Tang Yin in another world

  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 Tao's fu is '韵趣高奇,词义晦远' (with a high and unusual charm, profound and far-reaching meaning). 嵯峨萧瑟,真不可言 (lofty and desolate, truly indescribable)." Alas, there are few such atmospheres in ci poetry. The former is only found in Dongpo, the latter only in Baishi, and even then only occasionally.

  Note:

  (1) See Xiao Tong's preface to the Collection 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 travels were written with beautiful language, they ultimately had a noble character. Fang's beauty was accomplished, and there was a distinction between virtuous women and courtesans.

  Three Three Three

  Mei Cheng's depth and distance are not as good as Ou Qin. He only excels in expressing emotions and describing objects, exhausting all possible craftsmanship, so he is still considered a first-rate author. But it's a pity that his talent for creating styles is abundant, while his talent for creating ideas is scarce.

  Thirty-four

  The word is taboo to use substitute characters. Mei Cheng's "Yuyi Flower" has a wonderful realm, but unfortunately uses the two characters "Gui Hua" instead of "Moon". From Meng Chuan onwards, even 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. Clothes are elegant and refined. Watching the Chu women with slender waists.

  Pipa and drums make a loud noise, 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, playing and laughing.

  The carriage with pearls and brocade, where we meet, there will be hidden dust following the horse. Time is fleeting.

  Only seeing that old love has faded away. The clear dew moves, the flying canopy returns, the dance and song have stopped.

  (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, and my single garment is first tried on this clear and bright day. The warm breeze stirs, playing with the faint rain, as if it's reluctant to leave. The flower-selling voices have passed by, the slanting sun shines on the courtyard, and the red flowers are in full bloom, flying like mandarin ducks. After parting from you, I hear the sound of jade pendants. Longing for our lovely encounter, but it's hard to meet again. The famous bridle and lock, heaven still knows, and with heaven, I am also thin. In front of the flower gate, by the deep alley beside the willow tree, I am reluctant to look back. Thinking of many emotions, but at that time, the bright moon was still there, leaning on people as before."

  (3) "Lidai Shi Yu" Volume 5 quotes Zeng Xi's "Gao Qi Ci Hua": "Shao You visited Dongpo in the capital from Kuaiji. Dongpo asked what ci he had written, and Shao You recited: 'A small tower connects with a garden stretching across the sky; below, embroidered saddles and carved stirrups hurry by.' 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' or 'Liu Lang'. When singing about willows, one cannot directly say 'willow', but must use words like 'Zhang Tai' or 'Bai An'. It's as if they feared people wouldn't use substitute characters. If this is indeed considered skillful, then what's the point of using words at all? Ancient and modern books are full of such examples. This is precisely what "Ti Yao" ridicules (1)."

  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 describing peaches, one must use words like hong yu and liu lang; when describing willows, one must use words like zhang tai and jian an; when describing books, one must use words like yin gou; when describing tears, one must use words like yu zhu; when describing hair, one must use words like jiang yun; when describing fans, one must use words like xiang zhu. One cannot directly state the obvious. The intention is to avoid vulgarity, but it ends up becoming artificial and is not a sound theory.'"

  Thirty-six

  Beautifully done, Su Mu's poem: "On the leaves, the morning sun dries the overnight rain. The water's surface is clear and round, with each breeze lifting a lotus flower." This truly captures the spirit of the lotus. I also appreciate Bai Shi's two poems, "Nian Nu Jiao" and "Xi Hong Yi", which still have a hint of regret at gazing at 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 the 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 fisherman remember me in May? A small oar propels my light boat, as I dream of entering Hibiscus Harbor."

  (2) Jiang Kui's "Nian Nu Jiao":

  A red boat, memories of the past,

  I once shared a companion with mandarin ducks.

  Thirty-six ponds, people have not arrived,

  Water pendants and wind garments are countless.

  Green leaves blow coolness, jade beauty dispels wine,

  And sprinkles lotus rain.

  Gently swaying, cold fragrance rises in poetry.

  At dusk, the green canopy is empty,

  My loved one is not seen, I reluctantly set sail to cross the waves.

  I only fear that my dance skirt will easily fall,

  Sorrow enters the west wind and south bay.

  Tall willows cast shade, old fish blow ripples,

  Keeping me dwelling among flowers.

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

  "Mat on the couch 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, speak 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 is not with me to travel 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 inimitability 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 Flower):

  Swallows are busy, orioles are lazy, the fragrance is left over,

  On the dam, willow flowers float down.

  Lightly flying and dancing, dotting the green forest,

  Completely without clever thoughts.

  Leisurely following the wandering silk threads,

  Quietly facing the deep courtyard, the long day closes the door.

  Beside the pearl screen scattered and disheveled,

  Hanging down, about to fall, 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 damaged.

  The embroidered bed is gradually filled,

  Fragrant balls are countless, just perfect and about to break.

  Sometimes seeing bees,

  Looking up at the light powder, fish swallowing the pool water.

  Looking at the distant road of Zhang Tai,

  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 the beam and the well pavilion, softly discussing but undecided. Floating 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 building at dusk, watching till the willows are dark and the flowers are twilight. Should be nesting in the fragrant trees now, but forgot the distant fragrance letter. Worried about damaging the green eyebrow's double beauty, day after day painting the railing alone."

  (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 lyrics and melodies, so I wrote these two songs. 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 climbing. 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 filled with longing 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 all been blown away?

  Jiang Kui [Pū Yǐng]: "Mossy branches tied with jade, tiny emerald birds, same lodging on the branch. Guests meet at dusk, leaning against the bamboo in silence. Zhaojun is not accustomed to distant barbarian sands, but secretly recalls Jiangnan and Jiangbei. Thinking of returning on a moonlit night, transformed into this solitary flower. Still remembering old affairs in the deep palace, that person is sleeping soundly, flying close to the green moth. Don't be like spring breeze, can't manage the overflowing, early arranged golden house. Also taught one piece to follow the waves away, yet again blaming the jade dragon's sorrowful tune. Waiting for such a time, re-seeking the secluded fragrance, already entered the small window's horizontal scroll."

  (3) Du Fu [Meeting Early Plum Blossoms at the East Pavilion of Shu State, Sending Off a Guest]: "The plum blossoms in the eastern 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 and harm the late spring, nor do they make me look back at the chaotic countryside. By the river, a single tree blooms profusely, urging people to grow old from dawn till dusk."

  Thirty-Nine

  The white stone writes scenery, such as "Twenty-four bridges still exist, waves heart shake, cold moon no sound (1)"; "Several peaks clear bitter, business rough sunset rain (2)"; "Tall trees late cicada, say west wind message (3)". Although the rhyme is high and absolute, it's like looking at flowers in the fog, after all, there is a layer of separation. Mei Xi, Meng Chuang and other families' scenery writing disease are all in this "separation" word. The Northern Song Dynasty's elegance, after crossing the river, was cut off. Is it really that the fate of the operation exists 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 waves in the heart are calm, and the cold 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 shore of Taihu Lake they follow the clouds and go. Several peaks are clearly bitter. Merchants roughly at dusk rain. By the Fourth Bridge, I pretend to follow heaven's wanderings. What now? Leaning on the railing, thinking of 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 poetry is not separated, but Yan Ruyu's is slightly separated. Su Shi's poetry is not separated, but Huang Tingjian's is slightly separated. The wonderful place of the two sentences "Spring grass grows in the pond" (1) and "Swallows fall on the empty beam" (2) lies in their not being separated. Words are also like this. For example, taking one person and one word as an example, Ouyang Xiu's "Youthful Years" sings of spring grass in the first half of the poem: "The railing is alone with twelve springs, the clear blue sky is far away, connected to the clouds. In February and March, thousands of miles, thousands of miles, people are sorrowfully worried." Every word is right in front of you, which means it's not separated. When it comes to "Xie family pool, Jiang Xun Pu bank" (3), then it's separated. Bai Shi's "Cuilou Yin": "This place should have a word immortal, holding a jade cloud and a yellow crane, playing with you. The jade ladder is long and looks far, sighing at the fragrant grass, thousands of miles away." It's not separated. When it comes to "Wine dispels clear worries, flowers dissipate heroic spirit" (4), then it's separated. However, although Southern Song poetry is not separated in some places, compared to previous people, there are still differences in shallowness and thickness.

  Note:

  (1) Xie Lingyun's "Ascending the Pool and Pavilion":

  The hidden dragon's charming appearance, the flying swan's distant sound.

  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 wealth returns to poverty at sea, sleeping on a mat facing an empty forest.

  The quilt and pillow are confused about 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, new sunlight replaces old shadows.

  Ponds and pools give birth to spring grass, garden willows change into singing birds.

  Sorrowfully recalling the songs of Bin, sadly sensing the odes of Chu.

  Living in seclusion is easy for a long time, leaving the group is hard on the heart,

  Maintaining integrity is not solely occupied, no worries are present now.

  (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. 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 with 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, no news comes back, what can be pitied is only the horse's hoofprints."

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

  (4) Jiang Kui [Cui Lou Yin]: "The moon is cold on the dragon sand, the dust is clear on the tiger's lair, this year the Han emperor first granted. Newly translated barbarian tunes, listening to felt tents and Mongolian songs. The layered tower stands tall. Watching the winding corridors entwined with 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, embracing white clouds and yellow cranes, playing with you. Jade ladder gazes longingly for a while, sighing at the fragrant grass, thousands of miles away. The flavor of love at the edge of the sky. Relying on wine to dispel clear sorrow, flowers selling heroic spirit. Outside Western Mountain, returning late, one curtain of autumn clarity."