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 pebbles of rain across 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 golden light That touches 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 the gentle whispers of night. A fair fan in hand she 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

A Farewell Toast to the Spring Season (a poem with borrowed verses) --to the tune of Nanxiangzi Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Feb. 2025) A farewell toast to the spring season, An ancient grief on fallen crimsons.  At a Chu town the heart drains away in a poor sap invisible on the margin; Not to mention, the sorrow’s coupled by the chasing tunes on flute and Qin!   On Homeview Platform all music ends. The lingering vibe stirs homesick longing. For a forgotten wanderer not yet forgiven, The view appears clearer in the distance; Every inch of his burning expectation Has now turned into cold ash of incense. from Bilibili (哔哩哔哩） For appreciation: In the Song Dynasty, a distinctive form of intellectual entertainment at social gatherings involved a gentleman crafting a poem where each line was borrowed from a renowned historical verse. This required a strong memory of numerous poems to spontaneously reshape them into a new poem with a fresh theme. It was a highly sophisticated endeavor, often more challenging than composing an original piece. Every line in this poem was borrowed except for two linking words in the first stanza and two in the second. The reader is entertained with seemingly familiar lines, but the clever intertwining association brings a good laugh over wine.The original lines were sourced from eight poems by famous Tang Dynasty poets—Du Mu, Du Fu, Xu Hui, and Li Shangyin. This poem reflects the poet's despair during his banishment in Huangzhou. The longer he remained there, the less hopeful he felt about being recalled to the Court. The first stanza focuses on his career, while the second stanza addresses his desire to return to his hometown, hinting an early retirement. 南乡子. 集句 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 怅望送春怀，渐老逢春能几回？花落楚城愁远别，伤怀 ；何况清丝急管吹！ 吟断望乡台，万里归心独上来。景物登临闲时见，徘徊；一寸相思一寸灰！ reference: 1.baike.baidu.com

浣溪沙 . 簌簌衣巾落枣花（其三） 原作：苏轼 英译：戈登.奥赛茵，闵晓红 簌簌衣巾落枣花， 村南村北响缲车。 牛衣古柳卖黄瓜。 酒困路长惟欲睡， 日高人渴漫思茶， 敲门试问野人家。 Blossoms of date trees rain down on shirts and kerchiefs （Poem One） - to the tune of Huanxisha written by: Su shi ( 11th century) translated by: Gordon Osing and Julia Min Blossoms of date trees rain down on shirts and kerchiefs, and everywhere in the village hears the spinning wheels; - An old man in hemp sells cucumbers by an old willow tree. And me, drinking wine along the way drowsing in fatigue. The sun is high and I feel dry, really, for a cup of real tea; - Good as home is the first door here in the hills I can see. Appreciation: In the spring of 1078, there was a drought around Xuzhou area where Su Shi, as the governor, led local people in prayers before altars for rains – a traditional service in China even in some remote countryside today. By early summer, the land was relieved by rains and followed with a harvest, so it was time to show gratitude to the gods. A series of five short poems were composed there and then to the simple but intense lives of the villages he experienced during his stay there, a glimpse of the lives of common subjects are depicted in artistic works for a change from the Tang’s ‘Glorious Grace’. It’s also a major shifting trend during this Renaissance of the East. For your information, the smell of the cocoons’ being boiled actually is anything but inviting, but it is fragrant to the people in times of good harvest after the long dry spell is lifted. Reference: 1. 古诗文网https://so.gushiwen.cn/ 2. All pictures are selected from google search.

浣溪沙 . 麻叶层层苘叶光（其二） 原作：苏轼 英译：戈登.奥赛茵，闵晓红 麻叶层层苘叶光， 谁家煮茧一村香? 隔篱娇语络丝娘。 垂白杖藜抬醉眼， 捋青捣麨软饥肠， 问言豆叶几时黄? What’s better than coming into a village （ PoemTwo） - to the tune of Huanxisha written by: Su Shi ( 11th century) translated by: Gordon Osing and Julia Min What’s better than coming into a village filled with the fragrance of boiling cocoons, and travel through piemarker’s dense foliage, shining and luxuriant in a sunny afternoon. Women go on chatting through the fences, while winding the cane giant katydids to the full. An elder raises his tipsy eyes on a goosefoot cane. collecting grain yet green to pound them for food. I asked if the bean leaves would go golden soon. Appreciation: For appreciation, please go to the last poem in this series: Blossoms of date trees rain down on shirts and kerchiefs . Reference: 1. baike.baidu.com (百度百科) 5. All pictures are selected from google search.

Royal Banquet on Lantern Festival Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Feb. 2025) Gathered around Palace Jianzhang, The moon and stars begin to fade. A gentle wind down the censer sends A scent with only Heaven it associates. At Bright Hall courtiers craned their heads, like a red cloud tending Palace of Jade. from bakke.baidu.com For appreciation: Su Shi crafted this 4-line, one stanza poem (jueju 绝句) in response to the Emperor's request for a poem on a festive occasion. In 1093, he was called to the Court from Yangzhou. At that time, he served as the Minister of the Military Department and was newly appointed as the Minister of Rite. As the Emperor's favored courtier once more, he was experiencing a gratifying moment near the Throne. The poem is a simple piece of praise, yet it captures the vibrant atmosphere of the Bright Hall and offers a glimpse into how courtiers attended to the Throne—a portrayal of a unified central government during a flourishing era of the Song Dynasty. It was a joyful world akin to Heaven. 上元侍宴 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 淡月疏星绕建章， 仙风吹下御炉香。 侍臣鹄立通明殿， 一朵红云捧玉皇。 reference: 1.baike.baidu.com

Flaky Delight Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Feb. 2025) With a gourd bottle on my thigh, Without any care in my mind, I sat down for a sip of wine to flowers blooming in the wild. Pan’s water wine kills my daytime; Now I desire your Flaky Delight. from wapbaike.baidu.com (“舌尖上的苏东坡”） Analysis:   There’s an interesting story behind this little poem. One day Su Shi was invited to a dinner hosted by Scholar Ho at Huangzhou. A local pastry was served for tea. Dongpo really loved the flaky flavor and asked Ho: “what’s the name and how they made it so flaky. It’s delightful.” Ho replied: “It doesn’t have a name, but now it does. You’ve given it one. How about ‘Flaky Delight’?” Then Ho served Dongpo with a local rice wine from Pan’s, Su Shi tasted it and laughed: “Pan must have mixed it with water by mistake.” His humour was shared by other quests, hence Pan’s wine was named ‘Water Wine’. This poem was likely written when he was enjoying a carefree moment before his favorite capapple tree at Huangzhou, a very poor period when he could hardly afford enough food for his family. He loved drinking a bit of wine, and got used to Pan’s Water Wine. The flaky pastry has become a famous local specialty in the name of ‘Dongpo’s Flaky Delight’ which you can buy from the local supermarket today.   The first impression of the poem seems pretty plain like many art pieces from the Song Dynasty. The hidden message could be profound depending on the reader’s understanding of the poet. Su Shi became famous ever since he was 21 years old. His works were widely sought after. Even his political opponent Wang Anshi would keep asking for his new creation. Imagine how his political oppenents would feel after reading this one, maybe they would say: Okay he’s cast aside from any official work at Huangzhou, doing nothing at all there. Let him stay just like that. I can carry out The New Law without interference.   Su Shi knew this poem could also serve as a satire to his ambition to achieve more for the people. Wandering without a care in the world is surely not what he’s after.  A bit dark humour in the taste, do you agree? 为甚酥诗 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 野饮花前百事无，腰间唯系一葫芦。 已倾潘子错注水，更觅君家为甚酥。

惜春悯秋歌 （2021.9有感于高尔夫球场关闭） 作者：悯秋 春到袋鼠岛， 不见游春潮。 球场都关闭， 鸟兽来筑巢。   后院勤练习， 切杆碎玻璃； 推杆地毯缓， 挥杆不知远。   新冠何时了？ 神仙不知晓。 人类不醒悟， 天帝也发怒。   长江水倒流， 台风往北走； 核潜艇得订， 贸易战不停。   中秋还未到， 封城已六遭。 花好月也圆， 离合品悲欢。   新冠已征服， 地球五大陆。 惜春春即去， 悯秋秋已暮。

狱中寄子由 （予以事系御史台狱，狱吏稍见侵，自度不能堪，死狱中，不得一别子由，故作二诗授狱卒梁成，以遗子由，二首。） 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) 新版及赏析: 闵晓红(2023) 其一 圣主如天万物春， 小臣愚暗自亡身。 百年未满先偿债， 十口无归更累人。 是处青山可埋骨， 他年夜雨独伤神。 与君世世为兄弟， 更结来生未了因 。 From Prison to My Brother Ziyou ( I was put into prison at the Censorate where the guards were a bit hard on me. I reckon I might not be able to make it, and fear not having the opportunity to see my brother for the last time. So I write my last two poems and ask the guards to deliver them to Ziyou.) written by Su Shi (11th AC, social name 'Dongpo') old En. trans. by G. Osing, J. Min & H. Huang (1990) Revision+ annot. by Julia Min (2023) (first poem) The emperor is our heaven, our great saint, Bringing us hope just like the promising spring. But my ignorance’s bent on self-destruction. This body, though not old, deserves punishment to clear my debt possibly owed before this life. So sorry to burden you with a household of ten. Don’t worry about a good place for my tomb. Any green hill is decent enough for my bones. Sorry to leave you alone to future dark rains, But I promise to be a better brother, a better man, Not just in next life, but many to come and spend. Together, we’ll fulfill this unfinished sibling bond. For Appreciation: The year 1079 marked a profound turning point, not just in the life of Su Shi, but in the very essence of freedom of speech that had been cherished for centuries in China. It was a year of despair when he was unjustly arrested in Huzhou, sentenced to the grim confines of the Censorate, ominously dubbed ‘the Crows’ Court.’ The weight of his words, twisted and misinterpreted by those who sought to undermine him, became the chains that bound him—not for any wrongdoing, but for the very act of expressing his thoughts through poetry. For three agonizing months, he languished in near-death suffering, gripped by an overwhelming sense of dread for his family’s safety and future. Such a harrowing experience inevitably ignited a transformation within him. In the depths of his anguish, Su Shi found a profound philosophical awakening, a yearning to retreat to the mountains, to embrace a Daoist existence amidst the tranquil rivers and seas. As the New Law spread its shadow across the nation, countless followers who had once drawn inspiration from his words faced dire consequences, their fates intertwined with his own banishment to Huangzhou. The weight of their suffering mirrored his own, amplifying the sorrow that enveloped his heart. In a cruel twist of fate, the misunderstanding that had led to his downfall echoed in the very fabric of his life. Just as Emperor Shenzong had misread the essence of his poetry, so too did a simple fish dish become a poignant symbol of his plight. In a moment of dread, he had made a pact with his son, Su Mai, to bring a fish dish should he face a death sentence; otherwise, it would be a humble meal of meat and vegetables. One day, Mai could not fulfill that promise, he sent a friend instead, who, in a gesture of goodwill, brought a beautiful fish—a dish that once brought joy to the poet’s heart. Yet, within this seemingly innocent act, the shadows of mortality loomed large. The near-death sentiments that arose from this experience manifested in two poignant poems, laden with the weight of his reflections, as if he were crafting his last will upon a deathbed. At just 44 years old, with a family of ten depending on him, he found himself thrust into a role he never wished to assume—asking his brother to shoulder the burden of their lives. The emotional turmoil of this moment resonates deeply, a reminder of the fragility of existence and the enduring strength of the human spirit in the face of unimaginable adversity. 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) ( “ From Prison to my Brother Zi You" – "Noble Emperor Shengzong be praised! Everything is in spring./ Political foolishness brought me down this road to doom./ I’m not old yet, and still ask you to pay my debts. / I trouble you with my ten mouths to feed, and no home. / My body you can bury any place the hills are green. / A year from now you’ll grieve alone on nights it rains./ Listen, in this life and the next we will be brothers./ Our love’s not finished, not in this world or any other.”) 2. picture from the magazine

Riding the Rapids on Spring River -to the tune of Xingxiangzi Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Dec. 2024)   One little canoe with two little paddles Stirred the blue mirror of Spring River. The wild geese, startled, lift wings to air. Waking small fish dreaming in algae near. To the misty bank ahead flocked the herons To see our bumpy ride on the white waters Through the morning frost of a sandy dale Into a serene moon river of smooth crystal.   Beyond, a skyline of cascade mountains, -- A stream of screen art at each winding turn. No wonder Lord Yan Lin secluded in here, Immune to the promise of glory from Emperor. There’s nothing like everchanging mountains -- When clear, eyes can reach lands of wonder; When cloudy, crest’s a stage for drifting drama; When day breaks, it’s blue haven, serene and fair. Notes: 1. Lord Yan Lin, social name Ziling, assisted Liu Xiu (Emperor Guangwu of the East Han dynasty) in ascending the Throne. As he harbored no interest in political ambitions, he changed his name and identity to embrace a life of seclusion here at this Spring River ( 富春江 ). The emperor valued Ziling's talents and personality, wanting to have him at his Court. Artists were dispatched to draw Yan Ziling's portrait, which was then posted far and wide in search of him. Subsequently, reports from the state of Qi indicated a man fishing in marshes while clad in a sheepskin robe. Liu Xiu suspected this was Yan Ziling and promptly dispatched envoys to summon him with carriages and gifts. Despite these efforts, Yan Ziling declined all the offers, determined to remain secluded on this beautiful Spring River. Analysis:   This little poem reads like a movie streaming before your mind’s eye – from a peaceful water surface on higher terrain down through a rapid flow of white waters on the sand river to a serene world of seclusion. It’s like a life cycle, transforming yin and yang from peace to chaos and back to peace.   After the water subject, the poem shifts to mountains in the second stanza. Mountains and rivers are another yin-yang combination of static and mobile, often appearing in Chinese paintings. Referring to the well-known story of Yan Ziling brings focus to Su Shi’s theme—the classical argument about whether to live for glory or peace.   The Song artists embraced blue and green colors in landscape painting. There’s a film just released in October in the name of Just Green and Blue (《只此青绿》) I have loved it ever since the story first appeared in the form of stage dance. Song’s art looks simple, even pretty common to the eye, but enduring as it embodies a complexity of ideas/philosophies beyond.   To enrich your understanding, you may find more pleasure in his other poem about a rapids’ ride --“The 100-Step River Rapids’ Ride” (《百步洪》), which can be found on this website.   行香子 . 过七里濑 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 一叶舟轻，双桨鸿惊。 水天青，影湛波平。 鱼翻藻鉴，鹭点烟汀。 过沙溪急，霜溪冷，月溪明。    重重似画，曲曲如屏。 算当年，虚老严陵。 君臣一梦，今古空名。 但远山长，云山乱，晓山青。 Reference: 1. https://wgly-hangzhou-gov-cn   picture from Google

Eating Lychee at Huizhou Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Jan. 2025) Here is a world of spring for all seasons, Where loquat and bayberries swell in turn. I could eat hundreds of lichees as day food, And live in the south at Mt Luofu for good. Analysis:   Nothing in life seemed able to torture Su Shi long enough before he could find solace in food. When he was finally released from prison and banished to Huangzhou during Chinese New Year in 1080, he wrote:   “ Oh well, the Yangtse embraces the town in a loop, Where the river fish should taste just as good. There are also bamboo groves over the hills, Where I should find many sweet and earthy shoots.”   Now, he was banished even further to Huizhou near the southern border in 1094. Such a penalty was generally regarded as a death sentence. Yet, the 57-year-old Dongpo revived again, enjoying fresh local produce that could make some people in the capital jealous. Lychee fruit had been a popular hint of royal luxury ever since the story about the royal consort Yang, Yuhuan of the Tang Dynasty was exposed in poetry.   What can you do to a great mind like Su Shi? As a result, his opponent party in power was at their wits’ end towards his increasing popularity and influence among the gentle society with his great spirit, his sense of intellectual humour, and, of course, his artistic works, among which poems and prose went off like fire across the country. In fact, they became so jealous of him that they banished him to the ‘End of World’ – Hainan Island, hoping to silence him once and for all.   Judging from the situation, he could indeed write it for his readers in the middle land, or more specifically, the Emperor, reporting his life from thousands of miles away. The last two lines have become fa mous quotations, where many commented that he showed a strong Daoist desire for a country life like the great poet Tao Yuanmin. 食荔枝 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 罗浮山下四时春，卢橘杨梅次第新。 日啖荔枝三百颗，不辞长作岭南人。

A Farewell Toast to Shugu at Youmei Hall --to the ci tune “Spring River” Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Nov. 2024)   The view of Southeast is best here at the Hall - A painting of lakes, rivers and hills unrolled. When will Hangzhou honour your return call? Parting is such sweet sorrow, so cheers to all.   Look, Riversdale streets bustle up with lights on. Listen, the rhyme of night vibes with River Tune . Let’s roam the moonlit river of blue crystal   When the night seals a slumber in serene world. Notes: 1.     The Southeast: Youmei Hall faces Hangzhou’s southeast, home to local’s best landscape and most prosperous streets. 2.     Parting is such sweet sorrow: borrowed from Shakespeare’s Romeo and Juliet , good use of oxymoron for a stronger artistic effect; Parting in life is a stretching of bonds and the sorrow is tinged with the sweetness of the memories. It anticipates meeting again. 3.     River Tune: a particular music tune for ci lyrics; 4.     the night seals a slumber: borrowed from William Wordsworth’s poem “A slumber did my spirit seal”  (1798); 5. blue crystal: dark blue crystal is associated with humanity, discretion, and honor. It’s calm energy for spiritual awakening, serenity and tranquillity; Analysis:   This is a ci poem composed at a farewell party for his superior and friend Chen Xiang ( 1017-1080 AC, social name ‘Shugu’ ). Shugu was then the governor while Su Shi, in his late thirties, was the secretary general / magistrate of Hangzhou prefecture. They represented the old party (or the shadow party) against the new party. The New Law was enacted and the Royal Court was crowded with Wang Anshi’s followers, whereas Chen Xiang and Su Shi were assigned to posts away from the capital. Hangzhou had always been a most desirable place for her landscape beauty with lakes and rivers intertwined with rolling hills.  It's a land of promise, renowned as ‘China’s Warehouse of Grains’, ‘The Land of Fish and Rice’, ‘Earth Paradise’, and, I’d add to the list, ‘a land of romance and poetry’. Chen Xiang was twenty years older and valued Su Shi’s talents. They entertained each other by echoing with new creations using the same rhyming pattern to the same song tune. They shared the same interest in their political ambition, which was to bring the quality of life in the local area to the best level under their governing period. Indeed they solved historical problems with engineering projects on the city’s water supply and West Lake blockage. A thousand years later, a most popular tourist destination still pronounces their achievements -- Lord Su Causeway. In addition, when Su Shi returned as the governor over a decade later, he built the first hospital in the world where even the prisoners were treated without discrimination. This short ci lyric is a song of praise but in a most implicit way. The first stanza ushers the readers into a beautiful setting before the farewell theme is touched with the implication that Hangzhou people will miss Shugu. The second stanza presents a prosperous city view, implying people in Hangzhou are enjoying a peaceful and gracious life under Shugu’s governance. The last two lines bear dual messages, referring to the projects and that Shugu’s devotion to people’s cause was pure in spirit like a crystal blue river under the bright moon. Indeed, they both contributed a great deal to the success of the projects. Su Shi wished that both of them would keep the same spirit in their future officialdom. 虞美人·有美堂赠述古 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 湖山信是东南美， 一望弥千里。 使君能得几回来， 便使尊前醉倒、且徘徊。   沙河塘里灯初上， 水调谁家唱。 夜阑风静欲归时， 惟有一江明月、碧琉璃。 Reference: m.gushiwen.cn (古诗文网）

I Can Live Without Meat in Food (for Monk Huijue at his Green Bamboo Veranda) Chinese original: Su Shi (11th AC, social name 'Zizhan', art name 'Dongpo') English translation & annotation: Julia Min (Jan. 2025) I can live without meat in food, But can’t without bamboo in view. Without meat body will lose weight, Without bamboo life will lose taste. It’s easy to gain a good weight, And not so to gain a good taste. It seems a stubborn lofty pretend, And you may laugh at what I say. If you munch in his noble presence, You can’t ascend the Yangzhou Crane. Su Shi's painting on stone and bamboo Notes: Yangzhou Crane: borrowed from a story in The fables of Ying Yun（《殷云小说》） , where a bunch of ambitious young gentlemen boasted about their future in Yangzhou. One wished to become in a high post at the government office, another said he would become a very wealthy man, but the third one wanted to fill his pockets with silver and gold and fly a crane bird to the immortal world. Well, you know the result -- the crane wouldn't be able to fly with a heavy weight. You can't have everything in life. Analysis:   This little poem can serve as another example of the Song’s way of presenting deep philosophical theory in the disguise of simple everyday language. As a result, the first four lines have become idiomatic expressions in Chinese. The poem reads like a prose in the tone on the theme of virtuous pursuit against vulgar taste in human life, or you may say, an insight to the awareness of the ultimate purpose in this lifetime. Bamboo tree has been recognized as one of the Four Gentlemen ( together with plum blossom, chrysanthemum, and orchid) in China. It’s an emblem of noble elegance, upright honesty and adamant loyalty.   Yu Qian was a county in the territory of Lin'an City (in Hangzhou City). There was a temple where Su Shi favored as he used to have some quality time with his Monk Huijue. The two friends would often enjoy tea in the bamboo yard and explore together the value and virtues of social and natural worlds to better their understanding of Zen ideas. This poem was written when Su Shi visited there during his inspection on the county’s governance as the magistrate of Hangzhou. Of the Four, he favors bamboo the most as we can trace from his paintings as well. He even started the use of red paint for his bamboo paintings, which became a unique style since then. I assume it is another example of his artistic style in the pursuit of the theme rather than the form.  於潜僧绿筠轩 原作: 苏轼（字子瞻, 号东坡居士; 11世纪北宋） 宁可食无肉，不可居无竹。 无肉令人瘦，无竹令人俗。 人瘦尚可肥，士俗不可医。 旁人笑此言，似高还似痴。 若对此君仍大嚼，世间那有扬州鹤? Reference: gushiwen.cn picture from google