The Project Gutenberg EBook of Chinese Poems, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Chinese Poems Author: Various Translator: Charles Budd Release Date: November 6, 2011 [EBook #37938] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK CHINESE POEMS *** Produced by Delphine Lettau, Matthew Wheaton and the Online Distributed Proofreading Team at https://www.pgdp.net
TRANSLATED BY
CHARLES BUDD
HENRY FROWDE
OXFORD UNIVERSITY PRESS
LONDON, NEW YORK, TORONTO AND MELBOURNE
1912
OXFORD: HORACE HART
PRINTER TO THE UNIVERSITY
The initiative of this little book was accidental. One day in the early part of last summer, feeling weary of translating commercial documents, I opened a volume of Chinese poetry that was lying on my desk and listlessly turned over the pages. As I was doing so my eye caught sight of the phrase, 'Red rain of peach flowers fell.' That would be refreshing, I said to myself, on such a day as this; and then I went on with my work again. But in the evening I returned to the book of Chinese poetry and made a free translation of the poem in which I had seen the metaphor quoted above. The translation seemed to me and some friends pleasantly readable; so in leisure hours I have translated some more poems and ballads, and these I now venture to publish in this volume, thinking that they may interest readers in other lands, and also call forth criticism that will be useful in preparing a larger volume which [4]I, or some better qualified scholar, may publish hereafter; for it can hardly be said that the field of Chinese poetry has been widely explored by foreign students of the Chinese language.
Many of the translations in this book are nearly literal, excepting adaptations to meet the exigencies of rhyme and rhythm; but some are expanded to enable readers to understand what is implied, as well as actually written, in the original; for, after all, the chief aim of the translator of poetry should be to create around the mind of the reader the sensory atmosphere in which the mind of the poet moved when he wrote the poem. Whether I have attained a measure of success in such a very difficult task must be decided by the readers of these translations.
It should be borne in mind by students more or less familiar with the Chinese language that there are many versions of the stories and legends related in these poems, and these versions, again, have been variously interpreted by Chinese poets. A little reflection of this kind will often save a critic from stumbling into difficulties from which it is not easy to extricate himself.
[5]
A few notes are given at the end of each poem to explain historical names, &c., but not many other notes are required as the poems explain themselves. Indeed, the truth of the saying, 'One touch of nature makes the whole world kin,' has been impressed on my mind deeply by this little excursion into the field of Chinese poetry, for the thoughts and words of such poems as the 'Journey Back,' 'A Maiden's Reverie,' 'Only a Fragrant Spray,' 'The Lady Lo-Fu, 'Conscripts leaving for the Frontier,' 'The River by Night in Spring,' 'Reflections on the Brevity of Life,' 'The Innkeeper's Wife,' 'A Soldier's Farewell to his Wife,' &c., show us that human nature two or three thousand years ago differed not a whit from human nature as it is to-day.
Tung Wen Kwan Translation Office,
Shanghai, March, 1912.
[7]
[10]
The earliest Chinese poems which have been preserved and handed down to posterity are contained in the 'Shi-King', or Book of Poetry. Translations of this book were first made by Roman Catholic missionaries, and later by Dr. Legge whose translation, being in English, is better known.
The Shi-King contains three hundred odd poetical compositions, or odes, as they might more correctly be described, most of them being set to music and sung on official and public occasions.
But many more odes than those in the Shi-King existed at the dawn of Chinese literature. Some native scholars think that several thousand odes were composed by princes, chiefs, and other men of the numerous petty States which were included in Ancient China; and that criticism and rejection by later literary compilers, especially Confucius, reduced the number deemed worthy of approval to 305, which make up the Shi-King. It is, however, quite impossible to say how many odes were composed in that early period; many more than those preserved[11] in the Shi-King undoubtedly were made, and we can only regret that, when later scholars began to collect and criticize these earliest poetical effusions of their ancestors, political and other motives induced them to prune or lop off whole branches of the nascent tree of poetry with such unsparing hands. Fragments of a few early odes not contained in the Shi-King remain, but such fragments are not numerous.
As to the value of these early odes critics differ widely. By some Western writers they have been compared favourably with the Psalms, the Homeric poems, &c., while other writers think that they do not rise above the most primitive simplicity. Some of the odes are undoubtedly of considerable poetical value; and all critics must acknowledge that the Shi-King contains a great deal of valuable information respecting the States of Ancient China, and the people who inhabited them in the earliest stages of their existence.
It has been necessary to give this brief account of the Shi-King because it has loomed so largely in the eyes of students of Chinese literature as to exclude from their vision the vast field of Chinese poetry in which hundreds of famous Chinese poets have, at different periods, wandered, and mused, and sung, for two or three thousand years, and their wanderings are described and their musings sung in thousands of[12] poems which are unknown to foreign students of Chinese literature. They have heard of the Shi-King, a few even have read it; but of the great poets of China, who have in a long succession appeared and done immortal work and passed away during nearly three thousand years, they know but little or nothing at all. My object in publishing this little book is to correct this false perspective, not by assailing the Shi-King, but by bringing into view a few of the poets and a few of their poems (which can only be very inadequately set forth in translations by a writer who is not a poet), and thus make a beginning in an undertaking that will be, I hope, continued and perfected by men who have more leisure and greater poetical skill and inspiration than I possess.
After the compilation of the 300 odes by Confucius, there was a period of about one hundred years during which but little attention was given to the making of poetry. The earliest poetical compositions handed down after those preserved in the Shi-King are the 'Li-Sao' by Küh-Yuen, of the Tsu State, 280 b.c., several poems by Su-Wu and Li-ling, and nineteen poems by unknown writers. All these were composed during the Han Dynasty or earlier, and they are regarded as poetical compositions of great worth by native scholars, although they do not conform to the rules which have guided Chinese poets in writing[13] poetry since the T'ang Dynasty. Indeed, one commentator has described their perfection as 'the seamless robe of heaven', i.e. the dome of heaven—the sky. These early poetical compositions are marked by greater simplicity of language, deeper feeling, and more naturalness than the poetry of later dynasties, which is often cramped by the highly elaborate technique introduced by the poets of the T'ang Dynasty.
'The Journey Back,' 'Only a Fragrant Spray,' 'The Swallow's Song,' 'The Innkeeper's Wife,' 'A Song of Tze-Yuh,' 'A Maiden's Reverie,' 'Su Wu's Farewell to his Wife,' 'Reflections on the Brevity of Life,' are specimens of this period.
During the later Han Dynasty, especially in the reign of Kien-An (a.d. 196), and in the reign of Hwang-T'su (a.d. 220) of the Wei Dynasty, several poets of conspicuous ability arose, and their compositions compare favourably with the three hundred odes and the ancient poems following the odes.
From the Wei Dynasty to the T'sin Dynasty, and on through the 'Luh-Chao' (Six Dynasties—the Wu, Tsing, Sung, T'si, Liang, and Chen, covering the period from a.d. 220 to 587), one poet after another gained an ascendancy and each found many imitators; but the poetry of this period is more elaborate and florid than deep and natural.[14]
From the Chen Dynasty (a.d. 557-587) to the end of the Sui Dynasty (a.d. 589-618) there was but little good poetry produced: it was, in fact, a time of literary decadence which continued even into the beginning of the T'ang Dynasty. Then a change took place, and great poets arose who formed the T'ang School of Poetry, and the poetical technique of that school has been more or less closely copied by all writers of poetry to this day; and during the most flourishing years of the T'ang Dynasty the production of poetry was so rich and abundant that that period is regarded by the Chinese as the Golden Age of Poetry.
One native commentator has likened the development of poetry to a tree: 'The three hundred odes of the Shi-King may be regarded as the root: the poems of Su-Wu and Li-ling as the first sprout from the root, and those of the Kien-An period as the increasing growth of the sprout into a stem, while the poems of the Six Dynasties are the first branches and leaves; then in the T'ang Dynasty the branches and leaves became more and more abundant, and flowers and fruit appeared crowning the noble tree of perfect poetry.' He then goes on to say: 'Students of poetry should carefully study the matter, and form, and style of the poetry of this period, as they show the source and development, the root and the full-grown[15] flourishing tree of poetry. The root must not be lost sight of in the profusion of branches and leaves, that is, students must not read the poems of the T'ang period and neglect those of ancient times; both must be studied together in order to understand the poetry of the later periods.'
Another native critic writes: 'The poets of the T'ang Dynasty developed a style of their own in poetry different from those that preceded it.' The leading poets of the T'ang period had ability to seize all that was best in ancient poetry and embody it in a style of their own which is a natural development and not a slavish imitation.
The most prominent among the men of genius who effected this great change were Chen Tze-ang, Chang Kiu-ling, Li-Peh, Wei Ying-wuh, Liu Tsong-Yuen, Tu-Fu, Han-Yü, Tsen-T'san, Wang-Wei, Wang-Han, Li-Kiao and Chang-Shoh; and of these Li-Peh is regarded by all Chinese as a heaven-born genius—'an Immortal banished to earth,' while Tu Fu is the scholarly poet, deeply versed in all branches of Chinese literature, which gives depth, and breadth, and style, and infinite variety to his poetical compositions, which, however, though very numerous, form but a part of his contributions to the literature of his country.
The glory of the T'ang poetry dimmed somewhat[16] towards the end of the dynasty; but during the Song Dynasty (a.d. 960-1278), which followed the brief epoch of the Five Dynasties (a.d. 907-960), Eo Yang Siu, Wang-An-shih, Hwang Ting-kien, Ch'ao Pu-chi, Luh-Yu, and other poets added fresh lustre to the glory of Chinese literature by producing many poetical compositions which could not be omitted from a large anthology containing all the best Chinese poems; but in this small book space for two or three only can be found.
It should be remembered that the great poets of the T'ang and later dynasties did not always follow the new poetical technique of the T'ang Dynasty. Many of their best poems are written in the ancient style; and I have written 'ancient style' against a few of such poems among the translations, but not against all of them.
An introduction to Chinese poetry, reviewing extensively its rise and progress, the style of each period, and the characteristics of the work of each poet, would fill a large volume—several volumes indeed would hardly suffice for an exhaustive review of such a vast field of work. But the very brief review contained in the preceding pages will enable readers to see that the three hundred odes are by no means the whole of Chinese poetry; they are, indeed, only the beginning—the source of a great river whose[17] countless branches, some deep and pure, others shallow and sparkling, have flowed down the ages, fertilizing and beautifying every period of Chinese life and thought, and producing a vast reservoir of poetry which has inspired many in every generation with higher sentiments of nature, country, love, friendship, and literature.
As this book of translations is chiefly intended for readers who do not understand the Chinese language, no attempt has been made to insert the Chinese characters for the names, &c., printed in the Romanized form; but, following the advice of friends who are well versed in Chinese themselves, I hope, hereafter, to publish a small volume containing the Chinese text of the translated poems only, with a few notes which may be useful to beginners. To reprint the Chinese text and notes with the English translations in one volume would add considerably to the cost of the book, while only a comparatively small number of readers—students of the Chinese language—would find the Chinese text and notes useful.[18]
Form of 7-character Lüh poem beginning in the Ping tone:
A.
Ping ping tseh tseh tseh ping ping
Tseh tseh ping ping tseh tseh ping
Tseh tseh ping ping ping tseh tseh
Ping ping tseh tseh tseh ping ping
Ping ping tseh tseh ping ping tseh
Tseh tseh ping ping tseh tseh ping
Tseh tseh ping ping ping tseh tseh
Ping ping tseh tseh tseh ping ping.
Form of 7-character Lüh poem beginning in the Tseh tone:
B.
Tseh tseh ping ping tseh tseh ping
Ping ping tseh tseh tseh ping ping
Ping ping tseh tseh ping ping tseh
Tseh tseh ping ping tseh tseh ping
Tseh tseh ping ping ping tseh tseh
Ping ping tseh tseh tseh ping ping
Ping ping tseh tseh ping ping tseh
Tseh tseh ping ping tseh tseh ping.[19]
Form of 5-character Lüh poem beginning in the Ping tone:
C.
Ping ping tseh tseh ping
Tseh tseh tseh ping ping
Tseh tseh ping ping tseh
Ping ping tseh tseh ping
Ping ping ping tseh tseh
Tseh tseh tseh ping ping
Tseh tseh ping ping tseh
Ping ping tseh tseh ping.
Form of 5-character Lüh poem beginning in the Tseh tone:
D.
Tseh tseh tseh ping ping
Ping ping tseh tseh ping
Ping ping ping tseh tseh
Tseh tseh tseh ping ping
Tseh tseh ping ping tseh
Ping ping tseh tseh ping
Ping ping ping tseh tseh
Tseh tseh tseh ping ping.
In order to understand this arrangement of characters, it should be borne in mind that Chinese characters are distinguished not only by the phonetic sounds, but also by tones resembling musical notes.
Of these only four are generally recognized in poetical compositions:
(1) The Ping-sheng, or low and even note.[20]
(2) The Shang-sheng, or sharp and ascending note.
(3) The Khü-sheng, or clear and far-reaching note.
(4) The Ruh-sheng, or straight and abruptly finished note.
These tones help to distinguish words which have the same phonetic sound but different meanings. For instance, the word—
'li' (Ping-sheng) = black.
'li' (Shang-sheng) = village.
'li' (Khü-sheng) = sharp.
'li' (Ruh-sheng) = strength.
In written Chinese each of these words is distinguished by a different character, and the tone is, therefore, of secondary importance; but occasionally a character has two tones—a ping and a khü, for instance, and then each tone indicates a difference of meaning, or distinguishes the use of the word as a substantive from its use as a verb.
But in poetry these tones are used to make rhythm as well as to express meaning, and when used for this purpose they are divided into ping and tseh, the ping representing the ping or low, even tone, and the tseh the other three tones, Shang, Khü, and Ruh. This brief explanation will enable the reader, I think, to perceive what is regarded by Chinese as the rhythm of a poem. In the diagrams given above, the first line consists of two ping tones, followed by three tseh tones, which are followed by two ping[21] tones; and the arrangement of the characters in each line in terms of ping and tseh forms the rhythm of Chinese poetry. When compared, it will be seen that there are lines or couplets which are in contrast to, or harmonize with, other lines, &c.
But it is not necessary that the tones of all the characters in each couplet should agree, excepting the first and last lines which always agree exactly—tone for tone. In the other lines, the tones of the first, third, and fifth characters in a seven-character line, and the first and third in a five-character line, may be varied—ping for tseh, or tseh for ping; but the second, fourth, and sixth characters in seven-character poems, and the second and fourth in five-character poems must not be changed; when the ping tone should be used it must be used, the tseh may not be substituted for it, and when the tseh should be used it must be used, the ping may not be substituted for it. And when the opening tone of the first line is a ping, the opening tone of the line following must be tseh, and vice versa.
The following two poems are perfect specimens of the 'Tsüeh', or poem of four lines, which may be regarded as the unit of Chinese poetical composition. The first specimen shows a 'tsüeh' beginning in the Ping tone; and the second specimen a 'tsüeh' beginning in the Tseh tone:[22]
| (1) | ||||||
| p. | p. | ts. | ts. | ts. | ts. | p. |
| Ch'un | fung | tseh | ye | tao | Yü | Kwan |
| ts. | ts. | p. | p. | ts. | ts. | p. |
| Ku | kwoh | yen | hwa | siang | i | tsan |
| ts. | ts. | p. | p. | p. | ts. | ts. |
| Shao | fu | puh | chi | kwei | wei | teh |
| p. | p. | ts. | ts. | ts. | p. | p. |
| Chao | chao | ying | shang | wang | fu | shan. |
| (2) | ||||||
| ts. | ts. | p. | p. | ts. | ts. | p. |
| Tze | meh | hong | ch'en | fuh | mien | lai |
| p. | p. | ts. | ts. | ts. | p. | p. |
| Wu | ren | puh | tao | k'un | hwa | hwei |
| p. | p. | ts. | ts. | p. | p. | ts. |
| Hsüen | tu | kwan | li | tao | ts'ien | shu |
| ts. | ts. | p. | p. | ts. | ts. | p. |
| Tsin | shi | liu | lang | ku | heo | tsai |
As I have stated above the 'tsüeh' of four lines, whether the line is composed of five or seven characters, may be regarded as the unit of Chinese poetical composition. In order to make a 'lüh' poem four more lines, composed exactly according to the ping-tseh arrangement of tones in the tsüeh, are added to the tsüeh; while a 'p'ai-lüh' poem is made by continuing this process beyond eight lines.
Besides the ping and tseh arrangement of tones in[23] each line to form the metre or rhythm, the final characters of the first, second, and fourth lines of the tsüeh may rhyme with each other; but these rhymes are also controlled by the ping-tseh tones. For instance, in the specimen of a perfect tsüeh given above, the final characters of the first, second, and fourth lines are kwan, ts'an, and shan, and these sounds rhyme in Chinese; but it will be observed that all three words belong to the ping tone, and this is the rule generally followed in the technique of modern poetry, that is, poetry made according to the new rules introduced by the poets of the T'ang Dynasty; but in ancient poetry, words both in ping and tseh tones were used for rhymes; and poets of all periods have used both systems—ancient and modern—in their poetical compositions. The tendency in recent dynasties, however, has been to follow the elaborate technique of the modern school of poetry in which great skill in the art of poetical composition is too often more highly prized than true poetry, and consequently mere cleverness is mistaken for genius.
These few remarks on the use of the ping-tseh tones in the rhythm and rhyme of Chinese poetry must not be regarded by readers as an exhaustive summary of the system, which is much more intricate than it seems, owing to many qualifying rules[24] and conditions as to its application in relation to the other factors required to form a correct poetical composition; they will, however, suffice to give a general conception of the part played by the ping and tseh tones in the technique of Chinese poetry, especially in modern poetical compositions. But although the ping-tseh tones are indispensable to the rhythm of the modern poem, there are, as I have remarked above, other factors required to form a perfect 'tsüeh', or 'Lüh', or 'pai-lüh', and most elaborate instructions as to the use of each character or line in relation to other characters and lines in the same stanza must be mastered before a poem can be constructed that would satisfy the eye and ear, and literary standard, of the modern Chinese critic of poetry. But it must not be forgotten that the scholarly Chinese poet is just as familiar as his Western confrère with the metaphor, simile, allegory, epigram, climax, and all other figures of speech which are common in the prose and poetry of a literary people; and the skilful use of these in harmony with the rigid ping-tseh rules concerning rhythm and rhyme is a task of considerable difficulty for the conscientious poet. Fortunately the ancient poets did not adhere very rigidly to technique; and not a few modern poets have in many of their compositions imitated the ancient style. Besides the[25] tsüeh and lüh there are many poetical compositions, such as the ko, hsing, yin, tz'e, k'üh, p'ien, yong, yao, t'an, ai, yuen, and pieh—many of them of very ancient origin, which are all put under the generic term 'yoh-fu', implying that they are compositions which can be set to music and sung, chanted, recited, &c. Some of the most charming poetical compositions are found in Chinese anthologies under the above-mentioned headings; but in this brief introduction it is only possible just to call the attention of readers to them without attempting to describe the form of each separately. For the same reason I cannot attempt any description of the ancient terms fung, ya, song, &c., to which, however, translators of the Shi-King have given some attention.
It is doubtful, indeed, whether the information which I can crowd into a few introductory pages will help readers to gain an insight into Chinese poetry in the making, or utterly confuse them; but I am loath to send forth the translations without an introduction, and I must, therefore, remind readers again that this introduction gives only the barest outline of the rise and progress of Chinese poetry, and of a few of the factors which are required by modern technique in the construction of poetical compositions since the revival of literature and poetry in the T'ang Dynasty.[26]
It should be observed that no attempt has been made to reproduce the technique outlined above in the English translations of Chinese poems in this book, as it would be impossible to restrict the translations to lines of five and seven words. In Chinese each character is a word of one syllable only, therefore a five-character line of poetry contains only five monosyllabic words, and a seven-character line seven monosyllabic words; but as many articles, pronouns, prepositions, auxiliary verbs, &c., which are understood in the Chinese, must be inserted in the English translation in order to connect the meaning of the five or seven monosyllabic words which form a line of Chinese poetry, it is obvious that, in most cases, the length of the line in the translation must be longer than that in the original Chinese. Some Chinese poems might be rendered into English in lines of five or seven syllables without doing much violence to the meaning of the original, but in most cases, the five or seven monosyllabic line in Chinese is translated into English far more correctly and accurately by a line of eight, ten, or more syllables, because the Chinese reader mentally inserts connecting parts of speech which must be written in English to make the grammar correct and the meaning of a line complete.[27]
Li Peh.
Li Peh (Tai Peh; Tsing Lien) lived during the T'ang Dynasty, probably from a.d. 699 to 762, and he is regarded as the most brilliant of all Chinese poets.
He was connected by descent in the ninth generation with the Imperial family of the T'ang Dynasty, but was born in a remote part of the Empire now included in the Szechwan Province.
When but ten years old Li Peh was familiar with poetry and other branches of literature, and, as he grew older, his ability and genius attracted the attention and praise of the highest in the land. When introduced to the Court at Chang-an, Ho Chi-chang, one of the courtiers, exclaimed:—'He is one of the immortal genii banished to earth.' For a short time, too, he was greatly favoured by the Emperor, Hsüen-Tsung, but, having incurred the enmity of the Emperor's chief concubine, he had to withdraw[28] from the Court and relinquish all hopes of official promotion.
He then travelled widely, writing many poems on the beauties of nature, and also in praise of wine and music, to the former of which he was too strongly addicted.
In the later part of his life, it seems, he became involved in political intrigues, for which offence he was banished to a distant region. But in his old age he was allowed to return, and he ended his days peacefully at T'ang-t'u (a place near the modern Nankin), whose governor was a kinsman named Li Yang-ping.
Chang Kiu-ling.
Chang Kiu-ling (Tze Sheo) was the son of an official in the T'ang Dynasty. At a very early age he displayed great ability, and while still comparatively young, took a high literary degree (Tsintze), and then held high office under the Emperor Hsüen-Tsung, with whom he sometimes ventured to remonstrate for his licentious life. Once when all the courtiers presented valuable gifts to the Emperor on his birthday, Chang Kiu-ling presented him with a book written by himself and styled 'The Thousand Year Mirror', showing the causes of success and failure in former dynasties. His advice, however,[29] was not seriously heeded at the time, but after his death his faithfulness was appreciated and he was ennobled and afterwards canonized by the Emperor.
It is recorded by one writer that Chang Kiu-ling, when a youth, trained pigeons to carry letters to his friends.
Wei Ying-wuh.
Wei Ying-wuh was a native of Honan during the T'ang Dynasty, and his poetical skill ranks very high even in that famous period. During the Cheng-Yuen reign (a.d. 785-804) he was appointed Prefect of Suchow, where his beneficent rule and devotion to literature called forth the gratitude and admiration of the people.
Su Shi.
Su Shi (Tze-Chan; Tong-Po), a.d. 1036-1101, was a native of Mei-shan in Szechwan. He won the highest literary degrees, and was advanced from one official office to another until he became a Minister of State; but, owing to political feuds and intrigues, he was degraded from his high office in the capital and sent to fill inferior posts in distant parts of the Empire, where he wrote poetry and diffused a love of literature among the people he ruled.[30]
Tu Fu (a.d. 712-770).
Tu Fu (Tu Tze-Mei) was the son of Tu Fan-yen, a high official in the T'ang Dynasty. In the estimation of his countrymen he ranks next to Li Peh among the great poets of the Tang Dynasty, and a few critics would give him a still higher place.
When Tu Fu's literary ability and poetical genius were made known to the Emperor, office and honours were bestowed on him.
In the poetical composition known as the Seven-character Pai-lüh, Tu Fu is the most famous of all the poets of the T'ang Dynasty, if not of all Chinese poets.
Eo Yang Siu (a.d. 1017-1072).
Eo Yang Siu (Yong-Shuh) was a famous scholar of the Song Dynasty; and he filled high official posts both in the capital and provinces, under the Emperor Ren-Tsong.
Being a man of integrity and independence he remonstrated with his Imperial master on several occasions, and sometimes suffered temporarily for his courage. His character, however, was appreciated by the Emperor, and restoration to favour followed every temporary eclipse. After his death he was canonized as Wen Chong Kong. His literary works are numerous.[31]
Su Wu (200-100 b.c.).
Su Wu (Tze K'ing) lived in the Han Dynasty. When sent on a mission to the Khan of the Hsiung-nu he was seized by that ruler and ordered to renounce his allegiance to the Han Emperor; and on refusing to do this he was cast into prison. Afterwards he was banished for many years to the desert region around Lake Balkash, where he was compelled to tend the flocks of the Hsiung-nu; but he persisted in his loyalty to the Han Dynasty. On his return to China, when a grey-headed old man, he was greatly honoured by the Emperor, and his portrait was hung up in the Khi-lin Koh (Council Chamber).
He is held up as a pattern of loyalty by Chinese writers. His poetical compositions are ancient but not numerous.
Li Ling (First Century b.c.).
Li Ling was a military commander in the Han Dynasty. Given command of an army in the war against the Hsiung-nu he rashly advanced into the enemy's country with only a few thousand soldiers, who were surrounded and all but three or four hundred killed, and Li Ling was captured, and[32] spent the rest of his life in exile. His name is mentioned in the Introduction to this book of translations.
Chu Kwang-hi.
Chu Kwang-hi was a soldier of the T'ang Dynasty. He passed the highest literary examinations, and was appointed a member of the Censorate by the Emperor Hsüen Tsong.
Chen Tze-ang.
A celebrated scholar of the T'ang Dynasty. He filled various official offices, but is most famous for the work he did in advancing the renaissance of literature during the T'ang Dynasty. Wang Shih, a learned writer of the same period, said that Chen Tze-ang was the most famous scholar in the Empire of that time.
T'ao Yuen-ming (a.d. 365-427).
T'ao T'sien (T'ao Yuen-ming) was a scholar and poet of the Song Dynasty. He was appointed Magistrate of a district, but after filling the office only a short time he resigned it and retired into private life, spending the remainder of his years in writing poetry and in musical pursuits.
[33]
[35]
Name of poet unknown (Han Dynasty or earlier)
BY CHANG POH-HSÜ
[1] Two streams flowing into the Yangtze River.[41]
BY PAO-CHAO
T'sin Dynasty, a.d. 265-419
BY LI TAI-PEH
T'ang Dynasty
[2] The name of a tune.
[3] The Chinese saddle is curved upwards both in front and at the back, leaving a deep hollow in the centre where the rider sits.
[4] Tartar tribes beyond the frontiers.[50]
BY LUH-KI
[5] According to a Chinese legend the stars K'ien-Niu (Cowherd) and Chih-Nü (Spinning-Maid) are two lovers, doomed by the gods to live on opposite sides of the 'River of Stars' (Milky Way). As there is no bridge over this river, the two lovers can only stand afar and gaze at each other. (See note to 'The Swallow's Song'.)[52]
An Ancient Poem: Poet unknown
BY CH'ANG KIEN.
T'ang Dynasty (Ancient Style)
[6] The name of a large feudal State in the Cheu Dynasty; it included Hupeh and Hunan and parts of Honan and Kiangsu. King-chow on the Yangtze was the capital.[57]
BY CHU KWANG-HI
T'ang Dynasty
BY TU FU
T'ang Dynasty
BY YUEN I-SHAN
[7] According to a Chinese legend the Ladies of the Siang River are Nü-Ying and Ngo-Hwang, the two wives of the Emperor Shun, and this poem describes their lament for his death.
[8] According to another legend the Emperor Shun was buried in the Kiu-i Mountains.[63]
BY TU FU
T'ang Dynasty
[9] A vast body of water in some wild and remote part of the Empire, probably in the north-west; but the exact locality is disputed.
[10] The names of two rivers, or the two words combined may mean the clear water of a deep cove or inlet.
[11] A deep gorge in the Chong-nan Mountains in Shen-si.
[12] A famous Pass near Si-ngan, the provincial capital of Shen-si.
[13] A fabulous Dragon whose mythological ancestry and habitat I am unable to trace.
[14] Ping-i, name of the Chinese God of Waters.
[15] Nü-Ying and Ngo-Hwang, daughters of the Emperor Yao, and wives of the Emperor Shun (2288 b.c.?).
[16] The Spinning-Maid. See legend of Cowherd and Spinning-Maid.[68]
BY EMPEROR WEN
Of the Wei Dynasty (a.d. 220-264)
[17] In this poem the thoughts of a woman, whose husband is engaged in the wars beyond the frontier, are described by the poet.
[18] The Milky Way.
[19] K'ien-Niu (Cowherd) and Chih-Nü (Spinning-Girl) are the names of two stars and, according to a Chinese legend, these two stars are lovers doomed to gaze at each other across the wide 'River of Stars'; i.e. the Milky Way, but never meet. According to one version of the legend, however, the lovers are allowed to meet once a year, on the seventh night of the Seventh Month, when birds form a bridge over the 'River of Stars' to enable the Spinning-Girl to meet her lover.[71]
BY CHEN KIA-CHOW
T'ang Dynasty
[20] The Tien Mountains; in many books of geography erroneously described as Tien-Shan Mountains.
[21] According to Chinese mythology, the top of the Tien Mountains touch heaven and are the abode of the genii.
[22] May the Star of Happiness accompany you to the end of the journey.[74]
BY LI HAN-LIN
T'ang Dynasty
[23] The Prince of Yüeh wishing to ruin his rival, the Prince of Wu, presented to him a very beautiful girl, named Si-Shi, who had been taught all feminine accomplishments. Fu-Ch'a, the Prince of Wu, fell into the snare, and besotted by dissolute pleasures, became an easy victim to the Prince of Yüeh who annexed the State of Wu to his own dominions. After his defeat Fu-Ch'a committed suicide.
[24] Time was measured by the clepsydra, and the expression indicates that the night was far spent and dawn near.[76]
BY MENG HAO-RAN
T'ang Dynasty (a.d. 618-905)
[25] In ancient times the hair was worn long and knotted on the top of the head.
[26] The name of a genial companion of earlier days.[78]
BY TSING-NIEN
Tsing Dynasty
[27] A modern poem composed by a successful student at a Government Examination.
[28] Formerly the time of day was roughly ascertained by such means.[80]
BY EO YANG SIU
Song Dynasty
[29] A District Magistrate in ancient times.
[30] Chang-K`an, or Chang-K`ien, a Minister of the Emperor Wu of the Han Dynasty. In this poem it is said that he brought the pomegranate to China, but other writers say the grape-vine.[83]
BY HAN-CHONG
(Ancient)
[31] Tze-Yuh, daughter of Fu-Chai, Prince of the Wu State, and Han-Chong loved each other and wished to marry, but political feuds prevented their union. Thereupon Han-Chong travelled abroad, and Tze-Yuh, after three years of fruitless mourning, died of grief. When Han-Chong returned and visited Tze-Yuh's grave to mourn there, he had a vision of her beautiful face, which inspired him to compose this song.[85]
BY TAO TSIEN
T'sin Dynasty
BY WEI YING-WUH
T'ang Dynasty
BY LUH FANG-WENG
[32] Now Si-ngan, the provincial capital of Shen-si, but in the Han Dynasty the capital of China.
[33] A very important mountain pass near Si-ngan.
[34] Vessels used in the conservancy of the Yellow River.
[35] Pans to hold dew, which was collected to provide the Emperor Wu of the Han Dynasty with bathing-and drinking-water and thus promote longevity.
[36] 'The Precious Hairpin,' merely the sign of the inn.[93]
BY CHANG WEN-CHANG
T'ang Dynasty (618-905 b.c.)
[37] The meaning of this expression is not clear; it has a political signification.[94]
BY SU-WU[38]
Han Dynasty, or earlier
[38] Chinese commentators regard this poem as Su's farewell to his own wife, written when he was sent on an expedition to the land of the Hsiung-nu, where he was captured and kept in captivity for many years.[96]
BY TU FU
T'ang Dynasty
BY LI-SHANG-YIN
T'ang Dynasty
BY SU-SHIH
[39] The Wei and Ch'en Dynasties.
[40] Duke Chang, the virtual founder of the Chow Dynasty; Wen Wang being his posthumous title. His son, Prince Wu, was the first ruler of the Chow Dynasty.[103]
This is only one section of a long poem by Tao Tsien.
[41] This poem probably refers to the revelries of the Court at the end of the T'sin Dynasty 300-200 b.c., before it was overthrown by the founder of the Han Dynasty.[105]
BY BAY SIE T'IAO
T'ang Dynasty
BY TAO TSIEN
[42] A Chinese acre, a measure of land equal to about one-fifth of an English acre.[109]
Poet unknown: Han Dynasty, or earlier
BY TU-FU
T'ang Dynasty
[43] This poem is an attempt to describe the miseries of the people under compulsory military service during the long wars carried on by the Emperor Hsüen-Tsung of the Han Dynasty.[115]
Unknown: Ancient
Han Dynasty, or earlier
[44] The ancient State of T'sin, which finally embraced the whole of Shen-si and Kansuh. In 221 b.c. this State under Shi Hwang Ti subdued all China, and thereafter the ruling sovereigns are known as the T'sin Dynasty.[122]
BY LI YI
[45] Muh-Lan was a famous heroine of the Liang Dynasty (a.d. 502-556) who, when her father was summoned to serve as a soldier in the wars on the north-western frontier, and was unable to obey the order on account of sickness, put on a soldier's dress and took his place in the army for several years. She fought in many battles, winning great praise for her bravery, and ever since she has been regarded as the ideal of daughterly devotion and feminine courage.
[46] In the porch of the women's apartment.
[47] The capital of China at that time was Chang-an, now Si-an-Fu the provincial capital of Shen-si.[130]
BY LUH FANG-WEN
T'ang Dynasty
BY LIU TSONG-YUEN
T'ang Dynasty (Ancient Style)
Poet's name unknown: Han Dynasty or earlier (206 b.c.-220 a.d.)
BY WANG CHANG-LING
BY LI TAI-PEH
[48] Poems similar to this one are frequently written by literary men in China when bidding farewell to a friend.[139]
BY TU FU
[49] The Emperor Wu of the Han Dynasty ascended the throne 140 b.c.
[50] A lake probably situated to the south-west of Chang-an, the capital of China in the Han Dynasty. This city is now the provincial capital of Shen-si and better known as Si-an.
[51] A stone image of the Spinning-Maid stood on one shore of the lake, and another of the Cowherd on the opposite shore.
[52] A stone image of an immense fish covered with finely carved scales was also placed by the side of the lake.
[53] A kind of rice.
[54] Probably the celebrated 'Tung' Pass near Chang-an.
The whole poem has a political signification implying that revolution had turned the country into a wilderness, and desolation taken the place of former prosperity and greatness.
[141]
BY CHANG KIU-LING
These four stanzas are but a section of a long poem. In this allegory the poet reveals his own distaste for official life and his love of Nature. Beautiful women cannot add to the happiness of the flowers by plucking them, &c., implies that the Emperor cannot increase the happiness of the poet by appointing him to high official posts, and inviting him to the Court.
[143]
BY CHANG-KIU-LING
T'ang Dynasty (a.d. 618-905)
[55] This translation is only a portion of a long poem.
[56] A mythical tree of the genii; but in the poem it may mean a very conspicuous tree.[145]
BY CHANG-HSÜEN
T'sing Dynasty
[57] There are many versions of this legend both in poetry and prose. The introductory and closing lines of the translation are partly based on other versions of the story than that in the poem translated.
This poem and 'The Fishermen's Song', and 'The Students' Ramble', are taken from 'A Selection of Poems' written by successful graduates at the Government Examinations during the present dynasty.
Many of these prize poems are cleverly and beautifully written, and they reveal considerable poetic talent, but not the power and genius found in the work of ancient Chinese poets.[149]
BY TAO TSIEN
T'sin Dynasty (a.d. 265-419)
[58] Implies that he is a thorough dunce.[151]
BY A POET OF THE HAN DYNASTY
Name unknown[59] (206 b.c. to a.d. 220)
[59] The poet's name is unknown, but he (or she?) lived during the Han Dynasty (206 b.c. to a.d. 220), or earlier.[153]
BY SIN YEN-NIEN
Han Dynasty (206 b.c. to a.d. 220)
[60] General Ho K'ü-ping, died 117 b.c., Commander of the Armies of Han Wu Ti in several victorious campaigns against the Hsiung-nu.
[61] Lan-tien, a district in Shên-si, famous for its jade.
[62] Ta-tsin, the Roman Empire.
[63] A military officer of the Han Dynasty, holding a rank similar to that of Captain-General.[158]
BY EO YANG SIU
Song Dynasty (a.d. 960-1278)
[64] Chao-Chiün, or Wang Chao-Chiün, was a very beautiful girl who was precluded from entering the presence of the Emperor Yuan (Han Yuan Ti) by an avaricious courtier, Mao Yen-sheo, who bribed the court[161] painter to present ugly portraits of Chao-Chiün to the Emperor, because her family would not pay the large sums of money he demanded. Afterwards Mao Yen-sheo's wiles became known to the Emperor, and he fled to the Khan of the Hsiung-nu to whom he showed a true portrait of Chao-Chiün. Thereupon the Khan invaded China with a great army, and demanded the Lady Chao-Chiün as the price of peace. Afraid to refuse, the Chinese Emperor surrendered Chao-Chiün to the Tartar chief who then retired beyond the Wall. According to a popular but untrustworthy version of this story, Chao-Chiün, when she reached the Heh-long Kiang (Amur River), jumped into the stream rather than cross the boundary which separated her from her native land.[162]
BY SU TONG-PO
Song Dynasty (a.d. 960-1278)
PRIZE POEM, BY CHENG-CHENG
T'sing Dynasty
[65] 'Luh-e,' the name of a famous wine.[166]
BY LU-TEH
T'sing Dynasty
[66] This is a free translation, yet nearly every word is implied in the original. A crudely literal translation would not reveal the thoughts aroused in the mind of a Chinese reader of the poem.[169]
BY LI TAI-PEH
T'ang Dynasty (a.d. 618-913)
[67] The temple bell.[170]
BY YUH YONG
The Northern Wei Dynasty (a.d. 386-532)
BY TAO TSIEN
T'sin Dynasty (a.d. 265-419)
[68] Han-Sin was the grandson of a prince of Han, whose State was annexed by the founder of the T'sin Dynasty. In early life Han-Sin suffered great poverty, and for some time was befriended by a poor woman who bleached flax. Afterwards he became the commander of the armies of Liu-Pang, the founder of the Han Dynasty, and regained his ancestral domain; he then sought out his friend, the flax-bleacher, and gave her 1,000 pieces of gold.
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