨其偕列，双凤嘈以和鸣。晋野悚而投琴，况齐瑟与秦筝。
And then, sitting side by side on the mat,
Holding a companion's hand,
They let their solemn expressions relax,
And release their pent-up feelings.
They peel yellow rind and hand out sweet oranges,
They drain green jars from which they pour Ling wine.
The glistening pipes are all neatly ordered,
Twin phoenixes blare forth, resounding in harmony.
If Ye of Jin takes fright and throws down his zither,
What about the lute player of Qi and the zither player of Qin?
新声变曲，奇韵横逸。萦缠歌鼓，网罗锺律。烂熠爚以放豔，郁蓬勃以气出。《秋风》咏于燕路，《天光》重乎《朝日》。大不逾宫，细不过羽。唱发章夏，导扬韶武。协和陈宋，混一齐楚。迩不逼而远无携，声成文而节有叙。
New sounds, variant tunes,
Wonderful melodies, exuberant and carefree,
Are twined with the strains of singing and drumming,
Gather the tones of bells and pitchpipes in their net.
Notes, glittering and glistening brightly, display their allure;
Full, swelling and surging, air comes forth.
"Autumn Wind" is sung on the road to Yan,
"Heaven's Brilliance" is followed by "Morning Sun."
The greater tones do not go beyond gong,
The finer tones do not go beyond yu.
He begins by sounding forth with "Zhang" and "Xia,"
Then leads into "Shao" and "Wu,"
Thereby harmonizing the music of Chen and Song,
Unifying the customs of Qi and Chu.
The sounds come near but do not crowd, go afar but do not draw apart;
The tones form a pattern, and the rhythm is well ordered.

VI.
彼政有失得，而化以醇薄。乐所以移风于善，亦所以易俗于恶。故丝竹之器未改，而桑濮之流已作。惟簧也，能研群声之清；惟笙也，能总众清之林。卫无所措其邪，郑无所容其淫。非天下之和乐，不易之德音，其孰能与于此乎！
The success or failure of government
Is influenced by the quality of popular mores.
Music is the means by which customs turn toward the good,
And also is the means by which they are changed to the bad.
Thus, the instruments of string and bamboo never changed,
Yet the degenerate music of Sang-Pu has flourished.
Only the mouth organ
Is able to replicate the purity of all sounds,
And only the mouth organ
Is able to encompass the multiplicity of all pure tones.
Wei then is unable to display its depravity,
And there is no place for the licentiousness of Zheng.
If the mouth organ does not produce the most harmonious music in the world,
And sound forth the most virtuous, inalterable sounds,
What instrument can compare with it?

Notes:

In the last line of section 5, "the lute player of Qi" actually refers to the se (瑟, 25-string bridge zither), and "the zither player of Qin" refers to the zheng (筝, bridge zither with 12 or 13 strings).


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《咏怀 其一》
作者：阮籍（三国 – 魏）
by Ruan Ji (Three Kingdoms:  Wei, 210-263)
translated by Stephen Owen and Wendy Swartz

夜中不能寐，起坐弹鸣琴。
I could not get to sleep at night,
I sat up and plucked my zither.
薄帷鉴明月，清风吹我襟。
The thin curtain gave the image of the bright moon,
a cool breeze blew on the folds of my robes.
孤鸿号外野，翔鸟鸣北林。
A lone swan cried out in the wilds,
winging birds sang in the woods to the north.
徘徊将何见，忧思独伤心。
I paced about, what might I see? —
anxious thoughts wounded my heart alone.

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《咏怀 其二十五》
作者：阮籍（三国 – 魏）
by Ruan Ji (Three Kingdoms:  Wei, 210-263)
translated by Stephen Owen and Wendy Swartz

夏后乘云舆，夸父为邓林。
Xiahou rode his numinous carriage,
Kuafu made Deng Woods.
存亡从变化，日月有浮沉。
Life and death follow transformations,
sun and moon float up and sink down.
凤凰鸣参差，伶伦发其音。
The phoenixes sing out in the panpipes,
Ling Lun produced their notes.
王子好箫管，世世相追寻。
The Prince loved the pipes,
in every age they have sought him.
谁言不可见，青鸟明我心。
Who says he cannot be met?—
the bluebird understands my heart.

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 《咏篪诗》
Poem in Praise of the Chi (Yong Chi Shi)
作者：沈约（南朝 – 刘宋、南齐、梁）
by Shen Yue (Southern Dynasties:  Liu Song, Southern Qi, Liang, 441-513)

江南箫管地，妙响发孙枝。
South of the [Yangtze] River is the land of flutes and pipes;
Their wonderful sound causes [plants] to issue new shoots.
殷勤寄玉指，含情举复垂。
The deep affection [of this music] is conveyed by means of jade-like fingers,
Which, in emotion-filled manner, are alternately raised and lowered.
雕梁再三绕，轻尘四五移。
[The melody] winds thrice around the carved roof beams,
And stirs the light dust four or five times.
曲中有深意，丹诚君讵知。
The piece holds within it a profound meaning,
Which a gentleman of sincere heart can't fail to comprehend.

Notes:

题注：《诗纪》云。古文苑云。沈右率座赋二物为咏。

The chi (篪) is a transverse bamboo flute that has been used in China since ancient times, although by the Northern and Southern Dynasties period its use was generally restricted to Confucian ritual music.  Although the literal meaning of "再三" (zaisan) is "three times," the figurative meaning of this idiom is "again and again" or "repeatedly."  The Middle Chinese pronunciation of "绕" was ȵiᴇu (in high tone).  With this poem, Shen Yue may be combining a reference to the Shiji《史记》(Records [of the Grand] Historian, the official history of China's pre-Han period) with a description of the exquisite heng di (transverse bamboo flute) and bili (double reed pipe) playing heard in the yanyue (banquet music) of the Southern Dynasties period.


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《咏筝诗》
(Yong Zheng Shi)
作者：沈约（南朝 – 刘宋、南齐、梁）
by Shen Yue (Southern Dynasties:  Liu Song, Southern Qi, Liang, 441-513)
translated by R. H. van Gulik (1951)

秦筝吐绝调，玉柱扬清曲。
The cither of Ch'in gives forth unsurpassed melodies,
The frets of jade make the strings produce high-pitched tunes.
弦依高张断，声随妙指续。
The strings are strung so tight as to be nearly breaking,
The melody follows her agile fingers roaming over the strings.
徒闻音绕梁，宁知颜如玉。
But how can one by merely hearing the lingering echo afar-off,
Divine the perfect beauty of the player?

Notes:

Qin 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 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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 《思归叹》
作者：石崇（西晋）
by Shi Chong (Western Jin Dynasty, 249-300)

登城隅兮临长江。
极望无涯兮思填胸。
鱼瀺灂兮鸟缤翻。
泽雉游凫兮戏中园。 
秋风厉兮鸿雁征。
蟋蟀嘈嘈兮晨夜鸣。
落叶飘兮枯枝竦。
百草零落兮覆畦垄。 
时光逝兮年易尽。
感彼岁暮兮怅自悯。
廓羁旅兮滞野都。
愿御北风兮忽归徂。 
惟金石兮幽且清。
林郁茂兮芳卉盈。
玄泉流兮萦丘阜。
阁馆萧寥兮荫丛柳。
吹长笛兮弹五弦。
高歌凌云兮乐馀年。
舒篇卷兮与圣谈。
释冕投绂兮希鼓聃。 
超逍遥兮绝尘埃。
福亦不至兮祸不来。


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《白纻歌三首 其一》
作者：汤惠休（南朝 – 刘宋）
by Tang Huixiu (Southern Dynasties:  Liu Song, c. 420-479)

琴瑟未调心已悲，任罗胜绮强自持。
忍思一舞望所思，将转未转恒如疑。
桃花水上春风出，舞袖逶迤鸾照日。
徘徊鹤转情艳逸，君为迎歌心如一。

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 《赠士孙文始》
作者：王粲（三国 – 魏）
by Wang Can (Three Kingdoms:  Wei, 177-217)

 天降丧乱。靡国不夷。
我暨我友。自彼京师。
宗守荡失。越用遁违。
迁于荆楚。在漳之湄。
在漳之湄。亦克晏处。
和通箎埙。比德车辅。
既度礼义。卒获笑语。
庶兹永日。无諐厥绪。
虽曰无諐。时不我已。
同心离事。乃有逝止。
横此大江。淹彼南汜。
我思弗及。载坐载起。
惟彼南汜。君子居之。
悠悠我心。薄言慕之。
人亦有言。靡日不思。
矧伊嬿婉。胡不凄而。
晨风夕逝。托与之期。
瞻仰王室。慨其永慨。
良人在外。谁佐天官。
四国方阻。俾尔归藩。
尔之归蕃。作式下国。
无曰蛮裔。不虔汝德。
慎尔所主。率由嘉则。
龙虽勿用。志亦靡忒。
悠悠澹澧。郁彼唐林。
虽则同域。邈尔迥深。
白驹远志。古人所箴。
允矣君子。不遐厥心。
既往既来。无密尔音。

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《咏筝》诗
("Yong Zheng" Shi)
作者：王台卿（南朝 – 梁）
by Wang Taiqing (Southern Dynasties:  Liang)

依歌时转韵，按曲动花钿。
促调移轻柱，乱手度繁弦。
惟有高秋月，秦声未可怜。

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 《绿竹》
Green Bamboo (Lü Zhu)
作者：吴均（南朝 – 梁）
by Wu Jun (Southern Dynasties:  Liang, 469-520)

 婵娟鄣绮殿，绕弱拂春漪。
In the beautifully [landscaped garden], it hides the exquisite palace,
Winding around [the buildings] delicately, it sways like ripples on water in spring.
何当逢采拾，为君笙与篪。
When it is collected,
It is used to make the sovereign's sheng and chi.

Notes:

"It" refers to the bamboo hedge that was often planted around palace buildings and the homes of nobles, providing privacy in the manner of a fence.  The sheng is a free reed mouth organ and the chi was a transverse bamboo flute, both instruments having been used to play Chinese court music since ancient times.

More information:
https://baike.baidu.com/item/%E7%BB%BF%E7%AB%B9/22153695

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《酬萧新浦王洗马诗二首 其一》
作者：吴均（南朝 – 梁）
by Wu Jun (Southern Dynasties:  Liang, 469-520)

始可结交者，文酒满金壶。
围棋帝台局，系马秦王蒲。
长剑皆玉具，短笛悉银涂。
送归日愁满，留客袂纷吾。
今成桓山上，秋风星散乌。


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 《行路难五首 其一》
作者：吴均（南朝 – 梁）
by Wu Jun (Southern Dynasties:  Liang, 469-520)

 洞庭水上一株桐，经霜触浪困严风。
昔时抽心曜白日，今旦卧死黄沙中。
洛阳名工见咨嗟，一剪一刻作琵琶。
白璧规心学明月，珊瑚映面作风花。
帝王见赏不见忘，提携把握登建章。
掩抑摧藏张女弹，殷勤促柱楚明光。
年年月月对君子，遥遥夜夜宿未央。
未央彩女弃鸣篪，争先拂拭生光仪。
茱萸锦衣玉作匣，安念昔日枯树枝。
不学衡山南岭桂，至今千载犹未知。


《咏弹筝人》诗
("Yong Tan Zheng Ren" Shi)
作者：昭明太子萧统（南朝 – 梁）
by Crown Prince Zhaoming of Liang, personal name Xiao Tong (Southern Dynasties:  Liang, 501-531)

故筝犹可惜，应度几人边。
尘多涩移柱，风燥脆调弦。
还作“《三洲曲》，谁念九重泉。”


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 《白纻辞二首》
作者：梁武帝萧衍（南朝 – 梁）
by Emperor Wu of Liang, personal name Xiao Yan (Southern Dynasties:  Liang, 464-549)

 朱丝玉柱罗象筵，飞琯促节舞少年。
短歌流目未肯前，含笑一转私自怜。

 纤腰袅袅不任衣，娇怨独立特为谁。
赴曲君前未忍归，上声急调中心飞。

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《和弹筝人诗二首》
作者：梁元帝萧绎（南朝 – 梁）
by Emperor Yuan of Liang, personal name Xiao Yi (Southern Dynasties:  Liang, 508-555)

其一
横筝在故帷，忽忆上弦时。
旧柱未移处，银带手经持。
悔道啼将别，教成今日悲。

其二
琼柱动金丝，秦声发赵曲。
流征含阳春，美手过如玉。


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《冬夜咏妓诗》
作者：萧放（北朝 – 北齐)
by Xiao Fang (Northern Dynasties:  Northern Qi, c. 550-577)

佳丽尽时年，合瞑不成眠。
银龙衔烛烬，金凤起炉烟。
吹篪先弄曲，调筝更撮弦。
歌还团扇后，舞出妓行前。
绝代终难及，谁复数神仙。

Notes:

《初学记》十五。文苑英华二百十三。万花谷后三十二作萧放诗。《诗纪》百十。


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《日出东南隅行》
作者：萧子显（南朝 – 南齐、梁）
by Xiao Zixian (Southern Dynasties:  Southern Qi, Liang, 487 or 489-537)

大明上迢迢，阳城射凌霄。
光照窗中妇，绝世同阿娇。
明镜盘龙刻，簪羽凤凰雕。
逶迤梁家髻，冉弱楚宫腰。
轻纨杂重锦，薄縠间飞绡。
三六前年暮，四五今年朝。
蚕园拾芳茧，桑陌采柔条。
出入东城里，上下洛西桥。
忽逢车马客，飞盖动襜轺。
单衣鼠毛织，宝剑羊头销。
丈夫疲应对，御者辍衔镳。
柱间徒脉脉，垣上几翘翘。
女本西家宿，君自上宫要。
汉马三万疋，夫婿仁嫖姚。
鞶囊虎头绶，左珥凫卢貂。
横吹龙钟管，奏鼓象牙箫。
十五张内侍，十作贾登朝。
皆笑颜郎老，尽讶董公超。

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《隋王鼓吹曲十首 其十 泛水曲》
Ten Wind-and-Percussion Songs of the Prince of Sui, no. 10:  Song of the Flooding Waters (Sui Wang Guchui Qu Shi Shou, Qi Shi:  Fan Shui Qu)
作者：谢朓（南朝 – 南齐）
by Xie Tiao (Southern Dynasties:  Southern Qi, 464-499)

玉露沾翠叶，金凤鸣素枝。
Jade dewdrops moisten the kingfisher-green leaves,
As a golden phoenix sings on a flowerless branch.
罢游平乐苑，泛鹢昆明池。
No longer would I roam the Garden of Peace and Joy,
Or go boating upon Kunming Lake.
旌旗散容裔，箫管吹参差。
Banners flutter freely in the wind,
And flutes and pipes blow cacophonously.
日晚厌遵渚，《采菱》赠《清漪》。
At nightfall, tired of migration [literally "following the islets"],
I share "Picking Water Caltrops" and "Clear Ripples."
百年如流水，寸心宁共知。
The centuries flow by like a river;
Inwardly, I wish this would become common knowledge.

Notes:

Soon after the founding of the Southern Qi Dynasty (479-502), whose capital was located at Jiankang (modern-day Nanjing), and which controlled most of southern China, war broke out with the Northern Wei Dynasty, which controlled most of northern China.  In 482, the fourth year of the reign of Emperor Gao of Southern Qi, Prince Xiao Zilong (蕭子隆, 474-494) was appointed Prince of the Sui Commandery (Sui Junwang, 随郡王), and this set of poems is said to have been written for him.

The poem's first line probably compares the dewdrops to white jade, which, due to its rarity, was historically the most prized variety of jade during China's imperial period.  Both "jade dewdrops" and "flowerless branch" are symbols of autumn, placing the setting of this poem in the autumn season--itself a symbol of loss or mourning.  The Kunming Lake mentioned in the poem was a large artificial lake located to the southwest of Chang'an, which was dug in the time of Emperor Wu of Han and used for naval exercises and pleasure boating.  "Cai Ling"《采菱》(Picking Water Caltrops) and "Qing Yi"《清漪》(Clear Ripples) are the titles of Yuefu song-poems.  Liu shui (流水), which literally means "flowing waters," can also mean, by implication, "something flowing rapidly, continually or irreversibly like water," and that is likely the meaning intended in the poem's final couplet.

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《凤颂》
Phoenix Ode (Feng Song)
作者：薛综（三国 – 东吴）
by Xue Zong (Three Kingdoms:  Eastern Wu, c. 176-243)

猗与石磬，金声玉振。
Oh, those chimes of stone,
Of sounding metal and vibrating jade—
先王搏拊，以正五音。
The rulers of old beat and struck them,
In order to rectify the Five Tones.
百兽翔感，仪凤舞麟。
Hundreds of beasts soared and roused,
Including the majestic phoenix and dancing qilin.
在昔尧舜，斯磬乃臻。
In times past, under Yao and Shun,
These chimes attained unsurpassed perfection.
宗庙致敬，乃肯来顾。
When paying homage in the ancestral temple,
They ensured [the spirits'] willingness to visit and look after [the living].
赞扬圣德，上下受祚。
Praising the sacred virtues,
Those in the heavens above and the earth below accepted the blessings of the gods.

Notes:

The story about the animals is an allusion to a story from the Shiji, which describes animals coming to dance to the music created by Kui (夔), the legendary emperor Shun's minister of Music:  夔曰：「于！予击石拊石，百兽率舞。」("Kui said, 'Oh, I strike and hit the stone chimes and the myriad creatures come and dance.")  It is assumed that shangxia (上下, literally "[the heavens] above [and the earth] below") is a metaphor referring to those in the imperial court and everyone else (i.e., the commoners).

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《从皇太子出玄圃应令诗》
作者：庾肩吾（南朝 – 梁）
by Yu Jianwu (Southern Dynasties:  Liang, 487-551 or 553)

春光起丽谯，屣步陟山椒。
阁影临飞盖，莺鸣入洞箫。
水还登故渚，树长荫前桥。
绿荷生绮叶，丹藤上细苗。
顾循斩振藻，何用拟琼瑶。

Notes:

Dongxiao (洞箫) refers not to a vertical end-blown flute that is today often referred to as dongxiao, but instead to the panpipe that is today called paixiao (排箫).

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 《奉和示内人诗》
作者：庾信（南北朝 – 梁、西魏 、北周）
by Yu Xin (Northern and Southern Dynasties:  Liang, Western Wei, Northern Zhou, 513-581)

 燃香郁金屋，吹管凤凰台。
春朝迎雨去，秋夜隔河来。
听歌云即断，闻琴鹤倒回。
春窗刻凤下，寒壁画花开。
定取流霞气，时添承露杯。

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 《同会河阳公新造山池聊得寓目诗》
作者：庾信（南北朝 – 梁、西魏 、北周）
by Yu Xin (Northern and Southern Dynasties:  Liang, Western Wei, Northern Zhou, 513-581)

 横阶仍凿涧，对户即连峰。
暗石疑藏虎，盘根似卧龙。
沙洲聚乱荻，洞口碍横松。
引泉恒数派，开岩即十重。
北阁闻吹管，南邻听击钟。
菊寒花正合，杯香酒绝浓。
由来魏公子，今日始相逢。

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《杨柳歌》
Willow Song (Yangliu Ge)
作者：庾信（南北朝 – 梁、西魏 、北周）
by Yu Xin (Northern and Southern Dynasties:  Liang, Western Wei, Northern Zhou, 513-581)

河边杨柳百丈枝，别有长条踠地垂。
河水冲激根株危，倏忽河中风浪吹。
可怜巢里凤凰儿，无故当年生别离。
流槎一去上天池，织女支机当见随。
谁言从来荫数国，直用东南一小枝。
昔日公子出南皮，何处相寻玄武陂。
骏马翩翩西北驰，左右弯弧仰月支。
连钱障泥渡水骑，白玉手板落盘螭。
君言丈夫无意气，试问燕山那得碑。
凤凰新管箫史吹，朱鸟春窗玉女窥。
衔云酒杯赤玛瑙，照日食螺紫琉璃。
百年霜露奄离披，一旦功名不可为。
定是怀王作计误，无事翻复用张仪。
不如饮酒高阳池，日暮归时倒接䍦。
武昌城下谁见移，官渡营前那可知。
独忆飞絮鹅毛下，非复青丝马尾垂。
欲与梅花留一曲，共将长笛管中吹。


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《为顾彦先赠妇往返诗四首 其四》
作者：陆云（西晋）
by Yun Lu (Western Jin Dynasty, 262-303)

浮海难为水，游林难为观。
容色贵及时，朝华忌日晏。
皎皎彼姝子，灼灼怀春粲。
西城善稚舞，总章饶清弹。
鸣簧发丹唇，朱弦绕素腕。
轻裾犹电挥，双袂如霞散。
华容溢藻幄，哀响入云汉。
知音世所希，非君谁能赞。
弃置北辰星，问此玄龙焕。
时暮复何言，华落理必贱。


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 《咏史诗八首》 其四
(Yong Shisi Ba Shou)
作者：左思（西晋）
by Zuo Si (Western Jin Dynasty, 250-305)

 济济京城内，赫赫王侯居。
冠盖荫四术，朱轮竟长衢。
朝集金张馆，暮宿许史庐。
南邻击钟磬，北里吹笙竽。
寂寂杨子宅，门无卿相舆。
寥寥空宇中，所讲在玄虚。
言论准宣尼，辞赋拟相如。
悠悠百世后，英名擅八区。

 More information:

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 Thanks to Jim Binkley, Benjamin Daniels, Jianyu Huang, Lin Chiang-san, and Jeff Loh for assistance with this page.

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  1. RichCat山羊居November 12, 2018 at 10:51 AM

    Wow, do you read Chinese ancient poem? I teach Chinese speaking and writing, Chinese zither Guzheng and Chinese fiddle Erhu in OR

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  2. David BadagnaniJanuary 9, 2019 at 6:50 AM

    It is very good to meet you and I hope you enjoy this website and find it useful. Please let me know if there are any poems I should add, or if you would like to help with translating any of them.

    In Oregon, I know several musicians who live in Portland, including David Dahl, Jim Binkley, and Ruisi Li.

    I don't read Chinese fluently, though I have some knowledge.

    If you are on Facebook, you may be interested in joining the "Traditional Chinese Music" group:
    https://www.facebook.com/groups/traditionalchinesemusic/

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