Chinese Classical Literature

Gao E: An Ancient Double-Edged Sword~ 高鹗·《古剑》 with English Translations

《古剑》是清代文学家高鹗创作的一首七言绝句。这是一首借物咏怀的诗。前两句写古剑的价值和作用,诗人以剑自喻,表达了自己怀才不遇的愤懑;后两句写古剑被闲置,在雷雨之夜发出虎啸龙吟之声,表现了诗人建功立业的渴望。全诗写得雄浑有力,文字一气呵成,有抑塞不平、一吐为快之情,于悲凉中见沉雄。 高鹗·《古剑》 一条秋水万黄金,千载谁明烈士心。 夜半虚堂雷雨入,壁间惊起老龙吟。 An Ancient Double-Edged Sword Gao E Most precious is the glittering double-edged sword; For a long, long time its aspiration has remained obscure. At midnight, when thunderstorm enters the empty hall, Like an ancient dragon it will start and groan on the wall. (王晋熙、文殊 译)

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Pu Songling: A Little Rainfall in the Night ~ 蒲松龄·《夜小雨》 with English Translations

《夜小雨》是清代文学家蒲松龄创作的一首七绝短诗,抒发了作者萦心绕怀的愁思。开头两句,点名雨夜,顿入愁境。第三句则把抽象的愁思具体化,说雨声不似愁思那样难断,正面说雨声,其实意落反面,侧写了愁思比雨声细密绵长,这比直接描写更富有表现力,使愁思具体可感,更深刻生动,此所谓“诗有正写不出,须用反击始透者”。结语余音袅袅,回味不尽。诗缘情而发,直抒胸臆,不务雕饰,不尚典丽,其朴实自然的风格,在当时是别树一帜的。 蒲松龄·《夜小雨》 短更长更愁絮絮,三点两点雨星星。 雨声不似愁难断,颠倒匡床月入棂。 A Little Rainfall in the Night Pu Songling The endless night, like my sorrow, drags on and on; Raindrops fall in threes and twos to the ground. The pattering of rain, unlike my sorrow, may be spent; Moonlight creeps in while I toss and turn in bed. (王晋熙、文殊 译)

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《菜根谭》(人生态度、晚节更重) with English Translations

《菜根谭》是明朝还初道人洪应明收集编著的儒家经典,是一部论述修养、人生、处世、出世的语录集。其文字简炼明隽,兼采雅俗,言辞中流露出山林意趣,渗透着万物一体的世界观。开出的处世之方偏重心态和人事,悟虚妄真实之理,指出贫富、尊卑、穷达因为心念使善恶、祸福相互转换,告诫世人及时转念,戒贪少欲,取中庸之道。著作前后内容和深度有所不同,反映出了不同的阅历和境界。 《菜根谭》(人生态度、晚节更重) 声妓晚景从良,一世之胭花无碍;贞妇白头失守,半生之清苦俱非。语云:“看人只看后半截。”真名言也。 If, in later life, a courtesan marries into a good family, her past life is no embarrassment. If a woman who has been upright and haste all her life loses her personal integrity in her later years, all the virtue she has stored up is thrown away. A proverb goes: “When judging

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《菜根谭》(天机最神、智巧何益) with English Translations

《菜根谭》是明朝还初道人洪应明收集编著的儒家经典,是一部论述修养、人生、处世、出世的语录集。其文字简炼明隽,兼采雅俗,言辞中流露出山林意趣,渗透着万物一体的世界观。开出的处世之方偏重心态和人事,悟虚妄真实之理,指出贫富、尊卑、穷达因为心念使善恶、祸福相互转换,告诫世人及时转念,戒贪少欲,取中庸之道。著作前后内容和深度有所不同,反映出了不同的阅历和境界。 《菜根谭》(天机最神、智巧何益) 贞士无心徼福,天即就无心处牖其衷;憸人著意避祸,天即就著意中夺其魄。可见天之机权最神,人之智巧何益? The man of steadfast morals does not pray for happiness, but Heaven, without him knowing it, fulfills his heart’s desires. The vicious man is most concerned with escaping calamities, but as he takes steps to do so Heaven deprives him of his senses and leaves him defenceless. From this, we can see

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Sima Xiangru: Against Hunting ~ 司马相如·《上书谏猎》 with English Translations

《上书谏猎》题名采自《史记》、《汉书》版本传成句。汉武帝虽有雄才大略的一面,但在迷信神仙、奢靡侈费、贪恋女色、沉湎于游猎等方面,并不输于昏君。司马相如为郎时,曾作为武帝的随从行猎长杨宫,武帝不仅迷恋驰逐野兽的游戏,还喜欢亲自搏击熊和野猪。司马相如写了这篇谏猎书呈上,由于行文委婉,劝谏与奉承结合得相当得体,武帝看了也称“善”。 司马相如·《上书谏猎》 相如从上至长杨猎。是时天子方好自击熊豕,驰逐野兽。相如因上疏谏曰: 臣闻物有同类而殊能者,故力称乌获,捷言庆忌,勇期贲、育。臣之愚,窃以为人诚有之,兽亦宜然。今陛下好陵阻险,射猛兽,卒然遇逸材之兽,骇不存之地,犯属车之清尘,舆不及还辕,人不暇施巧,虽有乌获、逢蒙之技不能用,枯木朽枝尽为难矣。是胡越起于毂下,而羌夷接轸也,岂不殆哉!虽万全而无患,然本非天子之所宜近也。 且夫清道而后行,中路而驰,犹时有衔橛之变。况乎涉丰草,骋丘墟,前有利兽之乐,而内无存变之意,其为害也不难矣。夫轻万乘之重不以为安,乐出万有一危之途以为娱,臣窃为陛下不取。盖明者远见于未萌,而知者避危于无形,祸固多藏于隐微而发于人之所忽者也。故鄙谚曰:“家累千金,坐不垂堂。”此言虽小,可以喻大。臣愿陛下留意幸察! Against Hunting I had accompanied the Imperial hunt to Ch’ang-yang. At that time His Majesty (Wu Ti, 2nd century BC) was an ardent follower of the chase, and loved to slaughter bears and wild boars with his own hands. Therefore I handed in the following Memorial: May it please your

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Feng Yen-ssu: To “Ts’ai Sang-tzu” (III) ~ 冯延巳·《采桑子·其三》 with English Translations

冯延巳(903年—960年),字正中,一字仲杰,五代十国时期著名词人、宰相。仕于南唐烈祖、中主二朝,三度拜相,官终太子太傅,卒谥忠肃。他的词多写闲情逸致,文人的气息很浓,对北宋初期的词人有比较大的影响。宋初《钓矶立谈》评其“学问渊博,文章颖发,辩说纵横”,有词集《阳春集》传世。 冯延巳·《采桑子·其三》 西风半夜帘栊冷, 远梦初归。 梦过金扉, 花谢窗前夜合枝。 昭阳殿里新翻曲, 未有人知。 偷取笙吹, 惊觉寒蛩到晓啼。 To “Ts’ai Sang-tzu” (III) Feng Yen-ssu A wind from the west in the dead of night—latticed blinds are cold; Just returned from a far away dream, (…) past golden doors, As blossoms drop from the boughs of mimosa trees outside the window. Within the halls

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Sun Kuang-hsien: “Spirit of the Yellow River” (Ho-tu Shen) ~ 孙光宪·《河渎神·其一》 with English Translations

孙光宪(901-968年),字孟文,自号葆光子,陵州贵平(今四川省仁寿县向家乡贵坪村)。五代至北宋大臣、文学家。 孙光宪·《河渎神·其一》 汾水碧依依, 黄云落叶初飞。 翠娥一去不言归, 庙门空掩斜晖。 四壁阴森排古画, 依旧琼轮羽驾。 小殿沉沉清夜, 银灯飘落香灺。 “Spirit of the Yellow River” (Ho-tu Shen) Sun Kuang-hsien 1 The green water of the Fen flows on and on. Scattered leaves fly up among the twilight clouds. She left trailing azure plumes, giving no date of return. The gate to the shrine is shut

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Cheng Hsien: The Monk ~ 郑燮·《瑞鹤仙·僧家》 with English Translations

郑板桥(1693~1765),即郑燮,字克柔,号板桥,江苏兴化人,康熙秀才、雍正举人、乾隆进士。客居扬州,以卖画为生。为”扬州八怪”之一。 郑燮·《瑞鹤仙·僧家》 茅庵欹欲倒, 倩老树撑扶, 白云环绕。 林深无客到, 有涧底呜泉, 谷中幽鸟。 清风来扫, 扫落叶尽归炉灶。 好闭门煨芋挑灯, 灯尽芋香天晓。 非矫, 也亲贵胄, 也踏红尘, 终归霞表。 残衫破衲, 补不彻, 缝不了。 比世人少却几茎头发, 省得许多烦恼。 向佛前烧炷香儿, 闲眠一觉。 Tune: Jui-ho hsien (An Immortal on an Auspicious Crane) Title: The Monk Cheng Hsien The thatched temple, leaning toward collapse, Is supported by an ancient tree, Encircled by white clouds. The forest

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Cheng Hsien: Kings and Emperors ~ 郑燮·《瑞鹤仙·帝王家》 with English Translations

郑板桥(1693~1765),即郑燮,字克柔,号板桥,江苏兴化人,康熙秀才、雍正举人、乾隆进士。客居扬州,以卖画为生。为”扬州八怪”之一。 郑燮·《瑞鹤仙·帝王家》 山河同敝屣, 羡废子传贤, 陶唐妙理。 禹汤无算计, 把乾坤重担, 儿孙挑起。 千祀万祀, 淘多少英雄闲气。 到如今故纸纷纷, 何限秦头楚尾。 休倚, 几家宦寺, 几遍藩王、 戚里。 东扶西倒, 偏重处, 成乖戾。 待他年一片宫墙瓦砾, 荷叶乱翻秋水。 剩野人破舫斜阳, 闲收菰米。 Tune: Jui-ho hsien (An Immortal on an Auspicious Crane) Title: Kings and Emperors Cheng Hsien Mountains and rivers are like discarded shoes: How I envy the sage ideal of Emperor Yao Who

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Zheng Xie: The Tavernkeeper ~ 郑燮·《瑞鹤仙·酒家》 with English Translations

郑板桥(1693~1765),即郑燮,字克柔,号板桥,江苏兴化人,康熙秀才、雍正举人、乾隆进士。客居扬州,以卖画为生。为”扬州八怪”之一。 郑燮·《瑞鹤仙·酒家》 青旗江上酒, 正细雨梨花, 清明前后。 虾螺杂鱼藕, 况泥头旧瓮, 新开未久。 清醇可口, 尽醉倒渔翁樵叟。 向村墟归路微茫, 人与夕阳薰透。 知否? 世间穷达, 叶底荣枯, 卦中奇偶。 何须计较, 捧一盏, 为君寿。 愿先生一扫长安旧梦, 来觅中山渴友。 解金貂付与当垆, 从今脱手。 Tune: Jui-ho hsien (An Immortal on an Auspicious Crane) Title: The Tavernkeeper Cheng Hsien A green flag—wineshop by the river Amid fine rain and blossoming pear trees. At this time of the

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