Category Archives: Chinese Literature

“Bold” [Poetry Style #11] by Sikong Tu [w/ Audio]

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View flowers like a bandit;
  Let nature flow through you,
  Breathing in the Great Way
  As you let your crazy brew.
 Wander like the free winds --
  Sea and mountain in gray-blue.
  Feel true power overflow, 
  As all nature lives through you. 
 Before: sun, moon, and stars;
  Behind: the one from two.
  By dawn, sea turtles have gone,
  Soak your feet where they withdrew.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the eleventh of the twenty-four poems. This poem’s Chinese title is 豪放, which has been translated to “Free,” “Set Free,” and “Broad-minded” in various English language translations.

“Riverside Daffodils” by Chen Yuyi [w/ Audio]

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I still remember drinking on the Bridge of Noon
   With bright wits of the day.
 The silent moon
   On endless river rolled away.
 In lacy shadows cast by apricot flowers
   We played our flutes till morning hours.

O'er twenty years have passed like dreams;
   It is a wonder that I'm still alive.
 Carefree, I mount the tower bathed in moonbeams.
   So many things passed long
      Ago survive 
   Only in fishermen's midnight song.

Translation: This Song Dynasty poem was translated by Xu Yuanchong in: Xu Yuanchong [translator]. 2021. Deep, Deep the Courtyard. [庭院深深.] Cite Publishing: Kuala Lumpur, p. 212-213

“Beauty” [Poetry Style # 9] by Sikong Tu [w/ Audio]

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When one makes god of wealth,
 Light glows from yellow "gold,"
 But the lavish withers --
 Even as its deeps take hold.

Fog at the river's edge.
 Red apricots, woods enfold.
 Moon shine on bower's flowers.
 Painted bridge in green shadow.
 An old bowl full of wine,
 As a friend's lute song unfolds.
Make your bliss of such things,
 And they will be your true gold.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the ninth of the twenty-four poems. This poem’s Chinese title is 绮丽, and its translated titles include: “Beautiful,” “Intricate,” and “Embroideries.”

“Cleansed” [Poetry Style #7] by Sikong Tu [w/ Audio]

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It's as if ones gone mining --
   From lead, silver refining.
 That's how one cleanses a heart:
   With pure love, not pining.

Like a pond from Spring rainfall:
   Mirror to heavens and all,
 Without defect of image --
   True as the moon's bright, white ball.

Stargazing across night skies;
   Singing songs of hermits, wise;
 The water flowing today
   Will know that bright moonrise.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the seventh of the twenty-four poems. This poem’s Chinese title is 洗炼, and it has been variously entitled: “Clean,” “Refining,” and “Wash — Smelt.”

“Ancient” [Poetry Style #5] by Sikong Tu [w/ Audio]

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Immortals ride truth
   With lotus in hand,
 As chaos unfolds
   Unlogged above land.

Moonrise in the East
   As good winds are fanned.
 Hill shrine in blue night,
   Bell rings clear and grand.

The god is now gone
   Beyond border lands
 Huangdi* is not there 
   Great Age to wasteland.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the fifth of the twenty-four poems. This poem’s Chinese title is 高古 (Gāo Gǔ,) and it was translated as “Height – Antiquity” by Herbert Giles.

*Huangdi is a name for the Yellow Emperor that is more syllabically friendly than “Yellow Emperor.” In a great oversimplification for the sake of speed and alignment of context, the Yellow Emperor was China’s King Arthur — a mythical leader of great virtue and heroism. The Tang emperors tried to trace lineages back to the Yellow Emperor, but such imagined linkages to the perfect leader are hard to maintain when an Emperor like Xuanzong crashes the ship of state.

“Swordsman” by Jia Dao [w/ Audio]

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Ten years honing this fine blade,
   And it has not drawn blood.
 Now, you'll see of what we're made:
   Who, wronged, is owed in blood?

The Original: 劍客: 十年磨一劍, 霜刃未曾試. 今日把示君, 誰有不平事.

“Slender” [Poetry Style #3] by Sikong Tu [w/ Audio]

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Picking, picking where water flows
 From a distant fountainhead.
 Moving up the narrow valley,
 One may see a stunning beaut.
Peachtrees laden with ripe fruit
 As breezes blow by the water
 And willows wind along the stream,
 While warblers consult with branch-mates.
The more one walks, the more Truth joins,
 And more Truth may reveal the Way.
  If this world is without end,
  The old must be made new again.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the third of the twenty-four poems. This poem’s Chinese title is 纤秾. Giles translated the title as “Slim — Stout” and it’s also been translated as “Delicate – Rich.”

BOOK: “Twenty-Nine Goodbyes” by Timothy Billings

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Twenty-Nine Goodbyes: An Introduction to Chinese PoetryTwenty-Nine Goodbyes: An Introduction to Chinese Poetry by Timothy Billings
My rating: 5 of 5 stars

Publisher website

The premise of this book is simple, Billings presents twenty-nine different translations of a famous farewell poem by the Tang Dynasty poetic genius, Li Bai, and compares, contrasts, and critiques them in detail. The included translations weren’t all crafted in the English language, but English translations (of the translations) are presented as needed. There are translations from French, Spanish, Japanese, and even modern Mandarin Chinese — among others.

Despite how that may sound, it is a tremendously readable book. Billings writes with engaging prose, employs humor (especially when critiquing his own contribution in the final chapter,) and uses complicated jargon only when necessary and with comprehensible explanations.

Still, it does take a certain level of passion to read because one is repeatedly examining the same poem, and one has to have an interest in the minutiae of said poem and – more importantly — an interest in the broader lessons conveyed about translation. If whether a color is translated as green or blue (or what symbolic object tumbles on the ground, or what sound a horse makes) doesn’t seem change the emotional experience of the poem for you, then you’ll probably have a hard time getting into this book. That said, the ability to take a longitudinal view –seeing same points in a given poem through the lens of different poets and translators cross time and cultures, does offer insight that one would be unlikely to get from reading any of the twenty-nine translations in isolation as part of a single translator’s collection of translations.

The most useful thing the book did for me was to increase my understanding of the nature of translation and its tradeoffs, as well as to elucidate how easy it is to miss the mark when one is translating from a perspective so different in time and worldview.

I’d highly recommend this book for anyone interested in Tang Dynasty poetry, translation, and the interface of culture and language.

View all my reviews

“Picking Mulberries” by Ouyang Xiu [w/ Audio]

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Adrift on West Lake in a wine-laden, colorful skiff:
   As flutes play fast and lutes, deftly
   And a jade cup circuits swiftly,
 The boat's calm rocking lulls the drunk into sleep.

Thin clouds seem to float right under the rudderless boat.
   The water's blue matches the sky's,
   As lake to sky and back move eyes,
 "Do the clouds above match those that in the water float?"

“Fluid” [Poetry Style #24] by Sikong Tu [w/ Audio]

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Like water spilling over rocks?
   Like a bead's roll across the floor?
 Cliches, they fail to tell the story,
   As no doll shows life's splendor.
 But the Earth' unsupported spin through space,
   As the heaven's pivot and sprawl for more...
 If you could find how it all began,
   You'd see it'll be as it was before.
 The high and bright realm of the gods
   Returns to nothing and nevermore.
 And if you lived ten-thousand years,
   You might find yourself in days of yore.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twenty-fourth of the twenty-four poems. This poem has been alternately titled “The Flowing Style,” “Fluid,” “Motion,” etc. by varied translators from its Chinese title of 流动.