宋诗 WANG ANSHI REDUCING THE NUMBER OF SOLDIERS Someone here says we must reduce the number of soldiers, I say to do this straight away should not be our first step. Today our generals are not properly chosen, It is with the size of our armies that we guard our borders. If the first line of assault is defeated in an attack, The troops behind them remain strong and intact. By sending our larger numbers against the smaller enemy We prevail even when caught in a crisis. Our generals are of insufficient talent, Their strategies are second-guessed by subordinates. If troops are reduced, there will be no reinforcements in case of a defeat, The barbarians will advance to drink from the Qin river. If you say this reasoning is incorrect, Then by what criteria would you have us reduce the troops? Our soldiers are accustomed to being arrogant and lazy, Send them home: do you think they will farm the land? Not farming nor producing silk either, Their need for food and clothing will be the same as active troops. The right time will come to reduce the number of soldiers, But it must be done in the proper sequence of steps. SU SHI Tuizhi [Han Yu] said that draft-script calligraphy Is capable of reflecting all worldly affairs. Worry, sadness, and all other disquietudes May be lodged in the darting of the brush. But he wondered about the Buddhist monk Who looks upon his body as an empty well. Meekly, he gives himself to the mild and plain, Who will elicit boldness and fury from him? When I consider this I see it is incorrect. True ingenuity requires no illusion. If you want your poetic phrases to be marvelous You need not be averse to emptiness and quietude. With quietude you comprehend all movement, With emptiness you take in ten thousand scenes. You observe the world as you go among men, You examine yourself reclining on a cloudy peak. The salty and sour mix with all other tastes, Between them there is a perfect flavor that endures. Poetry and Buddhist are not incompatible, I submit this view for your consideration. Xi er 洗儿 (Lavando il figlio) 人皆养子望聪明我被聪明误一生惟愿孩儿愚且鲁无灾无难到公卿 1
Wang Anshi 王安石 (1021-1086) Bo chuan Guazhou 泊船瓜洲 (Ancoraggio a Guazhou) 京口瓜洲一水间, 钟山只隔数重山 春风又绿江南岸, 明月何时照我还 Jingkou e Guazhou sono separate dalle acque di un fiume e da Zhongshan mi separano solo alcune catene di monti. Il vento di primavera torna a inverdire la riva meridionale dello Yangtze. O luna, quando risplenderai sul mio ritorno? 宋词 LI YU (937-978) Sull aria Yu meiren 虞美人 (La bella Yu) Bertuccioli, p. 213 春花秋月何时了, 往事知多少 小楼昨夜又东风, 故国不堪回首月明中 雕阑玉砌应犹在, 只是朱颜改 问君能有几多愁, 恰似一江春水向东流 2
声声慢 di 李清照 寻寻觅觅, 冷冷清清, 凄凄惨惨戚戚 平平仄仄, 仄仄平平, 平平仄仄仄仄 乍暖还寒时候, 最难将息 仄仄平平平仄, 仄平平仄 三杯两盏淡酒, 怎敌他 晓 [/ 晚 ] 来风急? 平平仄仄仄仄, 仄仄平 仄平平仄 雁过也, 正伤心, 却是旧时相识 仄仄仄, 仄平平 仄仄仄平平仄 满地黄花堆积, 憔悴损, 如今有谁堪摘? 仄仄平平平仄, 平仄仄 平平仄平平仄 守著窗儿, 独自怎生得黑? 仄仄平平, 仄仄仄平仄仄 梧桐更兼细雨, 到黄昏 点点滴滴 平平仄平仄仄, 仄平平 仄仄仄仄 这次第, 怎一个愁字了得? 仄仄仄, 仄仄仄平仄仄仄 ( 说明 : 平, 表示填平声字 ; 仄, 表示填仄声字 ; 中, 表示可平可仄 ; 加黑体字, 表示韵脚 ) 3
元曲 马致远, 天净沙 ( 曲牌名 ) 秋思 枯藤老树昏鸦, 小桥流水人家, 古道西风瘦马 夕阳西下, 断肠人在天涯 ⑸ (Cfr. Bertuccioli, p. 223) 明代 民歌 Canzone popolare o 时曲 Yan Zide 颜自德 Da Nichang xupu 霓裳续谱 (Continuazione degli spartiti dell arcobaleno, raccolta di canzoni e poesie popolari di epoca Qing)! è di epoca Qing! Sull aria jishengcao 寄生草 (Gramigna) 欲写情书, 我可不认字, 烦个人儿, 使不的! 无奈何画几个圈儿为表记 此封书唯有情知此意 : 单圈是奴家, 双圈是你 4
诉不尽的苦, 一溜圈儿圈下去 Sull aria jishengcao 寄生草 (Gramigna) 一面琵琶在墙上挂, 猛抬头看见了他, 叫丫鬟摘下琵琶, 我弹几下, 未定弦, 泪珠儿先流下, 弹起了琵琶, 想起了冤家, 琵琶好, 不如冤家会说话 八股文 Cambridge history of Chinese Literature, vol. I, p. 616-7 In examinations past and present it has been a longtime custom to select officials on the basis of literature. Although the genres may be different, every single person has been selected on the basis of literature. Now, since animating ether [qi] is the basis of literature, any burgeoning of a single era will inevitably possess literature for that single era. From this we can see that this court s selection of literati on the basis of Classical elucidations and ethical behavior is not something one can consider superficial. The examinations were disestablished and then begun anew; once begun, they flourished. The generic styles were exquisitely worked and finely detailed, and the writing was precisely on the mark. If they were not those truly capable of being enlightened by the Classics, how would they attain the subtlety of complete penetration of principle, like the enlightened state of Chan, in which one can see the nature of each and every thing? Was it not by this? It causes them to be able to cumulatively perfect their actions so they can sustain their inner selves, to fill up their qi and by this to create literature is this not to be considered beautiful? The literary selections of the past three courts are already circulating, and now I have selected the blossoms of the later examinations and carved them again on printing blocks, hoping to expand the experience of those who come later and to shed light on the grand refulgence of the literature and qi of an entire era. Those who peruse this must find something they can take from this. 5
黄峨 un 散曲 ( 小令 ): 卷帘雁儿落 之三 难离别, 情万千 眠孤枕, 愁人伴 闲庭小院深, 关河传信远 鱼和雁天南, 看明月中肠断 冯梦龙著, 情史累略, 序 天地若无情, 不生一切物 一切物无情, 不能环相生 生生而不灭, 由情不灭故 四大皆幻设, 惟情不虚假 有情疏者亲, 无情亲者疏 无情与有情, 相去不可量 我欲立情教, 教诲诸众生 子有情于父, 臣有情於君 推之种种相, 俱作如是观 万物如散钱, 一情为线索 散钱就索穿, 天涯成眷属 若有贼害等, 则自伤其情 如睹春花发, 齐生欢喜意 盗贼必不作, 奸究必不起 佛亦何慈悲, 圣亦何仁义 倒却情种子, 天地亦浑沌 无奈我情多, 无奈人情少 愿得有情人, 一起来演法 6