lnhammer: the Chinese character for poetry, red on white background (Default)
We sweep the courtyard clean, and then the Gold Hall opens;
Holding our round fans, we pace back and forth.
My jade face isn’t even worth a jackdaw’s mug—
For that one can at least reach where the clear sun comes.

长信怨
奉帚平明金殿开,
且将团扇共徘徊。
玉颜不及寒鸦色,
犹带昭阳日影来。

This incorporates quotations from poems by Zhao Feiyan, a consort of Han Emperor Cheng, who though a great beauty of the imperial harem fell out of favor through court intrigue. The speaker is, like her, an imperial concubine and sunlight stands for the emperor’s favor. I render the first two lines as “we” because the pacing is done “together.”

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
Clouds want her clothing, flowers want her countenance—
The spring winds stroke the railing where the bright dew’s thick.
If we can’t glimpse her upon the top of Qunyu Mountain,
Then we can face Yaotai and meet her beneath the moon.

清平调之一
云想衣裳花想容,
春风拂槛露华浓。
若非群玉山头见,
会向瑶台月下逢。

This and the next two were composed impromptu at a flower-viewing party attended by Emperor Xuanzong and Yang Guifei, where they were sung by Li Guinian (see #271). As such, all three are bald flattery—and strikingly beautiful songs that became wildly popular. Yaotai Palace of Mt Qunyu is the residence of the Queen Mother of the West.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The distant Yellow River. Above, a gap in white clouds.
A single line of lonely wall in towering mountains.
A Qiang flute—who’s complaining with that willow song?
The spring winds still aren’t blowing through the Jade Gate Pass.

出塞
黄河远上白云间,
一片孤城万仞山。
羌笛何须怨杨柳,
春风不度玉门关。

This is also known as "Liangzhou Song" (that being a garrison in central Gansu), and was originally the first of a two-poem sequence. The mountains are literally "10,000 ren" or about 80,000 feet high. The Qiang are a non-Han people now mainly living in northern Sichuan but formerly ranging into Gansu and Qinghai provinces; the flute associated with them is a transverse bamboo model. The song is a popular one about parting in springtime. Jade Gate Pass in western Gansu (see #277) was where the Silk Road passed around the far western end of the Great Wall.

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The palace needed talent, but demoted this official:
Sir Jia was capable indeed—and more, without a peer.
So what a pity: modest now before the throne at midnight,
The emperor ignores the people, asking of ghosts and gods.

贾生
宣室求贤访逐臣,
贾生才调更无伦。
可怜夜半虚前席,
不问苍生问鬼神。

The capable official and scholar Jia Yi was demoted to a provincial office for submitting a memo criticising Han Emperor Wen. He was later summoned back to the capital not to reinstate him, but rather for a late-night consultation on how to raise spirits. The incident is a common idiom for a missed opportunity.

(Metrical note: Jia is a single syllable, where the -i- indicates glide after the consonant -- /djya/.)

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The Qin had that bright moon, the Han had this frontier—
Ten-thousand li in length but soldiers don’t return.
If only the Dragon City’s Flying General were here:
He’d not permit Hu horses to come across the Yin Mountains.

出塞
秦时明月汉时关,
万里长征人未还。
但使龙城飞将在,
不教胡马渡阴山。

The Great Wall is conventionally described as 10,000 li (3000 miles) long, and the Yin Mountains are in what’s now Inner Mongolia. The Flying General was Li Guang (d.119 BCE), who won several important defensive victories against the feared Xiongnu steppe nomads.

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The Rear Palace had its elegant beauties, three thousand of them:
The love of these three thousand he gave to just one.
Make-up complete in her gold house, charm served at night;
Banquet over in the jade tower, drink mingled with spring.
Her sisters, brothers, old and young, all granted land—
Splendor to envy that bore them new family status.

后宫佳丽三千人,
三千宠爱在一身。
金屋妆成娇侍夜,
玉楼宴罢醉和春。
姊妹弟兄皆列土,
可怜光彩生门户。

Another installment. Life’s good at the top, innit? The third line glances back to the supposed Han Dynasty setting: Han Emperor Wu built Consort Jiao (literally, "charm") a golden house. In the fourth, the operative overtone to "spring" is "wantonness." The two lines together are an excellent example of a parallel couplet.

(When I finish all 300 Tang Poems, I want to cross-reference the hell out of this against how other poets handle certain episodes.)

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The moon’s just visible, the autumn dew is sparse—
Light silk’s too thin but I have not put on more clothes.
Night deepens, I continue playing my silver zheng:
Heart fears that empty room—I cannot bear to return.

秋夜曲
桂魄初生秋露微,
轻罗已薄未更衣。
银筝夜久殷勤弄,
心怯空房不忍归。

A zheng is a zither with movable bridges (like a koto). Lost in translation: it’s literally the “cassia [on the moon] ’s soul” that’s just visible—basically a poeticism for the moon itself.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
A Weicheng dawn, rain gently dampens the dust—
The tavern’s green with willows freshly colored.
I urge you, drain another cup of wine:
Out west, beyond Yang Pass, there’s no old friends.

渭城曲
渭城朝雨浥轻尘,
客舍青青柳色新。
劝君更尽一杯酒,
西出阳关无故人。

On to the folk-song-style poems in this form. Weicheng (“city on the Wei”) was a few kilometers west/upstream of Chang’an. (Possibly important overtone: it was the capital of the Qin kingdom then dynasty before that was overthrown.) The willows imply a parting, confirmed in the next lines. Yang Pass, on the Silk Road somewhat to the west, near Dunhuang, Gansu, was the border between the central and frontier provinces.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
It’s almost Cold Food Day: the plants grow lush in the rain.
The wind blows through the wheat-sprouts, willows lean on the dyke.
Same as ever: returning home without success.
O cuckoo, stop your weeping here beside my ear.

杂诗
尽寒食雨草萋萋,
著麦苗风柳映堤。
等是有家归未得,
杜鹃休向耳边啼。

Cold Food Day (so called because all household fires are put out) is the day before Tomb-Sweeping Day.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
After leaving, I dreamed I traveled to Xie House—
The small veranda twisting round, the railing askew—
But there was only the bright moon in the courtyard:
It’s like my distant one’s a painting of falling flowers.

寄人
别梦依依到谢家,
小廊回合曲阑斜。
多情只有春庭月,
犹为离人照落花。

Context strongly suggests he’s writing to a lover.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
In cold spring he bestowed her bathing in Huaqing Pool:
The waters of the hot-spring slid off smooth white skin,
The servants helped her rise up, languid without strength—
And it was then she first received imperial favor.
Cloud hair, a flower face, a golden hairpin swaying,
Within the warmth of lotus screens she passed spring nights—
Spring nights that were bitterly short: the sun rose high,
And then her lord did not attend his morning court.
She sought to please him, served at banquets, never idle:
In spring, she chased spring pleasures—night, she took all nights.

春寒赐浴华清池,
温泉水滑洗凝脂。
侍儿扶起娇无力,
始是新承恩泽时。
云鬓花颜金步摇,
芙蓉帐暖度春宵。
春宵苦短日高起,
从此君王不早朝。
承欢侍宴无闲暇,
春从春游夜专夜。

Another installment. Hauqing (“elegant clarity”) palace on Mt. Li, 15 miles east of Chang'an, was built as an imperial resort on the hot-springs there (the pool Yang Guifei supposedly used still exists). Idioms: the smooth white skin is literally “congealed fat,” which is a compliment, and the hairpin is the type with danglies on the end that's called a “walk-sway.”

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
Sworn to sweep away the Xiongnu, not caring for their lives,
Five thousand sable uniforms lay dead in the dust of the Hu.
Have pity on these bones upon the bank of Wuding River—
They still are the people dreamt of in the women’s quarters.

陇西行
誓扫匈奴不顾身,
五千貂锦丧胡尘。
可怜无定河边骨,
犹是深闺梦里人。

This refers to an infamous Han defeat by Xiongnu steppe nomads in a 104 BCE battle by the Wuding (“Unfixed” or “Shifting”) River in northern Shaanxi. Xiongnu and Hu are different peoples, but as mentioned before, sometimes the terms for non-Han groups get tossed around carelessly. Lost in translation: the uniforms are named indirectly as “sable (and) brocade,” which were used in the uniforms of elite soldiers.

Longxi of the title is, fwiw, in eastern Gansu, a fair distance away from the battlefield—this is part two of a four-poem sequence written while traveling there, and the others weren’t included in the collection.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The river rain is heavy on level river grasses.
Six Dynasties are like a dream—bird calls in sky.
The most unfeeling is this willow in Taicheng.
Unchanging mist still covers the three miles of dyke.

金陵图
江雨霏霏江草齐,
六朝如梦鸟空啼。
无情最是台城柳,
依旧烟笼十里堤。

The Six Dynasties were, during the Northern and Southern Dynasties period between the Han and Sui empires, the southern ones all having their capital at what’s now Nanjing. Taicheng (which is an alternate title in some editions) was the imperial palace for most of the six. The 3 miles (5 km) is literally 10 li.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
Outside the jade-green railing an embroidered curtain hangs;
A scarlet-colored screen painted with broken branches;
An eight-foot mat of rushes, a square brocaded cushion:
Already chilly weather, though it’s not yet winter.

已凉
碧阑干外绣帘垂,
猩色屏风画折枝。
八尺龙须方锦褥,
已凉天气未寒时。

The rushes are a type called “dragon whiskers.”

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
Xuanzong returns by horse, his Yang-fei dead—
Their rain clouds won’t be forgotten in days ahead.
Thus the enlightened son of heaven ends it:
Who would repeat the Jingyang Palace well?

马嵬坡
玄宗回马杨妃死,
云雨难忘日月新。
终是圣明天子事,
景阳宫井又何人。

It’s Yang Guifei again: Mawei (“horse-lofty”) is where she was beheaded by Xuanzong’s bodyguards as they fled Chang’an ahead of its capture by her adoptive son, the rebel general An Lushan. The last emperor of the Chen Dynasty, as the victorious Sui armies closed in, hid in a palace well with his two favorite concubines.

The second line was hard to render effectively: “clouds (and) rain” is idiomatically marital (or at least sexual) bliss, and the days ahead is literally “new suns (and) moons.”

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
Ice mat and silvered bed—I can’t start dreaming.
Jade sky like water—nighttime clouds are soft.
Far wild geese call, heading for Xiangjiang River.
Within the twelve towers, moonlight shines alone.

瑶瑟怨
冰簟银床梦不成,
碧天如水夜云轻。
雁声远过潇湘去,
十二楼中月自明。

The se is an ancient zither with between 25–50 strings and moveable bridges—ancestor of both the qin and zheng. Aside from the elegance the jade inlay implies, I’m unclear what the instrument has to do with anything. The implied speaker is a woman lying awake with longing. That her quarters have 12 towers on the grounds is probably rhetorical exaggeration. The river is in Hunan.

(Skipped #304 for the moment because tired of Li Shangyin’s knotty language.)

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
The candle’s shadows deepen on the mica screen—
The River of Stars slowly lowers, the Dawn Star sinks.
Chang’e surely regrets stealing the potion of life:
Green skies, blue seas, night after night in her heart.

嫦娥
云母屏风烛影深,
长河渐落晓星沈。
嫦娥应悔偷灵药,
碧海青天夜夜心。

Chang’e stole the potion of immortality (given to her husband) and fled to the moon, where she remained exiled as the moon goddess.

—L.
lnhammer: the Chinese character for poetry, red on white background (Default)
At dawn a courier will set out
With this night’s quilted uniform.
My white hand pulled the needle cold—
And even more, could grip the scissors.
Your tailor sends this such a great distance:
How many days to reach Lintao?

子夜四时歌冬歌
明朝驿使发,
一夜絮征袍。
素手抽针冷,
那堪把剪刀。
裁缝寄远道,
几日到临洮。

We previously met the frontier posting of Lintao (in what’s now central Gansu) in #252.

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
A moonlit scene within Chang’an:
All houses, sounding with beating clothes.
Autumn winds blow endlessly—
Always longings for Jade Gate Pass.
When will they defeat the barbarian Hu
And, husband, you finish your tour of duty?

子夜四时歌秋歌
长安一片月,
万户擣衣声;
秋风吹不尽,
总是玉关情。
何日平胡虏?
良人罢远征。

Summer clothes were washed in the first cold days of autumn before putting them away for winter—the sound of the beating is a poetic symbol of autumn. We previously met the frontier posting of Jade Gate Pass (where the Silk Road passed through the Great Wall in western Gansu) in #277. The Hu were a people northwest of the central empire, and the name was also used for any non-Han peoples to the north or west.

(Textual note: This was the only one of the four included in the original 310-poem edition of 300 Tang Poems -- the others were added later by other editors.)

---L.
lnhammer: the Chinese character for poetry, red on white background (Default)
This Mirror Lake: three-hundred li
Of lotus buds blossoming forth.
Xi Shi once plucked them in the Fifth Month
With watchers packed, like a slender creek.
She turned round her boat, not waiting for moonrise,
Returning to the Yue king’s palace.

子夜四时歌夏歌
镜湖三百里,
菡萏发荷花。
五月西施采,
人看隘若耶。
回舟不待月,
归去越王家。

This harkens back to an episode from the Warring States period, about a thousand years before Li Bai’s time. Xi Shi (“Shi of the West”) was a famous beauty, the first of the Four Beauties of China, who was given as a gift-cum-concubine by the king of Yue to the king of rival state Wu as a ploy to distract him and so weaken the kingdom. (Spoiler alert: It worked—literally kingdom-wrecking beauty.) There are many Mirror Lakes in China, but the one here is in what was the capital of Yue, modern Shoaxiang in Zhejiang.

—L.

About

Warning: contents contain line-breaks.

As language practice, I like to translate poetry. My current project is Chinese, with practice focused on Tang Dynasty poetry. Previously this was classical Japanese, most recently working through the Kokinshu anthology (archived here). Suggestions, corrections, and questions always welcome.

There's also original pomes in the journal archives.

April 2025

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