Hurriedly I translate Li’s poem, no doubt I make mistakes, is liulang (line 7) young liu, Master Liu, or have I let my homeless thoughts wander far beyond Pengshan mountain? Who writes this quick note, I cannot quite read the faded words, is it she or he?
Li Shangyin’s poem paints a picture of pleasure and grief, desire and failure, of the bitter sweetness of togetherness and loneliness. It is not known to whom these love poems refer and that is part of Li’s magic.
To one unnamed
Yes come, you said, and still you vanished without a trace
Than the moonlight glancing off the tower
At the bell-sounding of the fifth watch hour
To dream so far apart and as I cannot call, I cry
As hurriedly I write these lines, in ink not quite dry
A flickering candle palely casts its light
That shines from its blue green and gold cage
A hint of deer musk gathers on the lotus embroidered curtains
Homeless I am, wandering beyond Peng mountain
You on the other side, ten thousand peaks away
Original Chinese characters
無 題 之 一
來 是 空 言 去 絕 蹤
月 斜 樓 上 五 更 鐘
夢 為 遠 別 啼 難 喚
書 被 催 成 墨 未 濃
蠟 照 半 籠 金 翡 翠
麝 熏 微 度 繡 芙 蓉
劉 郎 已 恨 蓬 山 遠
更 隔 蓬 山 一 萬 重
Notes on the translation
Twelve centuries have passed since Li Shangyin composed these lines to an unnamed beauty. To get a sense of the meaning is not an easy thing. In English, the task would be comparable to translating the Venerable Bede’s 7th century Saxon into modern English. (“For þam nedfere | næni wyrþeþ” gives one a taste of the task, from Bede’s Death Song). The meaning of words change, grammar changes, cultural and historical context is misplaced or lost.
Still we labor on, hoping to find a light in the dark.
The poet’s unnamed muse has gone and the poet writes from his room in the flickering light of a candle, hurried words, trying to catch her before she is gone to far, and yet, it is to late. Some translators say she writes. Some translators call Peng Mountain the Enchanted Mountain, who knows.
Wútí zhī yī
lái shì kōngyán qù jué zōng
yuè xié lóu shàng wǔ gèng zhōng
mèng wèi yuǎnbié tí nán huàn
shū bèi cuī chéng mò wèi nóng
là zhào bàn lóng jīn fěicuì
shè xūn wēi dù xiù fúróng
liú láng yǐ hèn péng shān yuǎn
gèng gé péng shān yī wàn zhòng
This poem is the first of a series of poems. It is an erotic poem.
The first sentence, “Come is empty words and go away”, rose in the air, and the second sentence, “The moon slants above the building at five o’clock”, stopped to write the scene, and the two sentences were indistinct. This must be connected with the “dream is far from crying”, so that we can appreciate its charm. After years of separation, we were never able to meet again. When we fell asleep at night, they suddenly met and woke up with no trace. But the dim slanting moon shone on the pavilion, and the long and sad bell sounded in the distance. The emptiness after waking up proves the illusion of dreams. If the second sentence is an empty and lonely atmosphere after waking up, the first sentence is the hero’s sigh.
The couplet recalls the scene in the dream. “It’s hard to cry for a distant dream”. Although the two parties are far away from each other in the dream, they can cross the barriers and meet each other; But even in a dream, it’s hard to avoid parting. The separation in the dream that comes from the meeting in the dream brings the inexorable dream cry. Such a dream reflects the profound pain caused by a long absence, and strengthens the deep love. Therefore, the couplet “The book was urged to become ink before it became thick” was written. After waking up, he immediately repaired the book and sent it far away. When I was driven by strong yearning to write quickly, I didn’t notice the thickness of ink. Only after “the book was urged to become” did I accidentally find that even ink became thick.
When the book was finished, the residual light of the residual candle was half shining on the curtain embroidered with money in the pattern of emerald birds, and the faint fragrance of musk still seemed to float on the hibiscus mattress. 6、 The seven sentence description and rendering of the indoor environment atmosphere is very symbolic and suggestive. The just vanished dream and the indoor scene in front of us are mixed in the hazy light and shadow. It is unclear whether they are dreams or realities. Candlelight half cage, indoor if bright or dark, suddenly still in a dream; The musk is faint, which makes people suspect that their loved ones have really come here, leaving a faint fragrance. The last sentence is based on the reality of dreams, and the next sentence is based on the suspicion of dreams. It is very vivid and vivid to write about the illusion and illusion in the trance.
Once the illusion disappeared, it was followed by the feeling of emptiness and disappointment, and the feeling of being far away from each other and having no chance to meet. The tail couplet, based on the story of Liu Chen’s rediscovery of the immortal couple’s encounter, points out the barriers of love, “hate” and “more barriers”. It goes forward layer by layer, highlighting the impossibility of barriers.
The whole article revolves around the “dream” to write the parting hate. But it is not written in the order of farewell – missing – dreaming – waking. It starts from the scene when you wake up, and then combines the dream with the dream, reality and illusion to create an artistic realm of doubting the dream and truth, and also the dream and truth. Finally, it points out Pengshan’s heavy hatred of separation, echoing the first sentence from afar. This artistic conception, with twists and turns, forcefully highlights the theme of love isolation and the dreamlike psychological atmosphere, making the whole poem full of trance feelings. ▲