Dawn rain has washed the city of its dust;
The refreshed hotel willows tremble in a gust.
My friendly advice, you dry up another glass,
You have no acquaintance beyond The Jade Gate Pass.
“Jade Gate Pass” by Wang Wei [w/ Audio]
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Tag Archives: Chinese Literature
“A Recluse” by Wang Changling / Amy Lowell [w/ Audio]
A cold rain blurs the edges of the river.
Night enters Wu.
In the level brightness of dawn
I saw my friend start alone for the Ch'u mountain.
I gave him this message for my friends and relations:
My heart is a piece of ice in a jade cup.
This is the Amy Lowell translation of a poem by Tang Dynasty Poet, Wang Changling (王昌齡) --a.k.a. Shaobo (少伯)
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“Spritual” [Poetry Style #13 (精神)] by Sikong Tu [w/ Audio]
All wish to return,
Hoping others will come:
A clear water ride
Where strange flowers bud,
And lime-green parrots fly
The willows, to and from --
The mountain folk arrive
Deep bowls fill with wine...
To take a life beyond
And not end in ash,
But still be of nature;
Who's up to that task?
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 thirteenth of the twenty-four poems. This poem’s Chinese title is 精神, and it has been translated as: “Essential,” “Animal Spirits,” and “Spirit.”
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“Bold” [Poetry Style #11] by Sikong Tu [w/ Audio]
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.
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“Riverside Daffodils” by Chen Yuyi [w/ Audio]
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
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“Beauty” [Poetry Style # 9] by Sikong Tu [w/ Audio]
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.”
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BOOKS: “Thirty-Six Stratagems” by Sun Bin [or Anonymous]
Thirty-Six Stratagems: Bilingual Edition, English and Chinese 三十六計: The Art of War Companion, Chinese Strategy Classic, Includes Pinyin by Sun BinMy rating: 3 of 5 stars
This is a collection of idioms on strategy with brief explanatory commentaries on each. The idioms, themselves, are thought-provoking and worth studying, but the book is problematic in a couple of regards. First, some of the work seems to either be plagiarized or has been plagiarized. Let me explain that accusation, because the actual thirty-six stratagems are clearly in the public domain, dating to the Sixth Century AD. However, while checking out the Wikipedia site to learn more about the author (incidentally, attribution of this work to Sun Bin is not accepted by consensus,) I discovered that the whole English translation of commentaries is verbatim the same as in Wikipedia. (Wikipedia has a tag on the article that it may contain original research and solicits further information.) I further noticed that the commentaries aren’t straight translations of the original Chinese text, but rather are reformulations written to be understandable to a present-day reader of English with no particular insight to Classical Chinese culture and history (which they are.) I can’t say whose work it is or whether it isn’t a misunderstanding that would be cleared up with additional information, but my point is that I wouldn’t recommend forking over any money to the publisher without knowing that the actual work (not the copy / pasting, but the intellectual work) either belongs to them or is in the public domain. Especially, given that it’s freely available on the internet.
That brings me to a second problem, a problem that is clearly on the publisher. There is a very limited sense in which this is a bilingual edition. Yes, the idioms themselves are presented in Chinese characters with pinyin as promised, but the commentary is wholly in English. The idioms, themselves, are largely Chengyu and other forms of Chinese idiom (so 4 characters, give or take, are all that is in Chinese for each.) So, if you’re purchasing this book to work on learning to read Chinese, it’s of limited benefit, and you’ll have to go elsewhere to get the Chinese commentary.
There is an appendix that explains a little about Classical Chinese. I can’t say whether this is original work or exists elsewhere on the internet. I can say that it also isn’t presented in a bilingual fashion either, excepting a few characters for some of the vocabulary. The appendix does have some interesting information.
My recommendation to readers would be not to buy this text when you can read both the Chinese and the exact English translation on Wikipedia for free. My recommendation to the publisher would be, if the commentaries are their original work, to put in a complaint to Wikipedia to pull it as copyright infringement. (And if they were the ones who lifted the text, to stop it already.)
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“Cleansed” [Poetry Style #7] by Sikong Tu [w/ Audio]
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.”
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“Ancient” [Poetry Style #5] by Sikong Tu [w/ Audio]
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.
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“Swordsman” by Jia Dao [w/ Audio]
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.
Tiger Riding for Beginners 