和子由《渑池怀旧》 What is the human journey when compared?

和子由渑池怀旧

原作: 苏轼（11世纪北宋）

英版: 闵晓红(2023)

人生到处知何似？

应似飞鸿踏雪泥。

泥上偶然留指爪，

鸿飞哪复计东西！

老僧已死成新塔，

坏壁无由见旧题。

往日崎岖还记否？

路长人困蹇驴嘶！

What is the human journey when compared?

(In echo of my brother Ziyou’s “Remembering Mianchi”)

Chinese original: Su Shi

English version: Julia Min

What is the human journey when compared?

To the wild geese landing on thawing ground.

They rest, then rise and vanish into the air,

leaving claw prints in muddy snow all around.

As for the marks, east or west, who would care?

The old monk is now just ash in a new pagoda.

The wall where we left verses has tumbled down.

You asked if I could recall our teenage years —

those winding roads and adventures we found.

I see two boys on bony donkeys, both knackered!

Notes:

1. Ziyou’s “Mianchi in Memory” : Here’s the original poem in Chinese:

怀渑池寄子瞻兄》(“相携话别郑原上, /共道长途怕雪泥。/归骑还寻大梁陌，/行人已渡古崤西。//曾为县吏民知否，/旧宿僧房壁共题。/遥想独游佳味少，/无言骓马但鸣嘶!”)

Appreciation:

This poem is a lyrical gift from Su Shi to his brother, Ziyou. It’s a thoughtful reply that turns a simple question into a profound meditation on life. The central idea is beautiful: our lives are like a wild goose leaving footprints in melting snow. The marks are real, but they don’t last—the goose flies on, and the slush soon smooths over. This isn't a sad thought, but a freeing one. It asks, why cling to every past step?

In the second half, the poem shifts from this big idea to a warm, personal memory. The old monk is gone, their young graffiti has faded, but what remains is crystal clear: the two of them as boys, bone-tired on a long road, riding grumpy donkeys. This vivid, gritty snapshot becomes the one thing time cannot erase. It’s as if Su Shi is saying that while fame fades and walls crumble, the shared journey—the real, exhausting, human experience of it—is what truly lasts. The poem quietly moves from letting go of life’s small traces to holding tight to its deepest bonds.

This English version makes an ancient poem feel fresh and familiar by using clear, vivid language. It paints strong images, like “thawing ground” and “tumbled down,” without getting too lofty. The bold choice to end with a word like “knackered” grounds the memory in real, physical exhaustion. This honest, relatable tone reminds us these were real people on a hard road. By blending thoughtful imagery with plain-spoken words, it invites readers to see their own journeys in Su Shi’s timeless reflection.

Reference:

1. Blooming Alone in Winter by Gordon Osing, Julia Min and Huang Haipeng，published by the People's Publication House Henan Province in 1990 (《寒心未肯随春态》戈登.奥赛茵，闵晓红，黄海鹏)

“Remembering Old Times at Mian Chi” — ”A man’s life might take him anywhere. How should it go?/ It should be like the wild-goose’s footprints left in mud./Left there accidentally almost, whatever the need./The wild goose is gone, the prints go east and west, who cares?//Old Feng-Xian died, was burned, and turned into this pagoda;/The poem we made time erased from the ruined walls./Remember how rough and rugged were those old days./How wearied we were, how endless the path, how our donkeys neighed!”

3. painting from Google；

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