If this poem were a person, I had already made acquaintance when I was a callous youth. I knew it was about some lute player. However, the very first character of the poem scared me off. At the time, I had no interest in poems with place names -- I was more interested in palace laments and tales of love in the air. Now that the sunshine of my springtime has dimmed somewhat, and now, how Fate has played her hand, I had to delve into the poem with all my heart and soul. This is because a friend who plays the lute had asked me to do a calligraphy of this poem for her. I did not fritter my time in vain. Now, armed with greater knowledge and more experience gained, I was more than able to tackle this poem of 616 characters in 22 stanzas.
Time is a great teacher if one is willing to learn from and make full use of it. It had opened my eyes to this neglected treasure for too long a time. Having not been satisfied with the available English translations floating on the internet, I decided to put forth my own in a more detailed manner.
Each line in the poem resonates with the trials and tribulations of my life. It is as if I had transformed into the people in the poem. 相逢何必曾相識 –“Now met, regret no more of not having met before” is most poignant with me.
I did not translate the preface of the poem because it is essentially a gist in terse Classical Chinese. I would rather devote my time to the subtleties and nuances of the poem’s flowery language. This translation is mainly for the enjoyment of the English reader. Those wanting to further their Chinese language skills will be disappointed. However, I have included finer details and direct translation in the commentaries. The exception to this rule is when the local flavour is lost and the translated meaning does not offer a better value.
This translation is more for the enjoyment of the reader than learning the source language. To those interested, there are the appended footnotes and explanations to peruse.
Without any further ado…
01 潯陽江頭夜送客 Late I was in seeing my friend off by the northern end of River Xun,
02 楓葉荻花秋瑟瑟 Autumn's maple leaves and reed flowers, a zither’s sighing portamento.
03 主人下馬客在船 I dismounted from the horse and my guest had boarded the boat,
04 舉酒欲飲無管弦 Raising wine cups to our lips nary was there music to accompany us.
05 醉不成歡惨將別 No pleasure from our tipsiness but sadness for this coming separation,
06 別時茫茫江浸月 We can see the river cascading into the moon clearly but not our future.
07 忽聞水上琵琶聲 When suddenly, strains of the lute came wafting across the waters,
08 主人忘歸客不發 The host forgets to take leave, the guest disremembering his departure.
09 尋聲闇問彈者誰 Searching for the source, asking discretely who might the player be?
10 琵琶聲停欲遲語 Then the sounds stopped before a hesitant reply came.
11 移船相近邀相見 Mooring my boat closer, I requested a face-to-face introduction.
12 添酒回燈重開宴 More added wine; more fresh candles; a banquet recommenced.
13 千呼萬喚始出來 A thousand beckoning, a myriad beseeching before her entrance made,
14 猶抱琵琶半遮面 Still clutching the lute, her half-face hidden.
15 轉軸撥絃三兩聲 Pegs were turned and strings tuned once or twice,
16 未成曲調先有情 Sounds of a melody yet to form, but with feelings fully laden.
17 弦弦掩抑聲聲思 With each string plucked and stopped, deep thoughts pouring forth,
18 似訴平生不得志 As if telling how her life was not fulfilled.
19 低眉信手續續彈 Her brows were lowered but her fingers strike with confidence,
20 說盡心中無限事 As if letting out all her heart’s endless regrets in life,
21 輕攏慢捻抹復挑 Gentle vibratos, slow double plucking, inward flicks and out again,
22 初為霓裳後綠腰 First to the tune of the Rainbow Skirt and then the Green Waisted.
23 大弦嘈嘈如急雨 The bass strings rush noisily like pelting rain,
24 小弦切切如私語 And high-pitched ones fleeting like private whispers.
25 嘈嘈切切錯雜彈 Like the roaring and sighing intricately jumbling in weltering mixture,
26 大珠小珠落玉盤 Like small and large pearls dropping on a jade platter.
27 間關鶯語花底滑 Like orioles in midst, chirping smoothly under the tree,
28 幽咽泉流水下難 Like remote gurgling spring water flowing in difficulty.
29 水泉冷澀絃凝絕 Like cold brook waters flowing over obstructions, the strings congealed.
30 凝絕不通聲暫歇 Like congealed stoppage, the lute sounds came to a temporary halt.
31 別有幽愁暗生恨 Like regrets bursting forth from hidden sorrows.
32 此時無聲勝有聲 ‘tis the moment when silence roars most loud.
33 銀瓶乍破水漿迸 Like a silver vase suddenly shattered, liquid contents gushing forth,
34 鐵騎突出刀槍鳴 Like an armored cavalry, brandished swords and lances in sudden unison.
35 曲終收撥當心畫 The song came to an end, the plectrum struck across the center strings.
36 四絃一聲如裂帛 Four strings but of a single voice struck like silk torn asunder.
37 東船西舫悄無言 Boats from the east, skiffs from the west, all in great silence,
38 惟見江心秋月白 Only the autumn moon upon the river in mesial silvery white.
39 沈吟放撥插絃中 One deep emitted sigh, the plectrum tucked between the center strings.
40 整頓衣裳起斂容 Her clothes evened out here and there, she put on a serious demeanor.
41 自言本是京城女 “A capital city girl I was”, as if murmuring to herself,
42 家在蛤蟆陵下住 Family from Toady Mound but lived at the lower end.
43 十三學得琵琶成 By thirteen, an accomplished lute player I had become.
44 名屬教坊第一部 In the imperial registry of the first section my name be found.
45曲罷常教善才服 Often when my playing ends, enthralled were my music masters,
46 妝成每被秋娘妬 Each and every time my makeup's done, ladies in lavender seethe in envy.
47 五陵年少爭纒頭 Came vying for my hair ribbons were young and wealthy scions of the Five Mounds,
48 一曲紅綃不知數 How many bolts of red silk gauze just for one song, I know not.
49 鈿頭銀篦擊節碎 My inlaid silver comb, a timekeeping piece would lay in shatters,
50 血色羅裙翻酒汙 Like blood stains, my dress befouled with overturned wine.
51 今年歡笑明復年 Laughter and merriment of this year repeated for the next,
52 秋月春風等閑度 From autumn moon to wind of spring, my time frittered away in leisure.
53弟走從軍阿姨死 Then for the military, my god-brother went and my aunt passed on,
54 門前冷落鞍馬稀 Desolate was my front door as of then, no longer with saddled traffic.
55 暮去朝來顏色故 Evenings went, mornings came and colors of my cheeks became old,
56 老大嫁作商人婦 At thirty, a woman to a businessman I had become.
57 商人重利輕別離 Caring for profit, this businessman than of love,
58 月前浮梁買茶去 Why, just this last month to the city of Floating Bridges, tea buying he went.
59 去來江口守空船 Up and down on the river, this empty boat I now look after,
60 繞船月明江水寒 Round and about, to the bright moon, on the cold waters which I sailed.
61 深夜忽夢少年事 When deep into the night, a sudden dream of events in my youth,
62 夢啼妝淚紅闌干 Weeping in it, real tears befell, smudging my rouge.
63 我聞琵琶已歎息 Already in sighs upon hearing your lute,
64 又聞此言重唧唧 Weightier had they become upon hearing your words.
65 同是天涯淪落人 At the world’s edge, impoverished we two had become,
66 相逢何必曾相識 Now having met, regret no longer of not before met.
67 我從去年辭帝京 Last year I bade farewell to the imperial capital,
68 謫居臥病潯陽城 Banished to live here in the city of Xunyang, lying sick in bed.
69 潯陽地闢無音樂 Xunyang, an uncultured place with no fine music,
70 終歲不聞絲竹聲 All year long, I hear no sound of strings and flutes.
71 住近湓城地低濕 Living near to the wet low-lying areas by the city of Pan,
72 黄蘆苦竹繞宅生 Around my abode yellow reeds and bitter tasting bamboo shoots grow.
73其間旦暮聞何物 Between dusk and dawn of what do I hear?
74 杜鵑血啼猿哀鳴 Nothing but weeping of cuckoos and sobbing apes.
75 春江花朝秋月夜 Springtime over the river, blossoms over the morning, nights of the autumn moon,
76 往往取酒還獨傾 Often to wine I seek but always a lonesome cup tilted.
77 豈無山歌與村笛 Are there no folksong or village flute to speak of?
78 嘔啞嘲哳難為聽 Yes, but so nauseous sounding that I puke till I'm mute!
79 今夜聞君琵琶語 Tonight, I hear the language from your lute,
80 如聽仙樂耳暫明 In that moment, as if faerie music had suddenly raptured my ears.
81 莫辭更坐彈一曲 Deny me not an encore request,
82 為君翻作琵琶行 For thee, a ballad of the Wandering Lute be composed.
83 感聞此言良久立 Stupefied by thy words, a long time I stood,
84 却坐促絃弦轉急 Once more reseated, my strings urged to a faster tempo.
85 淒淒不似向前聲 Her playing now became more tenebrous - quite unlike before,
86 滿座重聞皆掩泣 Upon once more heard, all wept in covered tears.
87 座中泣下誰最多 But whom in the audience wept the most?
88 江州司馬青衫濕 No one, but this Jiang Prefecture's blue robed Master of the Horse.
01 陽 means north of the river or south of the mountain. Logically, there should exist a counterpart, 陰but there is none. https://en.wikipedia.org/wiki/Xunyang_River
Many translate 夜 as “night”. It could be a nocturnal affair. After all, Tang marriages of the elite start at midnight rather in the daytime. However, I believe it means “late” because the next line sets up the scene and mood. If it were night, nothing else but darkness and perhaps a lantern would be seen. There is no Las Vegas lighting in those times! At the same time, the poet was thought to be diligent in his official capacity governing the prefecture.
The concept of a host and a guest is not dissimilar to ancient Greeks. A visitor is a guest except when he is the one throwing a banquet, he is the host regardless of the location held.
02 Autumn is a time of sadness as most foliage start to wither. The description strongly suggests that nighttime has not fallen. The 瑟 has very melancholic sounds. https://en.wikipedia.org/wiki/Se_(instrument)
03 The poet’s preferred mode of travel to see his friend is by horse as the place of departure may be far away. It could be that he is running late due to his official duties. Even in demotion and exiled, he is still entitled to a carriage befit of his office. However, this mode of travel would be too slow for the circumstance.
04 “… there is no pipe or string”, no woodwinds and strings, i.e., no music.
05 Also because there was no music to lighten their mood.
06 Literally, “the river flooding the moon” – the reflection of the moon in the river.
07 The Chinese lute or the balloon guitar, the “pipa” is an onomatopoeia. “pi” is the sound made by backward strike on the string and “pa”, in the forward motion. Nowadays, it is played in a vertical position using the thigh as support for the base. Originally, the instrument came from western Asia and played on horseback horizontally as depicted in Tang Dynasty murals. The Japanese version, the biwa, is played with a large triangular plectrum, called the “bashi” (撥). The Tang Dynasty imperial family is not entirely Han Chinese.
08 發here means to “embark on a journey” as in 出發.
09 Both sexes play the instrument. The poet does was cautious, not wanting to alarm in case the lute player turned out to be a woman.
10 The last three characters established the sex of the lute player.欲 can also mean “complaisant/gently, willing to please”. The lute player chose not to reply immediately because of decorum. This shows that she was not trained in an ordinary manner. 欲is sometimes used synonymously as 慾 (lusty/desire). This case is easily ruled out from context.
11 The poet is higher ranked but greatly admires her skill and hence he shows deference by using 君.
12 The lute player must have acquiesced to his request for a command performance to aid in their merrymaking.
13 Poetic exaggeration. It can be translated as “many a time”. However, the poem’s local flavor is lost.
14 Again emphasizing her extraordinary status -- one who had entertained before the rich and powerful. Her social graces are impeccable.
15 Translation as “thrice or twice” would sound strange to English ears.
16 Showing what an accomplished player she is.
17 掩means “to cover up/ to close/to surprise “ while 抑,“to restrain/to restrict/to keep down”. They technical pipa playing terms. Together they mean to stop the lute sounds abruptly with the right hand. This shows the poet is very familiar with the playing techniques of the pipa.
18 In this context the usual meaning of志 does not apply. “aspiration/ambition/the will” belongs to the prerogative of men. For women to do so is to be ridiculed throughout history. The most famous example being the Empress Wu of the T’ang Dynasty, the great-grandmother of the current sovereign when this poem was written.
19 A lessor poet would have used “低頭”. She did not stare into the audience but was lost in her drowned sorrows as she performed. She was not a typical player looking for a paying gig. In many translations, including Chinese explanations, 信is expressed as “nonchalance” (隨便)”. This does not reflect the intent of the poet. Later we find out that she was a master player at a young age. Translating as “in confidence/surety” is more to the spirit and intent of the line.
21 Pipa’s fingering techniques:
攏: pressure on a plucked string to cause vibrato.
捻: two strings plucked together at the same time.
抹: inward plucking
挑: outward plucking
22. 霓裳羽衣 (feathered rainbow skirt), is a massive group dance purportedly choreographed by Yang Guifei, the favorite imperial concubine of Emperor Tang Hsuan Tsung. The emperor himself composed the melody from a dream that he had visited the lunar palace. Because of its association with the decadence of the Tang Dynasty and the eventual decline of the empire, it was considered an ill-omen song by Confucian ministers. During the Southern Tang Dynasty, the poet-Emperor, Li-Yu had it revived and refined and later his empire fell prey to the Sung Dynasty. Thus, it is forever ingrained into the minds of the populace as something of an ill-omen. The melody was lost but its introduction was rediscovered in the later Sung period.
綠腰 is another grand musical dance piece of the Tang court. Female dancers were dressed in green and their midriffs bared, quite reminiscent of a classical Indian dancer. 六么(six young urns) is a misprint due to same pronunciation. It is quite illogical for court players to play something so mundanely unrefined after such a grand performance of the former.
23 Literally “big strings”, the bass strings in the lute. 嘈 serves as an onomatopoeia for these loud bass sounds.
24 Literally, “little strings”, the thinnest ones. 切 is another onomatopoeia for the higher notes.
25 錯 when pronounced in Cantonese is not the usual co3 tone but as cok3 in this context.
27 關, another onomatopoeia as in “關關睢鳩, 在河之窈窕淑女, 君子好逑.”
28 In some versions, 冰 and 灘 are used. These are misprints. It is not winter yet. The poet would not have used this sort of imagery to describe her playing skills.
29 冰, another a misprint.
30 A caesura caused by having all the strings stopped at once. In guitar terms, this is called “mute planting”. In some versions, 漸, a diminuendo is used. This is also plausible since the next descriptive line offers no contradiction.
35 撥 when used as a noun, it means “plectrum” and in Cantonese pronunciation, a higher tone is used. The plectrum is called “bashi” in Japanese. The biwa resembles the Tang instrument more closely than the modern Chinese version.
39 Again 撥 is used as a noun. The two central strings of the lute are often used as a place holder for the plectrum.
40 It was customary to make sure that one’s attire was impeccable while receiving guests, especially when they are of higher status. She is well-schooled in proper etiquette and not acting like some common street vendor with a smiley face to attract customers.
41 Where one hails from after introductions is the custom. It is still true of today.
42 Toady Mound was a pleasure quarter in Chang An, the then Tang capital. Luoyang was the main capital during Empress Wu’s time because she loathed the former place, perhaps haunted by old memories of her early life.
44 Being an accomplished flute player and well versed in music, Emperor Hsuan Tsung created an imperial music academy of musicians and dancers known as the “pear garden players” 梨園弟子.
45 善 is used as a verb and not an adjective. As a verb is means “to know well” rather than “good/kind”. 善才therefore means “an expert knowing talent” - her music masters. 服 means “to acquiesce/acknowledge”. Translating as “to give their approval” lacks the punch of the intent. The original text implies that her playing is so good that she could teach her music masters a thing or two.
46 秋娘 could be referred to someone who is talented or to 杜秋娘, a talented courtesan about two decades the poet’s junior. She earned the distinction as the only female poet whose work is included in the best of Three Hundred T’ang Poems. Her only entry is the Golden Threaded Robe, 金鏤衣. https://en.wikipedia.org/wiki/Du_Qiuniang
47 纒頭 - colored hair ribbons used by performers. 五陵,“Five Mounds ” is the area where tombs of five Han Dynasty emperors are located. By T’ang law, only the rich can live nearby. This was to lessen the possibility of looting by the poor.
48 It was considered uncouth to pay performers directly with money. Bolts of silk were given instead. The finest grade was the gauzy red silk. Before the secret of silk-making was leaked to the West, silk was considered another form of currency.
This stanza is composed of couplets.
49 鈿 means an inlay. On a side note, 花鈿 was a forehead decorative painted inlay for T’ang court ladies. It was said that the fashion came into rage when Shangguan Wan Er, secretary to Empress Wu was punished for her indiscretion by placing a mark on her forehead to serve as warning. She pleaded with the Empress to use a red dye instead of the usual black. Her request was granted. She then painted over the scar, a plum blossom design which made her looked prettier. Soon afterwards, other court ladies aped but used rouge instead. As time went by, the simple design became more elaborate and other materials were employed. Of course, this is just a fanciful story as archeological digs from earlier periods have traces of such practice albeit in another form.
Some versions used 雲篦 which I believe is a misprint. 篦 is a hair comb. 雲 symbolizes the ravenous hair of a woman, hence redundant. 銀 matches鈿 nicely since both are metallic.
50 Most translate as “the red dress was tainted by spilt wine”. I believe that her dress is not red in color but was stained red by spilt wine. Red wine was already known in T’ang China because of foreign trade from the Silk Road. However, it was very expensive and not easily available. Hence, a metaphor for sumptuous luxury. 王翰’s poem has an explicit mention,
葡萄美酒夜光杯,
欲飲琵琶馬上催.
Here we see an instance of the pipa being played on horseback.
52 The autumn moon represents the Mid-Autumn or Moon Cake Festival. This is when crops are harvested and people are winding down. The moon is at its brightest and lavish moon viewing parties were thrown by the literati. Of course, musicians are a must to entertain the elite. Springtime is another party time, this time to mark the stirrings from the long harsh winters.
53 Not necessary her sibling or blood relative. Chinese girls are a dime a dozen. Poor families sold or gave them away for adoption, especially in times of hardship. The worst case being thrown into the river to be drowned. Boys are precious commodity as they carry and perpetuate the family name. Her talent must have been discovered by some performing troupe whom she now considers as family. Most probably she took some liking to a younger boy and treated him like a younger brother. Her aunt was most likely her mentor or “mama-san” equivalent. All these events suggest the quick passage of time.
54 In some versions, 車 is used. This is an error. By T’ang law, carriages are only accorded to officials. Saddled horses could be used by all. Line 47 mentioned wealthy scions come vying for her, they would not have attained officialdom yet.
55 顏 means face and 色means color, therefore referring to her looks rather than the modern meaning of just “color”.
56 老大literally means “old big” is a T’ang term for a woman of thirty. Today’s meaning is a term of respect for an elder or some bigwig. Her marriage was not based on love but out of convenience and necessity. 對食 (eating while facing each other) stems from the practice of palace eunuchs marrying female court servants whereby they can be companions in their old age.
Ancient China is an agricultural society. It’s Four Noble Professions are fishing, wood gathering, farming and learning to be literate (漁樵耕讀) Businesspeople were seen as greedy and out to make a quick profit. Perhaps the literati, synonymous with power, saw them as a threat because of their independence as wealthy people. It was difficult to tax transactions unlike farming. However, they also know that they cannot do without such scum. Thus, marrying to a businessman in this context makes me wonder if the poet was adding flourishes to his poem to show how like a fallen angel can be hurled down from the dizzying heights of heaven to the abject abyss of society.
57 “The businessman is heavy on profits but light on leaving and farewell”. If this was a love relationship, then she would have used a more endearing term like 夫君or 郎instead. I begged the question of why she would choose a businessman and not some poor scholar who would appreciate her talents.
58 Now we know that this so-called husband was a tea merchant.
60 Obviously the reflection of the moon in the river.
62 “tears crisscrossing her rouge”
64 唧唧 an onomatopoeia for sighing
70 “silk and bamboo” – musical instruments – the strings and reeds. Chinese flutes and the likes don’t use a reed to produce the sound. Translating directly would puzzle the Western reader.
74 The cuckoo is thought to be the reincarnation of a mythical king who even in death was grieving for the plight of his people.
http://www.chinaknowledge.de/History/Myth/personsduyu_king.html
There is a story while sailing along the Yangtze River, some sailors caught a young monkey and brought it aboard. The mother ape followed the ship for days and was crying bitterly. When the mother died from grief, the sailors were curious and opened up her body and found that all her innards had shattered. Hence the term, 斷腸means “most bitterly”.
For example, in Li Po’s poem, “兩岸猿聲啼不住, 輕舟已過萬重山” or Li Tao Yuan’s (酈道元) “巴東三峽巫峽長, 猿鳴聲淚沾裳”
76. This line can also be translated as, Often to wine I seek but just a lonesome cup to chat with. In Cantonese, 傾 means “to chat idly”. It was considered vulgar to talk politics during idle chats amongst nobilities during the Northern & Southern Dynasties during their leisure time. It was also a time strife with warfare. Most of the nobility would migrate to the more distant southern parts to escape. Usually, by the time war reaches the southern boundaries, the outcome had been stabilized. Along with their migration, they brought along this leisure habit. By the time, the Tang Dynasty had been firmly established, Buddhism is the hot topic for idle chat which involves parables. Thus 傾偈 (tends towards parable) becomes “idle chat” or just傾 in colloquial Cantonese.
86. “The audience once more heard the music and covered in tears”. The sleeves of the elite were large and billowous. Inside were pockets to carry small items, such as a string of cash (copper coins strung together) or a few pieces of silver. During the Ch’ing Dynasty, a snuff bottles were carried in there. The proper etiquette to drink from a cup is to use the sleeves to hide their drinking, in this instance, to wipe their tears.
88. “In the audience, Jiangzhou’s Master of the Horse, his green/blue robes all wet”. Wetting one’s clothes has a different meaning in English! T’ang laws required officials of different grades to be worn in different colored robes:
Grades (from highest to lowest)
1 – 3: 紫 purple
4 – 5: 緋 scarlet
6 – 7: 綠 green
8 – 9: 青 blue
In modern usage, 青can also mean “green”. Given that the poet’s rank at the time of his banishment, he was an official of grade 9. His position was assistant to the prefecture governor and it is an idle job and not in charge of war supplies – a title without power. On a side note, this office was originally known as 治中(managing/governing middle). However, it was changed on the 7th lunar month of 649 A.D. when T’ang Gao Tsung ascended to the throne. His personal name is 李治 was changed to avoid naming tabu.
Friday, September 25, 2020, draft translation and research
Thursday, December 3, 2020, proofread and corrections
Friday, December 4, 2020
Sunday, December 6, 2020, polishing & refinement
Monday, January 16, 2023, rewriting and correcting auto-correct errors in the commentary.
