江城子·墨云拖雨过西楼 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 英译及赏析: 闵晓红(2024.08) 墨云拖雨过西楼。 水东流，晚烟收。 柳外残阳，回照动帘钩。 今夜巫山真个好， 花未落，酒新篘。   美人微笑转星眸。 月华羞，捧金瓯。 歌扇萦风，吹散一春愁。 试问江南诸伴侣， 谁似我，醉扬州。 Over the West Pavilion Clouds of Ink Pass by Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Aug. 2024)   Over the west pavilion clouds of ink pass by, Dragging heavy drops away from the sunset sky. Yangtse River runs eastward in waves of white, Taking with it the last breath of cloudy climes. Along the banks willows bow to the golden light That touch curtain hooks to shimmer and shine. It’s a blooming garden with freshly filtered wine, All sweetly tuned for a lushy venue of delight. My beauty has a smile like the starry night. The silver moon, now pale and shy, has to hide. Her singing is like gentle whispers of the night. Her fair fan in hand soothes my moody mind. To River South my peers in the endless fight right: Such fun in Yangzhou I wouldn’t change for thine.   Appreciation: It’s a sentimental poem, a spur-of-the-moment yet well-structured with a yin-yang revolving pattern for a dynamic outcome built with words. Your imaginary eye would follow the poet from west to east, then from the distant to the near only to highlight the main role - the beauty, then to friends afar, and back to ‘me’ here. This could be quite impressive to many people but nothing unique in literature among the Chinese literati. It has been a habitual mindset, like a code pattern set in the Chinese ideology bloodline. And Su Shi was a master of the format.   Let’s dig a little deeper. The readers here are entertained by a passing storm over the west pavilion/chamber which implies, in Chinese literature, the room for ladies / beautiful lovers. Here it foreshadows the singing girl who kept him company during the occasion. Then we are led to the east with the river flowing to the East Sea, suggesting his cloudy days were over, or were supposed to be over for a clearer and freer world. The spring view, the beauty, the wine, and the music were supposed to put him on the moon. Yet, something was bothering him, which was revealed, as usual, in the last couplet that undertones the endless fight between the conservative old party, and the new party, pointing to the miseries of the people even after a prosperous year as they were compelled to pay a lot more debt and tax according to the New Law.   Dongpo was the Magistrate/Mayor of Yangzhou from March to August 1092 after he served as the Secretary-General to the Emperor and Governor of Zhejiang. He was likely greeted by the local officials and gentlemen's society at a garden party where he was invited to compose a poem for the occasion. It was a short stay at Yangzhou but the local people have since loved him for, among other achievements, his huge effort trying to reduce their debt which was finally waived for one year by the emperor. Reference: 2.     baike.baidu.com

水调歌头·明月几时有 丙辰中秋，欢饮达旦，大醉，作此篇。兼怀子由。 原作：【宋】苏轼 英译：戈登.奥赛茵、闵晓红 明月几时有，把酒问青天。 不知天上宫阙，今夕是何年？ 我欲乘风归去，又恐琼楼玉宇，高处不胜寒。 起舞弄清影，何似在人间！ 转朱阁，低绮户，照无眠。 不应有恨，何事长向别时圆？ 人有悲欢离合，月有阴晴圆缺，此事古难全。 但愿人长久，千里共婵娟。 When was the moon ever so bright? - to the tune of Shuidiaogetou (written for the Moon Festival as well as for my brother Ziyou in 1076 after my drinking through the night) translated by G. Osing, J. Min & H. Huang (1990) revised by Julia Min (2022) When was the moon ever so bright? With a wine cup in hand， I ask the black-blue Empyrean What year is it in Heaven tonight? And could I be taken there on the wind! But I fear it must be icy cold being so high in the riches of the jade moon's mansions. To my shadow in the world of humans instead, I'll dance a satire with wine, finding some fun in the moonlight. Shifting from the red pavilion, the full moon threads through the crafted windows, keeping me awake and I can’t complain. Give up hating realities, my Brother; The spell is ancient, beyond men seeking perfection. The moon is fuller n brighter in one’s desolation. What else but joys and sorrows, partings and reunions, like the moon, clouded or brilliant, empty or brimming. Now and always, peace to our hearts, we may share the same far-away Goddess in the One Heaven. （ Other versions ( 许渊冲/林语堂) for your reference） Analysis This is a masterpiece written by Su Shi in Mizhou in 1076, a time of adversity for our poet as he held different views on the New Laws (proposed by Wang Anshi) which was approved and enacted. Feeling himself out of the Emperor’s favor, he asked to be sent away from the Royal Court to the post of Mizhou’s Mayor. His wife had left him and he hadn't seen his brother in seven years. Here his inclination is to wish himself into the legendary jade palace of the Goddess on the moon, of romantic art and beauty, and above all, a life of seclusion from the chaos of social life. Still, he is led to fear the cold perfections of her empire. After all, Su Shi is more a man of the world than a Daoist of fairy lands. Notes: 1. “bing chen”: the year 1076. 2. Legend has it that there is a palace called Guang Han on the moon. 3. The Chinese believe three days in Heaven are equal to three years on Earth, so the dates on Heaven and Earth differ. 4. “Chanjuan” refers to the goddess Chang E, who is said to inhabit the moon palace. Pinying and Word-For-Word Translation: shuǐ diào gē tóu - to the tune of Shuidiaogetou (bǐng chén zhōng qiū ，huān yǐn dá dàn ，dà zuì ，zuò cǐ piān 。jiān huái zǐ yóu ) - Bingchen year Mid-Autumn Festival, enjoy drinking to the next morning; heavily drunk, compose this ci, also miss Ziyou; míng yuè jǐ shí yǒu - bright moon when have; bǎ jiǔ wèn qīng tiān - hold a cup of wine and ask the dark-blue sky; bú zhī tiān shàng gōng què - not know in Heaven Palace; jīn xī shì hé nián - this evening is what year; wǒ yù chéng fēng guī qù – I wish to fly on wind to return; yòu kǒng qióng lóu yù yǔ - but afraid jade towers jade mansions; gāo chù bú shèng hán - high place not bear the cold; qǐ wǔ nòng qīng yǐng - start dancing, make fun with my shadows; hé sì zài rén jiān - what like in human world; zhuǎn zhū gé - the moon turns around red pavilion; dī qǐ hù - lowers light into the crafted doors and windows; zhào wú mián – so much light, no sleep; bú yīng yǒu hèn – should not have hatred; hé shì zhǎng xiàng bié shí yuan – why is it often full and bright when we are parted; rén yǒu bēi huān lí hé – humans have sorrows joys departures reunions; yuè yǒu yīn qíng yuán quē – the moon is cloudy clear wax or wane; cǐ shì gǔ nán quán – such has been difficult for perfection since ancient times; dàn yuàn rén zhǎng jiǔ – only wish we have each other for a long time; qiān lǐ gòng chán juān -thousand li share Chanjuan;

Last  Year at the city gate we kissed farewell (a letter per pro a young wife) --to the tune of “A Young Traveller” Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Oct. 2024)   Last year at the city gate we kissed farewell. Hangzhou snowed like catkins leaving willows. This year Spring still holds on for your way home, Catkins fly like the snow, seeking your smile.   Drinking alone by the window, curtains rolled, I asked the fair Moon to join me for a toast. She replied through the gauze in the night’s cold, Tending her light to the beam’s loving swallows. Analysis: Su Shi was at the age of 37 and held the post as the Governor/Magistrate of Hangzhou in 1074. It was probably during a social function where he was approached by a singer or a lady to write a letter on her behalf. Such scenario was pretty common back then when many women were illiterate. In the first stanza the comparison between last year and this year, in the form of antithesis, reads smoothly for a stronger impression in the readers’ mind. Catkins are often depicted in classical literature to associate with a yearning / seeking / helpless sentiment. The second stanza unrolled a touching picture of a young lady drinking alone by the moonlit window in her chamber. Classical architecture for newly married couples would usually have beams carved or painted with loving swallows, magpies, mandarin duck pair, or other creatures bearing romantic meanings in the culture. This short poem shall fall into the category of his sentimental poetry profile, which may seem pale in comparison with his highly recognised poems in the heroic and robust style.  The romantic sentiments of the young wife is rather implied under the line through symbolism rather than on the line by using words like “I miss you. ” Yet the vocabulary used is simple everyday language. 少年游·去年相送 (润州作, 代人寄远) 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 去年相送，余杭门外，飞雪似杨花。 今年春尽，杨花似雪，犹不见还家。 对酒卷帘邀明月，风露透窗纱。 恰似姮娥怜双燕，分明照、画梁斜。 Reference: m.gushiwen.cn (古诗文网）

吉祥寺赏牡丹 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 英译及赏析: 闵晓红(2024.07) 人老簪花不自羞， 花应羞上老人头。 醉归扶路人应笑， 十里珠帘半上钩。 A Feast on Peony Blooms at Lucky Temple Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (July. 2024)   The street sees jolly gents arrayed with a twist. Peony flowers style their grey hair with regrets. They totter and stagger on their tipsy steps, Bead curtains all half-rolled to miles ahead. Notes ： 1.     Witten in May 1071 when Su Shi was Hangzhou’s Tongpan (a role, similar to an advisor to the Magistrate / Mayor, started in Northern Song Dynasty to supervise and control the magistrate from arbitrariness.) It is said that Su Shi and Shen Li (the Magistrate) were invited to a celebration party at Lucky Temple of Hangzhou where the peony was in full bloom. The next day, the magistrate showed him paintings of peony festival scenes. Su Shi was quite impressed and wrote this short poem right there and then. 2.     Peony flowers: regarded by many Chinese as the national flower today has had a long history radiated from the Capital of Great Song, Bianliang City ( Kaifeng today). A grand flower festival was held in the most vibrant month of May. And it was quite common for gentlemen to wear a flower during the festival, though a bit amusing still, and more so when old officers like Su Shi and his peers celebrate the occasion with people in the street. 3.     Bead curtains: hanging curtains decorated with  beads of all kinds, often found in ancient poems and artistic works. Appreciation: Another good example of qijue (4-line poem with 7-character verse) which is very short but nothing short of ambition in exploring the theme to the maximum where the underlined message is far greater than four lines. A glimpse of a short moment on the street evoke in the readers’ mind a streaming of vivid imaginations about the festival – the romantic sentiments in Song’s lifestyle, the shared happiness of high-ranking officials with common people, the openness and freedom in the general governing attitude in Hangzhou. Su Shi was a celebrity but approachable, not hindered by pride and prejudice. He loved people, and was loved by people wherever he went. Today, he is probably most loved among contemporary readers as the best of what Great Song could offer.   Interestingly, the first artistic work that comes to my mind is the painting Monk Testing Wine by Antonio Casanova y Estorach. Reference: 1.     徐培均 《苏轼诗词选注》 (上海远东出版社) 2.     baike.baidu.com

Till his Temples Frosted in his Autumn Years --to the tune “River Tune’s First Notes” (When I was in Mizhou last year, I composed a ci poem to my brother Ziyou in this tune. This year he came to join us for family reunion at Xuzhou and spent months here till after the Autumn Festival. At departure he shared his new ci poem to the same tune but touched with a sad note. So I wrote this poem, trying to cheer him up, while urging him to consider also an early retirement, so that we may enjoy a peaceful life in each other’s company for good.) Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Sept. 2024)   Till his temples frosted in his autumn years, Anshi had a peaceful life near the East Sea. To kins and friends he bid farewell with tears. Only flute and guqin could ease the grief. He promised his return down the Yangtse River. After he settled the borders and State matters. Yet the West Gate saw him sick and depressed. Lofty places had no room for his country life. With sad regrets his promise ended in his death.   Our prime years are gone, only stories left. Thousand miles set our hometown to the west. It’s time for a plan whereby both retire. Better we settle somewhere nice and near. A detached life with poetry is all I desire. For my worldly concerns, only wine can clear. Should I fall, I would know you’re always there. Well, Liu Bei may laugh at us from his high tower, But cheers to our common life in our common wear. Notes: 1.     Anshi: Lord Xie An (social name Anshi 320-385 AC) was a Chinese politician of Eastern Jin dynasty (317- 420 AC). He was already well-known for his elegance and eloquence when he lived a free life at  his East Hill by the Yangtse River near the East Sea. But his brother died in a fierce battle at the border, he had to come out of his secluded comfort zone for his family and the State. Great achievements were witnessed soon after. Not only his family status was consolidated as one the Big Three in the ruling class, but also, Jin’s state territory drew a bigger map because of his presence in the Court. The idiom‘rise like the phoenix’(东山再起) came from his story. 2.     West Gate: It was recorded that Anshi came through the west gate on his way home after he fell sick and never was he recovered hence. Superstition had it that the Sun sets on the west side, implying the decline of his fate.    3.     Liu Bei: lived from 161 to 223 AC, the first emperor of Shu Han, one of the Three Kingdoms. He was a remarkable politician and a brilliant leader that Su Shi admired. Please refer to other works by Su Shi –“A Moon-Night Drink on a Boat by Red Cliff”( 《前赤壁赋》) and“Meditating on the Past at Red Cliff ”(《念奴娇. 赤壁怀古》) . Appreciation: This poem presents a farewell moment of the brothers after their reunion when both were around forty years old, similar age to Anshi when he ‘rose’ from his East Hill to start his career in officialdom. The theme is simple while the reference to Anshi and Liu Bei is intriguing, rippling a persuasive and powerful association in our imaginations. Su Shi’s intention was crystalized further with his emphasis on a detached life like a commoner. No wonder the later banishment to Huangzhou couldn’t crush him. Instead, we see a momentous change in him. He became stronger in spirit and took the opportunity to enjoy a country life like a farmer and fisherman. The extraordinary experience gilded his most productive period with the best poetry in his whole life.   Many poems and prose were written and sent between the brothers over their years of working far away from each other. With a more moderate character, Ziyou had a much smoother officialdom, and gradually assumed the role like a big brother, financing Zizhan continuously during the three well-known banishments. This reminds me of Vincent and Theo of the Van Gogh family. Su Shi’s highly celebrated poem “ When was the Moon ever so Bright”( 《水调歌头.明月几时有》) was written the year before after seven years of separation. They didn’t know when they could meet again.  Thus, Su Zhe had  every reason to express his melancholy at his departure. In fact the two brothers echoed each other with many poems and prose. It’s a genuine kinship and penship we can only, hopelessly, admire in today’s society. 水调歌头. 安石在东海 (余去岁在东武，作《水调歌头》以寄子由。今年子由相从彭门居百余日，过中秋而去，作此曲以别。余以其语过悲，乃为和之，其意以不早退为戒，以退而相从之乐为慰云耳) 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 英译及赏析: 闵晓红(2024.09) 安石在东海， 从事鬓惊秋。 中年亲友难别， 丝竹缓离愁。 准拟东还海道， 扶病入西州。 雅志困轩冕， 遗恨寄沧洲。   岁云暮, 须早计, 要褐裘。 故乡归去千里, 佳处辄迟留。 我醉歌时君和, 醉倒须君扶我, 惟酒可忘忧。 一任刘玄德， 相对卧高楼。 Reference: baike.baidu.com

品令.急雨惊秋晓 原作：李清照（存疑） 英译及赏析：闵晓红 急雨惊秋晓，今岁较、秋风早。 一觞一咏，更须莫负、晚风残照。 可惜莲花已谢，莲房尚小。 汀苹岸草，怎称得、人情好。 有些言语，也待醉折、荷花问道。 道与荷花，人比去年总老。 A Chasing Rain Awakes Me at Daybreak - to the tune of Pinling written by Li Qingzhao ( 12th century) trans. + annot. by Julia Min A chasing rain awakes me at daybreak. It’s the west wind, - already, autumn came! Life is nice with poems consumed with wine, and the sun is cosy though setting’s her fate.     The lotus are done with her blooming race, leaving seed-pods still small, - such a shame!   Only grassy strands and duckweeds on the lake, how could I remain as gay when spring decayed? There’re words beyond elegance and eloquence， Till you pick lotus again with a tipsy brain. - I’d ask the flower in her charming grace: “why we’re ageing but you come back the same?” Appreciation: The two Pingling ci poems (this one and “The Fallen Crimson Rouged the Ground of Mud”) have not been confirmed as Li Qingzhao’s creation due to the difference recorded in different publications. Judging from the language used, the style and structure, they could well be her works on boudoir sentiments.   Sentiments at the end of autumn are widely captured in literature, used mainly to associate with aging, declining or simply promising things coming close to the end.  Reference: Baike.baidu.com

Farewell to Lingju on Double Seventh Festival --to the tune “Celestial lovers on the Magpie Bridge” Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Sept. 2024)   Unlike the silly weaver attached to mortals, Who descended to her cowherd for their love nestle, A young soul named Ziqiao ascended on Mount Gou, When his mind was detached from all earthly control. He flew on crane while he bid farewell to the people. His phoenix tune on flute entered the moon of crystal.   Legend says a rainstorm once sent a bamboo boat From the sea to the Starry River’s flowing ripples. Perhaps in our past life we were very close, Meant to meet today and drink till we tippled. Life is a floating leaf in sea storms unseeable. Who knows where we’ll meet after this farewell? Notes: 1.        Lingju: Chen Lingju was a friend of Su Shi; 2.        Double Seventh Festival: Chinese valentine’s day, usually celebrated in the evening on 7 July ( Lunar Calendar); 3.        Weaver: the legendary love story of the Weaver, a celestial, and the Cowherd, her human lover. They married and had two children but the happy life together was ended by Heaven. As their punishment, their life was separated by the Starry River. Only on the Double Seventh night could the family enjoy a reunion on a bridge formed for the occasion by magpie birds. 4.        Ziqiao: legend has it too that a young man named Wang Ziqiao became a celestial on Mount Gou ( Henan Province today). People saw him flying on wind while playing his flute on his famous phoenix music. Appreciation: The unique and lofty perspective on the theme of a Lover’s day makes this poem very tasty indeed. It was composed in the evening during a farewell party on Chinese Valentine’s day. While other gentlemen were indulging in the charming poems and songs on young and erotic loving relationship, Su Shi diverted their minds from the traditional theme of stereotyped earthly joy to a transcending theme of becoming free from earthly attachments controlling our pure souls -- a Daoist pursuit of ascending from the mortals’ reincarnating cycles to the celestial world in Heaven. Thus, the weever girl and her cowherd were silly and stupid in Su Shi’s understanding. The poem was his wake-up call to his fellow human mortals. The Dao applies not just to the attached relationship between lovers, but also between kins and friends. Meetings and partings are just a natural performance of karma, a playing system of reason and result. There’s no need to get sentimental about it. Just take it easy and accept what’s coming your way. Once you go through the obstacles in your route, your spirit transcends to a new level, getting closer to become a freer soul. Similar idea was implied in many of his poems, such as " How I compare the new arrivals in a life journey? " (《和子由渑池怀旧》) which is also translated here in this site. 鹊桥仙·七夕送陈令举 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 缑山仙子， 高清云渺， 不学痴牛騃女。 凤箫声断月明中， 举手谢、时人欲去。 客槎曾犯， 银河微浪， 尚带天风海雨。 相逢一醉是前缘， 风雨散、飘然何处？ Reference: m.gushiwen.cn (古诗文网）

品令 . 零落残红 原作：李清照（存疑，疑为 曾纡 词） 零落残红，恰浑似、胭脂色。 一年春事，柳飞轻絮，笋添新竹。 寂寞幽闺，坐对小园嫩绿。 登临未足，怅游子、归期促。 他年魂梦，千里犹到，城阴溪曲。 应有凌波，时为故人留目。 The Fallen Crimson Rouged the Ground of Mud -- to the tune of Pinling written by Li Qingzhao tran.+annot. by Julia Min The fallen crimson rouged the ground of mud. As in every spring, they’re born to die to dust. The willows let their catkins travelling free, and bamboo shoots will soon be new trees. Again in her boudoir she’ll be alone to see her garden taken by a world of green grief.   Ambition never fills. I know you can’t stay, and your leaving is coming close by the day. If graced in sweet dreams I’d join you again, a thousand miles away, to your city, your place, to the stream winding the wall in hidden shade, and ripple waves to your heart for a misty gaze. Appreciation: Another poem on spring grief at the end of the season, popular in sentimental poetry. Springtime is the season of life and death, a season of oxymoron. Life’s cycle has its governing rules to make new life thrive upon the old and worn.Every rebirth contains some level of death. Li Qingzhao surely understood this as a master of the minor-key sensations of romantic ripples in the heart, of melancholy, of boudoir love and regrets.  The subjects mentioned often bear symbolic meanings, serving like a pun in the context. The fallen crimson represents the passing of spring years in one’s life time, the romantic season of lovers. Willow catkins here refers to the man with official duties who have no control over his destiny. He has to travel away from home for his ambition. Bamboo shoots here suggests his promising future after some hardship in growth. A world with only green is a spring grief over the thinning and fallen crimsons, hinting the inevitable passing of her rosy days. This poem reminds me of Christina Rossetti’s poem “ Spring” --- “There’s no time like Spring that passes by, /Now newly born, and now hastening to die. ” and Philip Larkin’s (1922—1985)   “The Trees” --- “ The trees are coming into leaf / Like something almost being said; / The recent buds relax and spread, / Their greenness is a kind of grief.” Notes: 1. ‘ambition never fills’: from the Mexican proverb -- ‘Ambition never has its fill’, meaning here the pursuit of man’s ambition has no ending; the desire can’t be filled. Reference: baike.baidu.com

The second boat trip by Red Cliff -a prose poem Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (June. 2024)   It was the 3rd full moon following our previous boat drink. On my way home to Linggao after my day’s work at Snow Hall, I came across two friends who were also going home via Muddy Slope. The October frost had now taken its toll on trees with the ground covered with fallen leaves. Then, shadow started to show form. Up there, in the serene blue emporium, a fair moon seemed as if smiling at us, sending gentle vibes throughout the land. And soon we found ourselves humming the same hymn to each other on the radiant beauty. The slope today seemed too short a walk. So I sighed, “How often do we see such a breezy night with a beaming moon in a cloudless sky? Let’s not waste such a generous offer of Nature. But how can we celebrate without food and wine?” One friend opened his fish basket: “My day’s fishing has rewarded me with one fish at sunset. It has a big-mouth with tiny scales like the River Song sculpin. Can you find some wine?” Quickly I returned home. My wife might have something, I hoped. To my joy, she said: “You don’t know how lucky you could be! I have long saved about 2 litres to meet your urgent needs.” So here we were, with fish and wine, heading towards the boat by Red Cliff.   Only three months since our last visit, about same time, same place, and same people on same boat, yet we were greeted by a very different world. The river gurgled, splashing and splooshing against the Cliff which looked like a steep wall of hundreds of metres in height. The water level had now greatly receded, revealing many more rocks along the bank. The distant hills and mountains appeared higher, with the moon as if smaller over a skyline  clearer and broader. The tides pushed our boat to the Cliff. I ventured ashore for a climb, holding the corners of my robe to find spots for steps upward. Often I had to hang onto vines and branches like monkeys to make my way through the bushes amid savage rocks. As I was getting closer to the raptors’ cliff nests -- the unchartered territory never visited by humans before, I had a bird’s eye view at the Yangtze River, at the so-called Palace of Fengyi, the water god. My friends were scared, staying safe on the boat. The River surface started rolling up white waves in the growing gusty wind which sent a chill down my spine. Again, I was by myself, completely off the beaten track. With a loud whistle I found myself trembling with the surrounding bushes, followed by a long echo rippling through the valley on the side. It was a breathless moment filled with fear and a nameless sadness. I realised the journey had to end halfway. So down to the boat, I joined my mates. Together we rowed to the centre of the River, and let the little boat go freely with the flow.   Just as midnight was approaching, a shriek call of some big bird pierced through the serene world across the river. It was a crane, giant and lonely, with huge white feather wings and a black feather tail, who highly pronounced his presence by flying past us just missing the gunwale. Before long, we all went back home to get some sleep. Then there was a Daoist who visited me in my dream. After a courteous bow, he asked me with a gentle smile: “Was it an enjoyable night by the Red Cliff?” I was curious and wished to know his name, but he lowered his head, and quiet he remained. “Oh my, my goodness! It was You last night, was it? You made a loud call and flew past our boat from east to west.” The Daoist only smiled back at me as he disappeared into the mist. Startled awake, I chased out of Lingao residence. There was nothing there in sight, just a vacant world of a void night…. … 后赤壁赋 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 英译及赏析: 闵晓红(2024.06) 是岁十月之望，步自雪堂，将归于临皋。二客从予，过黄泥之坂。霜露既降，木叶尽脱。人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何？”客曰：“今者薄暮，举网得鱼，巨口细鳞，状似松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之须。”于是携酒与鱼，复游于赤壁之下。   江流有声，断岸千尺。山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履巉岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫，盖二客不能从焉。划然长啸，草木震动；山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。 时夜将半，四顾寂寥。适有孤鹤，横江东来，翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。呜呼噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也耶？道士顾笑，予亦惊寤。开户视之，不见其处 。 Notes ： Please refer to the previous prose poem in this collection --  A moon-night drink on a boat by Red Cliff Appreciation: This prose stands as a companion to the previous one, sharing a similar background and showing a continuation in theme transition as in a series. Together they have been celebrated as the pioneer works of a new era as they marked a new category of prose poetry distinctive to any prose work previously written. Well, this is just one little brainchild among the many outstanding creations Su Shi did during his dramatic lifetime.   As the sister piece, this one would be expected to present some big philosophical ideas of the world as in the first one. The readers might feel somewhat disappointed after the first reading, as if it were an unfinished work because it seems no evocative point has been made yet. Hence contemporary critics favour the first one. But in the Song dynasty, this second piece was more embraced for its simplicity and symbolic resonance because the ‘null and void’ evokes a bigger, or an unlimited imagination as compared with the ‘physical’ world we see. Like the many paintings in the dynasty, they preferred minimal use of paint, colours, and subjects to evoke diversified reactions in the readers’ minds. Or you may say, that artistic value is an outcome of cooperation between the artist and the creative mind of the readers. The more void left there, the more space for the imagination, the more adaptable and longer value for the artistic work.   This second moon-night drink with friends can be divided into three parts. The first part serves as a prelude that ushers in the readers with the memory of the first boat drink, with a brief touch on his second wife who had been sharing his hardship in life with a deep understanding of his needs. The second part focuses on their experience aboard, ashore, and aboard – an implication of the ups and downs in his life as a high official in the Royal Court to a common folk struggling for survival in the fields, and his wish to be called back to the Court. It was early winter, a much dryer season when he could have a clearer view beyond – a reflection of his spiritual progress in his world outlook.  The obstacles that had looked fearful had now become a minor issue before a stronger mind. The moon was small compared with mighty mountain ranges; The hidden stones in rocky waters were revealed when the water level changed, -- referring to the literary crime which was a sheer setup of his opponents.   Unexpectedly, the theme shifts from the seasonal observation of nature into myth and theology, to the celestial realm. It clearly indicates his persistent spiritual pursuit of a liberated lifestyle, a secluded life away from all worldly attachments. Well, we all know Dongpo loved the world so much he would never, in reality, become a Daoist. It was just a thought like a rippling stream in his mind, comforting and nourishing, but not a replacement. The shift from real to void, from humans to celestials, touches the readers with a more dynamic experience. It can also be seen as a duality that runs in many minds, seemingly conflicting, but in need of each other like the yin and yang, ultimately for balance and harmony in one’s life.   So what messages have you discovered under the lines? Share with me in the comment below. See you there, my friend.   Reference: 1.     baike.baidu.com ; 2.   《熊逸说苏轼.30讲》; 3. picture from “头条--墨语江湖;

祭赵湖州文 原作：李清照 英译：闵晓红 白日正中，叹庞翁之机捷。坚城自堕，怜杞妇之悲深。 On the death of my husband Zhao Mingcheng, the governor of Huzhou written by: : Li Qingzhao ( 12th century) translated by： Julia Min Your life journey is just half way, like the dazzling sun at midday. Then you’re gone, leaving me alone to a world sinking astray. You’re the elite of the Song, but nothing gold can stay. I remember the daughter of Monk Pang, who ended her life before he passed away, -- a relieve from such grief faithful to a heart of pain. Appreciation: Yi'an's husband Zhao Mingcheng (1081 - 1129, epigrapher, poet, and politician) died of disease after he was appointed to be Huzhou's governor of the New Southern Song dynasty. His sudden death left his wife to a world under the siege of the Jin invaders. Reference: 1. baike.baidu.com (百度百科) 2. zh.wikipedia.org (维基百科） 3. 《李清照集笺注》李清照撰，徐培均笺注； 2002年上海古籍出版社 4. 《李清照文集》 作者：（北宋）李清照著，刘振鹏https://books.google.com.au/ 5. All pictures are selected from google search.

琴诗 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 旧版英译:戈登.奥赛茵, 闵晓红, 黄海鹏(1990) 新版赏析修改: 闵晓红(2023) 若言琴上有琴声， 放在匣中何不鸣？ 若言声在指头上， 何不与君指上听？ The Qin Music written by Su Shi (11th AC, social name 'Dongpo') old En. trans. by G. Osing, J. Min & H. Huang (1990) annot. revision by Julia Min (2013) I hear you say the music’s in the wood; Why can’t I hear it when it’s put away? You say the music’s in the fingers, good! But could one listen to his hands all day? Analysis: Here’s an allegory of the pre-eminence of the subjective, specifically the artistically apprehended reality – the music, over the objective things of wood and fingers. The way that philosophical messages were embedded in art is often seen as the embraced style of the Song writings and paintings. There’s likely an influence from his father Su Xun a famous essayist known for his bold but sophisticated comments supported with carefully constructed theories. He knew very well how the two worlds of art and actualities require each other.   Such relation also applies to ancient and modern life as the world evolves in a twining motion between the static and the dynamic, the yin and the yang. If we were wise enough, we could easily discover the governing pattern in this little universe we live in. Do you agree? 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) 2. picture from “洛水琴客” via《每日头条》

减字木兰花 作者：李清照 卖花担上， 买得一枝春欲放。 泪染轻匀， 犹带彤霞晓露痕。 怕郎猜道， 奴面不如花面好。 云鬓斜簪, 徒要教郎比并看 Budding Blooms - to the Tune of Jianzi Mangnolia Translated by Julia Min From a flower peddler in neighbourhood I bought budding blooms for our room. The pink tips are covered with morning dews Still twinkling with golden red hues. Her natural charm could fascinate my mate. I regret my silly choice, but too late. So pinned on my hair near my cheeks fair I wear the blossom for him to compare. Analysis Composed in her early marriage days when she was still a teenage girl, this ci poem is the only one in this music tune pattern from her collection left today. She was the happiest lady in the world living with her beloved husband who was then a carefree student at the Royal Academy in the capital city of Northern Song Dynasty. A glimpse of their daily life is manifested here, which is a treat for us to enjoy, especially the clever and witted zoom-in of a minute moment in the secret little mind of a young lady. Pinying and Word -For-Word Translation: jiǎn zì mù lán huā – the music pattern Jianzi Mangnolia; mài huā dān shàng – flower peddler loads on; mǎi dé yī zhī chūn yù fàng – bought one branch of Spring Budding； lèi rǎn qīng yún – teardrops soaked evenly； yóu dài tóng xiá xiǎo lù hén – as if with red rays morning dews traces； pà láng cāi dào – worried that my husband might think； nú miàn bú rú huā miàn hǎo – my face not as pretty as the flower; yún bìn xié zān – cloud hair sideway pin; tú yào jiāo láng bǐ bìng kàn – in vain ask husband to compare; Notes: 1. jiǎn zì mù lán huā – the music pattern for this ci poem. 2. chūn yù fang – spring flowers that are just budding, which most likely refers to plum blossoms , the first bloom in spring. 3. tú : used as an adverb here, meaning ‘in vain”. *Photo retrieved from: Google