The Rogue of Otherworldly Skies

  Thirty-one

  Zhaoming Taizi said: "Tao Yuanming's poetry is '跌宕昭彰,独超众类' (magnificent and brilliant, uniquely surpassing all others). 抑扬爽朗,莫之兴京 (with a refreshing and elegant tone, unmatched in the world)." Wang Wugong said: "Xue Zhi's fu is '韵趣高奇,词义晦远' (with a high and unusual rhyme, profound and far-reaching meaning). 嵯峨萧瑟,真不可言 (lofty and desolate, truly inexpressible)." Alas, there are few such works in the world of poetry. The former is only found in Dongpo, the latter only in Baishi, and even then, only a little is attained.

  Note:

  (1) See Xiao Tong's Preface to the Collected Works of Tao Yuanming.

  (2) See Wang Wugong Ji, Vol. 2 [Reply to Feng Zihua's letter]. The so-called Xue Shou Fu refers to Bai Niuxi Fu.

  Thirty-two

  The elegance of words lies in their spirit, not in their appearance. Although Yong Shu's youthful travels were written with flowery language, they ultimately have a noble character. Fang's beautiful writing has the distinction between a virtuous woman and a courtesan.

  Three Three

  Mei Cheng's depth and distance are not as good as Ou Qin. He only excels in expressing emotions and describing objects, and his craftsmanship is exquisite, so he doesn't lose out as a first-rate writer. But it's a pity that he has more talent for creating styles than for creating ideas.

  Thirty-four

  The word is taboo to use substitute characters. Mei Cheng's "Yuyi Flower" has a wonderful realm. Unfortunately, the two words "Gui Hua" are used instead of "Moon". From Meng Chuan onwards, more substitute characters are used. The reason for this is that if the meaning is not sufficient, then the language is not good. If the meaning is sufficient, there is no need to substitute, and if the language is wonderful, there is no need to substitute. This is why Su Shi criticized his "Small Building Connected to the Courtyard" and "Embroidered Saddle Carved with a Horse".

  Note:

  (1) Zhou Bangyan [Yuyuehua] (Lantern Festival):

  The wind blows out the candle flames, dew wets the incense burner, flowers shine brightly in the market. Osmanthus blossoms fall on the tiles.

  Thin clouds disperse, the bright moon is about to set. Elegant clothes and gentle beauty. Watching the Chu maiden with slender waist.

  The sound of flutes and drums is loud, people's shadows are scattered, the road is filled with the fragrance of musk.

  Thinking of the capital city at night, I look forward to the thousand gates like daytime, merrymaking and strolling.

  Golden carriages and silk robes. Wherever we meet, there will be secret dust following the horses.

  Time flies, it's just that only old feelings are declining.

  The clear dew moves, flying canopies return, the dance is over, the song has ended.

  (2) Qin Guan [Water Dragon Tune]: "The small building is connected to the garden, stretching across the sky. Looking down, I see the embroidered saddle and stirrup. The red curtain is half rolled up, a single garment is first tried on, it's the Clear and Bright Festival time. The warm breeze stirs, playing with the light rain, as if there's still more to come. The flower-selling voices have passed by, the slanting sun shines on the courtyard, the red flowers are in full bloom, flying swallows chirp. After parting from you, I'm left with only a jade pendant. Longing for our good times, it's hard to meet again. The famous horse is locked up, heaven still knows, and I've become thin like the sky. In front of the flower gate, by the deep alley beside the willow tree, I'm reluctant to look back. Thinking of many romantic feelings, but at that time, the bright moon was still there, leaning on people as before."

  (3) "Lidai Shi Yu" Volume 5 quotes Zeng Jia's "Gao Qi Ci Hua": "Shao You visited Dongpo in the capital from Kuaiji. Dongpo asked him to compose a poem, and Shao You recited: 'A small building connects with the void, below it gazes at embroidered saddles and carved horse hooves.' Dongpo said: These thirteen characters only describe one person riding a horse past the front of the building."

  Three Five

  Shen Bo Shi's "Le Fu Zhi Mi" says: "When speaking of peaches, one cannot directly say 'peach', but must use words like 'red rain' and 'Liu Lang'. When singing about willows, one cannot directly say 'willow', but must use words like 'Zhang Tai' and 'Bao An'. It's as if they feared that people wouldn't use substitute characters. If this is indeed considered skillful, then what's the point of having dictionaries for all eternity? This is precisely why it was ridiculed in "Ti Yao".

  Note:

  (1) "Shen's 'Le Fu Zhi Mi' in the Ji Bu Ci Qu class of the Si Ku Ti Yao collection: 'It is also said that when speaking of peaches, one must use words like hong yu and liu lang; when speaking of willows, one must use words like zhang tai and ban an; when speaking of books, one must use words like yin gou; when speaking of tears, one must use words like yu zhu; when speaking of hair, one must use words like jiang yun; when speaking of fans, one must use words like xiang zhu. One cannot speak directly and crudely. The intention is to avoid vulgarity, but it ends up becoming artificial and is not a sound theory.'"

  Thirty-six

  Beautifully done! ["Su Mu Zhe"] poem: "Leaves on top, the first sunlight dries the overnight rain. The water's surface is clear and round, one by one, the wind lifts the lotus. (1) This truly captures the spirit of the lotus. I feel that Bai Shi's ["Nian Nu Jiao"] and ["Xi Hong Yi"] poems (2) still have a lingering regret of watching flowers through the mist.

  Note:

  (1) Zhou Bangyan [Su Mu Zhe]: "The scent of incense wafts, dispelling the lingering heat. Birds chirp, heralding clear skies, and peek through the eaves at dawn. The first sunlight dries the dew on leaves. The water's surface is calm and round, with each lotus flower lifted by the breeze. My hometown is far away; when can I return? Living in Wu Gate, I've been in Chang'an for a long time. Does the May fishing lad remember me? A small oar propels my light boat, as I dream of entering Hibiscus Harbor."

  (2) Jiang Kui's "Nian Nu Jiao":

  A noisy red boat, I recall the past,

  When I was with a pair of mandarin ducks as companions.

  Before thirty-six ponds, people have not arrived,

  The sound of water and wind is countless.

  Green leaves blow coolness, jade-like face gets drunk,

  And sprinkles the fragrance of lotus flowers in the rain.

  Gently swaying, cold scent rises to poetry lines.

  At dusk, a green canopy, my love is nowhere to be seen,

  I reluctantly set sail across the waves.

  Only fearing that the dancing skirt will easily fall,

  Sorrow enters the west wind and south bank.

  Tall willows cast shade, old fish blow ripples,

  Keeping me staying among flowers.

  How many fields? How many times have I returned on the sandy beach road.

  "Mat on the pillow invites coolness, zither and books replace the sun, after sleeping I have no strength. Fine spray of ice spring, and knife cuts through sweet green. On the wall, someone calls out for wine, who asks about the poet from south of the city? So quiet. Tall willow and evening cicada, speaking of western wind's message. Rainbow bridge and water path, fish waves blow fragrance, red clothes half disheveled. I gaze at the old country from a distant boat. Distant sky to the north. What a pity that the beautiful person doesn't share with me the tour outside the sandy beach. When will we compose together, thirty-six ponds' autumn colors?"

  Thirty-seven

  Su Shi's "Water Dragon Chant" Ode to Yang Flower (1), harmonious yet similar to Yuan Song. Zhang Qi-fu's lyrics (2), original song yet similar to harmonious. Such is the inescapable nature of talent!

  Note:

  (1) Su Shi [Shuidong Yin] (Following the rhyme of Zhang Zhifu's "Yang Hua Ci"):

  "It seems like a flower, yet not quite a flower, and no one regrets its fall. Thrown by the roadside, I ponder, but it has no feelings, only thoughts. It entwines my tender intestines, intoxicates my charming eyes, wanting to open but still closed. In dreams, I follow the wind for ten thousand miles, searching for where you've gone, and again I'm startled awake by the oriole's cry. I don't lament that these flowers have all fallen, I lament that in Western Garden, it's hard to gather the scattered red petals. After the rain at dawn, where are its remnants? A pool of fragmented duckweed. Spring colors are divided into three parts: two parts dust and dirt, one part flowing water. Upon closer inspection, they're not willow flowers, but rather dot by dot, tears of a parted person."

  (2) Zhang Zhi-fu [Water Dragon's Humming] (Willow Flowers):

  Swallows are busy, orioles are lazy, the fragrance remains, on the dam, willow flowers float down. Lightly flying and dancing, dotting the green forest, without any clever thoughts. Leisurely following the wandering silk threads, quietly facing the deep courtyard, the long day with closed doors. Beside the pearl screen scattered and disheveled, hanging down, relying on the wind to lift it up. The jade person in the orchid tent is sleeping, strange that spring clothes are stained with snow, and the embroidery is covered with powder. The embroidered bed is gradually filled, countless scented balls, just round and about to break. Occasionally seeing bees, looking up at the light powder, fish swallowing pool water. Looking at the distant road of Zhang's Tower, golden saddles wandering around, tears welling up.

  March 8th

  The lyrics of the objects, I think Su Shi's "Water Dragon Chant" is the most skillful, followed by Ouyang Xiu's "Double Swallows". Bai Shouyi's "Fragrant Shadows" and "Sparse Shadows" have a high tone, but there is not a single sentence that can be called classic. How about sentences like "A tree on the riverbank with drooping branches"?

  Note:

  (1) Shi Dazuo [Double Swallow] (Ode to Swallows):

  "Past the spring festival, through the curtain's midst, last year's dust is cold. About to go to the pool, trying to enter the old nest together. Still carving on the beam, discussing softly but indecisive. Floating lightly on the flower tips, green tails parting red shadows. Fragrant paths, rain-soaked mud of angelica. Lovingly close to the ground, competing in flight, boasting of lightness and agility. Returning to the red tower at dusk, watching till the willows are dark and flowers fade. Should be nesting in the fragrant woods now, yet forgot the distant fragrance letter. Worried about losing the green hairpin, Double Elegance, day after day leaning alone on the painted railing."

  (2) Jiang Kui [Fragrant Shadows]: (In the winter of Xin Hai, I rode through the snow to Shi Hu. After a month's stay, I was asked to compose new tunes and lyrics. Shi Hu played with them repeatedly, had his singing girls practice them, and named them "Fragrant Shadows" and "Sparse Reflections".)

  The old moonlight, how many times has it shone on me? By the plum blossoms, who is playing the flute? Summoning the jade-like person, not caring about the cold or the difficulty of plucking. Alas, now gradually growing old, I have forgotten the spring breeze and the words of poetry. But strangely, outside the bamboo window, sparse flowers bloom, their fragrance coldly entering the jade mat.

  The river country is quiet, sighing at the distant road, with newly fallen snow at night. The green wine cup is easily moved to tears, the red lanterns are speechless, and I am lost in memories. Long remembering the place where we once walked hand in hand, a thousand trees press down on the cold blue of West Lake.

  And when will I see them again, now that they have been blown away piece by piece?

  Jiang Kui [Pū Yǐng]:

  "Mossy branches are tied with jade, there are small green birds, and they roost together on the branch. Meeting in a foreign land at dusk, leaning against the bamboo fence without speaking. Zhaojun is not used to the distant barbarian sand, but secretly remembers Jiangnan and Jiangbei. Thinking of returning home under the moonlight, transformed into this solitary flower. Still remembering old affairs in the deep palace, that person is sleeping soundly, a moth flies close to the green window. Don't be like the spring breeze, which doesn't care about the overflowing cup, but instead arranges for a golden house early on. Also teaching one petal to follow the waves and go, yet blaming the jade dragon's sad melody. Waiting until that time, searching again for the fragrant scent, it has already entered through the small window and horizontal screen."

  (3) Du Fu [On the East Pavilion of Shu State, Sending Off a Guest and Encountering Early-Blooming Plum Blossoms, Remembering and Seeing Them]: "The plum blossoms in the east pavilion stir poetic inspiration, how can they be inferior to those in Yangzhou? At this moment, I recall them across the snow, sending off guests as freely as spring. Fortunately, they do not wither away, injuring the late spring, nor do they make me look back at the chaotic countryside. By the riverbank, a single tree hangs down its branches, urging people to grow old from dawn till dusk."

  Thirty-Nine

  The white stone writes scenery, such as "Twenty-four bridges still exist, waves and cold moonlight are silent (1)"; "Several peaks are clear and bitter, business is brief at dusk rain (2)"; "Tall trees and evening cicadas speak of the west wind's message (3)". Although the rhyme is high and absolute, it is like looking at flowers in the fog, still separated by a layer. The disease of writing scenery in Meixi, Mengchuang and other families is all in this "separation" word. The elegant style of the Northern Song Dynasty was interrupted after crossing the river. Is there really a turning point hidden between them?

  Note:

  (1) Jiang Kui [Yangzhou Slow]: "Famous city to the left of Huai, excellent place west of bamboo, dismounting and resting briefly at the beginning of the journey. Passing through ten miles of spring breeze, all wheat and barley are green. Since the nomadic horses gazed out at the river and left, the abandoned pool and tall trees still dread the mention of war. As dusk approaches, the clear horn blows, and the cold is in the empty city. Du Fu's handsome appearance, thinking that now, returning must be surprising. Even if the words are skillfully crafted, the green building dreams are good, but it's hard to express deep emotions. The twenty-four bridges are still there, the ripples on the water surface are cold, and the moon is silent. Thinking of the red flowers by the bridge, year after year, who do they bloom for?"

  (2) Jiang Kui [Dian Quan Xin]: "Swallows and geese are heartless, by the west bank of Taihu Lake they follow the clouds and go. Several peaks are clear and bitter. Merchants roughly guess at sunset rain. By the Fourth Bridge, I pretend to follow Heaven's wanderings. What is this place? Leaning on the railing, I cherish ancient times, the remaining willows dance in disorder."

  Jiang Kui: "Regret of the Red Dress" (see note 3 and 6)

  Forty

  The difference between "not separated" and "separated" is as follows: Tao Qian's poems are not separated, but Yan Rui's are slightly separated. Su Shi's poems are not separated, but Huang Tingjian's are slightly separated. The wonderful places in the lines "Spring grass grows by the pond (1)" and "Swallows fall on the empty beam (2)" lie in their lack of separation. This is also true for lyrics. For example, Ouyang Xiu's "Youthful Excursion" sings about spring grass in the first half of the poem: "Twelve lone branches lean against spring, clear blue connecting with clouds afar. In February and March, thousands of miles away, people are sorrowfully worried." Every phrase is right before our eyes, which means they are not separated. However, when it says "Above the Xie family's pool, by the riverbank (3)", it becomes separated. Bai Shi's "Emerald Tower Ode" says: "This place should have a word immortal, embracing white clouds and yellow cranes, playing with you. The jade ladder gazes out for a long time, sighing at the fragrant grass, desolate and scattered for thousands of miles." This is not separated. However, when it says "Wine washes away clear worries, flowers dissipate heroic spirit (4)", it becomes separated. Nevertheless, although Southern Song lyrics may not be separated in some places, compared to previous poets, they still have differences in shallowness and depth.

  Note:

  (1) Xie Lingyun [Ascending the Pool Pavilion]: "The hidden dragon's charming demeanor, the flying swan's distant sound. The thin clouds are ashamed of floating clouds, the river is embarrassed by its depth. Advancing in virtue and wisdom is difficult, retreating to farm work is not suitable. Seeking office and returning from the distant sea, lying on a mat facing an empty forest. Pillow and quilt confused with the time, opening the window for a brief glance. Inclining my ear to listen to the waves, raising my eyes to gaze at the mountains. The initial scenery changes with the wind, the new sun replaces the old shade. The pool and pond give birth to spring grass, the garden willow transforms into singing birds. Sorrowfully recalling the Feng song, sadly sensing the Chu melody. Living in seclusion is easy for a long time, leaving the group is difficult to bear in mind, holding onto integrity is not solely occupied, no worries about the present."

  (2) Xue Daohe (Xi Xi Yan): "Willows droop over the golden embankment, and the leaves of the lotus are once again aligned. The water overflows from the Hibiscus pond, and flowers fly in the Peach and Plum garden path. A Qin family daughter picks mulberry leaves, a Dou family wife weaves brocade. At the mountain pass, I bid farewell to my son, and guard the empty chamber under the wind and moon. Always hiding a thousand gold smiles, forever hanging two jade tears. The coiled dragon follows the mirror's concealment, the colorful phoenix pursues the curtain's descent. My flying soul accompanies the night magpie, my weary bed remembers the morning rooster. In the dark window, spider webs hang, on the empty beam, swallows' nests fall. Last year I passed through Dai North, this year I head to Liao West. Once gone, there is no news, what can be spared from the horse's hooves?"

  (3) Ouyang Xiu [Youthful Excursion] See note 2 and 3.

  (4) Jiang Kui [Green Building Ode]: "The moon is cold on the dragon sand, the dust is clear on the tiger's fall, this year the Han emperor first granted. Newly translated barbarian tunes, listening to felt tents and yuan soldiers' songs and flutes. Multi-story buildings stand tall. Watching the winding corridors wrapped in red, the eaves' teeth flying green. People are beautiful. Powder fragrance blows down, night cold wind is fine. This place should have a word immortal, holding white clouds and yellow cranes, playing with you. Jade ladder condenses longing for a long time, sighing at fragrant grass, thousands of miles away. The flavor of the sky's edge. Relying on wine to dispel clear worries, flowers sell heroic spirit. Outside Western Mountain: Late in the day, still rolling up, one curtain of autumn clarity."