Thursday, May 27, 2021

Musical instrument: qin (琴)

Musical instrument:  qin
(琴)
compiled by David Badagnani (rev. 22 August 2023)

In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called qin (琴)--a plucked zither without bridges--as documented in the Chinese historical record.

The reconstructed Middle Chinese pronunciation is /ɡˠiɪm/ (Zhengzhang) and the reconstructed Old Chinese pronunciations are /*[C.ɢ](r)[ə]m/ (Baxter-Sagart) or /*ɡrɯm/ (Zhengzhang). Alternate characters include 珡, 𤦡, 𤩟, 琹, 𨨖, 䥅, 䥆, 䦦, 𣗜, 𤫍, 𤫒, 𨪖, 𨫹, and 𩰔, among others.

Links to textual sources are highlighted in green.

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Chinese historical reference works discussing the qin

● Shiji《史记》(Records [of the Grand] Historian), also called Taishigong Shu 《太史公书》 (Book of the Grand Historian) or Taishigong Ji 《太史公记》 (Records of the Grand Historian)
The official history of China's pre-Han period, this text covers the world as it was then known to the Chinese, encompassing a 2,500-year period from the age of the legendary Yellow Emperor (黄帝, alleged to have reigned from 2698 BC to 2598 BC) to the reign of Emperor Wu of Han (汉武帝, r. 141 BC-87 BC) in the author's own time, also including the Xia, Shang, Zhou, and Qin Dynasties.  Shiji was completed c. 94 BC by the Western Han Dynasty historian Sima Qian (司马迁, c. 145 BC-c. 86 BC), after having been started by his father, Sima Tan (司马谈, c. 165 BC-110 BC), a Western Han historian and astrologer.  It is one of the Twenty-Four Histories (二十四史).  The qin is discussed in several volumes.

From volume 47:
孔子學鼓琴師襄子，十日不進。師襄子曰：「可以益矣。」孔子曰：「丘已習其曲矣，未得其數也。」有閒，曰：「已習其數，可以益矣。」孔子曰：「丘未得其志也。」有閒，曰：「已習其志，可以益矣。」孔子曰：「丘未得其為人也。」有閒，（曰）有所穆然深思焉，有所怡然高望而遠志焉。曰：「丘得其為人，黯然而黑，幾然而長，眼如望羊，如王四國，非文王其誰能為此也！」師襄子辟席再拜，曰：「師蓋云文王操也。」
After Confucius (c. 551 BC-c. 479 BC) had studied the qin with the master musician Shi Xiangzi (師襄子) for ten days without making any progress, his teacher told him that he had attained competence.  Confucius, however, was not satisfied with his progress and said, "I may have learned the melody but I haven't learned the skill."  After another couple of days, Master Shi told him, "You have learned the skill, and attained mastery," but Confucius said, "But I haven't learned the aim," because he could not feel the spirit of the melody when he played the qin.  Later, Master Shi praised him, saying, "You have learned the aim, and attained mastery."  But Confucius responded, "But I have not learned what kind of person created it."  After a pause, he said, "It was someone contented with profound thoughts, and also who happily had high hopes and ambitions."  He continued:  "It was someone of somber demeanor and dark complexion, of considerable height and gazing far off into the distance, like the king of the Four Nations.  If it isn't Wen Wang (文王, d. ca. 1073 BC), who else could it be?  Shi Xiangzi moved a little off his mat to show respect, bowed twice, and said the melody was indeed "Wen Wang Cao"《文王操》.

● Shujing (Book of Documents or Classic of History), also known as Shangshu (Esteemed Documents)
One of the Five Classics of ancient Chinese literature, this work is a collection of rhetorical prose attributed to figures of ancient China, and served as the foundation of Chinese political philosophy for over 2,000 years.

The qin is mentioned in the "Yu Shu" (虞書) section, under the heading "Yi and Ji" (益稷):

夔曰：「戛擊鳴球、搏拊、琴、瑟、以詠。」祖考來格，虞賓在位，群后德讓。下管鼗鼓，合止柷敔，笙鏞以閒。鳥獸蹌蹌；《簫韶》九成，鳳皇來儀。夔曰：「於！予擊石拊石，百獸率舞，庶尹允諧。」


● Fengsu Tongyi《风俗通义》(Comprehensive Meaning of Customs and Mores or Comprehensive Meaning of Customs and Habits)
Also known as Fengsu Tong《风俗通》, this book was written by the politician, writer, and historian Ying Shao (应劭), who was a long-time close associate of Cao Cao, around 195 AD, during the late Eastern Han Dynasty.  The manuscript is similar to an almanac, which describes various strange and exotic matters of interest to the literati of the period, such as folk cultural practices, legends, mystical beliefs, and musical instruments.  There were originally a total of 30 chapters, but only 10 remain.  These chapters were recompiled by the Northern Song scientist Su Song (苏颂) from the works of Yu Zhongrong (庾仲容) and Ma Zong (马总).  Some fragments of the lost chapters exist as quotations in other Chinese texts.  The qin is discussed in the《聲音》chapter, as follows:

琴

謹按：《世本》：「神農作琴。」《尚書》：「舜彈五絃之琴，歌《南風》之詩，而天下治。」《詩》云：「我有嘉賓，鼓瑟鼓琴。」雅琴者、樂之統也，與八音並行。然君子所常御者，琴最親密，不離於身，非必陳設於宗廟鄉黨，非若鐘鼓羅列於虡懸也。雖在窮閻陋巷、深山幽谷，猶不失琴。以為琴之大小得中而聲音和，大聲不譁人而流漫，小聲不湮滅而不聞，適足以和人意氣，感人善心。故琴之為言禁也，雅之為言正也，言君子守正以自禁也。夫以正雅之聲，動感正意，故善心勝、邪惡禁。是以古之聖人君子，慎所以自感，因邪禁之適，故近之。間居則為從容以致思焉，如有所窮困，其道閉塞，不得施行，及有所通達而用事，則著之於琴，以杼其意，以示後人。其道行和樂而作者，命其曲曰《暢》。《暢》者、言其道之美暢，猶不敢自安，不驕不溢，好禮不以，暢其意也。其遇閉塞，憂愁而作者，命其曲曰《操》。《操》者、言遇菑遭害，困厄窮迫，雖怨恨失意，猶守禮義，不懼不懾，樂道而不失其操者也。伯子牙方鼓琴，鍾子期聽之，而意在高山，子期曰：「善哉乎！巍巍若太山。」頃之間而意在流水，鍾子又曰：「善哉乎！湯湯若江、河。」子期死，伯牙破琴絕絃，終身不復鼓，以為世無足為音者也。今琴長四尺五寸，法四時五行也。七絃者、法七星也。


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Chinese poems mentioning the qin

《诗经·小雅·常棣》
(Chang Di)
from the "Xiao Ya" (小雅, Lesser Court Hymns) section of the Shi Jing
(Zhou Dynasty, c. 9th-8th century BC)

常棣之华，鄂不韡韡。凡今之人，莫如兄弟。
死丧之威，兄弟孔怀。原隰裒矣，兄弟求矣。
脊令在原，兄弟急难。每有良朋，况也永叹。
兄弟阋于墙，外御其务。每有良朋，烝也无戎。
丧乱既平，既安且宁。虽有兄弟，不如友生？
傧尔笾豆，饮酒之饫。兄弟既具，和乐且孺。
妻子好合，如鼓瑟琴。兄弟既翕，和乐且湛。
宜尔室家，乐尔妻帑。是究是图，亶其然乎？



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《诗经·小雅·车舝》
(Che Xia)
from the "Xiao Ya" (小雅, Lesser Court Hymns) section of the Shi Jing
(Zhou Dynasty, c. 9th-8th century BC)

间关车之舝兮，思娈季女逝兮。
匪饥匪渴，德音来括。
虽无好友？式燕且喜。 

依彼平林，有集维鷮。
辰彼硕女，令德来教。
式燕且誉，好尔无射。

虽无旨酒？式饮庶几。
虽无嘉肴？式食庶几。
虽无德与女？式歌且舞？

陟彼高冈，析其柞薪。
析其柞薪，其叶湑兮。
鲜我觏尔，我心写兮。 

高山仰止，景行行止。
四牡騑騑，六辔如琴。
觏尔新婚，以慰我心。


More information:

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《诗经·鄘风·定之方中》
(Ding Zhi Fang Zhong)
from the "Guo Feng" (国风, Airs of the States):  "Yong Feng" (鄘风, Airs of Yong) section of the Shi Jing (Zhou Dynasty, c. 8th-7th century BC)

定之方中，作于楚宫。揆之以日，作于楚室。树之榛栗，椅桐梓漆，爰伐琴瑟。

升彼虚矣，以望楚矣。望楚与堂，景山与京。降观于桑。卜云其吉，终焉允臧。

灵雨既零，命彼倌人。星言夙驾，说于桑田。匪直也人，秉心塞渊。騋牝三千。


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《诗经·小雅·甫田》
(Fu Tian)
from the "Xiao Ya" (小雅, Lesser Court Hymns) section of the Shi Jing (Classic of Poetry)
(Zhou Dynasty, c. 9th-8th century BC)

倬彼甫田，岁取十千。我取其陈，食我农人。自古有年，今适南亩。或耘或耔，黍稷薿薿。攸介攸止，烝我髦士。

以我齐明，与我牺羊，以社以方。我田既臧，农夫之庆。琴瑟击鼓，以御田祖。以祈甘雨，以介我稷黍，以榖我士女。

曾孙来止，以其妇子。馌彼南亩，田畯至喜。攘其左右，尝其旨否。禾易长亩，终善且有。曾孙不怒，农夫克敏。曾孙之稼，如茨如梁。

曾孙之庾，如坻如京。乃求千斯仓，乃求万斯箱。黍稷稻粱，农夫之庆。报以介福，万寿无疆。



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《诗经·小雅·鼓钟》
(Gu Zhong)
from the "Xiao Ya" (小雅, Lesser Court Hymns) section of the Shi Jing (Classic of Poetry)
(Zhou Dynasty, c. 9th-8th century BC)

鼓钟将将，淮水汤汤，忧心且伤。
淑人君子，怀允不忘。
鼓钟喈喈，淮水湝湝，忧心且悲。
淑人君子，其德不回。
鼓钟伐鼛，淮有三洲，忧心且妯。
淑人君子，其德不犹。
鼓钟钦钦，鼓瑟鼓琴，笙磬同音。
以雅以南，以籥不僭。


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《诗经·周南·关雎》
(Guan Ju)
from the "Guo Feng" (国风, Airs of the States):  "Zhou Nan" (周南, Odes of Zhou and the South) section of the Shi Jing (Zhou Dynasty, c. 8th-7th century BC)

关关雎鸠，在河之洲。窈窕淑女，君子好逑。
参差荇菜，左右流之。窈窕淑女，寤寐求之。
求之不得，寤寐思服。悠哉悠哉，辗转反侧。
参差荇菜，左右采之。窈窕淑女，琴瑟友之。
参差荇菜，左右芼之。窈窕淑女，钟鼓乐之。



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《诗经·小雅·鹿鸣》
(Lu Ming)
from the "Xiao Ya" (小雅, Lesser Court Hymns) section of the Shi Jing (Classic of Poetry)
(Zhou Dynasty, c. 9th-8th century BC)

呦呦鹿鸣，食野之苹。
The deer one to another bleat;
In the fields, wormwood they eat.
我有嘉宾，鼓瑟吹笙。
I have fine guests today;
Se and sheng for them are played.
吹笙鼓簧，承筐是将。
Sheng and [mouth harp] reed vibrate;
While I put gifts into the crate.
人之好我，示我周行。
They are indeed good friends,
Showing me ideal means and ends.
呦呦鹿鸣，食野之蒿。
The deer one to another bleat;
In the fields, mugwort they eat.
我有嘉宾，德音孔昭。
I have fine guests today;
Good virtues they display.
视民不恌，君子是则是效。
They teach folks not to steal,
The junzi [man of virtue] is their ideal.
我有旨酒，嘉宾式燕以敖。
I have both good food and wine;
Merrily, merrily my guests dine.
呦呦鹿鸣，食野之芩。
The deer one to another bleat;
In the fields, scullcaps they eat.
我有嘉宾，鼓瑟鼓琴。
I have fine guests today;
Se and qin for them are played.
鼓瑟鼓琴，和乐且湛。
Se and qin for them are played;
We are so happy and so gay.
我有旨酒，以燕乐嘉宾之心。
I have good food and wine.
Merrily, merrily my guests dine.


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《诗经·郑风·女曰鸡鸣》
(Nü Yue Ji Ming)
from the "Guo Feng" (国风, Airs of the States):  "Yong Feng" (郑风, Airs of Zheng) section of the Shi Jing (Zhou Dynasty, c. 8th-7th century BC)

女曰鸡鸣，士曰昧旦。子兴视夜，明星有烂。将翱将翔，弋凫与雁。

弋言加之，与子宜之。宜言饮酒，与子偕老。琴瑟在御，莫不静好。

知子之来之，杂佩以赠之。知子之顺之，杂佩以问之。知子之好之，杂佩以报之。



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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. 
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《竹里馆》
The Hut in the Bamboo Grove (Zhu Li Guan)
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)
translated by John Thompson

独坐幽篁里，弹琴复长啸。
Sitting alone in a secluded bamboo grove
Playing qin and intoning at length.
深林人不知，明月来相照。
Deep in the forest there is anonymity,
Though moonlight brings mutual illumination.

More information:

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《船夜援琴》
Playing Qin on a Boat in the Evening (Chuan Ye Yuan Qin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

鳥棲魚不動，夜月照江深。 
Birds alight, fish don't move; the moon shines above a deep river. 
身外都無事，舟中只有琴。 
Beyond the physical nothing matters; on our boat there is only qin.
七絃為益友，兩耳是知音。 
Its seven strings sate my companion; having ears means knowing music. 
心靜聲即淡，其間無古今。
Hearts at peace with sounds so mild; here there is no past or present.

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《邓鲂、张彻落第》
On Deng Fang and Zhang Che Failing the Imperial Examination
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

古琴无俗韵，奏罢无人听。
The ancient qin is without popular appeal,
And when it is played, alas, no one listens.
寒松无妖花，枝下无人行。
The cold pines are devoid of alluring blossoms,
And under their branches no one strolls.
春风十二街，轩骑不暂停。
There's a briskness in the Twelve Streets [of the capital],
And the chariots and cavalry don't pause.
奔车看牡丹，走马听秦筝。
Speeding their carts, people go to see the peonies;
Galloping their horses, they go to listen to the Qin zheng.
众目悦芳艳，松独守其贞。
All eyes are delighted by fragrant flowers and gaudy sights,
While the pines, all alone, maintain their virtue.
众耳喜郑卫，琴亦不改声。
All ears rejoice in the music of Zheng and Wei,
But the qin still does not change its sounds.
怀哉二夫子，念此无自轻。
I really cherish these two gentlemen;
And I hope that this won't undermine their self-worth.

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) 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.  Zheng (卫) and Wei (郑) were states during the Spring and Autumn and Warring States periods, whose music was disparaged by some conservative Confucians as immoderate or lascivious; "the music of Zheng and Wei" subsequently became an idiom referring to vulgar "popular" music used for superficial entertainment or sensual pleasure rather than moral cultivation.

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《废琴》
An Abandoned Qin (Fei Qin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

丝桐合为琴，中有太古声。 
Silk and paulownia, joined together, makes up the qin:
Within it lie ancient sounds.
古声淡无味，不称今人情。
Ancient sounds – weak and savorless, 
Not suited to present men's taste.
玉徽光彩灭，朱弦尘土生。 
The luster has faded from its jade hui:
Dust has covered its vermilion strings. 
废弃来已久，遗音尚泠泠。 
Decay and ruin came to it long ago, 
But the sound that is left is still cold and clear. 
不辞为君弹，纵弹人不听。
I do not refuse to play it, if you want me to: 
But even if I play, people will not listen.
何物使之然？羌笛与秦筝。
How did it come to be neglected so?
Because of the Qiang di and the Qin zheng.

Notes:

Hui (徽) are the inlaid markers on the top board of a qin, which mark harmonic positions on the instrument's strings.  The Qiang (羌) were a historical people living to China's north and west, and the Qiang di (羌笛) referred to in the poem may be a double clarinet consisting of two cylindrical pipes of equal length, each with an idioglot single reed.  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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《新乐府 五弦弹－恶郑之夺雅也》
New Yuefu [Poem]:  Five Strings Plucked:  Truly Disgusted by Zheng's Usurpation of the Elegant and Refined
(Xin Yuefu:  Wu Xian Tan, Wu Zheng Zhi Duo Ya Ye)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

五弦弹，五弦弹，听者倾耳心寥寥。
Five strings plucked, five strings plucked,
As the listeners tilt their ears, hearts filled with loneliness.
赵璧知君入骨爱，五弦一一为君调。
Zhao Bi knew his gentle listeners loved [this music] in their bones,
So he tuned his five strings for them, one by one.
第一第二弦索索，秋风拂松疏韵落。
The first and second strings whispered,
As an autumn breeze whisks the pines, creating a quietly graceful effect.
第三第四弦泠泠，夜鹤忆子笼中鸣。
The third and fourth strings were crisp and clear,
Like a nocturnal crane pining for her son, now singing in a cage.
第五弦声最掩抑，陇水冻咽流不得。
The fifth string's sound was the most covered of all,
Like the Long River with its frozen throat, which allows no flow.
五弦并奏君试听，凄凄切切复铮铮。
When all five strings were played together, we gave a careful listen,
Hearing chill misery intercut with pressing urgency and reverberant clangor.
铁击珊瑚一两曲，冰泻玉盘千万声。
For the first piece or two, it sounded like iron striking coral,
Then ice gushing onto a jade plate, making ten million sounds.
铁声杀，冰声寒。
The iron sounded deadly, and the ice sounded cold.
杀声入耳肤血憯，寒气中人肌骨酸。
As these slaughterous sounds entered my ears, my skin and blood were pierced with sorrow;
A chill enveloped my person, and my muscles and bones were permeated by sourness.
曲终声尽欲半日，四坐相对愁无言。
As the melody ended and the sound died away, a time that seemed like it might last for half a day,
Those seated throughout the space faced one another, filled with sadness and without a word.
座中有一远方士，唧唧咨咨声不已。
In one seat there was a gentleman from a faraway place,
Uttering praise in an incessant stream.
自叹今朝初得闻，始知孤负平生耳。
He sighed to himself:  "Today is the first time I have had the opportunity to listen [to this music],
And only now am I aware of the fact that my ears have been waiting in vain for it for my whole life."
唯忧赵璧白发生，老死人间无此声。
"I only worry that Zhao Bi will grow white hair;
Once he grows old and dies people will no longer be able to hear these sounds."
远方士，尔听五弦信为美，吾闻正始之音不如是。
Gentleman from afar, you have listened to the five strings and believed them to be beautiful, but I have heard that the Correct Beginning Music was not like this.
正始之音其若何，朱弦疏越清庙歌。
So what was the Correct Beginning Music like?
Vermilion strings produced a depth and transcendence like the purest temple song.
一弹一唱再三叹，曲澹节稀声不多。
A single pluck or sung note could call forth three sighs of praise;
Its melodies were tranquil, its rhythms sparse, and its sounds few.
融融曳曳召元气，听之不觉心平和。
Happy and harmonious, gently floating and fluttering, it induced vigor and vitality,
And listening to it, one couldn't help but feel their heart at peace.
人情重今多贱古，古琴有弦人不抚。
But human sentiments are much cheaper today than they were in the past,
And if presented with an ancient qin (even one properly strung), people wouldn't touch it.
更从赵璧艺成来，二十五弦不如五。
After having experienced Zhao Bi's artistic achievements,
It's clear that 25 strings can't compare to five.

More information:

Zheng (卫) and Wei (郑) were states during the Spring and Autumn and Warring States periods, whose music was disparaged by some conservative Confucians as immoderate or lascivious; "the music of Zheng and Wei" subsequently became an idiom referring to vulgar "popular" music used for superficial entertainment or sensual pleasure rather than moral cultivation.

Notes:

More information:

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《听颖师弹琴》
Listening to Master Ying Play the Qin (Ting Ying Shi Tan Qin)
作者：韩愈（唐）
by Han Yu (Tang Dynasty, 768-824)

昵昵儿女语，恩怨相尔汝。
划然变轩昂，勇士赴敌场。 
浮云柳絮无根蒂，天地阔远随飞扬。
喧啾百鸟群， 忽见孤凤凰。
跻攀分寸不可上，失势一落千丈强。 
嗟余有两耳，未省听丝篁。
自闻颖师弹，起坐在一旁。 
推手遽止之，湿衣泪滂滂。
颖乎尔诚能，无以冰炭置我肠。

Notes:

Ying Shi (颖师) was a Buddhist monk who had excellent skill in playing the qin.  Several Tang poets, including Han Yu and Li He, wrote poems praising his playing.

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《听蜀僧浚弹琴》
Listening to Jun, a Monk from Shu, Play the Qin (Ting Shu Seng Jun Tan Qin)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

蜀僧抱绿绮，西下峨眉峰。
为我一挥手，如听万壑松。
客心洗流水，馀响入霜钟。
不觉碧山暮，秋云暗几重。

Notes:

This poem was composed in the year 753.

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《幽涧泉》
Hidden Gorge Spring (You Jian Quan)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated by Graham Sanders

拂彼白石，弹吾素琴。
Dusting off those white stones,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎I pluck my plain zither.
幽涧愀兮流泉深，善手明徽高张清。
Hidden gorge bleak, oh, flowing springs deep,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎skilled hands, bright cadence, taut strings, pure notes.
心寂历似千古，松飕飗兮万寻。
Mind as lonely as eternity,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎pines rustling, oh, for ten thousand spans.
中见愁猿吊影而危处兮，叫秋木而长吟。
Behold mournful gibbons, consoled by shadows, in this perilous place, oh,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎calling out to autumn trees with lingering moans.
客有哀时失志而听者，泪淋浪以沾襟。
Among the travelers, one listens, lamenting the times, failed in his resolve,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎his tears soak the front of his robes.
乃缉商辍羽，潺湲成音。
As harmonized shang notes, and joined yu notes,‎‎‎‏‏
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎flow into tones.
吾但写声发情于妙指，殊不知此曲之古今。
I only pour out sounds to release my feelings in subtle indications,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎and hardly know if this tune is of now or long ago.
幽涧泉，鸣深林。
A hidden gorge spring
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎sounds deep in the grove.

Notes:

"Hidden Gorge Spring" (幽涧泉) is the title of a zither melody; "white stones" (白石) could also refer to the inlaid ivory markers on a qin, which indicate acoustic intervals; "spans" (寻) are a unit of measurement indicating eight chi (尺), or an arm span; "moans" (吟) is also the technical term for vibrato on a stringed instrument; "traveler" (客) refers to Li Bai himself as an itinerant; shang (商) and yu (羽) refer to the second and fifth notes of the pentatonic scale, associated with Autumn and Winter; "subtle indications" (妙指) could be a pun on "exquisite fingering" on a stringed instrument.

The character "志" in this poem is more often rendered as "职."

More information:

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《月夜听卢子顺弹琴》
Listening to Lu Zishun Play the Zither on a Moonlit Night (Yue Ye Ting Lu Zishun Tan Qin)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated by Graham Sanders

闲坐夜明月，幽人弹素琴。
Sitting idly at night under a bright moon,
The recluse plays his unadorned zither.
忽闻悲风调，宛若寒松吟。
Suddenly I hear the melody of "Mournful Wind,"
As though "Cold Pines" themselves intone.
白雪乱纤手，绿水清虚心。
"White Snow" sets his delicate fingers ablur,
"Green Water" clarifies his open mind.
钟期久已没，世上无知音。
Zhong Ziqi has long since passed away,
Leaving none in the world who "know the sound."

Notes:

"Mournful Wind," "Cold Pines," "White Snow," and "Green Water" are all the names of qin pieces.

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《听颖师琴歌》
Listening to Master Ying's Qin Song (Ting Ying Shi Qin Ge)
作者：李贺（唐）
by Li He (Tang Dynasty, 790 or 791-816 or 817)

别浦云归桂花渚，蜀国弦中双凤语。
芙蓉叶落秋鸾离，越王夜起游天姥。
暗佩清臣敲水玉，渡海蛾眉牵白鹿。
谁看挟剑赴长桥，谁看浸发题春竹。
竺僧前立当吾门，梵宫真相眉棱尊。
古琴大轸长八尺，峄阳老树非桐孙。
凉馆闻弦惊病客，药囊暂别龙须席。
请歌直请卿相歌，奉礼官卑复何益。

Notes:

Ying Shi (颖师) was a Buddhist monk who had excellent skill in playing the qin   Several Tang poets, including Li He and Han Yu, wrote poems praising his playing.

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Historical specimens

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Bibliography

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Thanks to Riccardo Yeh for assistance with this page.

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