Thursday, September 20, 2018

Poems about music: Sui/Tang/Five Dynasties

Poems about music: Sui/Tang/Five Dynasties
compiled by David Badagnani (rev. 16 April 2024)

 《郊庙歌辞 享太庙乐章 金奏》
Suburban Temple Lyrics, a Piece of Music Offered at the Grand [Royal Ancestral] Temple:  Metal [Bells] are Played (Jiao Miao Geci, Xiang Taimiao Yuezhang:  Jin Zou)
作者：无名氏（唐）
Anonymous (Tang Dynasty, 618-907)

 肃肃清庙，巍巍盛唐。
Solemn and stately is the Hallowed Temple;
Majestic and lofty is the Flourishing Tang.
配天立极，累圣重光。
The Parallels of Heaven ascend their [celestial] throne,
As the monarchs of dynasties past are reborn.
乐和管磬，礼备烝尝。
The music is a harmonious blend of pipes and chimes,
As ritual preparations are made for the winter/autumn sacrifice.
永惟来格，降福无疆。
After deep contemplation, [the spirits] arrive,
Bestowing boundless blessings from above.

 Notes:

 题注：《唐书·乐志》曰：“太乐旧有《享太庙迎神》、次《金奏》及《送神辞》三章，不详所起。”

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=5702

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《水鼓子宫辞三十九首 其三十九》（敦煌曲子）
(Dunhuang song)
作者：无名氏（唐）
Anonymous (Tang Dynasty)

琵琶轮拨紫檀槽。
弦管初张鼓调高。
理曲遍来双腋弱，教人把箸喂樱桃。

Notes:

按：敦煌歌辞总编卷三（○二六五）

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 《琵琶》
Pipa
作者：无名氏（唐）
Anonymous (Tang Dynasty)

 粉胸绣臆谁家女，香拨星星共春语。
This woman with white-powdered chest and embroidery-graced bosom, to whose household does she [belong]?
Her fragrant plectrum, in scintillating style, [evokes] a tête-à-tête between lovers in spring.
七盘岭上走鸾铃，十二峰头弄云雨。
Across Qipan Ridge, luan bells walk,
As the Twelve Peaks conjure clouds and rain.
千悲万恨四五弦，弦中甲马声骈阗。
[She pours out] a thousand sorrows and ten thousand regrets on [her instrument's] four or five strings,
And on these strings [she produces] the sound of armored horses riding two abreast.
山僧扑破琉璃钵，壮士击折珊瑚鞭。
A mountain-dwelling monk smites a glass bowl,
And a warrior cracks a coral whip.
珊瑚鞭折声交戛，玉盘倾泻真珠滑。
As the coral whip cracks, it sounds "khau-khat,"
While pearls, poured out onto a jade plate, skitter smoothly.
海神驱趁夜涛回，江娥蹙踏春冰裂。
The sea god urges on [his dragons], and nocturnal waves swirl;
The River Maidens tread and trample, and the spring ice cracks.
满坐红妆尽泪垂，望乡之客不胜悲。
Teardrops fall from the [eyes of] all the red-made-up beauties in attendance;
Being far from home and longing for their hometowns [is an] unbearable sorrow.
曲终调绝忽飞去，洞庭月落孤云归。
At the piece's end, the tune breaks off as if suddenly floating away;
The moon sets [over] Dongting [Lake], and a solitary cloud returns.

Notes:

1. "Fragrant plectrum" (Chinese:  long xiang bo, 龙香拨) refers to a pipa plectrum made from a material called long xiang mu (龙香木, literally "dragon incense wood").  "星星" (pronounced "seng-seng" in Middle Chinese) was probably intended by the poet as onomatopoeic as well as metaphorical.
2. Qipan Ridge (Chinese:  Qipan Ling, 七盘岭), also known as Wupan Ridge (Chinese:  Wupan Ling, 五盘岭) or the Qipan Mountains (Chinese:  Qipan Shan, 七盘山), was located in modern-day Guangyuan, northeastern Sichuan, and was part of Ba Prefecture (Chinese:  Bazhou, 巴州) during the Tang Dynasty.
3. Luan bells are a set of bells that were attached to the bridles of horses (especially those of cavalry regiments) or the crossbars in the front of horse-drawn vehicles, which were said to produce a sound like the chirping of the mythical luan (鸾) bird.  This is probably a reference to the mountain goddess Yaoji (瑶姬), also known as Wushan Shennü (巫山神女), who in the poem Shennü Fu《神女赋》(Rhapsody on the Goddess), which is attributed to the Late Warring States poet Song Yu (宋玉, c. 298 BC-c. 222 BC), but which is probably by a later author, rings luan bells upon taking her leave from King Qingxiang of Chu (楚顷襄王, r. 298 BC-263 BC).
4. The Twelve Peaks (Chinese:  Shi'er Feng, 十二峰) refers to the twelve peaks of Wushan (巫山, literally "Shaman Mountains"), on the border between eastern Sichuan (modern-day northeastern Chongqing) and western Hubei, at the western entrance to Wu Gorge (Chinese:  Wu Xia, 巫峡), the second of the Three Gorges of the Yangtze River.  Of these twelve peaks, the tallest, Goddess Peak (Chinese:  Shennü Feng, 神女峰), was believed to be the abode of the goddess Yaoji (瑶姬), also known as Wushan Shennü (巫山神女), who at daybreak took the form of morning clouds, and each dusk into driving rain.  A legendary story about the meeting, in a dream of King Huai of Chu (楚怀王, r. 328 BC-299 BC), with this goddess is recounted memorably in two poems attributed to the Late Warring States poet Song Yu (宋玉, c. 298 BC-c. 222 BC), but which are probably by a later author:  Gaotang Fu《高唐赋》(Rhapsody on the Gaotang Shrine) and Shennü Fu《神女赋》(Rhapsody on the Goddess), and the sexual liason described therein inspired the idiom yunyu (云雨, literally "clouds and rain"), which is a euphemistic metaphor for lovemaking between men and women.  By the Tang Dynasty (and in particular in the works of the poet Yuan Zhen), references to the Wushan Goddess were used as a literary device indicating eroticism.
5. "Coral whip" (Chinese:  shanhu bian, 珊瑚鞭) refers to a horsewhip whose handle is decorated with precious red coral gemstones.  An implement called a "seven-treasure whip" (Chinese:  qi bao bian, 七宝鞭) is described in Jin Shu《晋书》(The Book of Jin), the official history of the Jin Dynasty (266-420), and the coral whip (as a variety of seven-treasure whip) is mentioned in numerous poems dating to the Southern Dynasties and Tang periods.
6. "Sea god" probably refers to Yu Qiang (禺强), the legendary god of the northern sea, wind, and plague, who was associated with the Chu culture.  According to the Shan Hai Jing《山海经》(Classic of Mountains and Seas), a compendium of mythological lore from pre-Qin China, Yu Qiang had a human face and a bird's body, with a pair of green snakes decorating his ears, and he traveled astride a pair of large red snakes (which are often interpreted as snake-like dragons).
7. "River Maidens" (Chinese:  Jiang'e, 江娥) is another name for the Goddesses of the Xiang River (the daughters of the legendary Emperor Yao, who drowned themselves in the Xiang River in northeastern Hunan out of grief upon the death of their husband, the legendary Chinese Emperor Shun), who are called Xiang Jun (湘君) in Chinese.
8. The Xiang River, which flows generally northeast through the provinces of Guangxi and Hunan, flowed into Dongting Lake (located in northeastern Hunan, near the border with Hubei) through the ancient kingdom of Chu, whose songs in the worship of the Goddesses of the Xiang River have been recorded in a work attributed to the Warring States-period poet Qu Yuan (c. 340 BC-278 BC).

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=3631

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 《鹧鸪天》（集曲名）
Partridges in the Sky (Zhegu Tian)
作者：无名氏（唐末宋初）
Anonymous (late Tang or early Song Dynasty)

 烛影摇红玉漏迟。鹊桥仙子下瑶池。
倾杯乐处笙歌沸，苏幕遮阑笑语随。
醉落魄，阮郎归。传言玉女步轻移。
凤凰台上深深愿，一日和鸣十二时。

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《病中多雨逢寒食》
Sick Amidst the Pouring Rain, Observing the Cold Food [Festival] (Bing Zhong Duo Yu Feng Hanshi)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

水国多阴常懒出，老夫饶病爱闲眠。
This watery land is often cloudy, so I am too lazy to go out,
And an old fellow [like me], filled with malaise, adores being idle and taking frequent naps.
三旬卧度莺花月，一半春销风雨天。
Having been laid up these thirty days, I ponder the orioles, flowers, and moon [that I have missed seeing];
Half of the spring has melted away, and the days [are filled with] wind and rain.
薄暮何人吹觱篥，新晴几处缚鞦韆。
As dusk approaches, who is that [I hear] playing a bili?
The weather now clear, people have tied swings in several places.
綵绳芳树长如旧，唯是年年换少年。
Those multicolored ropes and fragrant blossom-adorned trees remain just as they were in times gone by;
It's only the youths that change from year to year.

Notes:

This poem was written in the year 826, while Bai Juyi, in his mid-50s, was serving as Governor (Prefect) of Suzhou, which is indeed a watery place, being situated on the lower reaches of the Yangtze River, crisscrossed by canals (including the Grand Canal), dotted with lakes (the largest of which is Lake Tai), and on the shores of Lake Tai, which is surrounded by wetlands.  For the first two years he enjoyed himself with feasts and picnic outings, but after this time he became ill and was forced into a period of retirement.  The Cold Food Festival is a traditional Chinese festival that takes place in the first week of April, which involved such traditional activities as visiting ancestral tombs, eating special (always uncooked) foods, playing on swings, and tug-of-war games.  The bili was a double-reed pipe of Central Asian origin, which had an incisive timbre and an especially soulful sound.

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 《船夜援琴》
Playing Qin on a Boat in the Evening (Chuan Ye Yuan Qin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

鳥棲魚不動，夜月照江深。 
Birds alight, fish don't move; the moon shines above a deep river. 
身外都無事，舟中只有琴。 
Beyond the physical nothing matters; on our boat there is only qin.
七絃為益友，兩耳是知音。 
Its seven strings sate my companion; having ears means knowing music. 
心靜聲即淡，其間無古今。
Hearts at peace with sounds so mild; here there is no past or present.

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《春听琵琶兼简长孙司户》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

四弦不似琵琶声，乱写真珠细撼铃。
指底商风悲飒飒，舌头胡语苦醒醒。
如言都尉思京国，似诉明妃厌虏庭。
迁客共君想劝谏，春肠易断不须听。


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《代琵琶弟子谢女师曹供奉寄新调弄谱》
For the Court Pipa Master Lady Xie, Cao Gongfeng Sent a Newly Arranged Score
(Dai Pipa Dizi Xie Nüshi Cao Gongfeng Ji Xin Tiaonong Pu)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

琵琶师在九重城，忽得书来喜且惊。
The pipa master within the Nine Walls,
Upon suddenly receiving the document, was overjoyed and shocked.
一纸展看非旧谱，四弦翻出是新声。
The sheet, when unfolded and examined, was [found] not [to be] an old score;
[On her] four strings, [what she] dashed out was a new sound.
《蕤宾》掩抑娇多怨，《散水》玲珑峭更清。
"Sharpened Fourth" hid within it feelings of suppressed tenderness and heightened sorrow,
And "Scattered Stream" was exquisitely crisp and exceedingly clear.
珠颗泪沾金捍拨，红妆弟子不胜情。
Like pearlescent beads, tears moistened the gold-flecked plectrum guard,
And the emotions of the red-made-up court ladies were overwhelmed.

Notes:

Jiu chong cheng (九重城, literally "nine walls") refers to the confines of the imperial palace, the activities taking place therein (including music) being forbidden to outsiders.


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《邓鲂、张彻落第》
On Deng Fang and Zhang Che Failing the Imperial Examination (Deng Fang, Zhang Che Luodi)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

古琴无俗韵，奏罢无人听。
The ancient qin is without popular appeal,
And when it is played, alas, no one listens.
寒松无妖花，枝下无人行。
The cold pines are devoid of alluring blossoms,
And under their branches no one strolls.
春风十二街，轩骑不暂停。
There's a briskness in the Twelve Streets [of the capital],
And the chariots and cavalry don't pause.
奔车看牡丹，走马听秦筝。
Speeding their carts, people go to see the peonies;
Galloping their horses, they go to listen to the Qin zheng.
众目悦芳艳，松独守其贞。
All eyes are delighted by fragrant flowers and gaudy sights,
While the pines, all alone, maintain their virtue.
众耳喜郑卫，琴亦不改声。
All ears rejoice in the music of Zheng and Wei,
But the qin still does not change its sounds.
怀哉二夫子，念此无自轻。
I really cherish these two gentlemen;
And I hope that this won't undermine their self-worth.

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.  Zheng (卫) and Wei (郑) were states during the Spring and Autumn and Warring States periods, whose music was disparaged by some conservative Confucians as immoderate or lascivious; "the music of Zheng and Wei" subsequently became an idiom referring to vulgar "popular" music used for superficial entertainment or sensual pleasure rather than moral cultivation.

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《对琴待月》
(Dui Qin Dai Yue)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

竹院新晴夜，松窗未卧时。
In the bamboo courtyard on a newly clear night,
By a window near the pines, not yet having lain down to rest,
共琴为老伴，与月有秋期。
With my qin as my old companion,
I await my rendezvous with the moon.
玉轸临风久，金波出雾迟。
Although its jade tuning pegs have faced the wind for a long time,
The rippling golden moonlight is sluggish to emerge from the fog.
幽音待清景，唯是我心知。
The serene sounds await a clear view,
Something that only my heart knows.

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 《废琴》
An Abandoned Qin (Fei Qin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

丝桐合为琴，中有太古声。 
Silk and paulownia, joined together, makes up the qin:
Within it lie ancient sounds.
古声淡无味，不称今人情。
Ancient sounds – weak and savorless, 
Not suited to present men's taste.
玉徽光彩灭，朱弦尘土生。 
The luster has faded from its jade hui:
Dust has covered its vermilion strings. 
废弃来已久，遗音尚泠泠。 
Decay and ruin came to it long ago, 
But the sound that is left is still cold and clear. 
不辞为君弹，纵弹人不听。
I do not refuse to play it, if you want me to: 
But even if I play, people will not listen.
何物使之然？羌笛与秦筝。
How did it come to be neglected so?
Because of the Qiang di and the Qin zheng.

 Notes:

● Hui (徽) are the inlaid markers on the top board of a qin, which mark harmonic positions on the instrument's strings.
● Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.
● The Qiang (羌) were a historical people living to China's north and west, and the Qiang di (羌笛) referred to in the poem may be a double clarinet consisting of two cylindrical pipes of equal length, each with an idioglot single reed.
● Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.


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 《和令狐仆射小饮听阮咸》
Having a Little Drink and Listening to the Ruanxian with the Deputy Minister of Linghu
(He Linghu Puye Xiao Yin Ting Ruanxian)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 掩抑复凄清，非琴不是筝。
Gloom and melancholy compounded with misery and desolation;
It's not a qin, and neither is it a zheng.
还弹乐府曲，别占阮家名。
It still plays yuefu songs,
And also bears the Ruan family name.
古调何人识，初闻满座惊。
Of ancient melodies, who [today] knows them?
[Yet] upon first listen, all those in attendance are awestruck.
落盘珠历历，摇佩玉琤琤。
[The sound is like] pearls falling on a platter, one by one,
Or shaken pendants of jade jangling,
似劝杯中物，如含林下情。
As if to urge [listeners to drain] the contents of their winecups,
Or to harbor emotions [such as one might feel while] in a secluded grove.
时移音律改，岂是昔时声。
As the times change, so too does music;
How can this be the sound of former times?

Notes:

The fifth couplet of this poem is probably a reference to the Seven Sages of the Bamboo Grove.

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 《唤笙歌》
(Huan Sheng Ge)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 露坠萎花槿，风吹败叶荷。
老心欢乐少，秋眼感伤多。
芳岁今如此，衰翁可奈何。
犹应不如醉，试遣唤笙歌。

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《寄献北都留守裴令公》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

Preface (bing xu, 并序):
今本以序为题，此从《英华》本增。
司徒令公守东洛，移镇北都，一心勤王，三月成政，形容盛德，实在歌诗，况辱知音，敢不先唱，辄奉五言四十韵寄献，以抒下情。

天上中台正，人间一品高（中书令上应中台，司徒官一品）。
休明值尧舜，勋业过萧曹。
始擅文三捷（进士及第、博学、制策，连登三科），终兼武六韬。
动人名赫赫，忧国意忉忉。
荡（一作伐）蔡擒封豕（吴元济也），平齐斩巨鳌（李师道也）。
两河收土宇，四海定波涛。
宠重移宫籥（自东都留守授北京留守），恩新换阃旄。
保釐东宅静（周公、召公东治洛邑），守护北门牢。
晋国封疆阔，并州士马豪。
胡兵惊赤帜，边雁避乌号。
令下流如水，仁沾泽似膏。
路喧歌五裤，军醉感单醪。
将校森貔武，宾僚俨隽髦。
客无烦夜柝，吏不犯秋毫。
神在台骀助，魂亡猃狁逃。
德星销彗孛，霖雨灭腥臊。
烽戍高临代，关河远控洮。
汾云晴（一作时）漠漠，朔吹冷颾颾。
豹尾交牙戟，虬须捧佩刀。
通天白犀带，照地紫麟袍。
羌管吹杨柳，燕姬酌蒲萄（蒲萄酒出太原）。
银含凿落盏（一作线），金屑琵琶槽。
遥想从军乐，应忘报国劳。
紫微留（一作含）北阙（中书令即紫微令也），绿野寄东皋（绿野堂在东都午桥庄也）。
忽忆前时会，多惭下客叨。
清宵陪宴话，美景从游遨。
花月还同赏，琴诗雅自操。
朱弦拂宫徵，洪笔振风骚。
近竹开方丈，依林架桔槔。
春池八九曲，画舫两三艘。
径滑苔黏屐，潭深水没篙。
绿丝萦岸柳，红粉映楼桃（皆午桥庄中佳境）。
为穆先陈醴⑴，招刘共藉糟（刘梦得也）。
舞鬟金翡翠，歌颈玉蛴螬。
盛德终难过（一作退），明时岂易遭。
公虽慕张范（张良、范蠡），帝未舍伊皋。
眷恋心方结，踟蹰首已搔。
鸾皇上寥廓，燕雀任蓬蒿。
欲献文狂简，徒烦思郁陶。
可怜四百字，轻重抵鸿毛。

Notes:

居易每十斋日在会，常蒙以二勒汤代酒也

引用典故：单醪　封豕　歌五裤　萧曹


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《南园试小乐》
(Nan Yuan Shi Xiao Yue
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

小园斑駮花初发，新乐铮摐教欲成。
红萼紫房皆手植，苍头碧玉尽家生。
高调管色吹银字，慢拽歌词唱渭城。
不饮一杯听一曲，将何安慰老心情。

Notes:

This is probably an "echo poem" (he shi, 和诗) of Liu Yuxi's 《和乐天南园试小乐》 (He Letian Nan Yuan Shi Xiao Yue).

《全唐诗佳句赏析》：
不饮一杯听一曲将何安慰老心情七言律诗《南园试小乐》写于洛阳。这两句是说，南园正在排新的乐曲，其声悦耳动听，如果不去听一曲乐，饮一杯酒，将何以安慰老年人的心情？足见诗人老年时生活过得十分闲适安逸。

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 《霓裳羽衣歌　和微之》
(Nichang Yuyi Ge, He Weizhi)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 我昔元和侍宪皇，曾陪内宴宴昭阳。
In the past, during the Yuanhe Reign, I served the Emperor Xianzong;
I once attended an imperial banquet in the Zhaoyang Hall.
千歌百舞不可数，就中最爱霓裳舞。
There were thousands of songs and hundreds of dances, beyond counting;
Among them, the one I loved the most was the Dance of the Rainbow Skirts.
舞时寒食春风天，玉钩栏下香案前。
The dance took place during the Cold Food Festival, on a breezy spring day,
Beneath an exquisite hook-shaped railing, in front of an incense burner table.
案前舞者颜如玉，不着人家俗衣服。
Before the table were dancers with jade-like complexions;
Not wearing common clothes of regular people.
虹裳霞帔步摇冠，钿璎累累佩珊珊。
They wore rainbow skirts, rosy capes, and headdresses that trembled with each step;
Gold hairpins and necklaces of precious stones were innumerable, and jade pendants clinked.
娉婷似不任罗绮，顾听乐悬行复止。
With a graceful demeanor, as if they could not bear the silk gauze,
Turning their heads to listen to the suspended chimes, they walked forward, reversed direction, then halted.
磬箫筝笛递相搀，击擫弹吹声逦迤。
Qing, xiao, zheng, and di successively mingled together;
Striking, pressing, plucking, and blowing, the sounds meandered and flowed.
散序六奏未动衣，阳台宿云慵不飞。
While six unmetered preludes were played, [the dancers'] garments did not stir;
On the terrace, the nighttime clouds were dull and not flying.
中序擘騞初入拍，秋竹竿裂春冰拆。
The middle prelude began with a crack, when the clapper first entered;
Like the splitting of autumn bamboos or the breaking of ice in the spring.
飘然转旋回雪轻，嫣然纵送游龙惊。
Fluttering and spinning, light as the whirling snow;
So captivating was it when they shot forward that even a swimming dragon would be startled.
小垂手后柳无力，斜曳裾时云欲生。
After "Little Drooping Hands," the willows were drained of energy,
And at the moment when they tilted, then dragged the hems of their skirts, it was as if clouds were about to issue forth. 
烟蛾敛略不胜态，风袖低昂如有情。
Dark eyebrows slightly furrowed, their bearing was unparalleled;
Fluttering sleeves rose and fell, as if filled with emotion.
上元点鬟招萼绿，王母挥袂别飞琼。
Madame Shangyuan appointed a maid and summoned E Lü;
The Queen Mother waved her sleeves to part with Feiqiong.
繁音急节十二遍，跳珠撼玉何铿铮。
Busy notes and quick rhythms comprised twelve movements;
Jumping pearls and shaken jade, how they clanged and clattered.
翔鸾舞了却收翅，唳鹤曲终长引声。
The flying simurgh finished dancing, stepping back to fold its wings;
And the singing crane ended the song, prolonging its voice for a long time.
当时乍见惊心目，凝视谛听殊未足。
At that time, seeing this for the first time, I was stunned to my core;
Gazing fixedly and listening carefully, so singular was the scene that words were insufficient.
一落人间八九年，耳冷不曾闻此曲。
In the eight or nine years since my fall back into the world of mortals,
My ears have grown cold from never hearing this piece.
湓城但听山魈语，巴峡唯闻杜鹃哭。
In Pencheng I only hear the hooting of mandrills,
And in Ba Gorge just the cuckoo's call.
移领钱唐第二年，始有心情问丝竹。
玲珑箜篌谢好筝，陈宠觱篥沈平笙。
清弦脆管纤纤手，教得霓裳一曲成。
虚白亭前湖水畔，前后只应三度按。
便除庶子抛却来，闻道如今各星散。
今年五月至苏州，朝钟暮角催白头。
贪看案牍常侵夜，不听笙歌直到秋。
秋来无事多闲闷，忽忆霓裳无处问。
闻君部内多乐徒，问有霓裳舞者无？
答云七县十万户，无人知有霓裳舞。
唯寄长歌与我来，题作霓裳羽衣谱。
四幅花笺碧间红，霓裳实录在其中。
千姿万状分明见，恰与昭阳舞者同。
眼前仿佛睹形质，昔日今朝想如一。
疑从云梦呼召来，似着丹青图写出。
我爱霓裳君合知，发于歌咏形于诗。
君不见，我歌云，惊破霓裳羽衣曲。
又不见，我诗云，曲爱霓裳未拍时。
由来能事皆有主，杨氏创声君造谱。
君言此舞难得人，须是倾城可怜女。
吴妖小玉飞作烟，越艳西施化为土。
娇花巧笑久寂寥，娃馆苎萝空处所。
如君所言诚有是，君试从容听我语。
若求国色始翻传，但恐人间废此舞。
妍媸优劣宁相远，大都只在人抬举。
李娟张态君莫嫌，亦拟随宜且教取。

Notes:

● The Yuanhe (元和) period lasted from January 25, 806 through February 14, 820, during the reign of the Tang emperor Xianzong (唐宪宗, r. 805-820).  This poem was written in the year 825.
● Qing (磬) - stone chimes
● Xiao (箫) - panpipe, known since the Song Dynasty as paixiao (排箫)
● Zheng (筝) - bridge zither with 13 silk strings
● Di (笛) - transverse flute, known in the Tang Dynasty as heng di (横笛)


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《偶饮》
A Casual Drink (Ou Yin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

三盏醺醺四体融，妓亭檐下夕阳中。
[After] three cups of wine, pleasantly tipsy, all four of my limbs melt,
As under the eaves of the courtesans' pavilion I sit amidst the setting sun.
千声方响敲相续，一曲云和戛未终。
A thousand sounds on the fangxiang are tapped out in continuous succession, 
While a piece played on the yunhe stops abruptly before it's finished.
今日心情如往日，秋风气味似春风。
Today, my mood is like it was in days past,
The scent of the autumn breeze resembling that of the spring breeze.
唯憎小吏樽前报，道去衙时水五筒。
I only detest [when] a petty official, while my goblet is before me, informs me
That I need to report to the yamen by the time the water [reaches] the fifth tube.

Notes:

This poem was written in the year 825, when Bai, at the age of 53, had just been appointed Governor (Prefect) of Suzhou, during which time he enjoyed himself by attending numerous feasts and picnic outings.  The yunhe (云和) is a now-obsolete bridge zither of Central Asian origin, which was also referred to as Yunhe pipa (云和琵琶).


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《偶于维扬牛相公处觅得筝筝未到先寄诗来走笔戏答》
Dear Friend, [You] Searched and Found a Zheng [for Me] in the Niu Xianggong [Area of] Weiyang, and, Before the Zheng Arrives, I am Reciprocating by Sending [You] This Playful Poem I Have Dashed Off in Response (Ou Yu Weiyang Niu Xianggong Chu Mi De Zheng Zheng Wei Dao Xian Ji Shi Lai Zoubi Xi Da)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

楚匠饶巧思，秦筝多好音。
The Chu craftsman has abundant skill and feeling [for his art],
And the Qin zheng [he has built] has a wonderful sound.
如能惠一面，何啻直双金。
If I could have the good fortune to [see this instrument] in person,
Would not [this experience] be worth just as much as pure gold?
玉柱调须品，朱弦染要深。
Jade bridges are needed to adjust its tuning,
And its vermilion strings should be dyed deeply.
会教魔女弄，不动是禅心。
I'll be sure to teach this "she-devil" how to play,
[So that] my "Zen mind" remains unshaken.

More information:

1. In the late Spring and Autumn Period (5th century BC), a legendary master carpenter and inventor named Gongshu Ban (公输班 or 公输般) once made a siege ladder for the Chu state of east-central China.  Based on his legendary abilities, he was later referred to as the "Chu craftsman," and he is revered today as the Chinese patron deity of builders and contractors.
2. Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.
3. Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.
4. Bai Juyi loved the zheng so much that it could be said that he was truly infatuated with this instrument; he once wrote an extended poem of 140 characters entitled "Zheng," among many other shorter ones, to describe the unique and beguiling sound of this bridge zither.  He had been particularly enamored with Weiyang zhengs (that is, zhengs made in Yangzhou, a city with a reputation for the fine quality of its musicians as well as the craftsmanship of the musical instruments made there) for a long time, and he repeatedly begged a friend who lived there to help him find one.
     This friend not only found Bai a good-quality Weiyang zheng, he also sent a specially written poem first, in which he jokingly said:  "But I worry about having sent it, as this 'demonic thing' may shock your 'Zen [mind]'" (“但愁封寄去，魔物或驚禪。”).  At that time, Bai was a devoted student of Buddhism and often discussed the meditative practice of Zen (called Chan in Chinese) with eminent monks in various temples. The "demonic thing" mentioned in this friend's poem refers to the Weiyang zheng itself, using Buddhist terminology referring to evil spirits that hinder one's Buddhist training and focus on the pursuit of enlightenment (in this case through its seductive sounds).
     After receiving this letter, Bai was delighted, and immediately replied with a playful poem of his own, in which he first expressed how much he loved the zheng.  But in the end, he joked that, although he had been earnestly looking forward to receiving this instrument for a long time, "I'll be sure to teach this "she-devil" how to play, / [So that] my "Zen mind" remains unshaken."

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《琵琶行》
Song of the Lute (Pipa Xing)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
translated by Burton Watson

Preface (bing xu, 并序):
元和十年，予左迁九江郡司马。明年秋，送客湓浦口，闻船中夜弹琵琶者，听其音，铮铮然有京都声；问其人，本长安倡女，尝学琵琶於穆曹二善才。年长色衰，委身为贾人妇。遂命酒，使快弹数曲，曲罢悯然。自叙少小时欢乐事，今漂沦憔悴，转徙於江湖间。予出官二年恬然自安，感斯人言，是夕，始觉有迁谪意，因为长句歌以赠之，凡六百一十六言，命曰琵琶行。
In the tenth year of the Yuan-he era (815), I was exiled to the district of Jiujiang (Jiangzhou) with the post of marshal.  In the autumn of the following year, I was seeing a visitor off at the Pen River landing when I heard someone on one of the boats playing a pipa lute in the night.  Listening to its tone, I could detect a note of the capital in its clear twanging.  When I inquired who the player was, I found it was a former singing girl of Chang'an who had once studied the lute under two masters named Mu and Cao.  Later, when she grew older and her beauty faded, she had entrusted herself to a traveling merchant and became his wife.
     I proceeded to order wine and lost no time in requesting her to play a few selections.  After the selections were over, she fell into a moody silence and then told us of the happy times of her youth and of her present life of drifting and deprivation, moving about here and there in the region of the Yangtze and the lakes.
     Two years had passed since I was assigned to this post, and I had been feeling rather contented and at ease.  But this evening, moved by her words, I realized for the first time just what it means to be an exile.  Therefore I have written this long song to present to her.  It contains a total of 612 characters and is entitled "Song of the Lute."

Poem:
浔阳江头夜送客，枫叶荻花秋瑟瑟。
Xunyang on the Yangtze, seeing off a guest at night;
maple leaves, reed flowers, autumn somber and sad:
主人下马客在船，举酒欲饮无管弦。
the host had dismounted, the guest already aboard the boat,
we raised out wine, prepared to drink, though we lacked flutes and strings.
醉不成欢惨将别，别时茫茫江浸月。
But drunkenness brought no pleasure, we grieved at the imminent parting;
at parting time, vague and vast, the river lay drenched in moonlight.
忽闻水上琵琶声，主人忘归客不发。
Suddenly we heard the sound of a lute out on the water;
the host forgot about going home, the guest failed to start on his way.
寻声暗问弹者谁，琵琶声停欲语迟。
We traced the sound, discreetly inquired who the player might be.
The lute sounds ceased, but words were slow in coming.
移船相近邀相见，添酒回灯重开宴。
We edged our boat closer, inviting the player to join us,
poured more wine, turned the lamps around, began our revels again.
千呼万唤始出来，犹抱琵琶半遮面。
A thousand pleas, ten thousand calls, and at last she appeared,
but even then she held the lute so it half hid her face.

转轴拨弦三两声，未成曲调先有情。
She turned the pegs, brushed the strings, sounding two or three notes —
before they had formed a melody, already the feeling came through.
弦弦掩抑声声思，似诉平生不得志。
Each string seemed tense with it, each sound to hold a thought,
as though she were protesting a lifetime of wishes unfulfilled.
低眉信手续续弹，说尽心中无尽事。
Eyebrows lowered, hand moving freely, she played on and on,
speaking of all the numberless things that were in her heart.
轻拢慢拈抹复挑，初为霓裳后六幺。
Lightly she pressed the strings, slowly plucked, pulled and snapped them,
first performing "Rainbow Skirts," then "Waists of Green."
大弦嘈嘈如急雨，小弦切切如私语。
The big strings plang-planged like swift-falling rain;
the little strings went buzz-buzz like secret conversations;
嘈嘈切切错杂弹，大珠小珠落玉盘。
plang-plang, buzz-buzz mixed and mingled in her playing
like big pearls and little pearls falling on a plate of jade,
间关莺语花底滑，幽咽泉流冰下难。
or the soft call of warbler voices resonant under the blossoms,
the hidden sobbing of springs and rills barely moving beneath the ice.
水泉冷涩弦凝绝，凝绝不通声暂歇。
Then the icy springs congealed with cold, the strings seemed to freeze,
freeze till the notes no longer could pass, the sound for a while cut off;
别有幽愁暗恨生，此时无声胜有声。
now something different, hidden anguish, dark reproaches taking form —
at such times the silence was finrer than any sound.
银瓶乍破水浆迸，铁骑突出刀枪鸣。
Then a silver vase would abruptly break, water come splashing forth,
iron-clad horsemen would suddenly charge, swords and halberds clanging.
终收拨当心画，四弦一声如裂帛。
As the piece ended, she swept the plectrum in an arc before her breast,
and all four strings made a single sound, like the sound of rending silk.
东船西舫悄无言，唯见江心秋月白。
In the boat to the east, the boat to the west, stillness, not a word;
all we could see was the autumn moon white in the heart of the river.

沉吟放拨插弦中，整顿衣裳起敛客。
Lost in thought, she put down the plectrum, tucked it among the strings,
straightened her robes, rose, put on a grave expression,
自言本是京城女，家在虾蟆陵下住。
told us she had once been a daughter of the capital,
living in a house at the foot of Toad Barrow.
十三学得琵琶成，名属教坊第一部。
By the age of thirteen she had mastered the lute,
was famed as a member of the finest troupe of players.
曲罢常教善才服，妆成每被秋娘妒。
Whenever a piece was over, her teachers were enthralled;
each time she donned full makeup, the other girls were filled with envy.
五陵年少争缠头，一曲红绡不知数。
Young men from the five tomb towns vied to give her presents;
one selection wone her she knew not how many red silks.
钿头云篦击节碎，血色罗裙翻酒污。
Silver hairpins set with inlay — she beat time with them till they broke;
blood-colored gauze skirts — she stained them with overturned wine.
今年欢笑复明年，秋月春风等闲度。
This year brought joy and laughter, next year would be the same;
autumn moons, spring breezes — how casually she let them pass!
弟弟从军阿姨死，暮去朝来颜色故。
"Then my younger brother ran off to the army, the woman I called 'mother' died;
and as evenings went and mornings came, my looks began to fade.
门前冷落车马稀，老大嫁作商人妇。
My gate became still and lonely, few horses or riders there;
getting on in years, I gave myself as wife to a traveling merchant.
商人重利轻别离，前月浮梁买茶去。
But merchants think much of profit and little of separation;
last month he went off to Fouliang to buy tea.
去来江口空守船，绕船明月江水寒。
Since coming here to the river mouth, I've guarded my boat alone;
in the bright moonlight that encircles the boat, the river waters are cold.
夜深忽梦少年事，梦啼妆泪红阑干。
And when night deepens, suddenly I dream of those days of youth,
and my dream-wept tears, mixed with rouge, come down in streams of crimson."

我闻琵琶已叹息，又闻此语重唧唧。
Earlier, when I heard her lute, already I felt sad;
listening to her story, I doubled my sighs of pity.
同是天涯沦落人，相逢何必曾相识。
Both of us hapless outcasts at the farther end of the sky;
meeting like this, why must we be old friends to understand one another?
我从去年辞帝京，谪居卧病浔阳城。
Since last year when I left the capital,
I've lived in exile, sick in bed, in Xunyang town.
浔阳地僻无音乐，终岁不闻丝竹声。
Xunyang is a far-off region — there's no music here;
all year long I never hear the sound of strings or woodwinds.
住近湓江地低湿，黄庐苦竹绕宅生。
I live near the Pen River, an area low and damp,
with yellow reeds and bitter bamboo growing all around my house.
其间旦暮闻何物，杜鹃啼血猿哀鸣。
And there, morning and evening, what do I hear?
The cuckoo singing his heart out, the mournful cry of monkeys.
春江花朝秋月夜，往往取酒还独倾。
Blossom-filled mornings by the spring river, nights with an autumn moon,
sometimes I fetch wine and tip the cup alone.
岂无山歌与村笛？呕哑嘲哳难为听。
To be sure, there's no lack of mountain songs and village pipes,
but their wails and bawls, squeaks and squawks are a trial to listen to.
今夜闻君琵琶语，如听仙乐耳暂明。
Tonight, though, I've heard the words of your lute,
like hearing immortal music — for a moment my ears are clear.
莫辞更坐弹一曲，为君翻作琵琶行。
Do not refuse me, sit and play one more piece,
and I'll fashion these things into a lute song for you.

感我此言良久立，却坐促弦弦转急。
Moved by these words of mine, she stood a long while,
then returned to her seat, tightened the strings, strings sounding swifter than ever,
凄凄不似向前声，满座重闻皆掩泣。
crying, crying in pain, not like the earlier sound;
the whole company, listening again, forced back their tears.
座中泣下谁最多，江州司马青衫湿。
And who among the company cried the most?
This marshal of Jiujiang, wetting his blue coat.

Notes:

This poem was written in the year 816.

The tomb towns, sites of imperial graves, were suburbs of the capital where wealthy families lived.

More information:
https://jeffinous.blogspot.com/2020/12/ballad-of-wandering-lute.html

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《秦中吟十首 其八 五弦（一作五弦琴）》
The Harper of Chao
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)
translated by Arthur Waley

清歌且罢（一作停）唱，红袂亦停舞。
The singers have hushed their notes of clear song:
The red sleeves of the dancers are motionless.
赵叟抱五弦，宛转当胸（一作胸前）抚。
Hugging his lute, the old harper of Chao
Rocks and sways as he touches the five chords.
大声粗（一作徂）若散，飒飒风和雨。
The loud notes swell and scatter abroad:
"Sa, sa," like wind blowing the rain.
小声细欲绝，切切鬼神语。
The soft notes dying almost to nothing:
"Ch'ieh, ch'ieh," like the voice of ghosts talking.
又如鹊报喜，转作猿啼苦。
Now as glad as the magpie's lucky song:
Again bitter as the gibbon's ominous cry.
十指无定音，颠倒宫徵（一作商）羽。
His ten fingers have no fixed note:
Up and down — kung, chih, and yü.
坐客闻此声，形神若无主。
And those who sit and listen to the tune he plays
Of soul and body lose the mastery.
行客闻此声，驻足不能举。
And those who pass that way as he plays the tune,
Suddenly stop and cannot raise their feet.
嗟嗟俗人耳，好今不好古。
Alas, alas that the ears of common men
Should love the modern and not love the old.
所以绿（一作北）窗琴，日日生尘土。
Thus it is that the harp in the green window
Day by day is covered deeper with dust.

More information:

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《宿杜曲花下》
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

觅得花千树，携来酒一壶。
懒归兼拟宿，未醉岂劳扶。
但惜春将晚，宁愁日渐晡。
篮舆为卧舍，漆盝是行厨。
斑竹盛茶匮，红泥罨饭炉。
眼前无所阙，身外更何须。
小面琵琶婢，苍头觱篥奴。
从君饱富贵，曾作此游无。

Notes:

This poem was written in the year 829.

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《弹秋思》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

信意闲弹秋思时，调清声直韵疏迟。
When on a whim I relax and play "Autumn Thoughts,"
The tune is clear, the sound direct, the tones subtle and unhurried.
近来渐喜无人听，琴格高低心自知。
Now I am increasingly happy when no one is listening.
Whether my qin style is refined or coarse only my heart knows.

Notes:

This poem was written in the year 832.

More information:

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《滩声》
The Sound of the Streambed (Tan Sheng)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

碧玉班班沙历历，清流决决响泠泠。
Jasper speckles [the streambed], its pebbles vivid and distinct;
And [over them] clear waters flow unimpeded, ringing out crisply and melodiously.
自从造得滩声后，玉管朱弦可要听。
Ever since this sound of the streambed was created,
Why would anyone care to listen to jade pipes and vermilion strings?

Notes:

1. This poem was written in the year 842.
2. The first two lines of this poem are strongly alliterative, and would have been pronounced in Middle Chinese as "Pwiek ngiok pan-pan sha lek-lek" and "Tshieng liu kwet-kwet khiang leng-leng."
3. Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.  "Jade pipes and vermilion strings" is a reference to the wind and string instruments used to perform Tang entertainment music.

More information:

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 《听曹刚琵琶兼示重莲》
Listening to Cao Gang's Pipa Along With Chong Lian (Ting Cao Gang Pipa Jian Shi Chonglian)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

 拨拨弦弦意不同，胡啼番语两玲珑。
[He] plucks and plucks, string after string, but the meaning's not the same [as when Chong Lian plays];
The Western wail and foreign speech both come through crisp and clear.
谁能截得曹刚手，插向重莲衣袖中？
Who could intercept Cao Gang's hands,
And insert them into Chong Lian's [red] cloth sleeves?

Notes:

The pipa player Cao Gang (曹刚) was a prominent scion of a Chinese musical dynasty of Sogdian origin, whose ancestor, Cao Poluomen (曹婆罗门, literally "Brahman Cao"), had immigrated from Kabudhan (Kapūtānā, called Caoguo 曹国 in Chinese), northeast of Samarkand, serving as a court musician in Luoyang during the Northern Wei Dynasty (386-534); many of his descendants went on to become prominent court musicians in the subsequent Sui and Tang periods.  Interestingly, the Chinese pipa master Lian Chengwu (廉承武), with whom the Japanese diplomat and musician Fujiwara no Sadatoshi (藤原貞敏, 807-867) studied while visiting Yangzhou in the year 838 (at which time Lian was 85 years of age), is believed to have been a pupil of Cao Gang.

Chong Lian (重莲, literally "Layered Lotus [Flowers]") was apparently the name of one of Bai Juyi's eight musician-courtesans, and the poem seems to express a wish that Cao Gang's special skill and musical style (inherited from his Central Asian ancestors) could somehow be transferred to Bai's musician.

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Detail from anonymous painting of a gathering of ladies of the inner court, featuring tea and music.
Hanging scroll, ink and colors on silk.  Probably from the Tang Dynasty.
Collection of the National Palace Museum (國立故宮博物院), Taipei, Taiwan.

《听崔七妓人筝》
Listening to the Female Performer/Courtesan Cui Qi [Play] the Zheng (Ting Cui Qi Jiren Zheng)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

花脸云鬟坐玉楼，十三弦里一时愁。
Face like a flower, hairdo like a cloud, [she] sits in the beautiful hall;
From amidst [her] 13 strings [is conjured] a moment of [unmitigated] sorrow.
凭君向道休弹去，白尽江州司马头。
I beg of you to ask [her] to stop playing at once,
[Before] the hair of the Deputy Chief of Jiangzhou [turns] completely white.

Notes:

In Chinese culture, it is customary to use numbers to denote one's position in a family with many siblings, and thus Cui Qi (崔七, [surname] Cui the seventh) most likely indicates that she was the seventh sibling in a large family, explaining why she ended up as a courtesan rather than being married off--and also why she is so despondent.  The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  Hualian (花脸, literally "flowery face" or "decorated face") probably refers here to a face that has been heavily painted (often in white with pink accents for ladies), as in Chinese opera.  Yun huan (云鬟), literally "hair curled/coiled like a cloud," was the name for a towering ring-shaped bun worn by ladies of the Tang court, also serving as a metonym for young and beautiful women.  Yu lou (玉楼, literally "beautiful building" or "bejeweled tower") is a euphemism for a brothel or pleasure quarters, a type of establishment that was frequented by men of means during the Tang and Song dynasties, and which typically featured courtesan-musicians who were able to provide entertainment by singing and playing instruments.  "Deputy Chief of Jiujiang" is Bai Juyi's way of referring to himself; originally resident in the Tang capital of Chang'an since around 801, in 814, at the age of 42, he was banished to Jiujiang (九江), also known as Jiangzhou (江州), in northwestern Jiangxi province and given a minor bureaucratic post.

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《听歌六绝句·何满子》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

世传满子是人名，临就刑时曲始成。
一曲四词歌八叠，从头便是断肠声。

Notes:

开元中，沧洲有歌者何满子，临刑，进此曲以赎死，上竟不免。

In some editions "调" replaces "词."


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《听歌六绝句·乐世》
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

管急弦繁拍渐稠，绿腰宛转曲终头。 
诚知乐世声声乐，老病人听未免愁。

Notes:

In some editions, "丝" is replaced by "弦."


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《听歌六绝句·想夫怜》
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

玉管朱弦莫急催，容听歌送十分杯。
长爱夫怜第二句，请君重唱夕阳开。

More information:

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《听芦管》
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

幽咽新芦管，凄凉古竹枝。
似临猿峡唱，疑在雁门吹。
调为高多切，声缘小乍迟。
粗豪嫌觱篥，细妙胜参差。
云水巴南客，风沙陇上儿。
屈原收泪夜，苏武断肠时。
仰秣胡驹听，惊栖越鸟知。
何言胡越异，闻此一同悲。

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《听琵琶妓弹略略》
Listening Briefly to a Courtesan Playing the Pipa (Ting Pipa Ji Tan Lüelüe)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

腕软拨头轻，新教略略成。
四弦千遍语，一曲万重情。
法向师边得，能从意上生。
莫欺江外手，别是一家声。

Notes:

This poem was written in Suzhou in the year 826.

More information:

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《听弹湘妃怨》
Listening to the Playing of "Lament of the Xiang River Concubines" (Ting Tan "Xiang Fei Yuan")
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

玉轸朱弦瑟瑟徽，吴娃徵调奏湘妃。
分明曲里愁云雨，似道萧萧郎不归。

More information:

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《听幽兰》
Listening to "Secluded Orchid" (Ting "You Lan")
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

琴中古曲是幽兰，为我殷勤更弄看。
Among the qin's ancient pieces is "Secluded Orchid";
For my part, I [remain] sincerely attentive the more times I watch it [being played].
欲得身心俱静好，自弹不及听人弹。
I desire my body and mind to be quiet and well balanced,
[But] playing it myself isn't as good as listening to someone [else] play it.

More information:

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《小童薛阳陶吹觱篥歌 和浙西李大》
or《小童薛阳陶吹觱篥歌 和浙西李大夫作》
Song:  The Servant Boy Xue Yangtao Plays the Bili, harmonizing with [the poem] written by Senior Official Li of Zhexi (Xiaotong Xue Yangtao Chui Bili Ge, He Zhexi Li Dafu)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

剪削干芦插寒竹，九孔漏声五音足。
One cuts and scrapes a dried reed and inserts it into [a tube of] winter bamboo;
Its nine holes emit sound, allowing the Five Tones to be fully expressed.
近来吹者谁得名？关璀老死李衮生。
Of late, who among those who blow it has made a name for himself?
Guan Cui died of old age and Li Gun was his disciple.
衮今又老谁其嗣？薛氏乐童年十二。
Now Gun has also become old, and who is his heir?
The Xue family's servant-musician is only in his twelfth year.
指点之下师授声，含嚼之间天与气。
Under his teacher's guidance, he's being instructed how to produce the [correct] sound,
And when he presses [the reed] between his lips, [it's clear that] his gift is God-given.
润州城高霜月明，吟霜思月欲发声。
High above Runzhou's city walls, a frosty moon shines;
The sighing frost and melancholy moon yearn for this sound to be issued.
山头江底何悄悄，猿鸟不喘鱼龙听。
The mountaintops and river bottoms are so somber and quiet
[That even] gibbons and birds hold their breath and fish and dragons [pause to] listen.
翕然声作疑管裂，诎然声尽疑刀截。
When he plays vigorously, the sound he makes is so considerable that I fear the tube will crack,
And when he has become exhausted, the sound dies away as if it has been severed by a sword.
有时婉软无筋骨，有时顿挫生棱节。
Sometimes it's tender and soft, without muscle or bone,
And at other times there will be a transition, and harder edges will appear.
急声圆转促不断，轹轹辚辚似珠贯。
Quick notes spin in circular fashion, urgent and unceasing:
"Lik-lik-lin-lin," [as if tapping on the spokes of a carriage wheel], or like a string of pearls.
缓声展引长有条，有条直直如笔描。
An extended tone, gently sounds, stretched out like a long ribbon,
With perfect control and utterly straight, like a line traced with a brush.
下声乍坠石沉重，高声忽举云飘萧。
[When played with a] subdued tone, [it's as if] a heavy stone has abruptly dropped,
And [when played with a] forceful tone, clouds suddenly rise up, then drift drearily.
明旦公堂陈宴席，主人命乐娱宾客。
At daybreak in the hall of a nobleman, a banquet is arranged,
And the master calls for music to entertain his guests.
碎丝细竹徒纷纷，宫调一声雄出群。
Snippets of silk and slender bamboos follow one another in ragged succession,
With each note of the Gongdiao sounding powerfully and standing out from the rest.
众声覼缕不落道，有如部伍随将军。
The various sounds [of the ensemble's instruments] twisted and turned in Byzantine fashion, though with none getting off track,
As though it were an army unit following its general.
嗟尔阳陶方稚齿，下手发声已如此。
Alas, this Yangtao is only a youth, still with his milk teeth,
[But] once he begins producing sounds, [it's clear that] he's already [playing] like this.
若教头白吹不休，但恐声名压关李。
If you keep blowing without pause until your hair turns gray,
It's possible that your fame will eclipse that of Guan and Li.

Notes:

The bili (觱篥 or 筚篥) was a cylindrical-bored double-reed pipe of Central Asian origin, similar to the Armenian duduk, with a particularly soulful and melancholy sound.  The "Senior Official Li" on whose poem Bai Juyi modeled his own poem is Li Deyu (李德裕, 787-850), who was appointed governor of the Zhexi Circuit (浙西, headquartered in modern-day Zhenjiang, Jiangsu) in 823, and who eventually served as a chancellor during the reigns of the Tang emperors Wenzong, Wuzong, and (briefly) Xuanzong.  Ruzhou (润州) is an old name for Zhenjiang, Jiangsu.  "Snippets of silk and slender bamboos" is a figurative reference to the sounds produced by a "silk-and-bamboo" (Chinese:  sizhu, 丝竹) ensemble, "silk" referring to string instruments and "bamboo" referring to flutes and reed pipes.  Gongdiao (宫调) refers to the keys and modes used in Chinese music of the imperial period.


《新艳》
New and Alluring (Xin Yan)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

云环独𢮿细蜻蜓，雪手轻柔玳瑁筝。
In its cloud-ring sleeve, with a single outward pluck, slender as a dragonfly,
A snowy-white hand gently applies a tortoiseshell pick to the zheng.
飞雁一行挑玉柱，十三弦上语嘤嘤。
Supported by jade bridges, like a row of wild geese,
The thirteen strings, from above, are made to speak in murmuring tones.

Notes:

The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty).


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《新乐府 法曲－美列圣，正华声也》
New Yuefu [Poem]:  Model Music, Beautiful and Holy, a Truly Flourishing Voice (Xin Yuefu:  Fa Qu - Mei Lie Sheng, Zheng Huasheng Ye)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
translated by Jordan Alexander Gwyther

法曲法曲歌大定，积德重熙有馀庆。
Fa-qu, Fa-qu:  They sang of great peace,
Amassing virtue, heavy with prosperity, there was more than enough to celebrate.
永徽之人舞而咏，法曲法曲舞霓裳。
The people of Yonghui [650-655] danced and sang:
Fa-qu, Fa-qu, they danced the Rainbow Skirt.
政和世理音洋洋，开元之人乐且康。
Harmonious government ordered world.
The sound magnificent, the people of Kaiyuan, healthy and happy.
法曲法曲歌堂堂，堂堂之庆垂无疆。
Fa-qu, Fa-qu the song dignified,
So grand the celebration without end.
中宗肃宗复鸿业，唐祚中兴万万叶。
Emperor Zhongzong and Suzong restored the empire.
On the throne of the Tang this prosperity was to go on for thousands of years.
法曲法曲合夷歌，夷声邪乱华声和。
Fa-qu Faqu and then mixed with barbarian's songs.
Those foreign tongues disturbed our beautiful harmony.
以乱干和天宝末，明年胡尘犯宫阙。
At the end of our Heaven's Jewel reign
It was only a year later that the Imperial Palace was sullied with foreign dirt.
乃知法曲本华风，苟能审音与政通。
Thus we know Fa-qu to be a song of prosperous airs.
If you understand the music you will find its principles are the same as those for government.
一从胡曲相参错，不辨兴衰与哀乐。
But since those barbarian songs were wrongfully mixed in
No longer could we distinguish between prosperity and decline, sadness and joy.
愿求牙旷正华音，不令夷夏相交侵。
We yearn for the true and flourishing voice of Bo Ya and Shi Kuang,
Undisturbed by barbarian tongues.

Jordan Alexander Gwyther explains this poem as follows:

The second poem is "Fa qu" 法曲 and is translated as Model Music.  This poem is a description of the Tang dynasty's rise to prosperity and subsequent fall into chaos.  [ ... ]  The balance of the poem is its main point, as it maintains the seven character line from beginning to end.  Many other New Yuefu poems disregard balance in favor of making a point, but Fa qu is the exception to the rule.  This poem depicts the gradual weakening of the Tang due to outside influences.
The poem starts at the very beginning of the dynasty and progresses to the Tianbao period [742-756] which suffered through the An Lushan rebellion [755-763].  As it always is, all good things must come to an end.  It is outside influence that corrupts the pure voice of the Tang empire.  Things should have stayed the same had people had the foresight not to let in outside interference.  Now on the cusp of disaster we witness the beginning of the end of the Tang dynasty.  By the end of Emperor Xuanzong's reign [712-756], the An Lushan rebellion had already wrought chaos throughout the kingdom.
Chen Yinke explains:  "Bai put his emphasis on Xuanzong, Li Shen and Yuan Zhen should have absolutely had the same thought.  However, while Bai Juyi started his conversation at Tang Gaozu, Yuan Zhen started with the Yellow Emperor" (Liu Longkai, Chen Yinke Yuanbai shizhengshi p. 107:  Chinese original, "白诗重在玄宗，李，元之作 想必亦然。不过白氏从高祖谈起，元氏从黄帝谈起。").  All things considered, this short poem is a warning to future emperors to be very careful when falling in love with new foreign music and customs.

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《新乐府 胡旋女 戒近习也（天宝末，康居国献之。）》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

胡旋女，胡旋女，心应弦，手应鼓。
弦鼓一声双（一作两）袖举，回雪飘飖转蓬舞。
左旋右转不知疲，千匝万周无已时。
人间物类无可比，奔车轮缓旋风迟。
曲终再拜谢天子，天子为之微启齿。
胡旋女，出康居，徒劳东来万里馀。
中原自有胡旋者，斗妙争能尔不如。
天宝季年时欲变，臣妾人人学圜转。
中有太真外禄山，二人最道能胡旋。
梨花园中册作妃，金鸡障下养为儿。
禄山胡旋迷君眼，兵过黄河疑未反。
贵妃胡旋惑君心，死弃马嵬念更深。
从兹地轴天维转，五十年来制不禁。
胡旋女，莫空舞，数唱此歌悟明主。


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《新乐府 华原磬－刺乐工非其人也》
New Yuefu [Poem]:  Chime-stones from Huayuan, Ridiculing the Court Musicians Who Are Not Up To Their Jobs (Xin Yuefu:  Huayuan Qing, Ci Yuegong Fei Qi Ren Ye)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
translated by Stephen Jones, based on an original translation by Denis Twitchett (1925-2006)

华原磬，华原磬，古人不听今人听。
Chime-stones from Huayuan, chime-stones from Huayuan
Men of old didn’t listen, but men of today listen
泗滨石，泗滨石，今人不击古人击。
Sonorous stones from the banks of the Si river, sonorous stones from the banks of the Si river
Men of today don’t play them, but men of old played them
今人古人何不同？用之舍之由乐工。
How is it that men of old and men of today are so different?
Which instruments are used and which rejected depends on the musicians
乐工虽在耳如壁，不分清浊即为聋。
Although the musicians have ears like a wall, if they’re unable to distinguish Pure from Muddy sounds then they might as well be deaf!
梨园弟子调律吕，知有新声不如古。
When the pupils of the Pear Garden adjust the temperament
They only know the new sounds, they are ignorant of the old
古称浮磬出泗滨，立辨致死声感人。
Of old it was said of the fuqing chime-stones from the banks of the Si
That their sound moved the listener to thoughts of those serving and risking their lives in distant places
宫悬一听华原石，君心遂忘封疆臣。
But when once the sound of the Huayuan chime-stones had been heard at the palace
The prince’s heart straightaway forgot his subjects guarding the frontiers
果然胡寇从燕起，武臣少肯封疆死。
And sure enough, when the barbarian brigand rose up from Yan
Few of the generals were willing to die in defence of the borders
始知乐与时政通，岂听铿锵而已矣。
If once one understands how music and the state of government are intertwined
How can one simply listen to the clashing and clanging of these instruments?
磬襄入海去不归，长安市儿为乐师。
“Xiang, the player of the stone-chimes, withdrew to his island in the sea”, leaving never to return
And now kids from the Chang’an market-place have become Master Musicians!
华原磬与泗滨石，清浊两声谁得知。
Who is there to truly understand the difference between Pure and Muddy sounds
Between the chime-stones from Huayuan and the sonorous stones from the banks of the Si?

Notes:

The Pear Garden (Chinese:  Liyuan, 梨园) was an academy for court entertainment music, dance, and theater, which was established in the Tang Dynasty capital of Chang'an by Emperor Xuanzong (r. 712-756).

More information:
https://stephenjones.blog/2019/03/28/hunan-confucian-ritual/

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《新乐府 立部伎－刺雅乐之替也》
New Yuefu [Poem]:  The Standing Orchestra, Ridiculing the Decline of Imperial Court Music (Xin Yuefu:  Li Bu Ji, Ci Yayue Zhi Ti Ye)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
translated by Stephen Jones, based on an original translation by Denis Twitchett (1925-2006)

立部伎，鼓笛諠。舞双剑，跳七丸。袅巨索，掉长竿。
Drums and fifes of the Standing Orchestra blare out
Dancers perform the two-bladed sword-dance, jugglers toss the seven balls
Slender maidens walk the tightrope, quivering with long pole
太常部伎有等级，堂上者坐堂下立。
Among the orchestras of the Court of Sacrifices is a rigid hierarchy
Those in the upper hall sit, those in the lower hall stand
堂上坐部笙歌清，堂下立部鼓笛鸣。
In the upper hall the mouth-organ songs of the Seated Orchestra are pure
In the lower hall the drum and fife of the Standing Orchestra resound
笙歌一声众侧耳，鼓笛万曲无人听。
At the sound of a single note from the mouth-organ songs, everyone inclines their ears
But if drum and fife were to play ten thousand pieces, no-one would listen
立部贱，坐部贵。
The Standing Orchestra is base, the Seated Orchestra noble
坐部退为立部伎，击鼓吹笙和杂戏。
Once rejected, a member of the Seated Orchestra joins the Standing Orchestra
Playing drum and mouth-organ to accompany circus acts
立部又退何所任，始就乐悬操雅音。
But once a member of the Standing Orchestra is rejected, where can he find a job?
First he is sent to the suspended bells and chimes to play the ritual music
雅音替坏一至此，长令尔辈调宫徵。
The ritual music has fallen so far out of fashion
That incapable dolts like you are ordered to perform the gong and zhi modes
圆丘后土郊祀时，言将此乐感神祇。
When at the urban sacrifice we pray to the Earth Lord at the circular altar
The claim takes this music to move the spirits of Heaven and Earth!
欲望凤来百兽舞，何异北辕将适楚。
Hoping to make the Phoenix come and the hundred beasts dance
Is just like driving your carriage north, hoping to arrive in Chu!
工师愚贱安足云，太常三卿尔何人。
The musicians are all incompetent fools—how can I adequately describe them?
And you, the Three Ministers of the Court of Sacrifice, whatever sort of men are you?

More information:
https://stephenjones.blog/2019/03/28/hunan-confucian-ritual/

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《新乐府 骠国乐－欲王化之先迩后远也》
New Yuefu [Poem]:  The Music of Pyu, The Desire of the King's Diplomacy to be First Close and Later Distant (Xin Yuefu:  Piaoguo Yue)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)
translated by Jordan Alexander Gwyther

Preface:
贞元十七年来献之
During the seventeenth year of the Zhenyuan reign [i.e., 801-802] they came in tribute.

Poem:
骠国乐，骠国乐，出自大海西南角。
Burma, Music of Burma, they came from the Great Sea at its southwest horn.
雍羌之子舒难陀，来献南音奉正朔。
A son of the peaceful Qiang tribe, Shu Nantuo
Came offering his southern music to celebrate the New Year.
德宗立仗御紫庭，黈纩不塞为尔听。
Dezong prepared the ceremony in the royal purple garden,
Not wearing his yellow ball tassels he listened.
玉螺一吹椎髻耸，铜鼓一击文身踊。
Sounding their conch shells they wore towering chignon braids,
A thousand beats of the copper drum tattooed dancers leapt.
珠缨炫转星宿摇，花鬘斗薮龙蛇动。
Their pearl tassels dazzling, they spun and shook as constellations,
Like flowers shaking, and snakes and dragons moving.
曲终王子启圣人，臣父愿为唐外臣。
When the song ended the prince of Burma spoke to the King.
He said that his father wished to become a vassal of the Tang.
左右欢呼何翕习，至尊德广之所及。
The ministers at his left and right cheered,
All saying that this shows how far the emperor’s virtue and influence have extended.
须臾百辟诣阁门，俯伏拜表贺至尊。
In a moment all the hundred officials came to the gate of the palace,
Prostrating to the King they presented memorials congratulating the supreme monarch.
伏见骠人献新乐，请书国史传子孙。
"Having respectfully watched the musicians of Burma offering the new music,
We hereby request that the court historian record it and pass it down to sons and grandsons."
时有击壤老农父，暗测君心闲独语。
At the time there was an old farmer,
Who secretly conjectured about the King’s mind and in a leisurely manner said to himself:
闻君政化甚圣明，欲感人心致太平。
"I have heard that in state affairs you rule with august wisdom,
You wish to move people's hearts to achieve peace."
感人在近不在远，太平由实非由声。
"Moving people's hearts is achieved when they are close, not when they are far.
Peace is about results and not reputation."
观身理国国可济，君如心兮民如体。
"Observing oneself and ruling a nation is one and the same.
You are the heart of the nation and the people are the body."
体生疾苦心憯凄，民得和平君恺悌。
"When the body is sick and in pain the heart is inconsolable.
So when the people are at peace, so is our lord happy and harmonious."
贞元之民若未安，骠乐虽闻君不叹。
"If the people of Zhenyuan are not yet at peace,
Then even if listening to the music of Burma you will not enjoy."
贞元之民苟无病，骠乐不来君亦圣。
"If the people of Zhenyuan are without ailment,
Then the music of Burma would not have come and you our lord would still be considered a sage."
骠乐骠乐徒喧喧，不如闻此刍荛言。
Music of Burma oh music of Burma, such noise,
Its sound was not as good as this woodcutter's words.

Jordan Alexander Gwyther explains this poem as follows:

The nineteenth poem is "Piao guo yue" 骠国乐 and is translated as The Musicians of Burma.  The poem is about the emperor enraptured while watching the Burmese musicians perform for his court. [ ... ] The nineteenth poem is The Musicians of Burma.  This poem speaks of visitors from abroad coming in tribute, offering their music to Emperor Dezong of Tang.  As we shall soon learn this music is offered as a celebration of the New Year.  This piece is truly a beautiful scene. Bai Juyi's description is so complete that the entire scene comes alive in our imaginations. Even godly dragons come alive alongside the music, swaying about amongst pearl tassels.
Placating Emperor Dezong, the Musicians of Burma have made a successful trip to visit the kingdom of the Tang.  Not only have they impressed the Emperor himself, the ministers too are enraptured by this beautiful foreign music.  Later in the poem Bai Juyi introduces another character to offer a different opinion.  This proverbial farmer is nameless, but only because he represents the voice of Bai Juyi within the poem itself.  For the remainder of the poem our "farmer" explains how diplomacy should work to the Emperor himself.
As the old farmer explains the Emperor is the heart of the nation.  When his ideas are sickened, so too does the "body" suffer.  The happiness of the Emperor is dependent on the health of the people of the kingdom.  If the people are with ailment there is no way for the Emperor to enjoy the fruits of diplomacy.

Additional notes:

During the Tang Dynasty, the Pyu states of Upper Burma had trade and diplomatic relations with China.  In 800 and 801-802, the Pyu kingdom of Sri Ksetra (in Pyay, Bago Region, south-central Burma) sent a formal embassy, along with a group of 35 musicians, to the Tang court.  The poets Bai Juyi and Yuan Zhen attended the second of these performances, and both wrote poems detailing their experience.

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 《新乐府 五弦弹－恶郑之夺雅也》
New Yuefu [Poem]:  Five Strings Plucked:  Truly Disgusted by Zheng's Usurpation of the Elegant and Refined
(Xin Yuefu:  Wu Xian Tan, Wu Zheng Zhi Duo Ya Ye)
作者：白居易（唐） 
by Bai Juyi (Tang Dynasty, 772-846)

 五弦弹，五弦弹，听者倾耳心寥寥。
Five strings plucked, five strings plucked,
As the listeners tilt their ears, hearts filled with loneliness.
赵璧知君入骨爱，五弦一一为君调。
Zhao Bi knew his gentle listeners loved [this music] in their bones,
So he tuned his five strings for them, one by one.
第一第二弦索索，秋风拂松疏韵落。
The first and second strings whispered,
As an autumn breeze whisks the pines, creating a quietly graceful effect.
第三第四弦泠泠，夜鹤忆子笼中鸣。
The third and fourth strings were crisp and clear,
Like a nocturnal crane pining for her son, now singing in a cage.
第五弦声最掩抑，陇水冻咽流不得。
The fifth string's sound was the most covered of all,
Like the Long River with its frozen throat, which allows no flow.
五弦并奏君试听，凄凄切切复铮铮。
When all five strings were played together, we gave a careful listen,
Hearing chill misery intercut with pressing urgency and reverberant clangor.
铁击珊瑚一两曲，冰泻玉盘千万声。
For the first piece or two, it sounded like iron striking coral,
Then ice gushing onto a jade plate, making ten million sounds.
铁声杀，冰声寒。
The iron sounded deadly, and the ice sounded cold.
杀声入耳肤血憯，寒气中人肌骨酸。
As these slaughterous sounds entered my ears, my skin and blood were pierced with sorrow;
A chill enveloped my person, and my muscles and bones were permeated by sourness.
曲终声尽欲半日，四坐相对愁无言。
As the melody ended and the sound died away, a time that seemed like it might last for half a day,
Those seated throughout the space faced one another, filled with sadness and without a word.
座中有一远方士，唧唧咨咨声不已。
In one seat there was a gentleman from a faraway place,
Uttering praise in an incessant stream.
自叹今朝初得闻，始知孤负平生耳。
He sighed to himself:  "Today is the first time I have had the opportunity to listen [to this music],
And only now am I aware of the fact that my ears have been waiting in vain for it for my whole life."
唯忧赵璧白发生，老死人间无此声。
"I only worry that Zhao Bi will grow white hair;
Once he grows old and dies people will no longer be able to hear these sounds."
远方士，尔听五弦信为美，吾闻正始之音不如是。
Gentleman from afar, you have listened to the five strings and believed them to be beautiful, but I have heard that the Correct Beginning Music was not like this.
正始之音其若何，朱弦疏越清庙歌。
So what was the Correct Beginning Music like?
Vermilion strings produced a depth and transcendence like the purest temple song.
一弹一唱再三叹，曲澹节稀声不多。
A single pluck or sung note could call forth three sighs of praise;
Its melodies were tranquil, its rhythms sparse, and its sounds few.
融融曳曳召元气，听之不觉心平和。
Happy and harmonious, gently floating and fluttering, it induced vigor and vitality,
And listening to it, one couldn't help but feel their heart at peace.
人情重今多贱古，古琴有弦人不抚。
But human sentiments are much cheaper today than they were in the past,
And if presented with an ancient qin (even one properly strung), people wouldn't touch it.
更从赵璧艺成来，二十五弦不如五。
After having experienced Zhao Bi's artistic achievements,
It's clear that 25 strings can't compare to five.

More information:

● Zheng (卫) and Wei (郑) were states during the Spring and Autumn and Warring States periods, whose music was disparaged by some conservative Confucians as immoderate or lascivious; "the music of Zheng and Wei" subsequently became an idiom referring to vulgar "popular" music used for superficial entertainment or sensual pleasure rather than moral cultivation.
● The line "凄凄切切复铮铮" would have been pronounced in Middle Chinese as "Tshei-tshei tshet-tshet piuk tsheng-tsheng," with its conspicuous use of alliteration probably intended by the poet as having an onomatopoeic quality; there is also visually provocative quality to the choice of characters, which contain radicals for "ice," "knife," and "metal."
● Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.
● It is unclear whether Zhao Bi was male or female.

 Notes:

 More information:

《雪后早过天津桥偶呈诸客》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 官桥晴雪晓峨峨，老尹行吟独一过。
紫绶相辉应不恶，白须同色复如何。
悠扬短景凋年急，牢落衰情感事多。
犹赖洛中饶醉客，时时䛏我唤笙歌。

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《杨柳枝二十韵》
(Yangliu Zhi, Ershi Yun)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

Preface (xu, 序):
杨柳枝，洛下新声也。洛之小妓有善歌之者，词章音韵，听可动人，故赋之：

Poem:
小妓携桃叶，新声蹋柳枝。
妆成剪烛后，醉起拂衫时。
绣履娇行缓，花筵笑上迟。
身轻委回雪，罗薄透凝脂。
笙引簧频暖，筝催柱数移。
乐童翻怨调，才子与妍词。
便想人如树，先将发比丝。
风条摇两带，烟叶贴双眉。
口动樱桃破，鬟低翡翠垂。
枝柔腰袅娜，荑嫩手葳蕤。
唳鹤晴呼侣，哀猿夜叫儿。
玉敲音历历，珠贯字累累。
袖为收声点，钗因赴节遗。
重重遍头别，一一拍心知。
塞北愁攀折，江南苦别离。
黄遮金谷岸，绿映杏园池。
春惜芳华好，秋怜颜色衰。
取来歌里唱，胜向笛中吹。
曲罢那能别，情多不自持。
缠头无别物，一首断肠诗。


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《夜琴》
Nocturnal Qin (Ye Qin)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

蜀桐木性实，楚丝音韵清。
Paulownia from Shu has a natural solidity,
And silk from Chu has a resonance that is clear.
调慢弹且缓，夜深十数声。
I tune [my qin] slowly but also play it unhurriedly,
In the night's depths [producing] sounds numbering in the dozens.
入耳澹无味，惬心潜有情。
Entering one's ears, [the qin's sound may seem] insipid and without flavor,
Yet it comforts the heart, being imbued with latent emotion.
自弄还自罢，亦不要人听。
I play for myself and finish for myself,
And don't want anyone else to listen.

Notes:

Paulownia, called tong (桐) in Chinese, is a deciduous hardwood tree whose wood has been used for the soundboards of most Chinese string instruments since ancient times.  Shu (蜀) is the ancient name for Sichuan in southwest China, and Chu (楚) was an ancient state of central China, whose silk was prized for its high quality.

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《夜宴惜别》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

笙歌旖旎曲终头，转作离声满坐愁。
筝怨朱弦从此断，烛啼红泪为谁流。
夜长似岁欢宜尽，醉未如泥饮莫休。
何况鸡鸣即须别，门前风雨冷脩脩。

Notes:

This poem was written in the year 830.

More information:

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《夜筝》
Night Zheng (Ye Zheng)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

紫袖红弦明月中，自弹自感闇低容。
Purple sleeves, red strings, full moon's light.
[She] plays alone and lonely in the dark.
弦凝指咽声停处，别有深情一万重。
Strings freeze, fingers choke, voice stops, too.
My deepest feelings overwhelm them all.

Notes:

This poem was written in the first year of the Changqing era (821), when Bai was in Chang'an.  "Purple sleeves" (zi xiu, 紫袖) is a metonym referring to a beautiful and splendidly attired lady of the court, so the player is identified as a woman.  Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.

More information:

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 《伊州》
Yizhou
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

老去将何散老愁，新教小玉唱伊州。
亦应不得多年听，未教成时已白头。

Notes:

Yizhou (伊州) is the name by which Hami (in eastern Xinjiang) was known in Tang times.

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《云和》
Yunhe
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 非琴非瑟亦非筝，拨柱推弦调未成。
It's not a qin, it's not a se; it's also not a zheng;
[She] arranges [its] bridges and presses [its] strings, a melody not yet formed.
欲散白头千万恨，只消红袖两三声。
In order to express the ten million regrets of old age [literally "white hair"],
One only needs red sleeves and two or three notes.

 Notes:

 The instrument Bai describes in this poem is a now-obsolete bridge zither of Central Asian origin called Yunhe pipa (云和琵琶).  Hong xiu (红袖, literally "red sleeves") is a metonym referring to a beautiful and splendidly attired lady of the court.  According to musicologist Lin Chiang-san, the subject of this poem is most likely a former imperial concubine who, in her later years, had taken up residence in the Weiyang Palace (未央宮), also called the Western Palace (西宫), a secondary palace located to the southwest of Chang'an.  Unlike the pipa player in Bai's more famous poem Pipa Xing, the lady in this poem was probably not a professionally trained musician of the Jiaofang (教坊); as was typical for such older court ladies of that period, her playing of a musical instrument was simply a way to pass the time and take her mind off her condition of despondency and loneliness.

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 《杂曲歌辞 其一 小曲新词》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

 霁色鲜宫殿，秋声脆管弦。
圣明千岁乐，岁岁似今年。

 Notes:

 题注：小曲及闺怨，并元和中奉敕撰。

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《筝》
The Zheng (Zheng)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

云髻飘萧绿，花颜旖旎红。
Her cloudlike sidelocks are charmingly dark;
Her flower-like face is tenderly flushed.
双眸剪秋水，十指剥春葱。
Her two pupils are as if cut from autumn water;
Her ten fingers look like peeled spring scallions.
楚艳为门阀，秦声是女工。
甲明银玓瓅，柱触玉玲珑。
猿苦啼嫌月，莺娇语䛏风。
移愁来手底，送恨入弦中。
赵瑟清相似，胡琴闹不同。
慢弹回断雁，急奏转飞蓬。
霜佩锵还委，冰泉咽复通。
珠联千拍碎，刀截一声终。
倚丽精神定，矜能意态融。
歇时情不断，休去思无穷。
灯下青春夜，尊前白首翁。
且听应得在，老耳未多聋。

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《范真传侍御累有寄，因奉酬十首》
作者：鲍溶（唐末）
by Bao Rong (late Tang Dynasty, fl. c. 820)

 昨日新花红满眼，今朝美酒绿留人。
更宜明月含芳露，凭杖萧郎夜赏春。
白雪翦花朱蜡蒂，折花传笑惜春人。
请君白日留明日，一醉春光莫厌频。

 云髻凤文细，对君歌少年。
万金酬一顾，可惜十千钱。
玉管倾杯乐，春园斗草情。
野花无限意，处处逐人行。
闻道中山酒，一杯千日醒。
黄莺似传语，劝酒太叮咛。
红袂歌声起，因君始得闻。
黄昏小垂手，与我驻浮云。
相劝醉年华，莫醒春日斜。
春风宛陵道，万里晋阳花。
碧绿草萦堤，红蓝花满溪。
愿君常践蹋，莫使暗萋萋。
萋萋巫峡云，楚客莫留恩。
岁久晋阳道，谁能向太原。
岁酒劝屠苏，楚声山鹧鸪。
春风入君意，千日不须臾。

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《风筝》
（Feng Zheng)
作者：鲍溶（唐末）
by Bao Rong (late Tang Dynasty, fl. c. 820)

何响与天通，瑶筝挂望中。
彩弦非触指，锦瑟忽闻风。
雁柱虚连势，鸾歌且坠空。
夜和霜击磬，晴引凤归桐。
幽咽谁生怨，清泠自匪躬。
秦姬收宝匣，搔首不成功。

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《暮春戏赠樊宗宪》
作者：鲍溶（唐末）
by Bao Rong (late Tang Dynasty, fl. c. 820)

 羌笛胡琴春调长，美人何处乐年芳。
野船弄酒鸳鸯醉，官路攀花騕褭狂。
应和朝云垂手语，肯嫌夜色断刀光。

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《小游仙诗九十八首 其五十七》
作者：曹唐（唐）
by Cao Tang (Tang Dynasty, c. 797-c. 866)

万岁蛾眉不解愁，旋弹清瑟旋闲游。
忽闻下界笙箫曲，斜倚红鸾笑不休。

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《小游仙诗九十八首 其六十九》
作者：曹唐（唐）
by Cao Tang (Tang Dynasty, c. 797-c. 866)

笑擎云液紫瑶觥，共请云和碧玉笙。
花下偶然吹一曲，人间因识董双成。

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 《白雪歌送武判官归京》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

 北风卷地白草折，胡天八月即飞雪。
忽如一夜春风来，千树万树梨花开。
散入珠帘湿罗幕，狐裘不暖锦衾薄。
将军角弓不得控，都护铁衣冷难着。
瀚海阑干百丈冰，愁云惨淡万里凝。
中军置酒饮归客，胡琴琵琶与羌笛。
纷纷暮雪下辕门，风掣红旗冻不翻。
轮台东门送君去，去时雪满天山路。
山回路转不见君，雪上空留马行处。

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《酒泉太守席上醉后作》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

琵琶长笛曲相和，羌儿胡雏齐唱歌。
浑炙犁牛烹野驼，交河美酒归叵罗。
三更醉后军中寝，无奈秦山归梦何。

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《冀州客舍酒酣贻王绮寄题南楼》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

 夫子傲常调，诏书下徵求。
知君欲谒帝，秣马趋西周。
逸足何骎骎，美声实风流。
学富赡清词，下笔不能休。
君家一何盛，赫奕难为俦。
伯父四五人，同时为诸侯。
忆昨始相值，值君客贝丘。
相看复乘兴，携手到冀州。
前日在南县，与君上北楼。
野旷不见山，白日落草头。
客舍梨花繁，深花隐鸣鸠。
南邻新酒熟，有女弹箜篌。
醉后或狂歌，酒醒满离忧。
主人不相识，此地难淹留。
吾庐终南下，堪与王孙游。
何当肯相寻，澧上一孤舟。

Notes:

题注：时王子欲应制举西上
引用典故：下笔不休　

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《裴将军宅芦管歌》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

辽东九月芦叶断，辽东小儿采芦管。
可怜新管清且悲，一曲风飘海头满。
海树萧索天雨霜，管声寥亮月苍苍。
白狼河北堪愁恨，玄兔城南皆断肠。
辽东将军长安宅，美人芦管会佳客。
弄调啾飕胜洞箫，发声窈窕欺横笛。
夜半高堂客未回，祗将芦管送君杯。
巧能陌上惊杨柳，复向园中误落梅。
诸客爱之听未足，高捲珠帘列红烛。
将军醉舞不肯休，更使美人吹一曲。

Notes:

This poem was written in Chang'an in the year 765.

More information:

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《田使君美人舞如莲花北鋋歌（此曲本出北同城）》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

美人舞如莲花旋，世人有眼应未见。
高堂满地红氍毹，试舞一曲天下无。
此曲胡人传入汉，诸客见之惊且叹。
慢脸娇娥纤复秾，轻罗金缕花葱茏。
回裾转袖若飞雪，左鋋右鋋生旋风。
琵琶横笛和未匝，花门山头黄云合。
忽作出塞入塞声，白草胡沙寒飒飒。
翻身入破如有神，前见后见回回新。
始知诸曲不可比，采莲落梅徒聒耳。
世人学舞祗是舞，恣（一作姿）态岂能得如此。

Notes:

This poem was written in Zhangye, Gansu in 751.


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《秦筝歌，送外甥萧正归京》
作者：岑参（中唐）
by Cen Shen (mid-Tang Dynasty, 715-770)

汝不闻秦筝声最苦，五色缠弦十三柱。
怨调慢声如欲语，一曲未终日移午。
红亭水木不知暑，忽弹黄钟和白纻。
清风飒来云不去，闻之酒醒泪如雨。
汝归秦兮弹秦声，秦声悲兮聊送汝。

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

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《高楼夜弹筝》
Playing a Zheng High in a Tower at Night (Gao Lou Ye Tan Zheng)
作者：常建（中唐）
by Chang Jian (mid-Tang Dynasty, early 8th century)

高楼百馀尺，直上江水平。
A tower more than a hundred feet tall
Stands directly above the river, whose waters are calm and still.
明月照人苦，开帘弹玉筝。
The bright moon illuminating [her] sorrows,
A curtain is drawn, [revealing a lady] playing an exquisite zheng.
山高猿狖急，天静鸿雁鸣。
High in the mountains, gibbons scramble,
While in the quiet sky wild geese cry.
曲度犹未终，东峰霞半生。
The melody not yet having come to an end,
Over the eastern peak, daybreak [seems to last for] half a lifetime.

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《听邻人琵琶 》
作者：陈叔达（隋末唐初）
by Chen Shuda (late Sui Dynasty/early Tang Dynasty, c. 572 or 573-635)

本是龙门桐，因妍入汉宫。
香缘罗袖里，声逐朱弦中。
虽有相思韵，翻将入塞同。
关山临却月，花蕊散回风。
为将金谷引，添令曲未终。


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《西川座上听金五云唱歌》
作者：陈陶（唐末）
by Chen Tao (late Tang Dynasty, 9th century)

蜀王殿上华筵开，五云歌从天上来。
满堂罗绮悄无语，喉音止驻云裴回。
管弦金石还依转，不随歌出灵和殿。
白云飘飖席上闻，贯珠历历声中见。
旧样钗篦浅澹衣，元和梳洗青黛眉。
低丛小鬓腻䰀鬌，碧牙镂掌山参差。
曲终暂起更衣过，还向南行座头坐。
低眉欲语谢贵侯，檀脸双双泪穿破。
自言本是宫中嫔，武皇改号承恩新。
中丞御史不足比，水殿一声愁杀人。
武皇铸鼎登真箓，嫔御蒙恩免幽辱。
茂陵弓剑不得亲，嫁与卑官到西蜀。
卑官到官年未周，堂衡禄罢东西游。
蜀江水急驻不得，复此萍蓬二十秋。
今朝得侍王侯宴，不觉途中妾身贱。
愿持卮酒更唱歌，歌是伊州第三遍。
唱著右丞征戍词，更闻闺月添相思。
如今声韵尚如在，何况宫中年少时。
五云处处可怜许，明朝道向褒中去。
须臾宴罢各东西，雨散云飞莫知处。

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《咏浑家乐 其一》
作者：陈裕（唐末至五代初）
by Chen Yu (late Tang Dynasty/early Five Dynasties)

晨起梳头午不休，一窠精魅闹啾啾。
阿家解舞《清平乐》，新妇能抛白木球。
著绿桃牌吹觱篥，赐绯盟器和《梁州》。
天明任你浑家乐，雨下还须满舍愁。

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 《与释惠江互谑》
作者：程紫霄（唐末五代十国初）
by Cheng Zixiao (late Tang Dynasty/early Five Dynasties and Ten Kingdoms)

 僧录琵琶腿， --程紫霄
先生觱栗头。 --释惠江

Notes:  

题注：左街僧录惠江，威仪程紫霄，俱辨捷，每相嘲诮。

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《白苎词》
作者：戴叔伦（唐）
by Dai Shulun (Tang Dynasty, 732-789)

馆娃宫中露华冷，月落啼鸦散金井。
吴王扶头酒初醒，秉烛张筵乐清景。
美人不眠怜夜永，起舞亭亭乱花影。
新裁白苎胜红绡，玉佩珠缨金步摇。
回鸾转凤意自娇，银筝锦瑟声相调。
君恩如水流不断，但愿年年此同宵。
东风吹花落庭树，春色催人等闲去。
大家为欢莫延伫，顷刻铜龙报天曙。

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《留守府酬皇甫曙侍御弹琴之什》
作者：窦庠（中唐）
by Dou Xiang (mid-Tang Dynasty, c. 766-c. 828)

青琐昼无尘，碧梧阴似水。
高张朱弦琴，静举白玉指。
洞箫又奏繁，寒磬一声起。
鹤警风露中，泉飞雪云里。
泠泠分雅郑，析析谐宫徵。
座客无俗心，巢禽亦倾耳。
卫国知有人，齐竽偶相齿。
有时趋绛纱，尽日随朱履。
那令杂繁手，出假求焦尾。
几载遗正音，今朝自君始。

Notes:

引用典故：焦尾　齐竽

More information:

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《四皓驿听琴送王师简归湖南使幕》
作者：窦庠（中唐）
by Dou Xiang (mid-Tang Dynasty, c. 766-c. 828)

朱弦韵正调，清夜似闻韶。
山馆月犹在，松枝雪未消。
城笳三奏晓，别鹤一声遥。
明日思君处，春泉翻寂寥。


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《夜闻觱篥》
Hearing a Bili at Night (Ye Wen Bili)
作者：杜甫（唐）
by Du Fu (Tang Dynasty, 712-770)

夜闻觱篥沧江上，衰年侧耳情所向。
At night, hearing a bili while on the gray river,
I, in my waning years, tilted my ears, my emotions drawn toward it.
邻舟一听多感伤，塞曲三更歘悲壮。
Upon first listen [to this music from] a neighboring boat, I was deeply moved and filled with melancholy,
And the tune from the distant frontier, [played] at the Third Watch, was suddenly sorrowful and stirring.
积雪飞霜此夜寒，孤灯急管复风湍。
With piled-up snow and flying frost, this night was cold,
And, [by the light of a] solitary lamp, the pipe [played] urgently amid a billowing surge.
君知天地干戈满，不见江湖行路难。
You know that the whole world is filled with the weapons of war;
Have you not seen that traversing the country's rivers and lakes can be a hard road to travel?

Notes:

● The life of the poet Du Fu, like the whole country, was devastated by the An Lushan Rebellion of 755, and his last 15 years were a time of almost constant unrest.  This poem was written in the year 768, when Du Fu was about 56 years of age, at which time he had settled in Hunan province; he would die in Tanzhou (now Changsha), through which the Xiang River flows, in November or December 770, in his 58th year.
● The bili (觱篥 or 筚篥) was a cylindrical-bored double-reed pipe of Central Asian origin, similar to the Armenian duduk, with a particularly soulful and melancholy sound.
● "Third Watch" (Chinese:  San Geng, 三更) refers to the traditional third watch of the night, equivalent to the period between 11 p.m. and 1 a.m., although this term may also be used to mean "midnight."
● "Weapons of war" is here literally "shields and dagger axes" (Chinese:  gan ge, 干戈).
● "Rivers and lakes" (Chinese:  jianghu, 江湖) is an idiom that can be understood figuratively to refer to all corners of the country, especially if traveled on an itinerant or vagrant basis.

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《小至》（至前一日，即会要小冬日。）
作者：杜甫（唐）
by Du Fu (Tang Dynasty, 712-770)

天时人事日相催，冬至阳生春又来。
刺绣五纹添弱线，吹葭六琯动浮灰。
岸容待腊将舒柳，山意冲寒欲放梅。
云物不殊乡国异，教儿且覆掌中杯。

Notes:

This poem was written in the year 767.

创作地点：重庆市重庆直辖县行政区划奉节县东屯

More information:

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《咏怀古迹五首》其三
作者：杜甫（唐）
by Du Fu (Tang Dynasty, 712-770)

群山万壑赴荆门，生长明妃尚有村。
一去紫台连朔漠，独留青冢向黄昏。
画图省识春风面，环佩空归月夜魂。
千载琵琶作胡语，分明怨恨曲中论。


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《赠花卿》
Presented to Minister Hua (Zeng Hua Qing)
作者：杜甫（唐）
by Du Fu (Tang Dynasty, 712-770)

锦城丝管日纷纷，半入江风半入云。
In Brocade City, silk [strings] and pipes [are heard throughout] the day in great profusion,
Half [of their music] enters the river breeze, half enters the clouds.
此曲秪应天上有，人间能得几回闻。
These melodies are only meant to be possessed by the heavens above.
How many times do mere mortals get to hear it?

Notes:

Jincheng (锦城, literally "Brocade City") refers to the city of Chengdu, Sichuan.  "The heavens above" (tian shang, 天上) is a metaphor referring to the imperial palace.

According to the prevailing interpretation of this poem, which was written in the year 761, it was intended as a veiled criticism of Hua Jingding (花敬定, d. 761), a military leader in Chengdu, who had a reputation for brutality, lawlessness, and arrogance, supposedly indulging in listening to court banquet music, which was, according to the rules of society at that time, reserved exclusively for the imperial palace (the "heavens above" in the poem).


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《方响》
The Fangxiang
作者：杜牧（唐）
by Du Mu (Tang Dynasty, 803-852)

数条秋水挂琅玕，玉手丁当怕夜寒。
Its several bars, like translucent autumn water, are suspended white carnelian;
[On them], delicate jade-like hands ding and dong as we dread the night's chill.
曲尽连敲三四下，恐惊珠泪落金盘。
After she has played through three or four pieces in succession,
I'm so shocked and astounded that my tears, like pearls, fall onto a golden plate.

Notes:  

● The fangxiang (方响) was a glockenspiel-like instrument consisting of 16 tuned iron (or, more rarely, bronze or jade) keys in a vertical frame, which was used in yanyue music in the Tang and Song dynasties.
● "五" (five) is sometimes substituted for "四" (four).

More information:

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《题张处士山庄一绝》
作者：杜牧（唐）
by Du Mu (Tang Dynasty, 803-852)

好鸟疑敲磬，风蝉认轧筝。
修篁与嘉树，偏倚半岩生。

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《自宣州赴官入京路逢裴坦判官归宣州因题赠》
作者：杜牧（唐）
by Du Mu (Tang Dynasty, 803-852)

敬亭山下百顷竹，中有诗人小谢城。
城高跨楼满金碧，下听一溪寒水声。
梅花落径香缭绕，雪白玉珰花下行。
萦风酒旆挂朱阁，半醉游人闻弄笙。
我初到此未三十，头脑钐（山鉴反）利筋骨轻。
画堂檀板秋拍碎，一引有时联十觥。
老闲腰下丈二组，尘土高悬千载名。
重游鬓白事皆改，唯见东流春水平。
对酒不敢起，逢君还眼明。
云罍看人捧，波脸任他横。
一醉六十日，古来闻阮生。
是非离别际，始见醉中情。
今日送君话前事，高歌引剑还一倾。
江湖酒伴如相问，终老烟波不计程。


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《李户曹小妓天得善击越器以成曲章》
Little Courtesan Li Hucao, With Her Heaven-Bestowed Talent in Hitting Yue Ware [Bowls], Uses Them to Realize a Movement of a Piece (Li Hucao Xiao Ji Tian De Shan Ji Yue Qi Yi Cheng Qu Zhang)
作者：方干（唐）
by Fang Gan (Tang Dynasty, 809-888, 886, 885, 882, or 873)

越器敲来曲调成，腕头匀滑自轻清。
Yue ware is tapped, creating a melody,
Her hands, with even and smooth [motions], [producing a sound that is] light and crisp.
随风摇曳有馀韵，测水浅深多泛声。
Carried by the breeze, it has a lingering charm,
The measurement of the water [in the cups]--whether shallow or deep--creates an overflowing profusion of tones.
昼漏丁当相续滴，寒蝉计会一时鸣。
Like the "ding-dong" of a water clock with its successive drops,
Or cold cicadas counting together the interval of their calls.
若教进上梨园去，众乐无由更擅名。
If [she should] advance and depart for the Pear Garden,
Those who love her music will have no way to replace her skill and reputation.

Notes:

Fang Gan was a scholar and poet from Zhejiang province.  In southern China during the Tang Dynasty, the porcelain bowls used for the ji ou (击瓯, a set of water-tuned porcelain bowls played with a pair of sticks as a melodic percussion instrument) were produced in the Yue kiln (越窑), located in Yuezhou (modern-day Shaoxing, Zhejiang province).  Referred to as Yue ware (Yue qi, 越器), such bowls were considered of particularly high quality, and, in his Cha Jing《茶经》(The Classic of Tea), Lu Yu (733-804) described teacups produced in the Yue kiln as "like jade, like ice"「类玉、类冰」.  The Pear Garden (Chinese:  Liyuan, 梨园) was an academy for court entertainment music, dance, and theater, which was established in the Tang Dynasty capital of Chang'an by Emperor Xuanzong (r. 712-756).

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《新安殷明府家乐方响》
A Household Musician from Yinming Mansion in Xin'an [Plays the] Fangxiang (Xin'an Yinming Fu Jiayue Fangxiang)
作者：方干（唐）
by Fang Gan (Tang Dynasty, 809-888, 886, 885, 882, or 873)

葛溪铁片梨园调，耳底丁东十六声。
Keys of Gexi iron [play] a Pear Garden tune,
The "ding-dong" of [their] 16 tones penetrating deep into our ears. 
彭泽主人怜妙乐，玉杯春暖许同倾。
The host, a native of Pengze who adores exquisite music,
[Sets out] jade winecups on the warm spring day, and calls for a mutual toast.

Notes:

● The fangxiang (方响) was a glockenspiel-like instrument consisting of 16 tuned iron (or, more rarely, bronze or jade) keys in a vertical frame, which was used in yanyue music in the Tang and Song dynasties.  Fang Gan was a scholar and poet from Zhejiang province.  Xin'an (新安) is an old name for Chun'an County, Hangzhou, west-central Zhejiang province, where Fang was born.  Gexi (葛溪) is a place in Yiyang County, Shangrao, northeastern Jiangxi province, which was known for its high-quality iron, which was used primarily for weapons such as swords and daggers.  The Pear Garden (Chinese:  Liyuan, 梨园) was an academy for court entertainment music, dance, and theater, which was established in the Tang Dynasty capital of Chang'an by Emperor Xuanzong (r. 712-756).  Pengze is a place in Jiujiang, north-central Jiangxi province.

More information:

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《采桑子 其二》
作者：冯延巳（五代十国 – 南唐）
by Feng Yansi (Five Dynasties:  Southern Tang, 903-960)

马嘶人语春风岸，芳草绵绵，杨柳桥边，落日高楼酒旆悬。
旧愁新恨知多少，目断遥天，独立花前，更听笙歌满画船。

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《采桑子 其七》
作者：冯延巳（五代十国 – 南唐）
by Feng Yansi (Five Dynasties:  Southern Tang, 903-960)

笙歌放散人归去，独宿江楼，月上云收，一半珠帘挂玉钩。
起来检点经游地，处处新愁，凭仗东流，将取离心过橘州。

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《采桑子 其十三》
作者：冯延巳（五代十国 – 南唐）
by Feng Yansi (Five Dynasties:  Southern Tang, 903-960)

花前失却游春侣，极目寻芳，满眼悲凉，纵有笙歌亦断肠。
林间戏蝶帘间燕，各自双双，忍更思量，绿树青苔半夕阳。

Notes:

忍：那堪，怎忍。


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《句》
(Ju)
作者：傅温（唐）
by Fu Wen (Tang Dynasty)

霜坠中天衣觉冷，月临虚牗纸偏明。（《冬夜宿僧院》）
春风暗剪庭前树，夜雨偷穿石上苔。（《山居》）
曲水两行排雁齿，斜桥一道蹈龙鳞。（《溪桥》）
山深野客如禅客，夜久松声似雨声。（《宿僧院》）
花疑汉女啼妆泪，水似吴娃笑弄筝。（《访山居遇雨》）

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《风筝》（一作题风筝寄意）
Fengzheng 作者：高骈（唐）
by Gao Pian (Tang Dynasty, 821-887)
夜静弦声响碧空，宫商信任往来风。 依稀似曲才堪听，又被移将（一作风吹）别调中。

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《李供奉弹箜篌歌》
Court Artist Li Plays a Konghou Song (Li Gongfeng Tan Konghou Ge)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

国府乐手弹箜篌，赤黄条索金鎝头。
A musician of the kingdom's Music Bureau plays the konghou,
With orange tassels and gold-inlaid head.
早晨有敕鸳鸯殿，夜静遂歌明月楼。
At daybreak, by imperial order, at Mandarin Duck Palace,
In the silent night, the song proceeds as bright moonlight bathes the tower.
起坐可怜能抱撮，大指调弦中指拨。
He sits up, tenderly embraces [his instrument] and begins to manipulate it with his fingers,
His thumb tuning the strings while his middle finger plucks.
腕头花落舞制裂，手下鸟惊飞拨剌。
His wrists, like falling blossoms, dance on either side [of the strings];
Under his hands birds are startled, fly away and disperse in two groups.
珊瑚席，一声一声鸣锡锡。
[On the] coral mat, each note, each note sounds "sek-sek."
罗绮屏，一弦一弦如撼铃。
[Behind the] gauze screen, each string, each string is like the shaking of a bell.
急弹好，迟亦好，宜远听，宜近听。
His quick playing is good, and slow is also good; it is suitable to listen from far away, and also suitable to listen up close.
左手低，右手举，易调移音天赐与。
Left hand low and right hand raised, he modifies the mode and changes the tone with ease, a gift bestowed by the heavens.
大弦似秋雁，联联度陇关。
The big strings are like autumn wild geese,
Endless like the extent of Long Pass.
小弦似春燕，喃喃向人语。
The small strings are like spring swallows,
[Or like] quiet conversation.
手头疾，腕头软，来来去去如风卷。
Hands nimble, wrists flexible,
Moving to and fro like a whirling wind.
声清泠泠鸣索索，垂珠碎玉空中落。
The sound, clear and crisp, rings "sak-sak,"
Like strings of beads or shards of jade falling through the air.
美女争窥玳瑁帘，圣人卷上真珠箔。
Beauties fight to peep through the tortoiseshell screen,
While the Imperial Sage, dressed in his formal robes, watches from above, behind a curtain of pearls.
大弦长，小弦短，小弦紧快大弦缓。
The big strings are long, the small strings short; the small strings are played quickly and the big strings are played leisurely.
初调锵锵似鸳鸯水上弄新声，入深似太清仙鹤游秘馆。
The first melody clanged like mandarin ducks playing on the water, a truly novel sound,
And entering the deep was like riding the Taiqing's celestial crane in the Mysterious Mansion.
李供奉，仪容质，身才稍稍六尺一。
Court artist Li, in appearance and substance,
Has a body nearly six feet tall.
在外不曾辄教人，内里声声不遣出。
On the outside, he has never taught anyone;
From within, the sounds have never been sent out.
指剥葱，腕削玉，饶盐饶酱五味足。
Fingers like tender peeled scallions, wrists of slender jade,
A rich, savory sauce, filled with five flavors.
弄调人间不识名，弹尽天下崛奇曲。
Playing tunes whose names are unknown to the mortal world,
He plucks strange and unusual melodies from the furthest reaches of the world.
胡曲汉曲声皆好，弹着曲髓曲肝脑。
Central Asian pieces and Han pieces, all sound good;
When he plays these tunes, their essence [grips one's] heart and mind [literally "liver and brain"].
往往从空入户来，瞥瞥随风落春草。
Everywhere from the emptiness, coming to enter the door,
Erratically and suddenly, the wind descends upon the spring grass.
草头只觉风吹入，风来草即随风立。
Blades of grass only waken as the wind blows in,
The wind comes, and the grass follows the wind to stand up straight.
草亦不知风到来，风亦不知声缓急。
The grass is unaware of the wind's arrival,
Nor does the wind know its urgency.
爇玉烛，点银灯，光照手，实可憎。
Burn the jade candles, light the silver lamp,
Illuminate the hands, it's truly lovely.
只照箜篌弦上手，不照箜篌声里能。
Only a master can understand the konghou's strings,
But he can't understand the power in the konghou's sound.
驰凤阙，拜鸾殿，天子一日一回见。
Hastening to the phoenix tower and visiting the simurgh hall,
The Son of Heaven comes, for a while on this day, to see.
王侯将相立马迎，巧声一日一回变。
Princes and lords, generals and ministers immediately welcome [him],
And, for a while on this day, are transformed by the exquisite sounds.
实可重，不惜千金买一弄。
[Li's music is] of such genuine value that one would not spare a thousand pieces of gold to purchase a single repetition.
银器胡瓶马上驮，瑞锦轻罗满车送。
Silverware and foreign ewers carried on horseback,
Or richly embroidered brocade and silken gauze delivered in a full wagon, [would not be an excessive payment].
此州好手非一国，一国东西尽南北。
Such a one as this province's master artist cannot be found anywhere else in the kingdom,
The kingdom's east or west, nor utmost north or south.
除却天上化下来，若向人间实难得。
Except for such a heavenly musician coming down from above,
Encountering his like in the world of mortals is really rare.

More information:
https://baike.baidu.com/item/%E6%9D%8E%E4%BE%9B%E5%A5%89%E5%BC%B9%E7%AE%9C%E7%AF%8C%E6%AD%8C

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《王郎中妓席五咏·歌》 
(:  Ge)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

柳拂青楼花满衣，能歌宛转世应稀。
空中几处闻清响，欲绕行云不遣飞。

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《王郎中妓席五咏·箜篌》 
(:  Konghou)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

玉作搔头金步摇，高张苦调响连宵。
欲知写尽相思梦，度水寻云不用桥。

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《王郎中妓席五咏·笙》 
(:  Sheng)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

欲写人间离别心，须听鸣凤似龙吟。
江南曲尽归何处，洞水山云知浅深。

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《王郎中妓席五咏·筝》
(:  Zheng)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

秦声楚调怨无穷，陇水胡笳咽复通。
莫遣黄莺花里啭，参差撩乱妒春风。

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《郑女弹筝歌》
(Zheng Nü Tan Zheng Ge)
作者：顾况（唐）
by Gu Kuang (Tang Dynasty, c. 725-c. 814)

郑女八岁能弹筝，春风吹落天上声。
一声雍门泪承睫，两声赤鲤露鬐鬣，三声白猿臂拓颊。
郑女出参丈人时，落花惹断游空丝。
高楼不掩许声出，羞杀百舌黄莺儿。

Notes:

引用典故：雍门泪

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《再和大庆堂赐宴元珰而有诗呈吴越王》
作者：韩偓（唐、十国 – 閩）
by Han Wo (Tang Dynasty; Ten Kingdoms:  Min, c. 842-844-c. 923)

我有嘉宾宴乍欢，画帘纹细凤双盘。
影笼沼沚修篁密，声透笙歌羯鼓乾。
散后便依书箧寐，渴来潜想玉壶寒。
樱桃零落红桃媚，更俟旬馀共醉看。

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 《听颖师弹琴》
Listening to Master Ying Play the Qin (Ting Ying Shi Tan Qin)
作者：韩愈（唐）
by Han Yu (Tang Dynasty, 768-824)
translated by Ronald Egan, with modifications by John Thompson and David Badagnani

 昵昵儿女语，恩怨相尔汝。
Affectionately whispering, a young boy and girl speak;
In fondness or anger they [call] each other "dear."
划然变轩昂，勇士赴敌场。
Abruptly it changes to the heroic,
Brave warriors charging to the battlefield.
浮云柳絮无根蒂，天地阔远随飞扬。
Floating clouds of willow fluff without stamens,
[Across the] sky broad and earth vast accordingly fly and flutter.
喧啾百鸟群， 忽见孤凤凰。
The raucous cries of hundreds of birds in a flock
That suddenly see a solitary phoenix.
跻攀分寸不可上，失势一落千丈强。
It scrambles upwards, inching [until it] no longer can go up,
Losing control, it abruptly falls a thousand fathoms and more.
嗟余有两耳，未省听丝篁。
Oh, [ever since] I've had two ears,
I've never known how to listen to silk or bamboo.
自闻颖师弹，起坐在一旁。 
[But] since I've heard Master Ying play,
[I've had to] rise from my seat [in respect] to one side.
推手遽止之，湿衣泪滂滂。
[I] wave my arm in order to stop him,
Soaking my robe, my tears gush down.
颖乎尔诚能，无以冰炭置我肠。
Ying, ah!  You are really capable,
[But] don't cause [your] ice and coals (i.e., the emotional turmoil of the music) to go straight to my belly!

Notes:

 Ying Shi (颖师) was a Buddhist monk who had excellent skill in playing the qin.  Several Tang poets, including Han Yu and Li He, wrote poems praising his playing.  "Silk and bamboo" (si huang, 丝篁) is a metonymic idiom referring to string and wind instruments.

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《乐部曹观乐诗》
作者：何妥（隋）
by He Tuo (Sui Dynasty, late 6th century)

东海馀风大，陶唐遗思深。
何如观遍舞，奏鼓间摐金。
清管调丝竹，朱弦韵雅（万花谷作瑟。）琴。
八行陈树羽，六德审知音。
至道兼韶濩，充庭总韎任（《初学记》作轮林。）。
高天度流火，落日广城阴。
百神谐景福，万国仰君临。
大乐非钟鼓，且用戒民心。

Notes:

He Tuo was of Sogdian heritage.

More information:

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《宫词 其十一》
作者：花蕊夫人徐氏（唐）
by Madame Huarui (Consort Xu) (Five Dynasties:  Later Shu, c. 940-976)

御制新翻曲子成，六宫才唱未知名。
尽将觱篥来抄谱，先按君王玉笛声。

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《听独杵捣衣》
作者：慧偘（隋）
by Hui Kan (Sui Dynasty, 524-605)

非是无人助，意欲自鸣砧。
向月怜孤影，承风送回音。
疑捣双丝练，似奏一弦琴。
令君闻独杵，知妾有专心。

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 《七老会诗（皎年八十八）》
作者：吉皎（唐）
by Ji Jiao (Tang Dynasty, 758 or 760-845 or later)

 休官罢任已闲居，林苑园亭兴有馀。
对酒最宜花藻发，邀欢不厌柳条初。
低腰醉舞垂绯袖，击筑讴歌任褐裾。
宁用管弦来合杂，自亲松竹且清虚。
飞觥酒到须先酌，赋咏成诗不住书。
借问商山贤四皓，不知此后更何如。

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 《听乐山人弹易水》
作者：贾岛（唐）
by Jia Dao (Tang Dynasty, 779-843)

 朱丝弦底燕泉急，燕将云孙白日弹。
嬴氏归山陵已掘，声声犹带发冲冠。

Notes:

引用典故：击筑

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《观李中丞洪二美人唱歌轧筝歌（时量移湖州长史）》
作者：皎然（唐）
by Jiaoran (Tang Dynasty, 730-799)

君家双美姬，善歌工筝人莫知。
轧用蜀竹弦楚丝，清哇宛转声相随。
夜静酒阑佳月前，高张水引何（一作仍）渊渊。
美人矜名曲不误，蹙响时时如迸泉。
赵琴（一作瑟）素所嘉，齐讴世称绝。
筝歌一动凡音辍，凝弦且莫停金罍。
淫（一无淫字）声已阕雅声来，游鱼噞喁鹤裴回，主人高情始为开。
高情放浪出常格，偶世有名道无迹。
勋业先登上将科，文章已冠诸人籍。
每笑石崇无道情，轻身重色祸亦成。
君有佳人当禅伴，于中不废学无生。
爱君天然性寡欲，家贫禄薄常知足。
谪官无愠如古人，交道忘言比前躅。
不意全家万里来，湖中再见春山绿。
吴兴公舍幽且闲，何妨寄隐在其间。
时议名齐谢太傅，更看携妓似东山。

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《春日行》
(Chun Ri Xing)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

深宫高楼入紫清，金作蛟龙盘绣楹。
佳人当窗弄《白日》，弦将手语弹鸣筝。
春风吹落君王耳，此曲乃是《昇天行》。
因出天池泛蓬瀛，楼船蹙沓波浪惊。
三千双蛾献歌笑，挝钟考鼓宫殿倾。
万姓聚舞歌太平，我无为，人自宁。
三十六帝欲相迎，仙人飘翩下云軿。
帝不去，留镐京。
安能为轩辕，独往入窅冥。
小臣拜献南山寿，陛下万古垂鸿名。

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《春夜洛城闻笛》
On a Spring Night in Luocheng, Hearing a Flute
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

 谁家玉笛暗飞声，散入春风满洛城。
From whose house float the notes of a jade flute unseen?
They fill Luocheng, spread by wind of spring.
此夜曲中闻折柳，何人不起故园情。
Tonight I hear the farewell song of "Willow Green."
To whose ear nostalgic feelings won't it bring?

Notes:  Luocheng (洛城, literally "Luo city") was an alternate name for Luoyang (洛阳) in Henan province.  Luoyang flourished as the second city and eastern capital of the Tang Dynasty, and at its height it had a population of around one million, second only to Chang'an, which, at the time, was the largest city in the world.

 In the context of Li Bai's poem, and literary output of the period in general, "yu di" (玉笛, literally "jade transverse flute") probably does not refer to an actual flute carved from jade (although such instruments did exist); it is more likely a metaphor describing a flute tone that is beautifully clear and pure, like the precious white jade that was prized more highly than gold or silver by the people of Tang.

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 《东山吟》
(Dongshan Yin)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

 携妓东土山，怅然悲谢安。
我妓今朝如花月，他妓古坟荒草寒。
白鸡梦后三百岁，洒酒浇君同所欢。
酣来自作青海舞，秋风吹落紫绮冠。
彼亦一时，此亦一时，浩浩洪流之咏何必奇。

 Notes:

 It is possible that the "Qinghai dance" (青海舞), the steps of which Li says he made up himself while inebriated, was performed to the yanyue (court banquet music) piece entitled "Qinghai Bo" 《青海波》 (The Waves of Kokonor), which is preserved in Sino-Japanese tablatures.

题注：土山去江宁城二十五里，晋谢安携妓之所，一作醉过谢安东山作东山吟。
引用典故：安石妓　白鸡梦

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《凤台曲》（一作《相和歌辞 凤台曲》）
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

尝闻秦帝女，传得凤凰声。
是日逢仙子，当时别有情。
人吹䌽箫去，天借绿云迎。
曲（一作心）在身不返，空馀弄玉名。

Notes:

This poem was written in Qishan County, Baoji, western Shaanxi province, in the year 730.

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《宫中行乐词八首 其三》
Palace Pleasures:  no. 3 of 8 Lyrics (Gong Zhong Xingle Ci Ba Shou, Qi San)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated by Brian Holton

卢橘为秦树，蒲桃出汉宫。
The loquat, he was planted in Qin,
The grape, she came from the Imperial Palace;
烟花宜落日，丝管醉春风。
Mist and flowers suit the setting sun,
Pipes and strings tipsy on the spring breeze:
笛奏龙吟水，箫鸣凤下空。
The flute, the sound of dragons calling in water,
The whistle, phoenixes crying down from the skies;
君王多乐事，还与万方同。
Often the sovereign lord takes his pleasure,
As his many subjects of all ranks do.

Notes:

"Qin" (秦) refers to the area of Northwest China, specifically modern Shaanxi (陕西) province, in this context signifying a man from the Tang capital of Chang'an (now Xi'an).  The poem delicately alludes to erotic dalliance in the palace.  Di (笛) refers to the transverse flute, while xiao (箫), although translated here as "whistle," refers to the end-blown vertical flute.

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《邯郸南亭观妓》
Watching the Female Performers at Handan's Southern Pavilion (Handan Nan Ting Guan Ji)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

歌鼓燕赵儿，魏姝弄鸣丝。
Singing and drumming are the daughters of Yanzhao,
While lovely maidens from Wei play on resounding silk strings.
粉色艳日彩，舞袖拂花枝。
Their pink-powdered faces are lovelier and more colorful than the sun's rays,
And the dancers' sleeves flutter like flower-covered branches.
把酒顾美人，请歌邯郸词。
Wine in hand, I turn toward one of the beauties,
And ask her to sing a lyric about Handan.
清筝何缭绕，度曲绿云垂。
Oh, how the clear tones of her zheng wind round and round!
She extemporizes a song, and viridian clouds descend.
平原君安在？科斗生古池。
Lord Pingyuan—where is he now?
Tadpoles now thrive in his ancient pool.
座客三千人，于今知有谁？
Of the 3,000 retainers at his table,
Who is still known today?
我辈不作乐，但为后代悲。
If those of my ilk don't make merry,
We'll only be pitied by the generations yet to come.

Notes:

1. In this poem, "妓" (ji, female performers) is sometimes substituted for 鼓 (gu, drumming), "月" (yue, moon) is sometimes substituted for "日" (ri, sun) and "衫" (shan, blouses) is sometimes substituted for "袖" (xiu, sleeves).
2. Yanzhao (燕赵) refers to the Warring States kingdoms of Yan and Zhao, whose territory overlapped with the northern part of modern-day Hebei province and the western part of Shanxi province, with Handan (in modern-day southern Hebei) being Zhao's capital.  Since at least the Han Dynasty, it was said that these two kingdoms had many beauties, the most beautiful being as lovely as precious jade, and Zhao was well known since ancient times for the high quality of its musicians.  The term "Yanzhao" eventually came to be used to refer to lovely dancing girls and singers, or beautiful women in general.
3. Wei (魏) was an ancient kingdom whose territory lay between the states of Qin and Qi, and encompassed parts of modern-day Henan, Hebei, Shanxi, and Shandong.
4. "Silk" (si, 丝) is a synecdochical reference to string instruments such as the pipa or zheng; until the 20th century twisted silk was the normal material used for the strings of Chinese chordophones.
5. The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.
6. Viridian clouds (lü yun, 绿云) are an auspicious symbol associated with Daoist immortals.
7. Lord Pingyuan (平原君, c. 308 BC-251 BC), born Zhao Sheng (赵胜), was a prominent nobleman and chancellor of the state of Zhao during the Warring States period, and one of the Four Lords of the Warring States.  He was a son of King Wuling of Zhao, and served as chancellor in the courts of his brother King Huiwen (r. 298 BC-266 BC) and his nephew King Xiaocheng (r. 265 BC-245 BC).  He was famous for having a large number of loyal retainers, and, with 3,000 retainers who were willing to sacrifice their lives for him, he successfully saved the Zhao capital of Handan from Qin's siege, thus saving Zhao from annihilation.  However, his chancellorship also saw the crushing defeat of Zhao by Qin at the Battle of Changping, which led to the siege.  As with the rest of the Four Lords, his skill in recruiting talents and his generosity to his retainers are considered a major part of his political and diplomatic accomplishments.

引用典故：三千士


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 《金陵歌送别范宣》
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

石头巉岩如虎踞，凌波欲过沧江去。
钟山龙盘走势来，秀色横分历阳树。
四十馀帝三百秋，功名事迹随东流。
白马小儿谁家子，泰清之岁来关囚。
金陵昔时何壮哉，席卷英豪天下来。
冠盖散为烟雾尽，金舆玉座成寒灰。
扣剑悲吟空咄嗟，梁陈白骨乱如麻。
天子龙沈景阳井，谁歌玉树后庭花。
此地伤心不能道，目下离离长春草。
送尔长江万里心，他年来访南山老。

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《听蜀僧浚弹琴》
Listening to Jun, a Monk from Shu, Play the Qin (Ting Shu Seng Jun Tan Qin)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

蜀僧抱绿绮，西下峨眉峰。
为我一挥手，如听万壑松。
客心洗流水，馀响入霜钟。
不觉碧山暮，秋云暗几重。

Notes:

This poem was written in the year 753.

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《相和歌辞 凤吹笙曲》
Lyric Harmonizing with the Melody "Phoenix-Blown Sheng"
(Xianghe Geci:  Feng Chui Sheng Qu)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

仙人十五爱吹笙，学得昆丘彩凤鸣。
The immortal, [since his] fifteenth [year], has loved to play the sheng,
And he's mastered the songs of the colorful phoenixes of Kunqiu.
始闻炼气餐金液，复道朝天赴玉京。
When he first heard about refining his qi and imbibing golden elixirs,
He promptly set out on a path toward the heavens, to visit the Jade Capital.
玉京迢迢几千里，凤笙去去无穷（一作边）已。
But the Jade Capital is thousands of li distant,
And his phoenix-sheng has already gone, gone away to the boundless infinitude.
欲叹离声发绛唇，更嗟别调流纤指。
I'm moved to sigh now that its sound has vanished into thin air, turning my lips crimson;
I sigh once again [as I play] a parting tune, [my] slender fingers flowing [across my qin].
此时惜别讵堪闻，此地相看未忍分。
At this moment, filled with regret at parting, how can one endure such news?
In this place, [as we] look upon one another, separation is unbearable.
重吟真曲和清吹，却奏仙歌响绿云。
[Let me] chant once again a true melody, harmonized by [your] pure blown [tones],
Then play a celestial song that resounds [through the] viridian clouds.
绿云紫气向函关，访道应寻缑氏山。
Those viridian clouds and purple mists are advancing toward Han Pass;
If you're seeking the Way, you should seek out Goushi Mountain.
莫学吹笙王子晋，一遇浮丘断不还。
Don't learn to play the sheng, Crown Prince Jin,
As once you meet Fuqiu, you'll be sure never to return.

Notes:

1. The sheng (笙) is a free-reed mouth organ with 17 bamboo pipes that has been used in Chinese music since ancient times.  Owing to its unique form and otherworldly sound, many Chinese legends associate this instrument with the mythical phoenix bird, as well as with Daoist practice in general.
2. In Daoist mythology, an "immortal" (Chinese:  xian, 仙 or xianren, 仙人), that is, a human who, by means of special practices meant to purify one's spirit (including meditation, breath control, yoga-like exercises, sexual discipline, or the use of elixirs or magical talismans), had transcended the earthly plane and metamorphosed into superhuman form, achieving eternal life and becoming indistinguishable from nature's forces.
3. Kunqiu (昆丘, literally "Kun Hills") is another name for Kunlun (昆仑), also called Kunlun Shan (昆仑山), is a mythical mountain or mountain range that was believed to be a Daoist paradise inhabited by immortals and mythological creatures, and presided over by the Queen Mother of the West (Chinese:  Xi Wang Mu, 西王母), an important Daoist deity.
4. The Jade Capital (Chinese:  Yu Jing, 玉京) was the residence of the Emperor of Heaven (Chinese:  Tian Di, 天帝), the supreme deity in Chinese mythology.
5. The li (里) was a Chinese unit of measurement that, in the Tang Dynasty, measured approximately 323 meters (0.2 miles).
6. The sixth line may be a reference to the final lines of the Heart Sutra of Mahayana Buddhism, which concludes with the mantra "Gate, gate, pāragate, pārasaṃgate, bodhi; svāhā!" meaning "Gone, gone, gone beyond, gone utterly beyond, to perfect wisdom and enlightenment; joy and praise!"
7. "Turning my lips crimson" is likely the poet's indirect way of expressing the fact that his tears have rolled down his cheeks so profusely that they have moistened his lips, turning them a deep red.
8. The term "true melody" (Chinese:  zhen qu, 真曲) is probably related to the Daoist notion that, through the use of esoteric talismans, charts, and diagrams, the "true forms" (Chinese:  zhen xing, 真形) and "true names" (Chinese:  zhen ming, 真名) of demons and spirits could be revealed, thus providing protection for seekers of the Dao as they journeyed into mountainous areas and helping to guide them safely through holy places during their pilgrimages.
9. Viridian and purple clouds (Chinese:  lü yun, 绿云 and zi qi, 紫气) are auspicious symbols associated with Daoist immortals.
10. Goushi Mountain (Chinese:  Goushi Shan, 缑氏山) also known as Gou Mountain (Chinese:  Gou Shan, 缑山), in modern-day Yanshi District, Luoyang, Henan province, is the location where Wangzi Jin is said to have ascended to immortality.
11. Wangzi Jin (王子晋), also known as Wangzi Qiao (王子乔), is said to have been the crown prince of King Xuan (周宣王, r. ca. 827 or 825 BC-782 BC), the eleventh king of the Zhou Dynasty, or of King Ling (周灵王, r. 571 BC-545 BC), the 23rd king of Zhou and the 11th king of Eastern Zhou.  Wangzi Jin supposedly blew a mouth organ to attract phoenixes before he achieved Daoist success and became an immortal.
12. The final couplet is a metaphor putting the poet's friend in the place of Wangzi Jin, who is said to have played the sheng so well that he was noticed by the Daoist adept Fuqiu Gong (浮丘公), who taught him the practice of Daoism, allowing him to become an immortal himself.

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《夜别张五》
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

吾多张公子，别酌酣高堂。
听歌舞银烛，把酒轻罗裳。
横笛弄秋月，琵琶弹陌桑。
龙泉解锦带，为尔倾千觞。

Notes:  this poem was written in Chang'an in the year 730.

More information:

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《忆旧游寄谯郡元参军》
Exile's Letter
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated (in part) by Arthur Waley

忆昔洛阳董糟丘，为余天津桥南造酒楼。
Do you remember how once at Lo-yang
Tung Tsao-ch'iu built us a wine-tower south of the T'ien-ching Bridge? 
黄金白璧买歌笑，一醉累月轻王侯。
With yellow gold and tallies of white jade we bought songs and laughter
And we were drunk month after month, scorning princes and rulers.
海内贤豪青云客，就中与君心莫逆。
Among us were the wisest and bravest within the Four Seas, with thoughts high as the clouds.
(But with you above all my heart was at no cross-purpose.)
回山转海不作难，倾情倒意无所惜。
Going round mountains, skirting lakes was as nothing to them,
All their feelings, all their thoughts were ours to share; they held nothing back.
我向淮南攀桂枝，君留洛北愁梦思。
Then I went off to Huai-nan to pluck my laurel-branch
And you stayed north of the Lo, sighing over your memories and dreams.
不忍别，还相随。
相随迢迢访仙城，三十六曲水回萦。
But we could not long bear the separation—were soon together again exploring the Fairy Castle.
We followed the thirty-six banks of the twisting stream
一溪初入千花明，万壑度尽松风声。
And all the way the waters were bright with a thousand flowers.
We passed through a myriad valleys
And in each heard the voice of wind among the pines.
银鞍金络到平地，汉东太守来相迎。
At last, on a silver saddle with tassels of gold that reached to the ground
The Governor of Han-tung came out to meet us,
紫阳之真人，邀我吹玉笙。
And the holy Man of Tzu-yang summoned us, blowing on his jade reed-pipe,
餐霞楼上动仙乐，嘈然宛似鸾凤鸣。
And when we came to him he made for us unearthly music, high up in the tower that he had built—
A hubbub of sound, as when the phoenix cries to its mate.
袖长管催欲轻举，汉东太守醉起舞。
And the Governor of Han-tung, because his long sleeves would not keep still when the flutes called to him
Rose and did a drunken dance.
手持锦袍覆我身，我醉横眠枕其股。
Then he brought his embroidered coat and covered me with it
And I slept with my head on his lap.
当筵意气凌九霄，星离雨散不终朝，分飞楚关山水遥。
At that feast our spirits had soared to the Nine Heavens,
But by evening we had scattered like stars or rain,
Away over the hills and rivers to the frontiers of Ch'u.
余既还山寻故巢，君亦归家渡渭桥。
I went back to my old mountain-nest
And you too went home, crossing the bridge over the Wei.
君家严君勇貔虎，作尹并州遏戎虏。
五月相呼渡太行，摧轮不道羊肠苦。
行来北凉岁月深，感君贵义轻黄金。
琼杯绮食青玉案，使我醉饱无归心。
时时出向城西曲，晋祠流水如碧玉。
浮舟弄水箫鼓鸣，微波龙鳞莎草绿。
兴来携妓恣经过，其若杨花似雪何！
红妆欲醉宜斜日，百尺清潭写翠娥。
翠娥婵娟初月辉，美人更唱舞罗衣。
清风吹歌入空去，歌曲自绕行云飞。
此时行乐难再遇，西游因献长杨赋。
北阙青云不可期，东山白首还归去。
渭桥南头一遇君，酂台之北又离群。
问余别恨今多少，落花春暮争纷纷。
言亦不可尽，情亦不可及。
呼儿长跪缄此辞，寄君千里遥相忆。

More information:

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《忆秦娥》（756年）
作者：李白（唐）
attributed to Li Bai (Tang Dynasty, 701-762)

箫声咽，秦娥梦断秦楼月。
秦楼月，年年柳色，灞陵伤别。

乐游原上清秋节，咸阳古道音尘绝。
音尘绝，西风残照，汉家陵阙。


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《幽涧泉》
Hidden Gorge Spring (You Jian Quan)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated by Graham Sanders

拂彼白石，弹吾素琴。
Dusting off those white stones,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎I pluck my plain zither.
幽涧愀兮流泉深，善手明徽高张清。
Hidden gorge bleak, oh, flowing springs deep,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎skilled hands, bright cadence, taut strings, pure notes.
心寂历似千古，松飕飗兮万寻。
Mind as lonely as eternity,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎pines rustling, oh, for ten thousand spans.
中见愁猿吊影而危处兮，叫秋木而长吟。
Behold mournful gibbons, consoled by shadows, in this perilous place, oh,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎calling out to autumn trees with lingering moans.
客有哀时失志而听者，泪淋浪以沾襟。
Among the travelers, one listens, lamenting the times, failed in his resolve,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎his tears soak the front of his robes.
乃缉商辍羽，潺湲成音。
As harmonized shang notes, and joined yu notes,‎‎‎‏‏
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎flow into tones.
吾但写声发情于妙指，殊不知此曲之古今。
I only pour out sounds to release my feelings in subtle indications,
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎and hardly know if this tune is of now or long ago.
幽涧泉，鸣深林。
A hidden gorge spring
‎‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎sounds deep in the grove.

Notes:

"Hidden Gorge Spring" (幽涧泉) is the title of a zither melody; "white stones" (白石) could also refer to the inlaid ivory markers on a qin, which indicate acoustic intervals; "spans" (寻) are a unit of measurement indicating eight chi (尺), or an arm span; "moans" (吟) is also the technical term for vibrato on a stringed instrument; "traveler" (客) refers to Li Bai himself as an itinerant; shang (商) and yu (羽) refer to the second and fifth notes of the pentatonic scale, associated with Autumn and Winter; "subtle indications" (妙指) could be a pun on "exquisite fingering" on a stringed instrument.

The character "志" in this poem is more often rendered as "职."

More information:

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《月夜听卢子顺弹琴》
Listening to Lu Zishun Play the Zither on a Moonlit Night (Yue Ye Ting Lu Zishun Tan Qin)
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)
translated by Graham Sanders

闲坐夜明月，幽人弹素琴。
Sitting idly at night under a bright moon,
The recluse plays his unadorned zither.
忽闻悲风调，宛若寒松吟。
Suddenly I hear the melody of "Mournful Wind,"
As though "Cold Pines" themselves intone.
白雪乱纤手，绿水清虚心。
"White Snow" sets his delicate fingers ablur,
"Green Water" clarifies his open mind.
钟期久已没，世上无知音。
Zhong Ziqi has long since passed away,
Leaving none in the world who "know the sound."

Notes:

"Mournful Wind," "Cold Pines," "White Snow," and "Green Water" are all the names of qin pieces.  Zhong Ziqi (锺子期) was a man from the state of Chu (roughly equivalent to modern-day Jingzhou, southern Hubei) who lived during the Spring and Autumn period or Warring States period, who was known for his extraordinary ability to understand the meaning of the music played by his bosom friend, the qin player Bo Ya (伯牙).

More information:
https://en.wiktionary.org/wiki/%E7%9F%A5%E9%9F%B3

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《醉后赠从甥高镇》
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

 马上相逢揖马鞭，客中相见客中怜。
欲邀击筑悲歌饮，正值倾家无酒钱。
江东风光不借人，枉杀落花空自春。
黄金逐手快意尽，昨日破产今朝贫。
丈夫何事空啸傲，不如烧却头上巾。
君为进士不得进，我被秋霜生旅鬓。
时清不及英豪人，三尺童儿重廉蔺。
匣中盘剑装䱜鱼，闲在腰间未用渠。
且将换酒与君醉，醉归托宿吴专诸。

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《听筝》
(Ting Zheng)
作者：李端（中唐）
by Li Duan (mid-Tang Dynasty, 8th century)

鸣筝金粟柱，素手玉房前。
欲得周郎顾，时时误拂弦。

Notes:

引用典故：周郎顾

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《昌谷诗（五月二十七日作）》
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)

昌谷五月稻，细青满平（一作草平秋）水。
Paddy fields at Chang-gu, in the fifth month,
A shimmer of green covers the level water.
遥峦相压叠，颓绿愁堕地。
Distant hills rise towering, crag on crag,
Precarious greenery, fearful of falling.
光洁无秋思（一作丝），凉旷吹浮媚。
Dazzling and pure, no thoughts of autumn yet,
A cool wind from afar ruffles this beauty.
竹香满凄寂，粉节涂生翠。
The bamboos' fragrance fills this lonely place,
Each powdered node is streaked with emerald.
草发垂恨鬓，光露泣幽泪。
The long-haired grass lets fall its mournful tresses,
A bright dew weeps, shedding its secret tears.
层围烂洞曲，芳径老红醉。
Tall trees form a bright and winding tunnel,
A scented track where fading reds sway drunkenly.
攒虫锼古柳，蝉子鸣高邃。
Swarms of insects etch the ancient willows,
Cicadas cry from high sequestered spots.
大带委黄葛，紫蒲交狭涘。
Long sashes of yellow arrowroot trail the ground,
Purple rushes criss-cross narrow shores.
石钱差复藉，厚叶皆蟠腻。
Stones coined with moss lie strewn about in heaps,
Plump leaves are growing in glossy clusters.
汰沙好平白，立马印青字。
Level and white are the wave-washed sands,
Where horses stand, printing dark characters.
晚鳞自遨游，瘦鹄暝单跱。
At evening, fishes dart around joyfully,
A lone, lean crane stands stock-still in the dusk.
嘹嘹湿蛄声，咽源惊溅起。
Down in their damp, mole-crickets chirp away.
A muted spring wells up with startled splash.
纡缓玉真路（自注：近武后巡幸路），神娥蕙花里。
Crooked and winding, Jade Purity Road,
Where the Divine Maiden dwells among orchid blossoms.
苔絮萦涧砾，山实垂赪紫。
Cotton-moss winds around the stones in the stream,
Crimson and purple, mountain fruits hang down.
小柏俨重扇，肥松突丹髓。
Small cypresses with leaves like layers of fans,
Plump pines oozing essence of cinnabar.
鸣流走响韵，垄秋拖光穟。
A singing stream runs on melodiously,
Ripe wheat on the dike trails its glowing head.
莺唱闵女歌，瀑悬楚练帔。
Orioles trill songs of a girl from Min,
A waterfall unfurls satin robes from Chu.
风露满笑眼，骈岩杂舒坠。
Windblown dew fills laughing eyes
That blossom or wither in crannies and clefts.
乱条（一作筱）迸石岭，细颈喧岛毖。
Tangled branches jut from stony heights,
Tiny throats chatter by an island spring,
日脚埽昏翳，新云启华閟。
The sun's rays sweep aside the shadow of dusk
New-risen clouds open their ornate deeps.
谧谧厌夏光，商风道清气。
Pure and still, these oppressive summer days,
Yet a west wind whispers of a cooling air.
高眠服（一作复）玉容，烧桂祀天几。
Luminous, on high her jade-white face
As I burn cinnamon on the Heavenly Altar.
雾衣夜披拂，眠坛梦真粹。
Her robes of mist are fluttering in the night,
She drowses by Her altar, pure of dreams.
待驾栖鸾老，故宫椒壁圮（福昌宫在谷之东）。
The simurghs have aged, awaiting the Emperor's carriage,
The pepper-walls of the ancient palace are ruined.
鸿珑数铃响，羁臣发凉思。
Yet several of the bells still tinkle faintly,
Arousing this wandering courtier to desolate thoughts.
阴藤束朱键，龙帐著魈魅。
Dark creepers twine around the scarlet bolts,
In dragon-curtains lurk the mountain trolls.
碧锦帖花柽，香衾事残贵。
Flowering tamarisk clings to emerald brocades,
These scented quilts served nobles long since dead.
歌尘蠹木在，舞䌽长云似。
No songs now stir the dust on worm-eaten beams,
Where dancers' coloured robes hang like long clouds.
珍（一作玲）壤割绣段，里俗祖风义。
This precious land is cut from fissured silk,
Our villagers prize truth and righteousness.
邻凶不相杵，疫病无邪祀。
No sound of pestles is heard when a neighbour mourns,
No evil rites are used to drive off plagues.
鲐皮识仁惠，丱角知腼耻。
The fish-skinned oldsters, virtuous and kind,
The horn-haired children, modest, quick to shame.
县省司刑官，户乏诟租吏。
The county justices have nothing to do,
No dunning tax collectors call on us.
竹薮添堕简，石矶引钩饵。
In bamboo groves we repair our tattered books,
From stony jetties drop in the hook and bait.
溪湾转水带，芭蕉倾蜀纸。
Winding rivers girdle us with water,
Banana leaves are slanting paper from Shu.
岑光晃縠襟，孤景拂繁事。
Light on the peaks, a dazzling silk collar,
The setting sun brushes away my cares.
泉尊陶宰酒，月眉谢郎妓。
Our springs are beakers of Governor Tao's wine,
Our moon, the brow of Xie's singing-girl.
丁丁幽钟远，矫矫单飞至。
Clang of a hidden bell far away
On high, a solitary bird wings home.
霞巘殷嵯峨，危溜听争次。
Rose-mist pinnacles, red and black peaks,
High cataracts roaring as they contend.
淡蛾流平碧，薄月眇阴悴。
Pale moths floating in calm emerald,
A veiled moon, distant, faint and sad.
凉光入涧岸，廓尽山中意。
Its cold light penetrates the river gorge,
Infinite my thoughts among these mountains.
渔童下宵网，霜禽竦烟翅。
The fisherman's boy lowers his midnight nets,
Frost-white birds soar up on misty wings.
潭镜滑蛟涎，浮珠噞鱼戏。
On the pool's mirror, slippery spume of dragons,
And floating pearls exhaled by fishes at play.
风桐（一作松）瑶匣瑟，萤星锦城使。
Windy tong trees, lutes in jasper cases,
Fire-flies' stars, envoys to Brocade City.
柳缀长缥带，篁掉短笛吹。
Willows join their long green sashes,
Bamboos quiver, short flutes playing.
石根缘绿藓，芦笋抽丹渍。
The base of the crag emerges from green moss,
Reed-shoots are peering from the cinnabar pond.
漂旋弄天影，古桧拿云臂。
Ripples and eddies sport with sky's reflection,
The hands of ancient junipers grasp the clouds.
愁月薇帐红，罥云香蔓刺。
The mournful moon is curtained with red roses,
Thorns of fragrant creeper catch the clouds.
芒麦平百井，闲乘列千肆。
The bearded wheat lies level for hundreds of leagues,
On the untilled acres stand a thousand shops.
刺促成纪人，好学鸱夷子。
This man from Cheng-ji, restless and fretful,
Would like to emulate Master Wine-sack's ways.

Notes:

This poem was written on the 27th day of the fifth lunar month of the year 812.

Notes by J. D. Frodsham:

This poem was written two months after the previous poem, sometime in late June.  He is describing the country around his home, where the Chang-gu river flows past the foot of Mount Nü-ji (Maiden's Table).

1.    A reference to Mount Nü-ji.
2.    An obscure line.  Another translation reads:  "Caves in the coign of the mountain rise up in stories around me."
3.    "Yellow arrowroot":  so called because it yields a yellow dye.
4.    A much-disputed line.  The shadows of the horses on the waters resemble the ancient Chinese character for "horse."
5.    Most commentators think this means the road to the Temple of the Divine Maiden of Orchid Fragrance, the tutelary deity of Mount Nü-ji.  One disagrees, believing that the road led to a shrine dedicated to Chi-ying, Princess of Yu-zhen (Jade Purity), daughter of Emperor Rui-zong (regnet 662-90 and 710-12), who was a well-known Taoist deity.  In that case "Spirit Maiden" would refer to Yu-zhen, not to the tutelary deity of the mountain.
6.    Min is the old name for Fujian province, where the speech of the aborigines was thought to sound like the song of birds.
7.    A description of the Fu-chang palace, originally built by the Sui (589-618) and rebuilt in 657, the ruins of which lay to the east of the valleys.  As was customary, its inner rooms had once been painted with a paint containing oil of pepper.
8.    The hair of young children was braided into horns.
9.    Bamboo-slips were an ancient writing material.
10.    The poet Tao Qian (365-427) was a renowned toper.
11.    The favourite concubine of the great statesman Xie An (320-85).
12.    "Pale-moths":  the reflections of the peaks.  Some commentators gloss as "the moon."
13.    During the reign of Emperor He of the Later Han (regnet 88-106) two imperial envoys, travelling in disguise to Sichuan, stopped for the night at the house of a certain Li He (not to be confused with our poet) and were astonished to discover that he knew who they were.  He explained that two "envoy-stars" (shooting-stars) had just appeared over Sichuan, hence he was expecting them.  Cheng-du, Sichuan, is called "City of Brocade" because of the beauty of its surroundings.  Our line means simply:
"The fire-flies are like the envoys in the story and Chang-gu is as beautiful as Cheng-du."
14.    The Li family came from Cheng-ji county, Gansu.
15.    "Master Wine-sack skin" (Chi-yi Zi-pi) was the name taken by the great statesman Fan Li (floruit 5th century B.C.) when he retired to Qi after helping Yue defeat Wu.  He means he should like to retire to Chang-gu—but only after achieving high office.

Additional notes:

"As I burn cinnamon" is probably a mistranslation, as shao gui (烧桂) probably refers to burning osmanthus-scented incense.  "Lutes" is an incorrect translation of se (瑟), a sophisticated instrument that is actually a bridge zither with 25 strings, which was used to play ritual and court music since ancient times.

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《公莫舞歌》
Song:  Do Not Dance, Sir! (Gong Mo Wu Ge)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

Preface (bing xu, 并序):
公莫舞歌者，咏项伯翼蔽刘沛公也。会中壮士，灼灼于人，故无复书；且南北乐府率有歌引。贺陋诸家，今重作〈公莫舞歌〉云。
The song called Do Not Dance, Sir! celebrates the way Xiang Bo protected Liu Pei.  The exploits of that warrior at the feast have won such fame that no one has bothered to write of them again.  Among the northern and southern ballads, however, there is one song which celebrates this feat.  I thought this too crude, so I wrote another song of this title.

Poem:
方花古础排九楹，刺豹淋血盛银罂。
Flowers on ancient plinths of stone,
Nine pillars in a row,
Blood of slaughtered leopards dripping
Into silver pots.
华筵鼓吹无桐竹，长刀直立割鸣筝。
Drummers and pipers at the feast,
No zithers or flutes,
Long knives planted in the ground
Split the singing lute.

横楣粗锦生红纬，日炙锦嫣王未醉。
Lintels hung with coarse brocade
Of scarlet woof,
Sunlight fades the rich brocade,
The king still sober.
腰下三看宝玦光，项庄掉鞘栏前起。
Three times Yu saw the precious ring
Flash at Fan's belt,
Xiang Zhuang drew sword from scabbard,
And stood before Liu Pei.

材官小尘公莫舞，座上真人赤龙子。
"Ensign!  Your rank is far too low
You may not dance.
Our guest is kin to the gods themselves,
A red dragon's seed."
芒砀云端抱天回，咸阳王气清如水。
On Mang and Tang auspicious clouds
Coiled in the heavens,
In Xian-yang city, the royal aura
Shone clear as water.

铁枢铁楗重束关，大旗五丈撞双环。
Iron hinges, iron barriers
Fettered the passes,
Mighty banners, five fathoms long,
Battered the double gates,
汉王今日须秦印，绝膑刳肠臣不论。
"Today the King of Han possesses
The Seal of Qin.
Smash my knee-caps, disembowel me,
I shall say no more."

Notes by J. D. Frodsham:

Shi-ji, VII, biography of Xiang Yu, relates the story of the struggle for empire between Xiang-yu of Chu and Liu Bang, Lord of Pei, who afterwards became the first Han emperor.  Liu Bang's forces had been the first to enter the QIn capital, Xian-yang, and take possession of the strategic Han-gu Pass.  Enraged at this, Xiang Yu was about to attack Liu's forces when he was visited by his rival in his camp at Hong-men.  At the feast that followed, Fan Zeng signalled to Xiang Yu with his girdle-pendant, silently asking permission to have Liu killed.  When Xiang did not reply, Fan ordered Xiang Zhuang to perform a sword-dance in the course of which he was to kill Liu where he sat.  However, as Xiang Zhuang was dancing, Xiang Bo, an uncle of Yu's, kept up with his sword and joined in the dance, "protecting Liu with his body so that Xiang Zhuang could not smite him."  At this juncture Liu's carriage-guard, Fan Kuai, strode into the hall, shouldering aside the sentries, and denounced Yu for attempting to kill his master.  Thanks to the intervention of these two men, Liu was able to escape.

This episode, as recounted by the historian Si-ma Qian, became so popular that it figured widely in both folk-tales and plays.
1.   The lute (Zheng), symbol of Chinese culture, could not survive in that barbarous, southern atmosphere.
2.   Xiang Yu was still not drunk enough to kill Liu Pei.
3.   Shi-ji, VI, biography of Liu Bang, says he was begotten by a red dragon.
4.   See ibid.  The history recounts how the First Emperor of Qin heard that "there was an emanation characteristic of a Son of Heaven in the southwest," and set out to destroy Liu Bang who fled and hid himself among the swamps and rocks of Mang and Tang.  His wife, however, was able to track him down because wherever he went he was followed by the auspicious cloud mentioned above.  Mang was in the old state of Pei, in Henan.  Tang was in ancient Liang, in Jiangsu.
5.   These lines describe Liu Bang's capture of the Qin capital.
6.   He has put these words in Fan Guai's mouth, for the Shi-ji does not record them.  Cutting off the kneecaps and disembowelling were ancient punishments.

Additional notes:

"Lute" is an incorrect translation of zheng (筝), an instrument that is actually a bridge zither.

More information:

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 《苦篁调啸引》
Bitter Bamboos:  A Diao-xiao Ballad (Ku Huang Tiao Xiao Yin)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

 请说轩辕在时事，伶伦采竹二十四。
A word or two about the days
When Xuan-yuan reigned.
Ling Lun cut bamboos
Four-and-twenty of them
伶伦采之自昆丘，轩辕诏遣中分作十二。
Upon the hill of Kun.
Xuan-yuan ordered him
To halve them, making twelve.
伶伦以之正音律，轩辕以之调元气。
Thus Ling Lun regulated
Musical pitch,
And with this Xuan-yuan Ordered the Primal Breaths.

当时黄帝上天时，二十三管咸相随。
When the Yellow Emperor
Ascended into heaven,
Three-and-twenty pitch-pipes
Followed in his train.
唯留一管人间吹，无德不能得此管，此管沉埋虞舜祠。
Only a single pipe remained
For men to play,
Yet since they lacked virtue
This pipe was not for them,
So it was buried deep
Within the shrine of Shun.

Notes by J. D. Frodsham:

This poem does not have the form of a Tang ballad so the title may be a misnomer.  The bitter bamboo (phyllostachys bambusoides) was used for making flutes.
1.   Xuan-yuan—the personal name of Gong-sun Xuan-yuan, the legendary Yellow Emperor, supposed to have ascended the throne in 2697 B.C. and to have reigned for a century.
2.   Legend says the Yellow Emperor sent his minister Ling Lun to a valley north of the Kun-lun mountains.  Here he cut the bamboos from which the twelve pitchpipes were made, thus creating music and regulating the cosmos.
3.   During the reign of Emperor Zhang of the Later Han (regnet 75–88), a scholar named Ji Jing found a white jade pipe under the shrine of the legendary Emperor Shun in Leng-dao (east of Ning-yuan county, Hunan).

Additional notes:

The "Diao-xiao" in the title should probably be rendered as "Tiao-xiao" instead, the "tiao" reading of the character 调 indicating the regulation of musical pitches.

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=27843

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 《李凭箜篌引》
Li Ping's Konghou Prelude (Li Ping Konghou Yin)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)

 吴丝蜀桐张高秋，空山凝云颓不流。
Silk from Wu and tong from Shu resonate in the cool late autumn,
While in desolate mountain valleys, merging clouds sink and cease their drift.
江娥啼竹素女愁，李凭中国弹箜篌。
The River Maidens weep among the bamboos and the Plain Girl mourns,
As Li Ping, in the center of the kingdom, plays the konghou.
昆山玉碎凤凰叫，芙蓉泣露香兰笑。
Jade from Mount Kun is shattered and phoenixes shriek,
Lotuses weep dew while fragrant orchids smile.
十二门前融冷光，二十三丝动紫皇。
Before the twelve gates, the cold light melts,
As twenty-three silk [strings] move the Purple Emperor.
女娲炼石补天处，石破天惊逗秋雨。
As Nüwa welded stones to mend the sky,
Stone splits asunder, and the heavens are astonished amid autumn rains.
梦入神山教神妪，老鱼跳波瘦蛟舞。
He goes in dreams to the spirit mountain to instruct the Heavenly Muse,
While great fishes leap from the waves and gaunt dragons dance.
吴质不眠倚桂树，露脚斜飞湿寒兔。
Wu Zhi, unsleeping still, leans on his osmanthus tree,
As dewdrops, flying aslant, drench the shivering hare.

Notes:

 This poem describes, in the most fanciful terms (and with the use of many allusions from Chinese mythology), the shu konghou (竖箜篌, angular harp) playing of Li Ping (李凭), a court musician whose gender is unknown.  Until the 20th century twisted silk was the normal material used for the strings of Chinese chordophones, and tong (桐) is the Chinese word for paulownia, the wood that has been used for the soundboards of most Chinese string instruments since ancient times.  Wu (吴) is the ancient name for Suzhou, a city famed for the quality of its silk, and Shu (蜀) is the ancient name for Sichuan in southwest China.

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 《龙夜吟》
Chant:  Dragons at Night (Long Ye Yin)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)

鬈发胡儿眼晴绿，高楼夜静吹横竹。
A curly-haired foreign boy, green-eyed
Plays the horizontal bamboo in the still night amidst tall buildings
一声似向天上来，月下美人望乡哭。
Each note approaches the heavens
In the moonlight, beautiful women long for home, weeping
直排七点星藏指，暗合清风调宫徵。
Lined up across seven holes, fingers conceal stars
Unnoticed, gong and zhi notes merge with the cool breeze
蜀道秋深云满林，湘江半夜龙惊起。
On the road to Shu, deep autumn, forest thick with clouds
At midnight dragons rise from the Xiang River, startled
玉堂美人边塞情，碧窗皓月愁中听。
For beautiful women the imperial harem feels like a frontier fortress
Bright moonlight through jade windows, gloom in the audience hall
寒砧能捣百尺练，粉泪凝珠滴红线。
A hundred feet of silk beaten upon cold blocks
Tears form pearls on face-powder, drop onto red thread
胡儿莫作陇头吟，隔窗暗结愁人心。
There are no foreign boys to play the hilltop song
Behind dark lattice windows, somber hearts bound together

 Notes:

 Hu'er (胡儿) refers to the non-Han peoples of the Western Regions (i.e., Central Asia), such as the Sogdians, Kucheans, etc.; musicians from this area were numerous and in high demand in the Tang capital due to their excellent skill.  "Horizontal bamboo" (heng zhu, 横竹) refers to the heng di (横笛, transverse flute), which is usually made of bamboo and called dizi (笛子) in the modern day.  Gong and zhi are the first and fourth notes of the Chinese pentatonic scale, corresponding to Do and Sol.  Shu was an ancient state whose territory corresponds to modern-day Sichuan province in southwest China.  The Xiang River flows generally northeast through the provinces of Guangxi and Hunan.

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《恼公》
She Steals My Heart (Nao Gong)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

 宋玉愁空断，娇饶粉自红。
Sung Yu's vain hopes have vanished in melancholy,
What a graceful beauty she is, dusted with rose.
歌声春草露，门掩杏花丛。
I hear her singing among dewy spring grass,
Her gate is closed, drifted over with apricot blossom.
注口樱桃小，添眉桂叶浓。
She rouges her mouth, a little cherry,
Pencils her brows, deep-green as cassia leaves.
晓奁妆秀靥，夜帐减香筒。
At dawn by her vanity-box she makes up her face,
Night-fragrance fades from the tube in the bed.
钿镜飞孤鹊，江图画水荭。
On her inlaid mirror flies a lonely magpie,
On a river-view screen, waterweed is painted.
陂陀梳碧凤，腰袅带金虫。
Her hair swirls up and down, a blue-black phoenix,
With golden insects quivering up on it.
杜若含清露，河蒲聚紫茸。
She is an iris brimming with clear dew,
A cattail with its cluster in purple shoots.
月分蛾黛破，花合靥朱融。
Black eyebrows crescent-moons, unfrowning,
Her dimples red as folded flowers.
发重疑盘雾，腰轻乍倚风。
Her heavy hair curls round her like a mist,
So slender-waisted, a breeze could break her.
密书题豆蔻，隐语笑芙蓉。
She writes love-letters capped with cardamoms,
Laughing at "lotus," that secret word.
莫锁茱萸匣，休开翡翠笼。
Do not lock up the box of purple brocade,
Nor open the basket quilted with kingfisher feathers.
弄珠惊汉燕，烧蜜引胡蜂。
Playing with her pearls she scares the southern swallows,
Burning honey she entices the northern bees.
醉缬抛红网，单罗挂绿蒙。
She casts red nets dappled with white,
And hangs up gins of thin, green gauze.
数钱教姹女，买药问巴賨。
She teaches her lovely girls to handle money,
Asks her servant from Ba what medicine to buy.
匀脸安斜雁，移灯想梦熊。
On her powdered cheeks a slanting line of geese,
Moving the lamp, she broods on dreams of bears.
肠攒非束竹，胘急是张弓。
Her feelings are not tight as tied bamboo,
The flesh of her belly is suddenly taut as a bow.
晚树迷新蝶，残蜺忆断虹。
At dusk new butterflies go astray in the trees,
Fading, a female rainbow longs for a vanished male.
古时填渤澥，今日凿崆峒。
Long ago, a bird tried to fill in the Gulf of Chihli,
Today an old man tunnels the Kong Tong hills.

绣沓褰长幔，罗裙结短封。
From an embroidered rope long curtains hang,
Her silken skirt is tied at its short seam.
心摇如舞鹤，骨出似飞龙。
Like a dancing crane her heart flutters about,
Her bones are sticking out like a fallen dragon's.
井槛淋清漆，门铺缀白铜。
From the side of the well green lacquer drops,
The door-rings are bound with white brass.
隈花开兔径，向壁印狐踪。
Hugging the flowers a rabbit-track opens,
Hard by the wall, print of foxes' feet.
玳瑁钉帘薄，琉璃叠扇烘。
The light blinds are studded with tortoise-shell,
The folding screen of glass is warm.
象床缘素柏，瑶席卷香葱。
Her ivory bed has sides of white cypress,
Her rolled jade-mat is fragrant as water-shallot.
细管吟朝幌，芳醪落夜枫。
She plays her small pipes by the curtain sat dawn
On fragrant wine-lees maple-leaves fall at dusk.
宜男生楚巷，栀子发金墉。
"Should-have-a-son" grows in the lanes of Chu,
Gardenias blossom around Golden Wall.

龟甲开屏涩，鹅毛渗墨浓。
The open screen is rough with tortoise-shell,
Her goose-feather brush soaks up the rich, black ink,
黄庭留卫瓘，绿树养韩冯。
The "Yellow Courtyard" detains this Wei Huan.
In the green trees she feeds the Han Peng birds.
鸡唱星悬柳，鸦啼露滴桐。
At cockcrow stars hang in the willows,
Crows cry as dew drops from the plane trees.
黄娥初出座，宠妹始相从。
When this yellow-painted beauty takes her seat,
Her little sisters follow in her train.
蜡泪垂兰烬，秋芜扫绮栊。
When waxen tears have fallen, fragrance vanished,
With a grass broom she sweeps the ornate lattice.
吹笙翻旧引，沽酒待新丰。
She plays an old tune on her mouth-organ,
While waiting to buy wine from Xin-feng,
短佩愁填粟，长弦怨削菘。
Sorrow thick as the grain on her short pendant,
Fingers slender as chives plucking the long-stringed lute.
曲池眠乳鸭，小阁睡娃僮。
In the Serpentine, the ducklings are all sleeping,
In the small pavilion, the pretty maid servant dreams.
褥缝篸双线，钩绦辫五总。
Her well-stitched mattress is sewn with double thread,
Her buckled belt has five braided tassels.

蜀烟飞重锦，峡雨溅轻容。
Mist from Shu flies over the rich brocade,
Rain from the gorge sprinkles her silken night dress.
拂镜羞温峤，薰衣避贾充。
She rubs the mirror, shy before Wen Qiao,
Flees from Jia Chong in his perfumed dress.
鱼生玉藕下，人在石莲中。
A fish lies under a jade lotus-root,
Someone is held fast by a stone-lotus.
含水弯蛾翠，登楼选马鬉。
She knits her blue eyebrows, mouth full of water,
From the terrace she sprays his horse's mane.
使君居曲陌，园令住临邛。
The Governor lives in a winding street,
The Guardian of the Royal Tombs dwells in Lin-chiung.

桂火流苏暖，金炉细炷通。
A warm ball of fragrance hangs from her cassia curtains,
From brazen incense-burners, wisps of smoke.
春迟王子态，莺啭谢娘慵。
These long, spring days, Master Wang's ways are winning,
Orioles sing, so she thinks of Xie's languorous maid.
玉漏三星曙，铜街五马逢。
The jade water-clock says the Three Stars shine bright,
By the Bronze Camels the five-horse carriages meet.
犀株防胆怯，银液镇心忪。
Rhinoceros horn banishes fear from her gall,
Mercury calms the fluttering of her heart.
跳脱看年命，琵琶道吉凶。
She uses a bracelet to tell a man's destiny,
Strums her lute and sings of good luck and bad.
王时应七夕，夫位在三宫。
"The Royal Hour occurs on the Seventh Night,
Your lover has a post in the Triple Palaces."

无力涂云母，多方带药翁。
Since I had no strength, she fed me powdered mica,
Sought many presciptions from an old medicine seller.
符因青鸟送，囊用绛纱缝。
She sent me a blue-bird bearing an amulet,
The bag was sewn with thin, red silk.
汉苑寻官柳，河桥阂禁钟。
As I passed the bridge the palace bells stopped ringing.
月明中妇觉，应笑画堂空。
When my middle-aged maid awakes in the moonlight,
She will laugh to see my painted room is empty.

Notes by J. D. Frodsham:

Presumably a poem celebrating the beauty of some singing-girl or other, with whom He had become involved.  My translation of this highly allusive and obscure piece of verse is in several places at best tentative.
1.   Sung Yu, a poet who seems to have lived at the court of King Qing-Xiang of Chu (regnet 298-265 B.C.), is the supposed author of the Jiu Bien (The Nine Arguments) of the Chu Ci.  Tradition has it that he was a romantic and dissolute fellow, much given to philandering.
2.   Incense was burnt in a censer.
3.   The magpie was a common motif on mirrors.  This alludes to an old stsory about a husband and wife who broke a mirror in two on parting, each keeping one half.  When the wife proved unfaithful, her half of the mirror changed into a magpie and flew off to tell the husband.
4.   Probably ornaments made from the iridescent elytra of the gold-and-turquoise chrysochroa beetle.
5.   The cardamom flower symbolized love.  For cardamoms, see Schafer, Golden Peaches, pp. 184-85.  "Lotus" (liān) and "love" (liēn) were pronounced rather alike in Ancient Chinese, both in the level tone.  Here the lotus symbolizes affection.
6.   The Pearl Game, in which a plateful of pearls was skillfully juggled, as a professional entertainer's act, just the sort of diversion a singing-girl would put on for her clients.
7.   The red nets were to catch birds, the green to catch fish.
8.   A satirical touch!  The mother of the Han Emperor, Ling-di (regnet 168-89), the Empress Dowager Yong-luo, was so greedy for food and money that she became the butt of a popular ballad, from which He is quoting.
9.   She instructs her maids to keep the household accounts and asks her servant-lad about what medicines she should buy.  Then she undresses, retires to bed, and dreams of bearing a son.
10.   "Geese" jewellery worn on the temples.  To dream of bears was an omen of a baby boy, as snakes were omens of a baby girl.
11.   She is hopelessly in love with someone who has left her to pine away like a fading rainbow.  Her efforts to forget her love are as vain as those of the qing-wei bird that tried to fill in the Eastern Sea or Master Simple of North Mountain who set out to remove Mount Tai-lang and Mount Wangwu.  Alternatively, the lines might well refer to He's efforts to gain her love, which though seemingly hopeless were finally crowned with success.
12.   Lovesickness has wasted her away, so that her bones stick out like the "dragon-bones" found in an apothecary's shop.
13.   Maple-leaves fall on the spot where she has been drinking.
14.   The day-lily was also known as yi-nan, "should-have-a-son."  The lanes of Chu were the streets in the Golden Wall quarter in the northwest of Luo-yang, where the singing-girls lived.
15.   The screen was set with jade patterned like tortoise-shell.
16.   Wei Huan (220-91) was a celebrated calligrapher of the Jin dynasty, renowned for the elegance of his draft script.  The girl is writing a letter in a hand as vigorous as that in which Wei Huan transcribed the Yellow Courtyard Classic (Huang-ting jing), a well-known Taoist work.
17.   There are several versions of the Han Peng legend, the most usual of which relates that Han Peng, a minister of the state of Song, had a beautiful wife.  His lord, King Kang, threw him into prison where he died, and then seized the girl, who thwarted his designs by killing herself.  Furious at being thus frustrated, the king had the two bodies buried in separate graves:  but from each of these there sprouted a tree, in the branches of which, interlaced over the tombs, two birds came to sing.  Thus, the Han Peng birds are symbols of undying love.  For another version of the legend, see A. Waley, Ballads and Stories from Tun-huang (London, 1960), pp. 56-64.
18.   The fragrant candles have burnt out.
19.   Xin-feng was the suburb of Chang-an where wine was made.
20.   Her jade-pendant bore a pattern of millet.
21.   Euphemisms for love-making.
22.   Wen Qiao (288-329), a minister of the Jin dynasty, sent his beautiful cousin a betrothal present of a vanity mirror.
23.   Jia Chung (217-82), a prime minister of the Jin dynasty, had a daughter who was having an affair with a handsome retainer of his called Han Shou.  Chung noticed that Shou's clothes bore the scent of a rare perfume his daughter used, and so discovered who her lover was.
24.   During the Six Dynasties, certain words acquired special connotations in love poetry.  "Lotus-root" is a symbol for girl, while "fish" stands for pleasure.  In the second line, "stone-lotus" stands for lover, and "man" stands for woman.  The secret meaning of the lines is thus:  "Pleasure was born beneath the girl's body.  The woman was tightly held by the man's hands."
25.   It was the custom for a singing-girl to spray the mane of her lover's horse with water when he left.  This was probably a magical practice designed to ensure the lover's return.  An alternative translation, based on the older commentaries, runs:
     "She knits her blue eyebrow, eyes full of tears,
     On the tower she sprays her hair, a horse's mane."
26.   Shi-jun was a Han dynasty title meaning "Governor."  The line is probably a reference to the Han Ballad The Mulberries by the Path.  See J. D. Frodsham, An Anthology of Chinese Verse (Oxford, 1967), pp. 4-6.
27.   The poet Si-ma Xiang-ru was said to have held the office of Custodian of the Royal Tomb.  Presumably these two lines are spoken by the girl, who is comparing herself to the modest Luo-fu of The Mulberries by the Path and her lover (Li He?) to this romantic poet.  The Governor would then be a rejected admirer.
28.   The Wang family of Lang-ye, Shandong, was one of the most powerful of the Six Dynasties period.  He is referring either to Wang Xian-zhi (344-88), a scion of this clan, who is said to have had a concubine called Peach Leaves to whom he wrote poems or to Wang Zi Qiao, the Immortal.
29.   The beautiful and talented concubine of the great minister Xie An (320-85).
30.   "The Three Stars":  Orion.  Carriages of influential people gather in the street of the Bronze Camel in Luo-yang.  Another reference to The Mulberries by the Path:  "Lord Governor came from the South country.  His team of five stood waiting there."  This may well mean that the girl had rejected the advances of an influential admirer in favour of Li He.
31.   Rhinoceros horn was taken in powdered form during Tang, especially as an antidote to poison.  It was not used as an aphrodisiac at that time.  Mercury was among the most important Chinese materia medica.  The girl was probably taking "silver tallow," an amalgam of silver, tin and mercury commonly used as a sedative.
32.   "Royal hour" means "auspicious time."  On the seventh night of the seventh month, stars known as the Herd-boy and the Weaving Lady met.
33.   Heaven was said to have three palaces.  Hence this line must refer to He's post in the Court of Imperial Sacrifices.  The fortune-teller is predicting that on the seventh night of the seventh month Li He and the girl will meet, like the Herd-boy and the Weaving Lady.
34.   Mica was one of the "superior drugs" of the Chinese pharmacopoeia.  It was said to lighten the body and lengthen life.
35.   Li He is wending his way home just before dawn after spending the night with this girl.

 More information:
https://baike.baidu.com/item/%E6%81%BC%E5%85%AC

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《平城下》
Under the Walls of Ping City (Pingcheng Xia)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

饥寒平城下，夜夜守明月。
Hungry and cold, under Ping City's walls,
Night after night we guard the shining moon.
别剑无玉花，海风断鬓发。
Our farewell swords have lost their sheen,
The Gobi wind cuts through our temple-hair.
塞长连白空，遥见汉旗红。
Endless desert merges with white void,
But see—far off—the red of Chinese banners,
青帐吹短笛，烟雾湿昼龙。
In their black tents they're blowing short flutes,
Mist and haze soaking their painted dragons.
日晚在城上，依稀望城下。
At twilight, up there on the city walls,
We stare into the shadows of those walls,
风吹枯蓬起，城中嘶瘦马。
The wind is blowing, stirring dead tumbleweed,
Our starving horses whinny within the walls.
借问筑城吏，去关几千里。
"Just ask the builders of these walls
How many thousand leagues from the Pass we are?
惟愁裹尸归，不惜倒戈死。
Rather than go home as bundled corpses
We'll turn our lances on ourselves and die."

Notes:

This poem was written in the year 813.

Notes by J. D. Frodsham:

Ping-cheng was a northern border outpost in present Ta-tong county, Shanxi, close to the Great Wall.  The Han settlement of this name lay east of the Tang fort.  In 200 B.C. Emperor Gao-zu of the Former Han was besieged in Ping-cheng, which became the scene of the great battle.
1.    "Farewell swords"—swords presented as parting mementoes.
2.    Literally "Sea-wind"; but "Sea" here stands for the Gobi, a desert being a sea of sand.
3.    The Han-gu Pass was regarded as the gateway to China.
4.    The bodies of men who had died on active service were sent back home for burial, wrapped in horsehides.  The final line is so subversive that many commentators have sought to amend it, as for example, Suzuki Torao, who renders it as:  "We do not mind going home as bundled corpses.  This is better than dying as traitors."The line as it stands speaks of mutiny or suicide.


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 《将进酒》
Bring in the Wine! (Qiang Jin Jiu!)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)

 琉璃钟，琥珀浓，小槽酒滴真珠红。
In colored glass vessels, the amber is strong;
from the spigot wine drips like true pearls, red.
烹龙炮凤玉脂泣，罗帏绣幕围香风。
From the boiling dragon and roasting phoenix jade fat weeps,
the gauze enclosure and embroidered curtains enclosing this fragrant breeze.
吹龙笛，击鼍鼓；皓齿歌，细腰舞。
Blow the dragon flute, strike the alligator drum;
Pearly teeth sing, slim waists dance.
况是青春日将暮，桃花乱落如红雨。
Truly, the green spring day of youth will gradually give way to twilight,
Just as peach blossoms scatter and fall like a pink rain.
劝君终日酩酊醉，酒不到刘伶坟上土！
I urge you, good sirs, to stay dead drunk all day long,
not pouring any wine on the earth over the grave of Liu Ling!

 Notes:

 In this brief poem, Li He, one of the most imaginative of Chinese poets, depicts the vivid scene of a palace banquet, complete with copious wine drinking, music and dance.

In his The Golden Peaches of Samarkand: A Study of T'ang Exotics (1963), Edward H. Schafer writes the following about this poem:

 The T'ang poets found "amber" a useful color word, signifying a translucent red-yellow, and used it particularly as an epithet of "wine." We have already seen it used by Li Po, in our discussion of saffron (p. 126). A line by Chang Yuëh is another case:

 In the Northern Hall they stress the value of amber wine.

 Li Ho, the precocious ninth-century poet, went a step further, and made "amber" stand for "wine" by metonymy. This usage was part and parcel of his well-known interest in color imagery for the intensification of emotion; he was unique in his abundant use of "golden," "silvery," "deep green," and in the way in which he used "white" to express intense illumination of emotional contrast in landscape descriptions (as in black and white photography, say): "the sky is white," and even "the autumn wind is white." Here is his "Have the Wine Brought In!"

 In glass-paste stoup
The amber is thick—
From a small vat wine drips—true pearls reddened;
Boiling dragon, roasting phoenix—jade fat dripping.
Net screen, embroidered awning, encircle fragrant wind.
Blow dragon flute!
Strike alligator drum!
Candent teeth sing—
Slender waists dance—
Especially now when blue spring day is going to set,
And peach flowers fall confused like pink rain.
I exhort milord to drink to besottedness by end of day,
Nor let the wine upset on the earth over Liu Ling's grave!

 Liu Ling, one of the ancient "Seven Sages of the Bamboo Grove," was a notorious winebibber, and bottles were buried with him; to spill wine on the ground now, as a libation, intended or accidental, would be like carrying coals to Newcastle.

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 《秦王饮酒》
The King of Qin Drinks Wine (Qinwang Yin Jiu)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)

 秦王骑虎游八极，
Straddling a tiger, the King of Qin
Roams the eight poles,
剑光照空天自碧。
His glittering sword lights up the sky,
Heaven turns sapphire.
羲和敲日玻璃声，
Xi and He whip up the sun
With the sound of glass,
劫灰飞尽古今平。
The ashes of kalpas have flown away, 
Past and present at peace.
龙头泻酒邀酒星，
From a dragon's head spouts wine
Inviting the Wine-Stars,
金槽琵琶夜枨枨。
All night the gold-inlaid pipas
Twang and sing.
洞庭雨脚来吹笙，
Dense splashes of Dongting-Lake rain 
Come to blow the sheng.
酒酣喝月使倒行。
Flushed with wine, he shouts at the moon--
It runs back in its course.
银云栉栉瑶殿明，
Beneath dense drifts of silver clouds
The jasper hall glows.
宫门掌事报一更。
The keepers of the Palace gate
Cry out the first watch.
花楼玉凤声娇狞，
In the ornate tower, a jade phoenix sings,
Faltering and sweet.
海绡红文香浅清，
From ocean-pongee, patterned in crimson,
A faint, cool scent.
黄鹅跌舞千年觥。
The yellow beauties reel in their dance.
A thousand years with each cup!
仙人烛树蜡烟轻，
As fairy candlesticks waft on high
A light, waxy smoke,
清琴醉眼泪泓泓。
Eyes rapt with wine, those emerald qins
Shed seas of tears.

Notes:

The "Qinwang" (秦王) in this poem probably refers to Emperor Dezong of Tang (唐德宗, r. 779-805) rather than to Qin Shi Huang, the founding emperor of the Qin Dynasty who lived in the 3rd century BC.  "Kalpa" (jie, 劫, in Chinese) is a Sanskrit word meaning "eon."

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《申胡子觱篥歌》
Song:  Bearded Shen Playing His Tartar Horn (Shen Huzi Bili Ge)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

Preface (xu, 序):
申胡子，朔客之苍头也。朔客李氏，本亦世家子，得祀江夏王庙，当年践履失序，遂奉官北郡，自称学长调短调，久未知名。今年四月，吾与对舍于长安崇义里，遂将衣质酒。命予合饮，气热杯兰，因谓吾曰：「李长吉，尔徒能长调，不能作五字歌诗，直强回笔端，与陶谢诗势相远几里。」吾对后请撰〈申胡子觱篥歌〉，以五字断句。歌成，左右人合噪相唱，朔客大喜，擎觞起立，命花娘出幕，裴回拜客。吾问所宜，称善平弄，于是以弊辞配声，与予为寿。
Bearded Shen was the servant of a northern friend of mine.  This northerner, who belonged to an old and honourable branch of the Li family, was entitled to offer sacrifice in the temple of the Prince of Jiang-xia.  He had once committed some small offence or other, lost rank and been posted to a commandery in the north.  He claims to be highly proficient in 5-word and 7-word verse:  yet fame has for long eluded him.  In the fourth month of this year, when I was a neighbour of his in the Chong-yi quarter of Chang-an, after pawning his clothes to buy wine, he invited me to join him in a drinking party.  When our spirits were high and all of us well in our cups, he said to me:  "Li Chang-ji!  You can only write 7-word poems.  You can't handles 5-word poems.  You may force the tip of your brush to write something, but you'll never come with in miles of the verse of Tao Yuan-ming and Xie Ling-yun."  After I had replied to this I asked if I could write a Song for Bearded Shen Playing His Tartar Horn.  When I'd finished my song, all the guests started shouting for us to sing it together.  My northern friend was quite delighted.  He stood up, raised his goblet to toast me, and then called for his concubine, Hua-niang, to come out from behind the curtain and walk up and down paying her respects to the guests.  I asked her which type of music she was best at.  She replied that "Peaceful and Slow" was the mode she preferred.  Then we sang my verses together, while Shen accompanied us, wishing me long life with his music.

Poem:
颜热感君酒，含嚼芦中声。
Faces glowing from your wine, sir,
We savour the sound of the reeds,
花娘篸绥妥，休睡芙蓉屏。
Hua-niang, her hair in careful disarray,
Wakes from her sleep behind the screen.
谁截太平管，列点排空星。
Who cut the flute of Perfect Peace,
Bored these holes like stars in the sky?
直贯开花风，天上驱云行。
Piercing and sudden, a wind opening blossoms,
It sends the clouds scudding through the heavens.
今夕岁华落，令人惜平生。
Tonight the flowers of our years are falling,
Breaking my heart for days beyond recall.
心事如波涛，中坐时时惊。
My passions surge as wild as waves,
I sit here startled time and time again.
朔客骑白马，剑弝悬兰缨。
The northerner rides on a white horse,
Grasping his sword with orchid-tasselled haft.
俊健如生猱，肯拾蓬中萤。
He is strong and quick as a wild monkey,
Yet catches fireflies in tumbleweed.

Notes:

引用典故：五子窗

This poem was written in the year 811.  The bili (觱篥 or 筚篥), which Frodsham translates as "Tartar horn," was a cylindrical-bored double-reed pipe of Central Asian origin, similar to the Armenian duduk, with a particularly soulful and melancholy sound.

Notes by J. D. Frodsham:

Type of flageolet.
1.   Li Dao-zong was Prinhce of Jian-xia.
2.   Tao Yuan-ming (365-427) and Xie Ling-yun (385-433) were the greatest poets of the pre-Tang period.
3.   A reed instrument with nine holes and a mouthpiece like the Tartar horn.
4.   Ju Yin, of the Jin dynasty, was so poor that in the summer he studied by the light of fireflies which he caught himself.  His host, though poor, was an assiduous student.


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 《天上谣》
A Ballad of Heaven (Tian Shang Yao)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

 天河夜转漂回星，银浦流云学水声。
The River of Heaven wheels round at night
Drifting the circling stars,
At Silver Bank, the floating clouds
Mimic the murmur of water.
玉宫桂树花未落，仙妾采香垂佩缨。
By the Palace of Jade the cassia blossoms
Have not yet fallen,
Fairy maidens gather their fragrance
For their dangling girdle-sachets.

秦妃卷帘北窗晓，窗前植桐青凤小。
The Princess from Qin rolls up her blinds,
Dawn at the north casement.
In front of the window,a planted kolanut
Dwarfs the blue phoenix.
王子吹笙鹅管长，呼龙耕烟种瑶草。
The King's son plays his pipes
Long as goose-quills,
Summoning dragons to plough the mist
And plant Jade Grass.

粉霞红绶藕丝裙，青洲步拾兰苕春。
Sashes of pink as clouds at dawn.
Skirts of lotus-root silk,
They walk on Blue Island, gathering
Fresh orchids in spring.

东指羲和能走马，海尘新生石山下。
She points to Xi He in the east,
Deftly urging his steeds,
While land begins to rise from the sea
And stone hills wear away.

Notes by J. D. Frodsham:

This poem is another satire directed against Emperor Xian-zong, who had commanded all the Taoist adepts of the empire to appear at his court with recipes for immortal life.  These are the real Immortals.  He is saying, how can we hope to imitate them?
1.   The "Silver Bank" is part of the "River of Heaven" (the Milky Way).
2.   The Palace of Jade, the Cassia Tree, and the fairy maidens are all found in the moon.
3.   Lung-yu, daughter of Duke Mu of Qin, married the Immortal Wang Zi Qiao (the "King's son" of line seven).
4.   The jade pipes of his sheng (mouth organ) were shaped like goose-quills.
5.   "Jade Grass":  a mythical plant.
6.   A legendary island in the Eastern Seas, abode of the Immortal Maidens.
7.   Gods and Immortals can afford to be careless of the passing of time.  To them whole epochs, during which land rises out of the sea and sinks back beneath it again, are as nothing.

 More information:
https://baike.baidu.com/item/%E5%A4%A9%E4%B8%8A%E8%B0%A3

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 《听颖师琴歌》
Song:  Listening to Master Ying Playing the Lute (Ting Ying Shi Qin Ge)
作者：李贺（中唐）
by Li He (mid-Tang Dynasty, 790 or 791-816 or 817)
translated by J. D. Frodsham

 别浦云归桂花渚，蜀国弦中双凤语。
Clouds of the Shores of Parting home
From the isle of cassia flowers,
Through strings of a lute from Shu
Two phoenixes talk.
芙蓉叶落秋鸾离，越王夜起游天姥。
Lotus leaves falling in autumn
As simurghs part,
A king of Yue wandering at night
On Mount Tian-mu.
暗佩清臣敲水玉，渡海蛾眉牵白鹿。
Hidden girdle-gems of an honest minister,
Tinkling crystals,
Fairy maidens crossing the sea,
Leading white deer.
谁看挟剑赴长桥，谁看浸发题春竹。
What vision is going to Long Bridge,
Sword in hand?
What vision is writing on spring bamboo
With ink-soaked hair?
竺僧前立当吾门，梵宫真相眉棱尊。
An Indian monk is standing here,
Right at my gate,
An arhat with venerable eyebrows
In a Buddhist temple.
古琴大轸长八尺，峄阳老树非桐孙。
His antique lute, full eight feet long,
Has massive stops,
An ancient tree-trunk from Yi-yang.
Not a puny branch.
凉馆闻弦惊病客，药囊暂别龙须席。
Sound of strings through the cold room
Rouses me from my sick-bed,
Leaving my potions for a while
I sit on the dragon's beard.
请歌直请卿相歌，奉礼官卑复何益。
If you want a song, you ought to ask
A cabinet-maker,
Maestro, do not demean yourself
With a mere clerk.

Notes by J. D. Frodsham:

Ying was evidently a celebrated performer on the qin.  Han Yu also wrote a poem to him with the same title.
1.   The clouds drift towards the Milky Way leaving the moon ("the isle of cassia flowers") shining serenely.
2.   "Two phoenixes":  Ying's hands.
3.   The lute sounds like the singing of the goddess of Mount Tian-mu (in Xin-chang county, Zhejiang), which was once heard by a King of Yue.
4.   "Hidden" because worn inside the garments.
5.   See the poem Song of the Sword of the Collator in the Spring Office above, for the story of Zhou Chu.
6.   Zhang Xu, a contemporary of Li He's, was famous for his calligraphy in the draft script.  When drunk he would rush wildly around shouting, then soak his long hair in ink and use it to write down huge characters.  When sober, he could remember nothing of this, swearing he must have been possessed by a spirit.
7.   Master Ying must have resembled a Buddhist monk.
8.   This was the great lute (da qin) which was eight feet one inch in length.
9.   Literally:  "Not the grandson of a kolanut tree."  Mount Yi-yang, in Jiangsu, was renowned for its kolanut trees, which were prized for lute-making.  The small branches which were generally used were called "grandsons."  He remarks that this particular lute is so big it must have taken a whole tree to make it,  not just a branch.
10.   A mat of dragon's-beard or Baltic rush.

Additional notes:

Ying Shi (颖师) was a Buddhist monk who had excellent skill in playing the qin.  Several Tang poets, including Li He and Han Yu, wrote poems praising his playing.  "Lute" is an incorrect translation of qin (琴), an instrument that is actually a zither.

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《咏史十一首 其九》
作者：李华（唐）
by Li Hua (Tang Dynasty, 715-766)

文侯耽郑卫，一听一忘餐。
白雪燕姬舞，朱弦赵女弹。
淫声流不返，慆荡日无端。
献岁受朝时，鸣钟宴百官。
两床陈管磬，九奏殊未阑。
对此唯恐卧，更能整衣冠。


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《听安万善吹觱篥歌》
作者：李颀（唐）
by Li Qi (Tang Dynasty, 690-751)

南山截竹为觱篥，此乐本自龟兹出。
流传汉地曲转奇，凉州胡人为我吹。
傍邻闻者多叹息，远客思乡皆泪垂。
世人解听不解赏，长飙风中自来往。
枯桑老柏寒飕飗，九雏鸣凤乱啾啾。
龙吟虎啸一时发，万籁百泉相与秋。
忽然更作渔阳掺，黄云萧条白日暗。
变调如闻杨柳春，上林繁花照眼新。
岁夜高堂列明烛，美酒一杯声一曲。

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《听董大弹胡笳弄兼寄语房给事》
作者：李颀（唐）
by Li Qi (Tang Dynasty, 690-751)

 蔡女昔造胡笳声，一弹一十有八拍。
胡人落泪沾边草，汉使断肠对归客。
古戍苍苍烽火寒，大荒沉沉飞雪白。
先拂商弦后角羽，四郊秋叶惊摵摵。
董夫子，通神明，深松窃听来妖精。
言迟更速皆应手，将往复旋如有情。
空山百鸟散还合，万里浮云阴且晴。
嘶酸雏雁失群夜，断绝胡儿恋母声。
川为静其波，鸟亦罢其鸣。
乌孙部落家乡远，逻娑沙尘哀怨生。
幽音变调忽飘洒，长风吹林雨堕瓦。
迸泉飒飒飞木末，野鹿呦呦走堂下。
长安城连东掖垣，凤凰池对青琐门。
高才脱略名与利，日夕望君抱琴至。

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 《市》
(Shi)
作者：李峤（唐）
by Li Jiao (Tang Dynasty, c. 645-c. 714)

 阛阓开三市，旗亭起百寻。
渐离初击筑，司马正弹琴。
细柳龙鳞映，长槐兔月阴。
徒知观卫玉，讵肯挂秦金。

Notes:

引用典故：击筑　挂秦金　司马弹琴

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《筝》
Zheng
作者：李峤（唐）
by Li Jiao (Tang Dynasty, c. 645-c. 714)

《蒙恬》芳轨设，游楚妙弹开。
新曲帐中发，清音指下来。
钿装模六律，柱列配三才。
莫听西秦奏，筝筝有剩哀。

Notes:

箏箏，《釋名》曰：“箏施弦高，箏箏然。”


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《王内人琵琶引（皓魄翻以下缺）》
作者：李群玉（唐）
by Li Qunyu (Tang Dynasty, 808-862)

檀槽一曲黄钟羽，细拨紫云金凤语。
万里胡天海塞秋，分明弹出风沙愁。
三千宫嫔推第一，敛黛倾鬟艳兰室。
嬴女停吹降浦箫，嫦娥净掩空波瑟。
翠幕横云蜡燄光，银龙吐酒菊花香。
皓魄翻。

Notes:

引用典故：尧女瑟　嬴女

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 《锦瑟》
(Jin Se)
作者：李商隐（唐）
by Li Shangyin (Tang Dynasty, 813-858)

 锦瑟无端五十弦，一弦一柱思华年。
庄生晓梦迷蝴蝶，望帝春心托杜鹃。
沧海月明珠有泪，蓝田日暖玉生烟。
此情可待成追忆，只是当时已惘然。

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 《拟意》
(Ni Yi)
作者：李商隐（唐）
by Li Shangyin (Tang Dynasty, 813-858)

 怅望逢张女，迟回送阿侯。
空看小垂手，忍问大刀头。
妙选茱萸帐，平居翡翠楼。
云屏不取暖，月扇未遮羞。
上掌真何有，倾城岂自由。
楚妃交荐枕，汉后共藏阄。
夫向羊车觅，男从凤穴求。
书成祓禊帖，唱杀畔牢愁。
夜杵鸣江练，春刀解若榴。
象床穿幰网，犀帖钉窗油。
仁寿遗明镜，陈仓拂彩球。
真防舞如意，佯盖卧箜篌。
濯锦桃花水，溅裙杜若洲。
鱼儿悬宝剑，燕子合金瓯。
银箭催摇落，华筵惨去留。
几时销薄怒，从此抱离忧。
帆落啼猿峡，樽开画鹢舟。
急弦肠对断，翦蜡泪争流。
璧马谁能带，金虫不复收。
银河扑醉眼，珠串咽歌喉。
去梦随川后，来风贮石邮。
兰丛衔露重，榆荚点星稠。
解佩无遗迹，凌波有旧游。
曾来十九首，私谶咏牵牛。

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《无题二首 其一》
作者：李商隐（唐）
by Li Shangyin (Tang Dynasty, 813-858)

八岁偷照镜，长眉已能画。
十岁去踏青，芙蓉作裙衩。
十二学弹筝，银甲不曾卸。
十四藏六亲，悬知犹未嫁。
十五泣春风，背面秋千下。

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 《银河吹笙》
(Yinhe Chui Sheng)
作者：李商隐（唐）
by Li Shangyin (Tang Dynasty, 813-858)

 怅望银河吹玉笙，楼寒院冷接平明。
重衾幽梦他年断，别树羁雌昨夜惊。
月榭故香因雨发，风帘残烛隔霜清。
不须浪作缑山意，湘瑟秦箫自有情。

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《重登滕王阁》
作者：李涉（唐）
by Li She (Tang Dynasty, fl. 806)

滕王阁上唱伊州，二十年前向此游。
半是半非君莫问，好山长在水长流。

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 《悲善才》
by Li Shen (Tang Dynasty, 772-846)
作者：李绅（唐）

 余守郡日，有客游者，善弹琵琶，问其所传，乃善才所授。顷在内庭日，别承恩顾，赐宴曲江，敕善才等二十人备乐。自余经播迁，善才已没。因追感前事，为悲善才。

 穆王夜幸蓬池曲，金銮殿开高秉烛。
东头弟子曹善才，琵琶请进新翻曲。
翠蛾列坐层城女，笙笛参差齐笑语。
天颜静听朱丝弹，众乐寂然无敢举。
衔花金凤当承拨，转腕拢弦促挥抹。
花翻凤啸天上来，裴回满殿飞春雪。
抽弦度曲新声发，金铃玉佩相瑳切。
流莺子母飞上林，仙鹤雌雄唳明月。
此时奉诏侍金銮，别殿承恩许召弹。
三月曲江春草绿，九霄天乐下云端。
紫髯供奉前屈膝，尽弹妙曲当春日。
寒泉注射陇水开，胡雁翻飞向天没。
日曛尘暗车马散，为惜新声有馀叹。
明年冠剑闭桥山，万里孤臣投海畔。
笼禽铩翮尚还飞，白首生从五岭归。
闻道善才成朽骨，空馀弟子奉音徽。
南谯寂寞三春晚，有客弹弦独凄怨。
静听深奏楚月光，忆昔初闻曲江宴。
心悲不觉泪阑干，更为调弦反覆弹。
秋吹动摇神女佩，月珠敲击水晶盘。
自怜淮海同泥滓，恨魄凝心未能死。
惆怅追怀万事空，雍门感慨徒为尔。

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 《杜司空席上赋》
作者：李宣古（唐）
by Li Xuangu (Tang Dynasty, fl. c. 853)

 红灯初上月轮高，照见堂前万朵桃。
觱栗调清银象管，琵琶声亮紫檀槽。
能歌姹女颜如玉，解引萧郎眼似刀。
争奈夜深抛耍令，舞来挪去使人劳。

Notes:

题注：《纪事》云：杜司空悰自忠武军节度使出镇沣阳，宣古数陪游宴，乘醉慢侮，悰欲辱之。长林公主曰：“岂有饮而举人细过耶？”谓宣古请为诗，冀弥缝也，宣古得韵，立成此诗。

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 《方响歌》
Fangxiang Song (Fangxiang Ge)
作者：李沇（唐）
by Li Yan (Tang Dynasty, d. 895)

敲金扣石声相凌，遥空冷静天正澄。
宝瓶下井辘轳急，小娃弄索伤清冰。
穿丝透管音未歇，回风绕指惊泉咽。
季伦怒击珊瑚摧，灵芸整鬓步摇折。
十六叶中侵素光，寒玲震月杂珮珰。
云和不觉罢余怨，莲峰一夜啼琴姜。
急节写商商恨促，秦愁越调逡巡足。
梦入仙楼戛残曲，飞霜棱棱上秋玉。


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《听唱赤白桃李花》
Listening to the Singing of "Red and White Peach and Plum Blossoms" (Ting Chang "Chi Bai Tao Li Hua") 
作者：李益（唐）
by Li Yi (Tang Dynasty, 746 or 748-827 or 829)

 赤白桃李花，先皇在时曲。
"Red and White Peach and Plum Blossoms"--
A tune from the time of our departed emperor.
欲向西宫唱，西宫宫树绿。 
I wish that, when in the Western Palace it is sung,
The Western Palace's palace trees all turn green.

 Notes:

 The rhyming syllables were pronounced as follows in Middle Chinese:
● 曲 = kʰiok̚
● 绿 = liok̚

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《书琵琶背》
作者：李煜（五代十国 – 南唐）
by Li Yu (Five Dynasties:  Southern Tang, 937-978)

侁自肩如削，难胜数缕绦。
天香留凤尾，馀煖在檀槽。

Notes:

周后通书史，善音律，尤工琵琶。元宗赏其艺，取所御琵琶时谓之烧槽者赐焉。烧槽，即蔡邕焦桐之义，或谓燄材而斲之，或谓因爇而存之。后临殂，以琵琶及常臂玉环亲遗后主。

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《赠筝妓伍卿》
Presenting the Zheng-Playing Courtesan Wu Qing (Zeng Zheng Ji Wu Qing)
作者：李远（唐）
by Li Yuan (Tang Dynasty, fl. 831-858)

轻轻没后更无筝，玉腕红纱到伍卿。
After the passing of Qing Qing, there was no one to replace her [skill on the] zheng;
But jade-like wrists and sheer red silk have arrived [in the form of] Wu Qing.
座客满筵都不语，一行哀雁十三声。
[Among the] seated guests at the packed banquet, not a word is spoken,
While the row of mournful wild geese [produce] thirteen [different] tones.

Notes:

The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  "Wild geese" (yan, 雁) refers to the bridges of the zheng, which are lined up in a diagonal row like a flock of wild geese in flight.


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《送李挚赴延陵令》
作者：刘长卿（中唐）
by Liu Changqing (mid-Tang Dynasty, c. 726-c. 789 or 790)

清风季子邑，想见下车时。
向水弹琴静，看山采菊迟。
明君加印绶，廉使托茕嫠。
旦暮华阳洞，云峰若有期。

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=16147

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《杂咏八首上礼部李侍郎 幽琴》（中二联作听琴绝句，已见前卷）
作者：刘长卿（中唐）
by Liu Changqing (mid-Tang Dynasty, c. 726-c. 789 or 790)

Version 1:

月色满轩白，琴声宜夜阑。
飗飗青丝上，静听松风寒。
古调虽自爱，今人多不弹。
向君投此曲，所贵知音难。

Version 2:

月色满轩白，琴声宜夜阑。
泠泠七弦上，静听松风寒。
古调虽自爱，今人多不弹。
向君投此曲，所贵知音难。
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 《梦为吴泰伯作胜儿歌》
作者：刘景复（唐）
by Liu Jingfu (Tang Dynasty)

 繁弦已停杂吹歇，胜儿调弄逻娑拨。
四弦拢拈三五声，唤起边风驻明月。
大声嘈嘈奔淈淈，浪蹙波翻倒溟渤。
小弦切切怨飔飔，鬼哭神悲秋窸窣。
倒腕斜挑掣流电，春雷直戛腾秋鹘。
汉妃徒得端正名，秦女虚夸有仙骨。
我闻天宝十年前，凉州未作西戎窟。
麻衣右衽皆汉民，不省胡法暂蓬勃。
太平之末狂胡乱，犬豕崩腾恣唐突。
玄宗未到万里桥，东洛西京一时没。
汉土民皆没为虏，饮恨吞声空嗢咽。
时看汉月望汉天，怨气冲星成彗孛。
国门之西八九镇，高城深垒闭闲卒。
河湟咫尺不能收，挽粟推车徒兀兀。
今朝闻奏凉州曲，使我心神暗超忽。
胜儿若向边塞弹，征人泪血应阑干。

Notes:

According to the introduction to this poem by Li Mei (李玫), as it appears in the Tang-era collection of legendary novels entitled Zuan Yi Ji 《纂异记》, the "huqin" mentioned therein is a 4-stringed plucked lute of Central Asian origin, equivalent to the Turkic huobusi (火不思).

 Li's introduction to the poem is as follows:

「吴泰伯庙，在东阊门之西。每春秋季，市肆皆率其党，合牢醴，祈福于三让王，多图善马、彩舆、女子以献之。非其月，亦无虚日。乙丑春，有金银行首乣合其徒，以绡画美人，捧胡琴以从，其貌出于旧绘者，名美人为胜儿。盖户牖墙壁会前后所献者，无以匹也。女巫方舞。有进士刘景复，送客之金陵，置酒于庙之东通波馆，而欠伸思寝。乃就榻，方寝，见紫衣冠者言曰：“让王奉屈。”刘生随而至庙，周旋揖让而坐。王语刘生曰：“适纳一胡琴，艺甚精而色殊丽。吾知子善歌，故奉邀作胡琴一章，以宠其艺。”初生颇不甘，命酌人间酒一杯与歌。逡巡酒至，并献酒物。视之，乃适馆中祖筵者也。生饮数杯，醉而作歌曰：」

 Li also contributes the following text after the poem:

 「歌既成，刘生乘醉，落洎草扎而献。王寻绎数四，召胜儿以授之。王之侍儿有不乐者，妒色形于坐。王〈（明抄本王作中，应连上为句。）〉恃酒，以金如意击胜儿首，血淋襟袖。生乃惊起。明日视绘素，果有损痕。歌今传于吴中。」

 More information:
https://zh.wikisource.org/zh-hans/%E5%A4%AA%E5%B9%B3%E5%BB%A3%E8%A8%98/%E5%8D%B7%E7%AC%AC280

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《琴曲歌辞 胡笳十八拍 其七 第七拍》
作者：刘商（唐）
by Liu Shang (Tang Dynasty)

男儿妇人带弓箭，塞马蕃羊卧霜霰。
寸步东西岂自由，偷生乞死非情愿。
龟兹觱篥愁中听，碎叶琵琶夜深怨。
竟夕无云月上天，故乡应得重相见。

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《王中丞宅夜观舞胡腾（王中丞武俊也）》
作者：刘言史（中唐）
by Liu Yanshi (mid-Tang Dynasty, c. 742 or c. 750-812 or 813)

石国胡儿人见少，蹲舞尊前急如鸟。
织成蕃帽虚顶尖，细氎胡衫双袖小。
手中抛下蒲萄盏，西顾忽思乡路远。
跳身转毂宝带鸣，弄脚缤纷锦靴软。
四座无言皆瞪目，横笛琵琶遍头促。
乱腾新毯雪朱毛，傍拂轻花下红烛。
酒阑舞罢丝管绝，木槿花西见残月。

More information:

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《曹刚》
Cao Gang
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

大弦嘈囋小弦清，喷雪含风意思生。
一听曹刚弹薄媚，人生不合出京城。

Notes:

This poem was written in the year 829.

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《冬夜宴河中李相公中堂命筝歌送酒》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

朗朗鹍鸡弦，华堂夜多思。
帘外雪已深，座中人半醉。
翠蛾发清响，曲尽有馀意。
酌我莫忧狂，老来无逸气。

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《奉送家兄归王屋山隐居二首 其二》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

春来山事好，归去亦逍遥。
水净苔莎色，露香芝朮苗。
登台吸瑞景，飞步翼神飙。
愿荐埙篪曲，相将学玉箫。

Notes:

题注：据道书，王屋山一名洛阳山，一作阳洛山。
引用典故：埙篪

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《和乐天南园试小乐》
(He Letian Nan Yuan Shi Xiao Yue)
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

闲步南园烟雨晴，遥闻丝竹出墙声。
欲抛丹笔三川去，先教清商一部成。
花木手栽偏有兴，歌词自作别生情。
多才遇景皆能咏，当日人传满凤城。

Notes:

This is probably an "echo poem" (he shi, 和诗) of Bai Juyi's 《南园试小乐》 (Nan Yuan Shi Xiao Yue).  Bai's courtesy name was Letian (乐天).

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 《和令狐相公南斋小宴听阮咸》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

阮巷久芜沉，四弦有遗音。
雅声发兰室，远思含竹林。
座绝众宾语，庭移芳树阴。
飞觞助真气，寂听无流心。
影似白团扇，调谐朱弦琴。
一毫不平意，幽怨古犹今。

Notes:

In some editions, "沉" is replaced by "沈."

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=17526

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《令狐相公见示河中杨少尹赠答兼命继之》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

两首新诗百字馀，朱弦玉磬韵难如。
汉家丞相重徵后，梁苑仁风一变初。
四面诸侯瞻节制，八方通货溢河渠。
自从却縠为元帅，大将归来尽把书。

Notes:

This poem was written in the year 830.  In some editions, "却" is replaced by "郤."

More information:

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《调瑟词》
A Lyric on Tuning the Se (Tiao Se Ci)
作者：刘禹锡（中唐）
by Liu Yuxi (mid-Tang Dynasty, 772-842)

Accompanying preface (bing yin, 并引):
里有富豪翁，厚自奉养，而严督臧获，力屈形削，犹役之无艺极（犹役之无艺）。一旦不堪命，亡者过半，追亡者亦不来复，翁悴沮而追昨非之莫及也。予感之，作〈调瑟词〉。
There are those wealthy and powerful older men who provide for themselves lavishly while strictly supervising those of lower social status, who, despite the fact that their strength is exhausted and their bodies emaciated, continue to be overworked without limit.  But, feeling unable to bear the burden of life now that more than half of them have perished (and the dead can't be brought back to life), such old men feel dispirited and dejected that chasing yesterday is impossible and always out of reach.  Having come to this realization, I wrote "A Lyric on Tuning the Se."

调瑟在张弦，弦平音自足。
In order to tune a se, one must stretch its strings;
Once the strings are even [and parallel with the top board], their sound will be satisfactory.
朱弦二十五，缺一不成曲。
Of vermilion strings, it has twenty-five,
And if even one is missing, a melody can't be produced.
美人爱高张，瑶轸再三促。
Beauties love high tension,
And thus often [yank the strings against] the exquisite jade pegs two or even three times.
上弦虽独响，下应不相属。
However, even if the upper strings produce a clear tone on their own,
The lower ones should correspond and support without being subordinate.
日暮声未和，寂寥一枯木。
By sunset, the sounds are still not yet harmonious,
And I feel lonely and desolate, like a solitary withered tree.
却顾膝上弦，流泪难相续。
But looking down at the strings on my lap,
Tears flow, and I find it difficult to go on.

Notes:

This poem was written in the year 814.  The se (瑟) is a 25-stringed bridge zither that has been used in China to play court and ritual music since ancient times.

More information:

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《听轧筝》
Ting Yazheng (Listening to the Yazheng)
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

满座无言听轧筝，秋山碧树一蝉清。
只应曾送秦王女，写得云间鸾凤声。

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《同留守王仆射各赋春中一物从一韵至七》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

莺，能语，多情。
春将半，天欲明。
始逢南陌，复集东城。
林疏时见影，花密但闻声。
营中缘催短笛，楼上来定哀筝。
千门万户垂杨里，百转如簧烟景晴。

Notes:

This poem was written in the year 841.


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 《西州李尚书知愚与元武昌有旧远示二篇吟之泫然因以继和二首》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

 如何赠琴日，已是绝弦时。
无复双金报，空馀挂剑悲。
宝匣从此闲，朱弦谁复调。
祗应随玉树，同向土中销。

Notes:

In some editions, "闲" is replaced by "闭."

题注：来诗云：“元公令陈从事求蜀琴，将以为寄，而武昌之讣闻，因陈生会葬。”

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=16910

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 《夜闻商人船中筝》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

 大艑高帆一百尺，新声促柱十三弦。
扬州市里商人女，来占江西明月天。

Notes:  "西江" is sometimes substituted for "江西."

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 《与歌者米嘉荣》 
作者：刘禹锡（唐） 
by Liu Yuxi (Tang Dynasty, 772-842)

唱得凉州意外声，旧人唯数米嘉荣。
近来时世轻先辈，好染髭须事后生。

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《杂曲歌辞 其一 杨柳枝》
作者：刘禹锡（唐） 
by Liu Yuxi (Tang Dynasty, 772-842)

塞北梅花羌笛吹，淮南桂树小山词。
请君莫奏前朝曲，听唱新翻杨柳枝。

Notes:

引用典故：小山词


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《杂曲歌辞 其十二 杨柳枝》
作者：刘禹锡（唐）
by Liu Yuxi (Tang Dynasty, 772-842)

巫峡巫山杨柳多，朝云暮雨远相和。 
因想阳台无限事，为君回唱竹枝歌。


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《听筝》
Listening to the Zheng (Ting Zheng)
作者：柳中庸（唐）
by Liu Zhongyong (Tang Dynasty, died c. 775)

抽弦促柱听秦筝，无限秦人悲怨声。
似逐春风知柳态，如随啼鸟识花情。
谁家独夜愁灯影？何处空楼思月明？
更入几重离别恨，江南歧路洛阳城。

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

More information:

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《小儿诗》
(Xiao'er Shi)
作者：路德延（唐末）
by Lu Deyan (late Tang Dynasty)

情态任天然，桃红两颊鲜。
乍行人共看，初语客多怜。
臂膊肥如瓠，肌肤软胜绵。
长头才覆额，分角渐垂肩。
散诞无尘虑，逍遥占地仙。
排衙朱阁（一作榻）上，喝道画堂前。
合调歌杨柳，齐声踏采莲。
走堤行细雨，奔巷趁轻烟。
嫩竹乘为马，新蒲折（一作掉）作鞭。
莺雏金旋系，猫（一作猧）自綵丝牵。
拥鹤归晴岛，驱鹅入暖泉。
杨花争弄雪，榆叶共收钱。
锡镜当胸挂，银珠对耳悬。
头依苍鹘裹，袖学柘枝揎。
酒殢丹砂暖，茶催小玉煎。
频邀筹箸挣（一作插），时乞绣针穿。
宝箧拿红豆，妆奁拾翠钿。
戏袍披按褥，劣（一作尖）帽戴靴毡。
展画趍三圣，开屏笑七贤。
贮怀青杏小，垂额绿荷圆。
惊滴沾罗泪，娇流污锦涎。
倦书饶娅姹，憎药巧迁延。
弄帐鸾绡映，藏衾凤绮缠。
指敲迎使鼓，筋拨赛神弦。
帘拂鱼钩动，筝推雁柱偏。
棋图添路画，笛管欠声镌。
恼客初酣睡，惊僧半入禅。
寻蛛穷屋瓦，探雀遍楼椽。
抛果忙开口，藏钩乱出拳。
夜分围榾柮，朝聚打鞦韆。
折竹装泥燕，添丝放纸鸢。
互誇轮水碓，相教放风旋。
旗小裁红绢，书幽截碧笺。
远铺张鸽网，低控射蝇弦。
詀（一作吉）语时时道，谣歌处处传。
匿窗眉乍曲，遮路臂相连。
斗草当春径，争毬出晚田。
柳傍慵独坐，花底困横眠。
等鹊前篱畔，听蛩伏砌边。
傍枝粘舞蝶，隈树捉鸣蝉。
平岛誇趫上，层崖逞捷缘。
嫩苔车迹小，深雪履痕全。
竞指云生岫，齐呼月上天。
蚁窠寻径斸，蜂穴绕阶填。
樵唱回深岭，牛歌下远川。
垒柴为屋木，和土作盘筵。
险砌高台石，危跳峻塔砖。
忽升邻舍树，偷上后池船。
项橐称师日，甘罗作相年。
明时方任（一作在）德，劝尔减狂颠。

Notes:

引用典故：甘罗作相　项橐称师

More information:
https://baike.baidu.com/item/%E5%B0%8F%E5%84%BF%E8%AF%97/14126758
https://sou-yun.cn/Query.aspx?type=poem1&id=50113

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 《方响》
Fangxiang
作者：陆龟蒙（唐）
by Lu Guimeng (Tang Dynasty, d. 881)

击霜寒玉乱丁丁，花底秋风拂坐生。
Like cold jade struck by frost, it tinkles busily,
While under the flowers, the autumn breeze caresses the seated gentlemen.
王母闲看汉天子，满猗兰殿佩环声。
The Queen Mother [of the West] gazes leisurely upon the Han Son of Heaven,
As the sound of pendant rings fills the Luxuriant Orchid Hall.


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《宴席赋得姚美人拍筝歌》（美人曾在禁中）
or 《忽然高张应繁节，玉指回旋若飞雪》
作者：卢纶（中唐）
by Lu Lun (mid-Tang Dynasty, 739-799)

出帘仍有钿筝随，见罢翻令恨识迟。
微收皓腕缠红袖，深遏朱弦低翠眉。
忽然高张应繁（一作疏）节，玉指回旋若飞雪。
凤箫韶（一作龙）管寂不喧，绣幕纱窗俨秋月。
有时轻弄和郎歌，慢处声迟情更多。
已愁红脸能佯醉，又恐朱门难再过。
昭阳伴（一作宫）里最聪明，出到人间才长成。
遥知禁曲难翻处，犹是君王说小名。

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《风中琴》
Qin in the Breeze (Feng Zhong Qin)
作者：卢仝（中唐）
by Lu Tong (mid-Tang Dynasty, c. 795-835)

五音六律十三徽，
Five tones, six steps, and thirteen hui,
龙吟鹤响思庖羲。
Dragons moan, cranes sing out, and one thinks of Paoxi.
一弹流水一弹月，
Played once, [it conjures] flowing waters, and, played again, the moon,
水月风生松树枝。
As the moon reflects on water and the wind stirs the branches of the pine trees.

Notes:

Hui (徽) are inlaid dots or studs on the top board of a guqin, which serve to mark the positions of the most important natural harmonics.  Paoxi is another name for Fuxi (伏羲), a figure from Chinese mythology who is said to have created the first qin.

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 《楼上女儿曲》
作者：卢仝（中唐）
by Lu Tong (mid-Tang Dynasty, c. 795-835)

 谁家女儿楼上头，指挥婢子挂帘钩。
林花撩乱心之愁，卷却罗袖弹箜篌。
箜篌历乱五六弦，罗袖掩面啼向天。
相思弦断情不断，落花纷纷心欲穿。
心欲穿，凭栏干。
相忆柳条绿，相思锦帐寒。
直缘感君恩爱一回顾，使我双泪长珊珊。
我有娇靥待君笑，我有娇蛾待君扫。
莺花烂熳君不来，及至君来花已老。
心肠寸断谁得知，玉阶幂历生青草。

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《听萧君姬人弹琴》
作者：卢仝（中唐）
by Lu Tong (mid-Tang Dynasty, c. 795-835)

弹琴人似膝上琴，听琴人似匣中弦。
二物各一处，音韵何由传。
无风质气两相感，万般悲意方缠绵。
初时天山之外飞白雪，渐渐万丈涧地生流泉。
风梅花落轻扬扬，十指乾净声涓涓。
昭君可惜嫁单于，沙场（一本缺此二字）不远只眼前。
蔡琰薄命没胡虏，乌枭啾唧啼胡天。
关山险隔一万里，颜色错漠生风烟。
形魄散逐五音尽，双蛾结草空婵娟。
中腹苦恨杳不极，新心愁绝难复传。
金尊湛湛夜沈沈，馀音叠发清联绵。
主人醉盈有得色，座客向隅增内然。
孔子怪责颜回瑟，野夫何事萧君筵。
拂衣屡命请中废，月照书窗归独眠。

Notes:

引用典故：蔡琰　昭君

More information:

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 《晓过南宫闻太常清乐》
作者：陆贽（唐）
by Lu Zhi (Tang Dynasty, 754-805)

 南宫闻古乐，拂曙听初惊。
烟霭遥迷处，丝桐暗辨名。
节随新律改，声带绪风轻。
合雅将移俗，同和自感情。
远音兼晓漏，馀响过春城。
九奏明初日，寥寥天地清。

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《酒胡子》
(Jiu Huzi)
作者：卢注（唐）
by Lu Zhu (Tang Dynasty)

同心相遇思同欢，擎出酒胡当玉盘。
盘中臲卼不自定，四座清宾注意看。
可亦不在心，否亦不在面，徇客随时自圆转。
酒胡五藏属他人，十分亦是无情劝。
尔不耕，亦不饥。
尔不蚕，亦有衣。
有眼不能分黼黻，有口不能明是非。
鼻何尖，眼何碧，仪形本非天地力。
雕镌匠意苦多端，翠帽朱衫巧妆饰。
长安斗酒十千酤，刘伶平生为酒徒。
刘伶虚向酒中死，不得酒池中拍浮。
酒胡一滴不入眼，空令酒胡名酒胡。


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《比红儿诗 其九十三》
作者：罗虬（唐末）
by Luo Qiu (late Tang Dynasty, fl. 873)

楼上娇歌袅夜霜，近来休数踏歌娘。
红儿谩唱伊州遍，认取轻敲玉韵长。

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 《题笙》
(Ti Sheng)
作者：罗邺（唐末）
by Luo Ye (late Tang Dynasty)

 筠管参差排凤翅，月堂凄切胜龙吟。
最宜轻动纤纤玉，醉送当观滟滟金。
缑岭独能征妙曲，嬴台相共吹清音。
好将宫徵陪歌扇，莫遣新声郑卫侵。

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《薛阳陶觱篥歌》
作者：罗隐（唐末）
by Luo Yin (late Tang Dynasty, 833-909 or 910)

平泉上相东征日，曾为阳陶歌觱篥。
乌江太守会稽侯，相次三篇皆俊逸。
桥山殡葬衣冠后，金印苍黄南去疾。
龙楼冷落夏口寒，从此风流为废物。
人间至艺难得主，怀抱差池恨星律。
邗沟仆射戎政闲，试渡瓜洲吐伊郁。
西风九月草树秋，万喧沈寂登高楼。
左篁揭指徵羽吼，炀帝起坐淮王愁。
高飘咽灭出滞气，下感知己时横流。
穿空激远不可遏，髣髴似向伊水头。
伊水林泉今已矣，因取遗编认前事。
武宗皇帝御宇时，四海恬然知所自。
扫除桀黠似提帚，制压群豪若穿鼻。
九鼎调和各有门，谢安空俭真儿戏。
功高近代竟谁知，艺小似君犹不弃。
勿惜喑呜更一吹，与君共下难逢泪。

Notes:

This poem was written in September 873.

平泉为李德裕，曾作《薛阳陶觱篥歌》，苏州刺史白居易，越州刺史元稹并有和篇，此言乌江，恐是吴江，乃苏州也

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 《甘州遍》
作者：毛文锡（五代十国 – 前蜀）
by Mao Wenxi (Five Dynasties:  Former Shu, early 10th century)

 春光好，公子爱闲游，足风流。
金鞍白马，雕弓宝剑，红缨锦襜出长楸。
花蔽膝，玉衔头。
寻芳逐胜欢宴，丝竹不曾休。
美人唱，揭调是甘州。
醉红楼，尧年舜日，乐圣永无忧。

 秋风紧，平碛雁行低，阵云齐。
萧萧飒飒，边声四起，愁闻戍角与征鼙。
青冢北，黑山西。
沙飞聚散无定，往往路人迷。
铁衣冷，战马血沾蹄。
破蕃奚，凤皇诏下，步步蹑丹梯。

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《临江仙》
作者：毛文锡（五代十国 – 前蜀）
by Mao Wenxi (Five Dynasties:  Former Shu, early 10th century)

暮蝉声尽落斜阳，银蟾影挂潇湘。
黄陵庙侧水茫茫，楚山红树，烟雨隔高唐。

岸泊渔灯风飐碎，白蘋远散浓香。
灵娥鼓瑟韵清商，朱弦凄切，云散碧天长。

More information:

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《弦歌行》
作者：孟郊（中唐）
by Meng Jiao (mid-Tang Dynasty, 751-814)

驱傩击鼓吹长笛，瘦鬼染面惟齿白。
暗中崒崒拽茅鞭，裸足朱裈（一作禅）行戚戚。
相顾笑声冲庭燎，桃弧射矢时独叫。


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《方响歌》
Fangxiang Song (Fangxiang Ge)
作者：牛殳（中唐）
by Niu Shu (mid-Tang Dynasty)

乐中何乐偏堪赏，无过夜深听方响。
In the realm of music, it's such a delight, and a rarely encountered treat;
Nothing surpasses [sitting], deep in the night, and listening to the fangxiang.
缓击急击曲未终，暴雨飘飘生坐上。
Struck [either] softly [or] urgently, the tune not yet finished,
[The sound is like] a sudden torrential rain springing up above our seats.
铿铿铛铛寒重重，盘涡蹙派鸣蛟龙。
Jingling and jangling, cold layer upon layer,
[Like] a swirling vortex overwhelming a river's branch while a scaly dragon cries.
高楼漏滴金壶水，碎电打著山寺钟。
In a high tower, the drip-drop from the gilded reservoir of a water clock
[Is interspersed with] bursts of lightning striking a mountain temple's bell.
又似公卿入朝去，环佩鸣玉长街路。
It also resembles government ministers leaving to attend court,
Jade pendant rings tinkling at their waists as they stroll down the long avenue.
忽然碎打入破声，石崇推倒珊瑚树。
The sudden shattering strokes of the ru po [movement]
[Are like] Shi Chong pushing down a coral tree.
长短参差十六片，敲击宫商无不遍。
Its sixteen bars of unequal length, some longer and others shorter,
Beat out the Gong-Shang, [leaving] no place [that the sound] doesn't reach.
此乐不教外人闻，寻常只向堂前宴。
Outsiders aren't allowed to listen to this music,
And it is ordinarily only [performed] for banquets in the [palace's] main hall.

Notes:

1. The fangxiang (方响) was a glockenspiel-like instrument consisting of 16 tuned iron (or, more rarely, bronze or jade) keys in a vertical frame, which was used in yanyue music in the Tang and Song dynasties.
2. The poem's fifth line, "铿铿铛铛寒重重," is strongly alliterative, being pronounced "Keng keng dang dang han chong chong."
3. "Scaly dragon" refers to the jiaolong (蛟龙), a creature from Chinese mythology resembling a snake with a tiger head, several fathoms in length, which was believed to have inhabited rivers and streams, where it caused floods, attacked and ate humans, and made a cry like the bellowing of a bull.
4. Ru po (入破, literally "entering [and] breaking") is a movement type that appears in many Tang-era suites.
5. Shi Chong (石崇, 249-300) was a politician and literatus of the Western Jin Dynasty who was well known for his extravagant and ostentatious lifestyle.  Emperor Wu of Jin (r. 266-290) once sent his uncle Wang Kai (王恺, a wealthy man with whom Shi Chong had a notorious rivalry, both trying to outdo one another's lavish expenditures), a coral tree (Viburnum odoratissimum) two chi (c. 50 cm) in height as a gift.  Shi Chong visited him, smashed it with an iron ruyi, and offered him several coral trees 3-4 chi in height in return.
6. "Gong-Shang" (宫商) refers to the first two notes of the Chinese pentatonic scale, comparable to Do and Re in the Western solfège system, and is often used metonymically to refer to musical notes, pieces, or music in general.


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《琵琶行》
Pipa Ballad (Pipa Xing)
作者：牛殳（中唐）
by Niu Shu (mid-Tang Dynasty)

 何人劚得一片木，三尺春冰五音足。
Who hewed a slab of wood
Into three feet of spring ice that can fully express the Five Tones?
一弹决破真珠囊，迸落金盘声断续。
With each pluck, a cultured pearl ruptures its sac,
Bursts forth, and falls onto a gilt plate with stuttering sounds.
飘飘飖飖寒丁丁，虫豸出蛰神鬼惊。
Fluttering and floating with a chill pitter-patter,
Bugs of all sorts emerge from hibernation, frightening gods and ghosts alike.
秋鸿叫侣代云黑，猩猩夜啼蛮月明。
Autumn swan geese call to their mates as clouds blacken over the northern plains,
And gibbons cry by night under the clear moonlight of the southern wilds.
潏潏汩汩声不定，胡雏学汉语未正。
Gushing and gurgling with tentative voices,
Like barbarian youths who haven't yet learned to speak the Han tongue correctly.
若似长安月蚀时，满城敲鼓声噒噒。
As if in Chang'an at the time of a lunar eclipse,
With drums beating throughout the bustling city, sounding "liem-liem."
青山飞起不压物，野水流来欲湿人。
Verdant mountains soar upwards without weighing anything down,
While wild waters wend their way in, with a wish to wet those in their wake.
伤心忆得陈后主，春殿半酣细腰舞。
With a heavy heart, I recall the last ruler of Chen,
Half-drunk as slender-waisted maidens dance in the palace hall in spring.
黄莺百舌正相呼，玉树后庭花带雨。
The oriole and the mockingbird call to one another in perfect counterpoint, 
As the jade tree blooming in the rear court is laden with rain.
二妃哭处山重重，二妃没后云溶溶。
In the place where the Two Concubines cried, the mountains are piled layer upon layer,
And where the Two Concubines drowned, the clouds are broad and billowing.
夜深霜露锁空庙，零落一丛斑竹风。
In the depths of the night, frost and dew seal the abandoned temple,
While the wind causes the stand of spotted bamboo to wither and fall.
金谷园中草初绿，石崇一弄思归曲。
In the Golden Valley Gardens, the grass newly green,
Shi Chong once played the song "Longing to Return."
当时二十四友人，手把金杯听不足。
At that time, the Twenty-Four Friends,
With gilt winecups in hand, listened, but couldn't get enough.
又似贾客蜀道间，千铎万磬鸣空山。
It's also like the traveling merchant who, while traversing Shu's steep mountain paths,
Heard thousands of bells and tens of thousands of chime stones sound forth from the empty mountains.
未若此调呦呦兮啁啁，嘈嘈兮啾啾。
This tune is unparalleled,
Alternately sounding yiu-yiu (like the bleating of a doe)—ah!—or tiu-tiu (like the quiet twittering of a songbird),
Dzau-dzau (like the noisy chattering of a flock of birds)—ah!—or tsiu-tsiu (like the melodious chirping of birds in spring).
引之于山，兽不能走。
Drag it up a mountain, and the beasts won't be able to walk.
吹之于水，鱼不能游。
Blow it into the water, and the fish won't be able to swim.
方知此艺不可有，人间万事凭双手。
I've only now realized that this kind of artistry is exceedingly rare,
And everything in this world depends on a skilled pair of hands.
若何为我再三弹，送却花前一尊酒。
If you could play for me a few times more,
I'd offer you, before the blooming flowers, a goblet of wine.

Notes:

1. The pipa (琵琶) is a plucked lute of foreign origin that enjoyed great popularity in China during the Tang Dynasty.  Its pear-shaped back was carved from a single block of dense hardwood, and the whole instrument measured 3 chi (尺, Chinese feet) and 5 cun (寸, Chinese inches).  "Spring ice" is a laudatory metaphor describing the rarity, density, and luminous polished shine of the back of the pipa described in this poem.
2. The reference to "barbarian youths" (Chinese:  hu chu, 胡雏) may be related to the fact that the pipa was introduced to China from Central Asia during the Eastern Jin Dynasty (317-420), and, even during the Tang Dynasty, performers of Central Asian heritage (originating from such oasis states as Sogdiana, Kucha, or Khotan) were considered to have a special feeling and flavor in their playing that native Chinese musicians were unable to duplicate.
3. Chang'an (长安, literally "Perpetual Peace"; now Xi'an), located in modern-day central Shaanxi province, northwest China, was China's capital and largest metropolis in both the Sui and Tang dynasties.
4. "The last ruler of Chen" is a reference to Chen Houzhu (陈后主, 553-604), personal name Chen Shubao (陈叔宝), the fifth and last emperor of the Chen Dynasty, the last of the Southern Dynasties during the Northern and Southern Dynasties period, which was conquered by the Sui Dynasty in 589.  Inordinately fond of feasting and music and preoccupied with the pleasures of his imperial harem, he composed several sets of palace-style lyrics, the most famous of which, entitled "Yushu Hou Ting Hua"《玉树后庭花》(A Jade Tree's Rear-Court Blossom), praises the beauty of two of his most beloved concubines.  This poem (which also survives in the form of a Tang court ensemble piece preserved in Sino-Japanese tablatures) later became inseparably associated with his state's decadence and eventual subjugation at the hands of the invading Sui Dynasty.
5. "Two Concubines" is an allusion to Ehuang (娥皇) and Nüying (Chinese: 女英), the wives of Emperor Shun (traditionally 2294 BC-2184 BC), who, according to legend, wept by the Xiang River in northeastern Hunan for days after learning of his death, their copious tears falling upon the bamboos by the river and staining them permanently with their spots.
6. Shi Chong (石崇, 249-300) was a politician and literatus of the Western Jin Dynasty who was well known for his extravagant and ostentatious lifestyle.  His magnificent estate, located just to the northwest of the Western Jin capital of Luoyang, was called Jin Gu Yuan (金谷园, literally "Golden Valley Gardens"), and later generations referred to the gardens of wealthy families as Shi jia yuan (石家园, literally "Shi family's garden").  Shi Chong composed a poem on the qin entitled "Si Gui Yin"《思归引》(Longing to Return [Home] Prelude), and also headed a group of intellectuals called the Twenty-Four Friends of the Golden Valley (Chinese:  Jin Gu Ershisi You, 金谷二十四友), who would gather frequently in his garden for sumptuous banquets at which they would discuss current affairs, recite poems, and view excellent performances of music and dance presented by his highly skilled maids and concubines.  Niu Shu's use of pearls as a metaphor earlier in the poem may also be an allusion to the fact of Shi Chong's obsession with pearls, as well as the fact that he is said to have used pearls to purchase a beautiful and talented flute player, singer, and dancer named Lü Zhu (绿珠, literally "Green Pearl"), making her his favorite concubine.
7. Shu (蜀) was the name of an ancient kingdom located in China's mountainous southwestern province of Sichuan (and is still used as a synonym for that province's name).  "Thousands of bells and tens of thousands of chime stones sound forth from the empty mountains" may be a reference to the mountain goddess Yaoji (瑶姬), also known as Wushan Shennü (巫山神女), who, according to legend, inhabited Goddess Peak (Chinese:  Shennü Feng, 神女峰), the tallest of the Twelve Peaks (Chinese:  Shi'er Feng, 十二峰) of Wushan (巫山, literally "Shaman Mountains"), on the border between eastern Sichuan (modern-day northeastern Chongqing) and western Hubei, at the western entrance to Wu Gorge (Chinese:  Wu Xia, 巫峡), the second of the Three Gorges of the Yangtze River.  In the poem Shennü Fu《神女赋》(Rhapsody on the Goddess), which is attributed to the Late Warring States poet Song Yu (宋玉, c. 298 BC-c. 222 BC), but which is probably by a later author Yaoji shakes metal bells and jade pendants upon taking her leave from King Qingxiang of Chu (楚顷襄王, r. 298 BC-263 BC).


《春夕酒醒》
Sobering Up on a Spring Evening (Chun Xi Jiuxing)
作者：皮日休（唐）
by Pi Rixiu (Tang Dynasty, c. 834-c. 884 or c. 840-c. 880)

四弦才罢醉蛮奴，酃醁馀香在翠炉。
Four strings are the only thing that can stop a lowly drunken southerner in his tracks,
But the aroma of the fine green-tinged wine keeps on wafting from its emerald brazier.
夜半醒来红蜡短，一枝寒泪作珊瑚。
At midnight I awaken, the red candles [having grown] short,
And cold tears [streak down my cheeks] like the branchlets of a coral.

Notes:

1. This poem was written in Yangzhou in the year 871, during which time Pi was serving as magistrate of Suzhou.
2. "Four strings" is a synecdochical reference to the quxiang pipa (曲项琵琶), a 4-stringed plucked lute that enjoyed great popularity in China during the Tang Dynasty.
2. Pi Rixiu was a native of Xiangyang in northwestern Hubei, an area that had been the heartland of the Chu (楚) state, which was also known as Jing (荊) or Jingchu (荊楚).  Since the people of China's central plains referred to the inhabitants of this area as Jing Man (荆蛮), Man (蛮) referring to "uncivilized" indigenous ethnic groups living in inland southern and southwestern China, mainly around the Yangtze River valley, in this poem Pi, who is believed to have been of humble birth, refers to himself lightheartedly and self-deprecatingly as Man nu (蛮奴, literally "southern barbarian slave").


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 《省试湘灵鼓瑟》
[Written for the] Provincial Examination:  The Goddess of the Xiang [River] Plays the Se (Sheng Shi Xiang Ling Gu Se)
作者：钱起（唐）
by Qian Qi (Tang Dynasty, 710-782)

 善鼓云和瑟，常闻帝子灵。
Good at playing the Yunhe se,
I have often heard, is the spirit of the emperor's daughter.
冯夷空自舞，楚客不堪听。
Pingyi dances alone [to the tune],
But the visitor from Chu cannot bear to listen to it.

 苦调凄金石，清音入杳冥。
Its bitter melody can sadden even metal and stone,
Its unearthly resonance reaching into the farthest realm.
苍梧来怨慕，白芷动芳馨。
It has aroused [King Shun's] resentful yearning [while reposing on] Mount Cangwu,
And caused baizhi plants to emit their aromatic scents.

 流水传潇浦，悲风过洞庭。
Like flowing water, [the music] streams to the Xiao River's mouth,
And sweeps over Dongting Lake like a rueful wind.
曲终人不见，江上数峰青。
As the tune ends, no one can be seen;
Over the river, [only] a few peaks stand, green.

 Notes:

 According to Bowu Zhi by Zhang Hua (张华, 232-300) of the Jin Dynasty, the legendary Chinese Emperor Shun (who is said to have lived sometime between 2294 BC and 2184 BC) made an inspection tour of the south and died suddenly of an illness while in Cangwu, near the Xiang River in eastern Guangxi.  His wives Ehuang (娥皇) and Nüying (女英), the daughters of the legendary Emperor Yao, raced there and wailed in sorrow by the river for days, then drowned themselves, becoming the Goddesses of the Xiang River.  The Warring States-period poet Qu Yuan's "Goddess of the Xiang River" and "Lady of Xiang" from the Chu Ci are likely based on this folklore.  The Xiang flowed into Dongting Lake (located in northeastern Hunan, near the border with Hubei) through the ancient kingdom of Chu, whose songs in their worship have been recorded in a work attributed to Qu Yuan.

Yunhe (云和) is an ancient name for a legendary Chinese mountain, which is said to have been the source for materials used to construct the finest musical instruments.  The se (瑟) is a 25-stringed bridge zither that has been used in China to play court and ritual music since ancient times.  "The emperor's daughter" (di zi, 帝子) refers to one of the daughters of the legendary Chinese ruler Emperor Yao.  Pingyi (冯夷) was the god of the Yellow River.  "A visitor from Chu" (Chu ke, 楚客) is an allusion to Qu Yuan (c. 340 BC-278 BC), and this term's implied meaning is "a visitor from afar" or "one who travels far."  "Its bitter melody can sadden even metal and stone" may be an indirect reference to the bianzhong (编钟, bronze bells) and bianqing (编磬, stone chimes) used in Chinese court and ritual music since ancient times.  Baizhi (白芷, Angelica dahurica) is a plant used in Chinese herbology to purge the body of negative influences.

 More information:
https://baike.baidu.com/item/%E7%9C%81%E8%AF%95%E6%B9%98%E7%81%B5%E9%BC%93%E7%91%9F

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《吹笙歌》
作者：秦韬玉（唐）
by Qin Taoyu (Tang Dynasty, late 9th century)

信陵名重怜高才，见我长吹青眼开。
便出燕姬再倾醑，此时花下逢仙侣。
弯弯狂月压秋波，两条黄金𨴋黄雾。
逸艳初因醉态见，浓春可是韶光与。
纤纤软玉捧暖笙，深思香风吹不去。
檀唇呼吸宫商改，怨情渐逐清新举。
岐山取得娇凤雏，管中藏着轻轻语。
好笑襄王大迂阔，曾卧巫云见神女。
银锁金簧不得听，空劳翠辇冲泥雨。

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 《听杜山人弹胡笳》
作者：戎昱（唐）
by Rong Yu (Tang Dynasty, 744-800)

绿琴胡笳谁妙弹，山人杜陵名庭兰。
杜君少与山人友，山人没来今已久。
当时海内求知音，嘱付胡笳入君手。
杜陵攻琴四十年，琴声在音不在弦。
座中为我奏此曲，满堂萧瑟如穷边。
第一第二拍，泪尽蛾眉没蕃客。
更闻出塞入塞声，穹庐毡帐难为情。
胡天雨雪四时下，五月不曾芳草生。
须臾促轸变宫徵，一声悲兮一声喜。
南看汉月双眼明，却顾胡儿寸心死。
回鹘数年收洛阳，洛阳士女皆驱将。
岂无父母与兄弟，闻此哀情皆断肠。
杜陵先生证此道，沈家祝家皆绝倒。
如今世上雅风衰，若个深知此声好。
世上爱筝不爱琴，则明此调难知音。
今朝促轸为君奏，不向俗流传此心。

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《赠李粲秀才（字辉用）》
作者：僧鸾（唐末）
by Sengluan (late Tang Dynasty)

陇西辉用真才子，搜奇探险无伦比。
笔下铦磨巨阙锋，胸中静滟西江水。
哀弦古乐清人耳，月露激寒哭秋鬼。
苔地无尘到晓吟，杉松老叶风乾起。
十轴示余三百篇，金碧烂光烧蜀笺。
雄芒逸气测不得，使我踯躅成狂颠。
大郊远阔空无边，凝明淡绿收馀烟。
旷怀相对景何限，落日乱峰青倚天。
又惊大舶帆高悬，行涛劈浪凌飞仙。
回首瞥见五千仞，扑下香炉瀑布泉。
何事古人誇八斗，焉敢今朝定妍丑。
飒风驱雷暂不停，始向场中称大手。
骏如健鹘鹗与雕，拿云猎野翻重霄。
狐狸窜伏不敢动，却下双鸣当迅飙。
愁如湘灵哭湘浦，咽咽哀音隔云雾。
九嶷深翠转巍峨，仙骨寒消不知处。
清同野客敲越瓯，丁当急响涵清秋。
鸾雏相引叫未定，霜结夜阑仍在楼。
高若太空露云物，片白激青皆彷佛。
仙鹤闲从净碧飞，巨鳌头戴蓬莱出。
前辈歌诗惟翰林，神仙老格何高深。
鞭驰造化绕笔转，灿烂不为酸苦吟。
梦乘明月清沈沈，飞到天台天姥岑。
倾湖涌海数百字，字字不朽长摐金。
此日多君可俦侣，堆珠叠玑满玄圃。
终日并辔游昆崙，十二楼中宴王母。


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《霅溪夜宴诗 其四》
作者：水神（唐）
by Shui Shen (Tang Dynasty)

霅溪蒋琛，常设网罟给食。一夕，风雨晦冥，见鱼鳖蹙波为城，蛟蜃嘘气为楼台宫殿。有松江、太湖、霅溪诸神为境会夜宴，同预者，湘江神、鸱夷君、范相国，及申屠狄、徐衍诸人，各有诗歌云：

珠光龙耀火烔烔，夜接朝云宴渚宫。
凤管清吹凄极浦，朱弦间奏冷秋空。
论心幸遇同归友，揣分惭无辅佐功。
云雨各飞真境后，不堪波上起悲风。

Notes:

徐处士衍献境会夜宴诗，并简范相国

More information:

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 《歌者十二首》
作者：司空图（唐末）
by Sikong Tu (Tang Dynasty, 837-908)

 追逐翻嫌傍管弦，金钗击节自当筵。
风霜一夜燕鸿断，唱作江南袚禊天。
玉树花飘凤失栖，一声初压管弦低。
清回烦暑成潇洒，艳逐寒云变惨凄。

Notes:

引用典故：庭花遗曲

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《雅琴篇》
作者：司马逸客（唐）
by Sima Yike (Tang Dynasty, 649-708)

亭亭峄阳树，落落千万寻。
独抱出云节，孤生不作林。
影摇绿波水，彩绚丹霞岑。
直干思有托，雅志期所任。
匠者果留盼，雕斲为雅琴。
文以楚山玉，错以昆吾金。
虬凤吐奇状，商徵含清音。
清音雅调感君子，一抚一弄怀知己。
不知钟期百年馀，还忆朝朝几千里。
马卿台上应芜没，阮籍帷前空已矣。
山情水意君不知，拂匣调弦为谁理。
调弦拂匣倍含情，况复空山秋月明。
陇水悲风已呜咽，离鹍别鹤更凄清。
将军塞外多奇操，中散林间有正声。
正声谐风雅，欲竟此曲谁知者。
自言幽隐乏先容，不道人物知音寡。
谁能一奏和天地，谁能再抚欢朝野。
朝野欢娱乐未央，车马骈阗盛彩章。
岁岁汾川事箫鼓，朝朝伊水听笙簧。
窈窕楼台临上路，妖娆歌舞出平阳。
弹弦本自称仁祖，吹管由来许季长。
犹怜雅歌淡无味，渌水白云谁相贵。
还将逸词赏幽心，不觉繁声论远意。
传闻帝乐奏钧天，傥冀微躬备五弦。
愿持东武宫商韵，长奉南熏亿万年。

Notes:

引用典故：伯牙弦　别鹤　季长　帝乐　马卿台　平阳　中散有正声　仁祖弹弦　阮籍　知音

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 《陪华林园试小妓羯鼓》
作者：宋齐丘（五代十国 – 南唐）
by Song Qiqiu (Five Dynasties:  Southern Tang, 887-959)

 切断牙床镂紫金，最宜平稳玉槽深。
因逢淑景开佳宴，为出花奴奏雅音。
掌底轻璁孤鹊噪，枝头乾快乱蝉吟。
开元天子曾如此，今日将军好用心。

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《闻琴》
(Wen Qin)
作者：孙氏（唐）
by Sun Shi (Tang Dynasty)

玉指朱弦轧复清，湘妃愁怨最难听。
初疑飒飒凉风劲，又似萧萧暮雨零。
近比流泉来碧嶂，远如玄鹤下青冥。
夜深弹罢堪惆怅，露湿丛兰月满庭。

Notes:

This poem's title is sometimes given as 《听琴》(Listening to the Qin).  In some editions, "劲" is replaced by "动" or "至."  Sun Shi was a female poet, and the wife of the jinshi scholar Meng Changqi (孟昌期).

引用典故：湘妃

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《无题十首》
作者：唐彦谦（唐末）
by Tang Yanqian (late Tang Dynasty)

细草铺茵绿满堤，燕飞晴日正迟迟。
寻芳陌上花如锦，折得东风第一枝。
锦筝银甲响鹍弦，勾引春声上绮筵。
醉倚阑干花下月，犀梳斜亸鬓云边。
楚云湘雨会阳台，锦帐芙蓉向夜开。
吹罢玉箫春似海，一双彩凤忽飞来。
春江新水促归航，惜别花前酒漫觞。
倒尽银瓶浑不醉，却怜和泪入愁肠。
谁知别易会应难，目断青鸾信渺漫。
情似蓝桥桥下水，年来流恨几时干。
漏滴铜龙夜已深，柳梢斜月弄疏阴。
满园芳草年年恨，剔尽灯花夜夜心。
夜合庭前花正开，轻罗小扇为谁裁。
多情惊起双蝴蝶，飞入巫山梦里来。
忆别悠悠岁月长，酒兵无计敌愁肠。
柔丝漫折长亭柳，绾得同心欲寄将。
杨柳青青映画楼，翠眉终日锁离愁。
杜鹃啼落枝头月，多为伤春恨不休。
云色鲛绡拭泪颜，一帘春雨杏花寒。
几时重会鸳鸯侣，月下吹笙和彩鸾。

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 《箜篌引》
(Konghou Yin)
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

 卢溪郡南夜泊舟，夜闻两岸羌戎讴。
其时月黑猿啾啾，微雨沾衣令人愁。
有一迁客登高楼，不言不寐弹箜篌。
弹作蓟门桑叶秋，风沙飒飒青冢头。
将军铁骢汗血流，深入匈奴战未休。
黄旗一点兵马收，乱杀胡人积如丘。
疮病驱来配边州，仍披漠北羔羊裘。
颜色饥枯掩面羞，眼眶泪滴深两眸。
思还本乡食犛牛，欲语不得指咽喉。
或有强壮能咿嚘，意说被他边将雠。
五世属藩汉主留，碧毛毡帐河曲游。
橐驼五万部落稠，敕赐飞凤金兜鍪。
为君百战如过筹，静扫阴山无鸟投。
家藏铁券特承优，黄金千斤不称求。
九族分离作楚囚，深溪寂寞弦苦幽。
草木悲感声飕飗，仆本东山为国忧。
明光殿前论九畴，簏读兵书尽冥搜。
为君掌上施权谋，洞晓山川无与俦。
紫宸诏发远怀柔，摇笔飞霜如夺钩。
鬼神不得知其由，怜爱苍生比蚍蜉。
朔河屯兵须渐抽，尽遣降来拜御沟。
便令海内休戈矛，何用班超定远侯，史臣书之得已不。

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 《留别岑参兄弟》
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

江城建业楼，山尽沧海头。
副职守兹县，东南棹孤舟。
长安故人宅，秣马经前秋。
便以风雪暮，还为纵饮留。
貂蝉七叶贵，鸿鹄万里游。
何必念钟鼎，所在烹肥牛。
为君啸一曲，且莫弹箜篌。
徒见枯者艳，谁言直如钩。
岑家双琼树，腾光难为俦。
谁言青门悲，俯期吴山幽。
日西石门峤，月吐金陵洲。
追随探灵怪，岂不骄王侯。

 Notes:

 引用典故：貂蝉　七叶贵　直如钩

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《青楼曲二首》
(Qinglou Qu, Er Shou)
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

白马金鞍随武皇，旌旗十万宿长杨。
楼头少妇鸣筝坐，遥见飞尘入建章。

驰道杨花满御沟，红妆漫绾上青楼。
金章紫绶千余骑，夫婿朝回初拜侯。


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《青楼怨》
(Qinglou Yuan)
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

香帏风动花入楼，高调鸣筝缓夜愁。
肠断关山不解说，依依残月下帘钩。

Notes:

此是拗体，音律凄婉清畅。“缓”字妙。

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《西宫春怨》
Spring Lament in the Western Palace (Xi Gong Chun Yuan)
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

西宫夜静百花香，欲捲珠帘春恨长。
斜抱云和深见月，朦胧树色隐昭阳。

Notes:

According to musicologist Lin Chiang-san, the yunhe (云和) described in this poem is the yunhe pipa (云和琵琶), a now-obsolete plucked bridge zither of Central Asian origin that is also known as Wusun pipa (乌孙琵琶).

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《行路难》
作者：王昌龄（唐）
by Wang Changling (Tang Dynasty, 698-756)

双丝作绠系银瓶，百尺寒泉辘轳上。
悬丝一绝不可望，似妾倾心在君掌。
人生意气好弃捐，只重狂花不重贤。
宴罢调筝奏《离鹤》，回娇转盼泣君前。
君不见，眼前事，岂保须臾心勿异。
西山日下雨足稀，侧有浮云无所寄。
但愿莫忘前者言，挫骨黄尘亦无愧。
行路难，劝君酒，莫辞烦。
美酒千钟犹可尽，心中片愧何可论。
一闻汉主思故剑，使妾长嗟万古魂。

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 《凉州词二首》
Two Liangzhou Lyrics (Liangzhou Ci, Er Shou)
作者：王翰（唐）
by Wang Han (Tang Dynasty, 687-726)

 葡萄美酒夜光杯，欲饮琵琶马上催。
Filled with fine grape wine, the [jade] cups glow by night; 
Though we'd rather drink [and listen to the] pipa, we're suddenly off to fight. 
醉卧沙场君莫笑，古来征战几人回。
Don’t laugh if we lay drunken on the battleground;
Since ancient times, how many ever returned from a campaign safe and sound?

秦中花鸟已应阑，塞外风沙犹自寒。
While in central Qin, the flowers and birds should already have faded away, 
Beyond the frontier, the wind and sand are still cold.
夜听胡笳折杨柳，教人意气忆长安。
At night, hearing a hujia [play] "Snapping Willows"
Turns the men's feelings toward the remembrance of Chang'an.

Notes:

This set of "frontier poems" would probably have been sung to a local tune originating from Liangzhou (now Wuwei, central Gansu province, northwest China).  According to Xin Tang Shu, the tunes of the Tianbao period of the reign of the Tang emperor Xuanzong (742-756) are all named after border areas, such as Liangzhou, Yizhou, Ganzhou, and so on.

This set of poems by Wang Han has a strong local color evocative of Liangzhou (modern-day Wuwei, Gansu) in China's far northwest, which had for centuries been an important hub in the Silk Road trade.  Liangzhou's location at the edge of Chinese civilization, and its high degree of influence from the cultures of neighboring Central Asia, gave its music an exotic character that made it especially attractive to Tang-period listeners.

Judging from the poems' content, grape wine was a special product of the "Western Regions" (i.e., Central Asia) during the Tang period, the "luminous winecup" was made of a special translucent jade mined in Jiuquan, northwestern Gansu (where Dunhuang is also located), the pipa is an instrument originating from Central Asia, and the hujia ("barbarian pipe") was also a popular musical instrument in Central Asia and China's northwestern frontier areas.  All of these are related to the customs of China's northwestern frontier.

"Central Qin" (Chinese: Qin zhong, 秦中) refers to the Guanzhong Plain, which is located in central Shaanxi province and includes the Tang capital of Chang'an (modern-day Xi'an).

The hujia ("barbarian pipe") was a variety of reed pipe that was adopted by the Chinese from non-Han peoples living to China's west and north in ancient times, and used primarily to play military music.

In China since ancient times, the custom of breaking a willow twig before parting ways expresses the hope that they may see each other again.  Lyrics and tunes bearing the title "Zhe Yangliu" (Snapping a Willow Twig) are said to have been introduced from Central Asia beginning with the envoy Zhang Qian (张骞, d. 114 BC) in the Western Han Dynasty, and remained popular across the subsequent Wei-Jin, Northern and Southern Dynasties, and Sui-Tang periods, probably due to the perennial melancholy caused by the departure of recruits sent to fight far from home, on China's western frontiers.

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《宫词一百首 其十五》
100 Palace Lyrics, no. 15
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

对御难争第一筹，殿前不打背身毬。
内人唱好龟兹急，天子鞘回过玉楼。

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=8116
https://baike.baidu.com/item/%E5%AE%AB%E8%AF%8D%E4%B8%80%E7%99%BE%E9%A6%96/963362

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《宫词一百首 其二十八》
100 Palace Lyrics, no. 28
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

一时起立吹箫管，得宠人来满殿迎。
整顿衣裳皆著却，舞头当拍第三声。

More information:

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《宫词一百首 其二十九》
100 Palace Lyrics, no. 29
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

琵琶先抹六么头，小管丁宁侧调愁。

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《宫词一百首 其三十二》
100 Palace Lyrics, no. 32
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

红蛮杆拨贴胸前，移坐当头近御筵。 
用力独弹金殿响，凤皇飞下四条弦。

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《宫词一百首 其五十三》
100 Palace Lyrics, no. 53
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

行中第一争先舞，博士傍边亦被欺。
忽觉管弦偷破拍，急翻罗袖不教知。

More information:
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《宫词一百首 其五十六》
100 Palace Lyrics, no. 56
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

未承恩泽一家愁，乍到宫中忆外头。
求守管弦声款逐，侧商调里唱伊州。

More information:

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《宫词一百首 其六十五》
100 Palace Lyrics, no. 65
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

内人相续报花开，准拟君王便看来。
逢着五弦琴绣袋，宜春院里按歌回。

More information:

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《宫词一百首 其七十八》
100 Palace Lyrics, no. 78
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

禁寺红楼内里通，笙歌引驾夹城东。
裹头宫监堂前立，手把牙鞘竹弹弓。

More information:

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《宫词一百首 其八十三》
100 Palace Lyrics, no. 83
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

教遍宫娥唱遍词，暗中头白没人知。
楼中日日歌声好，不问从初学阿谁。

More information:

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《宫词一百首 其八十六》
100 Palace Lyrics, no. 86
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

玉箫改调筝移柱，催换红罗绣舞筵。
未戴柘枝花帽子，两行宫监在帘前。

More information:

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 《凉州行》
(Liangzhou Xing)
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

 凉州四边沙皓皓，汉家无人开旧道。
边头州县尽胡兵，将军别筑防秋城。
万里人家皆已没，年年旌节发西京。
多来中国收妇女，一半生男为汉语。
蕃人旧日不耕犁，相学如今种禾黍。
驱羊亦著锦为衣，为惜毡裘防斗时。
养蚕缲茧成匹帛，那堪绕帐作旌旗。
城头山鸡鸣角角，洛阳家家学胡乐。

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 《田侍中宴席》
作者：王建（唐）
by Wang Jian (Tang Dynasty, c. 767-c. 830)

 香熏罗幕暖成烟，火照中庭烛满筵。
整顿舞衣呈玉腕，动摇歌扇露金钿。
青蛾侧座调双管，彩凤斜飞入五弦。
虽是沂公门下客，争将肉眼看云天。

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《风中琴》
Qin In the Breeze (Feng Zhong Qin)
作者：王棨（唐）
by Wang Qi (Tang Dynasty, fl. 862)

虚檐来晓吹，
From the eaves of the hollow sky comes a dawn breeze,
横榻有瑶琴。
As on the couch there lies an exquisite qin.
暗报青蘋叶，
A secret harbinger of green duckweed leaves,
潜生绿绮音。
As if from underwater, it engenders a sound like exquisitely patterned viridian silk.
数声随籁去，
Numerous tones follow, sounding, then dying away,
馀响入堂深。
Reverberating into the depths of the hall.
徽假大王按，
When on the hui the sovereign presses,
弦因少女吟。
Its strings prompt maidens to sing sighingly.
如筝飘阁上，
[The effect is] like [the sound of] a zheng* wafting down from high in a pavilion,
似瑟鼓江浔。
Or a se plucked by the riverside.
若与钟期会，
If you [ever happen to] meet with Zhong Qi,
还知天地心。
You will also know the heart of heaven and earth.

Notes:

A rootless aquatic plant, duckweed is often used in Chinese literature to symbolize transience of life and mind due to its floating nature, or to evoke feelings of melancholy or woe.  Lü Qi (绿绮, "Viridian Patterned Silk") was the name of a qin belonging to the Western Han Dynasty scholar-official Sima Xiangru (司马相如, c. 179 BC-117 BC), which was given to him as a gift by Liu Wu, Prince of Liang (刘武, c. 184 BC-144 BC) as a reward for Sima's prose poem "Ru Yu Fu"《如玉赋》.  The instrument's body is said to have been black in color, but with a faint green glow, giving the impression that green vines were entwined on the ancient wood.  The term "Lü Qi" eventually came to be applied to any finely crafted qin, or the qin in general.  Hui (徽) are the inlaid markers on the top board of a qin, which mark harmonic positions on the instrument's strings.  The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  The se (瑟) is a 25-stringed bridge zither that has been used in Chinese court and ritual music since ancient times.  Zhong Qi (钟期) is another name for Zhong Ziqi (锺子期), a man from the state of Chu (roughly equivalent to modern-day Jingzhou, southern Hubei) who lived during the Spring and Autumn period or Warring States period, who was known for his extraordinary ability to understand the meaning of the music played by his bosom friend, the qin player Bo Ya (伯牙).

* It has been proposed that the word zheng (筝) here may alternatively refer to the fengzheng (风筝), a special type of kite developed in the late Tang Dynasty, to which bamboo whistles have been affixed, causing it to produce flute-like tones while flown in the air.

More information:
https://en.wiktionary.org/wiki/%E7%9F%A5%E9%9F%B3

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 《荆南席上咏胡琴妓二首》
Two Poems [About] Courtesans Singing [to the Accompaniment of] Barbarian Lutes at a Banquet in the [State of] Jingnan (Jingnan Xi Shang Yong Huqin Ji, Er Shou)
作者：王仁裕（唐末五代十国初）
by Wang Renyu (late Tang Dynasty/early Five Dynasties and Ten Kingdoms, 880-956)

其一
 红妆齐抱紫檀槽，一抹朱弦四十条。
The red-made-up [ladies] together embrace [their instruments'] violet sandalwood soundboxes,
Each stroke on the vermilion strings [seemingly multiplied by] forty.
湘水凌波惭鼓瑟，秦楼明月罢吹箫。
[Amid the] rippling waves of the Xiang River, [the Goddesses] are too embarrassed to play the se,
While in the Tower of Qin, under a bright moon, [Nongyu and Xiao Shi] give up blowing their xiao.
寒敲白玉声偏婉，暖逼黄莺语自娇。
Cold taps on white jade [produce] a sound of rare and delicate beauty,
Warmly compelling the golden oriole to chirp sweetly to himself.
丹禁旧臣来侧耳，骨清神爽似闻韶。
In the cinnabar-painted Forbidden Palace, aged ministers incline their ears to listen,
[Their] bones cleansed and spirits refreshed, as if listening to the most sublime of ceremonies.

其二
玉纤挑落折冰声，散入秋空韵转清。
Delicate jade-white [fingers] flick upwards, then drop down, [producing] a sound like the snapping of ice,
Scattering into the autumn sky with lingering echoes that fade into nothingness.
二五指中句塞雁，十三弦上啭春莺。
[With the player's] two sets of five fingers [moving] amidst a curving line of wild geese from the northern frontier,
[She conjures] the twittering of spring warblers on [her] thirteen strings.
谱从陶室偷将妙，曲向秦楼写得成。
The score, stolen from the pottery studio, is eminently exquisite and profound;
Its melody, emanating from the Tower of Qin, is expressed in a fine and accomplished manner.
无限细腰宫里女，就中偏惬楚王情。
Immeasurably slender are the waists of the women in the palace,
And there is about them an uncommonly uninhibited and carefree [air that could] arouse the King of Chu's desire.

Notes:

● Jingnan (荆南), also known as Nanping (南平), was a small dynastic state with its capital at Jingzhou (荆州, modern-day south-central Hubei), which existed from 924 to 963, during the Five Dynasties and Ten Kingdoms period.
● "Huqin" (胡琴) refers here to plucked (rather than bowed) lutes of Central Asian, Turkic, or Middle Eastern origin.
● Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.
● The reference to the Xiang River is an allusion to the Goddesses of the Xiang River.  According to Bowu Zhi by Zhang Hua (张华, 232-300) of the Jin Dynasty, the legendary Chinese Emperor Shun (舜, who is said to have lived sometime between 2294 BC and 2184 BC) made an inspection tour of the south and died suddenly of an illness while in Cangwu, near the Xiang River in eastern Guangxi.  His wives Ehuang (娥皇) and Nüying (女英), the daughters of the legendary Emperor Yao, raced there and wailed in sorrow by the river for days, then drowned themselves, becoming the Goddesses of the Xiang River (Xiang Shui Shen, 湘水神), who are said to have played the se (瑟), a 25-stringed bridge zither that has been used in China to play court and ritual music since ancient times.  Qu Yuan's "Goddess of the Xiang River" and "Lady of Xiang" from the Chu Ci are likely based on this folklore.  The Xiang flowed into Dongting Lake (located in northeastern Hunan, near the border with Hubei) through the ancient kingdom of Chu, whose songs in their worship have been recorded in a work attributed to Qu Yuan.
● The reference to the Tower of Qin is an allusion to the legend of Xiao Shi (萧史) and Nongyu (弄玉), the son-in-law and daughter of Duke Mu of Qin (秦穆公, r. 659 BC-621 BC, during the Spring and Autumn Period.  According to the legend, after the couple had retired to the seclusion of the middle peak of Mount Hua, one day Nongyu took her jade sheng and mounted a colorful phoenix, and Xiao Shi took his jade xiao and stepped onto a golden dragon.  For a time, the dragon and the phoenix flew into the air.  The so-called Tower of Qin (Qin Lou, 秦楼) was built by Duke Mu of Qin for his daughter Nongyu, and this term eventually acquired the additional metaphorical meaning of "brothel" (a place where music was often performed).  It seems likely that, in the first of the two poems, the original (historical) meaning is intended, whereas in the second poem the same term is used metaphorically to refer to the area of the Jingnan palace occupied by female courtesan-musicians.
● "Wen shao" (闻韶) is an allusion to the famous anecdote from the Analects in which Confucius was so overwhelmed by the beauty of the Shao (韶) ritual music of the State of Qi that "for three months he did not know the taste of meat."
● "Wild geese" (yan, 雁) refers to the bridges of the zheng, which are lined up in a diagonal row like a flock of wild geese in flight, and "thirteen strings" is a metonymic reference to the zheng (筝), a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.
● The reference to the King of Chu is an allusion to King Ling of Chu (Chu Ling Wang, 楚灵王), the king of the State of Chu between 540 and 529 BC, with his capital at Ying (郢) near Jingzhou (荆州, modern-day south-central Hubei).  Lecherous by nature, he was famously fond of beauties with extremely thin waists, causing many of them to starve themselves in order to remain in his favor.  In the sixth year of his reign, he spent extravagantly to build his grand Zhanghua Palace (章华宫), where he lived a life of luxury, feasting and enjoying music and dance performances by a vast array of court maidens day and night.  A chengyu (4-character idiom) dating to the Yuan Dynasty, "Chu Guan Qin Lou" (楚馆秦楼), memorializes this king's reputation, using "Qin Lou" (秦楼) in its metaphorical sense to indicate that his palace was in essence a huge brothel.

题注：一作奉使荆南高从诲筵上听弹胡琴
其一：《十国春秋·高从诲世家注》载首二句，云是从诲作。

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=7744
https://sou-yun.cn/Query.aspx?type=poem1&id=7745

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《观搊筝》（一作祖咏诗）
作者：王湾（唐）
by Wang Wan (Tang Dynasty, 693-751)

虚室有秦筝，筝新月复清。
弦多弄委曲，柱促语分明。
晓怨凝繁手，春娇入曼声。
近来唯此乐，传得美人情。

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

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 《偶然作六首 其五》
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)

 赵女弹箜篌，复能邯郸舞。
夫婿轻薄儿，斗鸡事齐主。
黄金买歌笑，用钱不复数。
许史相经过，高门盈四牡。
客舍有儒生，昂藏出邹鲁。
读书三十年，腰间无尺组。
被服圣人教，一生自穷苦。

Notes:

引用典故：许史　

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 《伊州歌》
Yizhou Song (Yizhou Ge)
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)

清风明月苦相思，荡子从戎十载馀。
The gentle breeze and bright moon arouse a heartsick longing;
A wanderer, you have served in the army for ten years now.
征人去日慇勤嘱，归雁来时数附书。
On the day you set off for the front, I asked you earnestly:
When the wild geese return home, send messages with them!

 Notes:

 This poem may have been used as the lyric for "Yizhou," piece number 24 from the 25 Tang-era pipa tablatures found at Dunhuang, and Chen Yingshi's 2005 book on the subject of the Dunhuang Scores includes a reconstructed vocal version of "Yizhou" that uses this poem as the text.

Yizhou (伊州) is the name by which Hami (in eastern Xinjiang) was known in Tang times.

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《竹里馆》
The Hut in the Bamboo Grove (Zhu Li Guan)
作者：王维（唐）
by Wang Wei (Tang Dynasty, 692-761 or 699-759)
translated by John Thompson

独坐幽篁里，弹琴复长啸。
Sitting alone in a secluded bamboo grove
Playing qin and intoning at length.
深林人不知，明月来相照。
Deep in the forest there is anonymity,
Though moonlight brings mutual illumination.

More information:
http://www.silkqin.com/09hist/qinshibu/wangwei.htm

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《宫词三十首（存二十七首） 其六》
30 Palace Lyrics (of which 27 remain), no. 6
作者：王涯（中唐）
by Wang Ya (mid-Tang Dynasty, c. 764-835)

筝翻禁曲觉声难，玉柱皆非旧处安。
When the zheng plays the forbidden piece, I feel that the sound is wrong;
The jade bridges are wholly not arranged as they had been in former times.
记得君王曾道好，长因下辇得先弹。
I recall our monarch formerly expressing his approval,
Often even before alighting from his carriage, as [the musician] had only begun to play.

Notes:  

The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  Jin qu (禁曲, literally "forbidden piece") refers to palace music (i.e., musical pieces restricted to the imperial palace).  Although the verb fan (翻) can mean "to play," it also carries the implication of alteration or modification.  The second couplet appears to refer to an earlier time (probably during the reign of an earlier Tang emperor), during which the zheng playing was presumably of a higher order.

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《夜坐看搊筝》
At Night, Sitting and Watching a Zheng Plucked with the Fingertips (Ye Zuo Kan Chou Zheng)
作者：王諲（中唐）
by Wang Yin (mid-Tang Dynasty)

调筝夜坐灯光里，却挂罗帷露纤指。
A zheng is tuned in the night, as we sit in the lamplight;
The gauze curtain is drawn, and delicate fingers are revealed.
朱弦一一声不同，玉柱连连影相似。
Of her instrument's vermilion strings, each one sounds different,
While its jade bridges, one following the other, cast identical shadows.
不知何处学新声，曲曲弹来未睹名。
I don't know where she learned this new sound;
The sinuous melody she has played has a name that remains unknown.
应是石家金谷里，流传未满洛阳城。
But it should be from the Shi family's Golden Valley,
And, thus, not yet have spread throughout Luoyang City.

Notes:

Silk musical instrument strings of the highest quality, called zhu xian (朱弦, literally "cinnabar/vermilion strings"), were red in color.  Shi Chong (石崇, 249-300) was a politician and literatus of the Western Jin Dynasty who was well known for his extravagant and ostentatious lifestyle.  His magnificent estate, located just to the northwest of the Western Jin capital of Luoyang, was called Jin Gu Yuan (金谷园, literally "Golden Valley Gardens"), and later generations referred to the gardens of wealthy families as Shi jia yuan (石家园, literally "Shi family's garden").  Located about 350 km east of Chang'an, Luoyang (洛阳), in Henan province, flourished as the second city and eastern capital of the Tang Dynasty, and at its height it had a population of around one million, second only to Chang'an, which, at the time, was the largest city in the world.


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《凉州词二首》
作者：王之涣（唐）
by Wang Zhihuan (Tang Dynasty, 688-742)

其一
黄河远上白云间，一片孤城万仞山。
羌笛何须怨杨柳，春风不度玉门关。

其二
单于北望拂云堆，杀马登坛祭几回。
汉家天子今神武，不肯和亲归去来。

More information:
https://baike.baidu.com/item/%E6%98%A5%E9%A3%8E%E4%B8%8D%E5%BA%A6%E7%8E%89%E9%97%A8%E5%85%B3

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 《五弦行》
作者：韦应物（唐）
by Wei Yinwu (Tang Dynasty, c. 737-c. 792)

 美人为我弹五弦，尘埃忽静心悄然。
古刀幽磬初相触，千珠贯断落寒玉。
中曲又不喧，徘徊夜长月当轩。
如伴风流萦艳雪，更逐落花飘御园。
独凤寥寥有时隐，碧霄来下听还近。
燕姬有恨楚客愁，言之不尽声能尽。
末曲感我情，解幽释结和乐生。
壮士有仇未得报，拔剑欲去愤已平。
夜寒酒多愁遽明。

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《菩萨蛮五首》
作者：韦庄（唐末至五代初）
by Wei Zhuang (late Tang Dynasty/early Five Dynasties, c. 836-910)

其一
红楼别夜堪惆怅，香灯半卷流苏帐。
残月出门时，美人和泪辞。

琵琶金翠羽，弦上黄莺语。
劝我早归家，绿窗人似花。

其二
人人尽说江南好，游人只合江南老。
春水碧于天，画船听雨眠。

垆边人似月，皓腕凝双雪。
未老莫还乡，还乡须断肠。

其三
如今却忆江南乐，当时年少春衫薄。
骑马倚斜桥，满楼红袖招。

翠屏金屈曲，醉入花丛宿。
此度见花枝，白头誓不归。

其四
劝君今夜须沈醉，尊前莫话明朝事。
珍重主人心，酒深情亦深。

须愁春漏短，莫诉金杯满。
遇酒且呵呵，人生能几何。

其五
洛阳城里春光好，洛阳才子他乡老。
柳暗魏王堤，此时心转迷。

桃花春水渌，水上鸳鸯浴。
凝恨对残晖，忆君君不知。


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《觱篥歌（李相妓人吹）》
Bili Song (Played by the Female Musician Li Xiang)
(Bili Ge [Li Xiang Jiren Chui])
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

蜡烟如纛新蟾满，门外平沙草芽短。
黑头丞相九天归，夜听飞琼吹朔管。
情远气调兰蕙薰，天香瑞彩含絪缊。
皓然纤指都揭血，日暖碧霄无片云。
含商咀徵双幽咽，软縠疏罗共萧屑。
不尽长圆叠翠愁，柳风吹破澄潭月。
鸣梭淅沥金丝蕊，恨语殷勤陇头水。
汉将营前万里沙，更深一一霜鸿起。
十二楼前花正繁，交枝簇蒂连壁门。
景阳宫女正愁绝，莫使此声催断魂。


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 《拂舞词》（一作《公无渡河》）
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

 黄河怒浪连天来，大响谹谹如殷雷。
龙伯驱风不敢上，百川喷雪高崔嵬。 
二十三弦何太哀，请公勿渡立徘徊。 
下有狂蛟锯为尾，裂帆截棹磨霜齿。
神椎凿石塞神潭，白马䟃𧽼赤尘起。
公乎跃马扬玉鞭，灭没高蹄日千里。

 Notes:

 1. 谹谹：一作“肱肱”。
2. 二十三：一作“二十五”
3. 勿：一作“莫”。
4. 参覃：这两字原来的写法都是在左边再加“走”字旁，音zàntán。因字库里没有这两字，这里以其右偏旁代替。

引用典故：一钓十五鳌

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 《郭处士击瓯歌》
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

佶栗金虬石潭古，勺陂潋滟幽修语。
湘君宝马上神云，碎佩丛铃满烟雨。
吾闻三十六宫花离离，软风吹春星斗稀。
玉晨冷磬破昏梦，天露未干香著衣。
兰钗委坠垂云发，小响丁当逐回雪。
晴碧烟滋重叠山，罗屏半掩桃花月。
太平天子驻云车，龙炉勃郁双蟠拏。
宫中近臣抱扇立，侍女低鬟落翠花。
乱珠触续正跳荡，倾头不觉金乌斜。
我亦为君长叹息，缄情远寄愁无色。
莫沾香梦绿杨丝。千里春风正无力。

Notes:

This poem was inspired by Wen Tingyun hearing a performance by the court musician Guo Daoyuan (郭道源), who was a skilled player of the ji ou (击瓯, a set of water-tuned porcelain bowls, struck with a pair of sticks as a solo melodic percussion instrument), sometime between 840 and 846.

More information:
https://baike.baidu.com/item/%E9%83%AD%E5%A4%84%E5%A3%AB%E5%87%BB%E7%93%AF%E6%AD%8C/7529654

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 《鸿胪寺有开元中锡宴堂楼台池沼雅为胜绝荒凉遗址仅有存者偶成四十韵》
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

 明皇昔御极，神圣垂耿光。
沈机发雷电，逸躅陵尧汤。
西覃积石山，北至穷发乡。
四凶有獬豸，一臂无螳螂。
婵娟得神艳，郁烈闻国香。
紫绦鸣羯鼓，玉管吹霓裳。
禄山未封侯，林甫才为郎。
昭融廓日月，妥帖安纪纲。
群生到寿域，百辟趋明堂。
四海正夷宴，一尘不飞扬。
天子自犹豫，侍臣宜乐康。
轧然阊阖开，赤日生扶桑。
玉砌露盘纡，金壶漏丁当。
剑佩相击触，左右随趋跄。
玄珠十二旒，红粉三千行。
顾盻生羽翼，叱嗟回雪霜。
神霞凌云阁，春水骊山阳。
盘斗九子粽，瓯擎五云浆。
双琼京兆博，七鼓邯郸娼。
毰毸碧鸡斗，茏葱翠雉场。
仗官绣蔽膝，宝马金镂锡。
椒涂隔鹦鹉，柘弹惊鸳鸯。
猗欤华国臣，鬓发俱苍苍。
锡宴得幽致，车从真炜煌。
画鹢照鱼鳖，鸣驺乱甃鶬。
飐滟荡碧波，炫煌迷横塘。
萦盈舞回雪，宛转歌绕梁。
艳带画银络，宝梳金钿筐。
沈冥类汉相，醉倒疑楚狂。
一旦紫微东，胡星森耀芒。
凭陵逐鲸鲵，唐突驱犬羊。
纵火三月赤，战尘千里黄。
殽函与府寺，从此俱荒凉。
兹地乃蔓草，故基摧坏墙。
枯池接断岸，唧唧啼寒螀。
败荷塌作泥，死竹森如枪。
游人问老吏，相对聊感伤。
岂必见麋鹿，然后堪回肠。
幸今遇太平，令节称羽觞。
谁知曲江曲，岁岁栖鸾凰。

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《弹筝人》
The Zheng Player (Tan Zheng Ren)
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

天宝年中事玉皇，曾将新曲教宁王。
In the Tianbao years, [I] served the Jade Emperor,
[And] once even taught a new melody to the Prince of Ning.
钿蝉金雁今零落，一曲《伊州》泪万行。
[But] the filigree cicadas and golden wild geese have withered away,
[And whenever I play] the "Yizhou" tune, tears by the tens of thousands flow.

Notes:

The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  The Tianbao (天宝) era lasted from 742 to 756, during the reign of the Tang emperor Xuanzong (唐玄宗, r. 713-756).  During the Tang Dynasty, "Jade Emperor" (Yuhuang, 玉皇) was an elevated way of referring to the emperor.  The Prince of Ning (Ning Wang, 宁王) was a title held between 716 and 742 by Li Chengqi (李成器, 679-742), an imperial prince of the Tang Dynasty and older brother of Li Longji (Emperor Xuanzong) who was fond of music, and a fine player of both the di (transverse flute) and jiegu (hourglass drum).  "Filigree cicadas" (tian chan, 钿蝉) probably refers to the fine decorations, involving precious metals inlaid so as to resemble a cicada's wing, on a zheng used by musicians in the imperial palace, and "golden wild geese" (jin yan, 金雁) probably refers to the instrument's beautifully gilded bridges, the metaphor of geese being used because a zheng's bridges are lined up in a diagonal row like a flock of wild geese in flight.  "Yizhou"《伊州》, whose title refers to an oasis area of eastern Xinjiang which is today known as Hami, was a popular melody/song during the Tang Dynasty.

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《杂曲歌辞 西洲曲》
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)

悠悠复悠悠，昨日下西洲。
西洲风色好，遥见武昌楼。
武昌何郁郁，侬家定无匹。
小妇被流黄，登楼抚瑶瑟。
朱弦繁复轻，素手直凄清。
一弹三四解，掩抑似含情。
南楼登且望，西江广复平。
艇子摇两桨，催过石头城。
门前乌臼树，惨澹天将曙。
鹍鵊飞复还，郎随早帆去。
回头语同伴，定复负情侬。
去帆不安幅，作抵使西风。
他日相寻索，莫作西洲客。
西洲人不归，春草年年碧。

Notes:

In some editions, the title is spelled《杂曲歌辞 西州词》. In some editions, "鹍鵊" is replaced by "鸂鶒."

More information:

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 《李周弹筝歌（淮南韦太尉席上赠）》
作者：吴融（唐末）
by Wu Rong (late Tang Dynasty, 850-903)

 古人云：丝不如竹，竹不如肉。
乃知此语未必然，李周弹筝听不足。 
闻君七岁八岁时，五音六律皆生知。
就中十三弦最妙，应宫（一作官）出入年方少。 
青骢惯走长楸日（一作间），几度承恩蒙急召（一作召急）。
一字雁行斜御筵，锵金戛羽凌非（一作霏）烟。
始似五更残月里，凄凄切切清露蝉。 
又如石罅堆叶下，泠泠沥沥苍崖泉。
鸿门玉斗初向地，织女金梭飞上天。 
有时上苑繁花发，有时太液秋波阔。
当头独坐摐一声，满座好风生拂拂。 
天颜开（一本有兮字），圣心悦。
紫金白珠沾赐物，出来无暇更还家。 
且上青楼醉明月，年将六十艺转精。
自写梨园新曲声，近来一事还惆怅。 
故里春荒烟草平，供奉供奉且听语。
自昔兴衰看乐府，秪如伊州与梁州。 
尽是太平时歌舞，旦夕君王继此声，不要停弦泪如雨。

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《阳春歌》
Sunny Spring Song (Yang Chun Ge)
作者：吴豸之（唐）
by Wu Zhizhi (Tang Dynasty)

帘低晓露湿，帘捲莺声急。
欲起把箜篌，如凝綵弦涩。
孤眠愁不转，点泪声相及。
净扫阶上花，风来更吹入。

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《闻邻家理筝》
作者：徐安贞（唐）
by Xu Anzhen (Tang Dynasty)

北斗横天夜欲阑，愁人倚月思无端。
忽闻画阁秦筝逸，知是邻家赵女弹。
曲成虚忆青蛾敛，调急遥怜玉指寒。
银锁重关听未辟，不如眠去梦中看。

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.


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《宿开元寺楼（一作宿开元寺西楼闻歌感赋）》
作者：许浑（唐）
by Xu Hun (Tang Dynasty, 788-c. 860)

谁家歌袅袅，孤枕在西楼。
竹色寒清簟，松香染翠帱。
月移珠殿晓，风递玉筝秋。
日出应移棹，三湘万里愁。

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《太傅相公与家兄梅花詶唱许缀末篇再赐新诗俯光拙句谨奉清韵用感钧私伏惟采览》
作者：徐锴（五代十国 – 南唐）
by Xu Kai (Five Dynasties:  Southern Tang, 920 or 921-974 or 975)

 重叹梅花落，非关塞笛悲。
论文叨接萼，末曲愧吹篪。
枝逐清风动，香因白雪知。
陶钧敷左悌，更赋邵公诗。

 Notes:

 按：毛诗云：“仲氏吹篪。”

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《乐府新诗》
(Yuefu Xin Shi)
作者：徐凝（唐）
by Xu Ning (Tang Dynasty, c. 792-c. 853)

一声卢女十三弦，早嫁城西好少年。
不羡越溪歌者苦，《采莲》归去绿窗眠。

Notes:

引用典故：卢女

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《酒胡子》
(Jiu Huzi)
作者：徐夤（唐末至五代初）
by Xu Yin (late Tang Dynasty/early Five Dynasties,  849-938)

红筵丝竹合，用尔作欢娱。
直指宁偏党，无私绝觊觎。
当歌谁擐袖，应节渐轻躯。
恰与真相似，毡裘满颔须。

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 《和许给事善心戏场转韵诗》
by Xue Daoheng (Sui Dynasty, 540-609)
作者：薛道衡（隋）

 京洛重新年，复属月轮圆。
云间璧独转，空里镜孤悬。
万方皆集会，百戏尽来前。
临衢车不绝，夹道阁相连。
惊鸿出洛水，翔鹤下伊川。
艳质回风雪，笙歌韵管弦。
佳丽俨成行，相携入戏场。
衣类何平叔，人同张子房。
高高城里髻，峨峨楼上妆。
罗裙飞孔雀，绮带垂鸳鸯。
月映班姬扇，风飘韩寿香。
竟夕鱼负灯，彻夜龙衔烛。
欢笑无穷已，歌咏还相续。
羌笛陇头吟，胡舞龟兹曲。
假面饰金银，盛服摇珠玉。
宵深戏未阑，兢为人所难。
卧驱飞玉勒，立骑转银鞍。
纵横既跃剑，挥霍复跳丸。
抑扬百兽舞，盘跚五禽戏。
狻猊弄斑足，巨象垂长鼻。
青羊跪复跳，白马回旋骑。
忽睹罗浮起，俄看郁昌至。
峰岭既崔嵬，林丛亦青翠。
麋鹿下腾倚，猴猿或蹲跂。
金徒列旧刻，玉律动新灰。
甲荑垂陌柳，残花散苑梅。
繁星渐寥落，斜月尚徘徊。
王孙犹劳戏，公子未归来。
共酌琼酥酒，同倾鹦鹉杯。

普天逢圣日，兆庶喜康哉。

 More information:
https://baike.baidu.com/item/%E5%92%8C%E8%AE%B8%E7%BB%99%E4%BA%8B%E5%96%84%E5%BF%83%E6%88%8F%E5%9C%BA%E8%BD%AC%E9%9F%B5%E8%AF%97

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Sculpture of a musician playing a phoenix-headed bipa.  From the Gameunsa Inner Sarira Reliquary,
Gameunsa Temple Site, Gyeongju, North Gyeongsang Province, eastern South Korea.  Unified Silla
period (c. 682).  Discovered in 1959 in the upper part of a three-story stone stupa to the west of
the Gameunsa Temple site.  Height: 6.5 in. (16.5 cm)

《听曹刚弹琵琶》
Listening to Cao Gang Play the Pipa (Ting Cao Gang Tan Pipa)
作者：薛逢（唐）
by Xue Feng (Tang Dynasty, fl. 841-866)

禁曲新翻下玉都，四弦掁触五音殊。
A forbidden piece, newly adapted, floats down from the City of Jade,
[Cao Gang, on his] four strings, striking the Five Tones in a superb manner.
不知天上弹多少，金凤衔花尾半无。
I don't know, in the heavens above, how many [there are that] play
A golden phoenix with a flower in its beak, and a tail [that stretches] halfway to infinitude.

Notes:

The pipa player Cao Gang (曹刚) was a prominent scion of a Chinese musical dynasty of Sogdian origin, whose ancestor, Cao Poluomen (曹婆罗门, literally "Brahman Cao"), had immigrated from Kabudhan (Kapūtānā, called Caoguo 曹国 in Chinese), northeast of Samarkand, serving as a court musician in Luoyang during the Northern Wei Dynasty (386-534); many of his descendants went on to become prominent court musicians in the subsequent Sui and Tang periods.  Interestingly, the Chinese pipa master Lian Chengwu (廉承武), with whom the Japanese diplomat and musician Fujiwara no Sadatoshi (藤原貞敏, 807-867) studied while visiting Yangzhou in the year 838 (at which time Lian was 85 years of age), is believed to have been a pupil of Cao Gang.

Jin qu (禁曲, literally "forbidden piece") refers to palace music (i.e., musical pieces restricted to the imperial palace).  Yu Dou (玉都, literally "Jade Capital") is a Daoist reference referring to the residence of the Emperor of Heaven (the supreme ruler in Chinese mythology), but refers here to the residence of the emperor, whose sacred monarchical title is the Son of Heaven.  "The heavens above" (tian shang, 天上) is another metaphor referring to the imperial palace.  "Golden phoenix" (jin feng, 金凤) is a metaphor for a richly decorated plucked stringed instrument.


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《杂曲歌辞 何满子》or《杂曲歌辞 河满子》
作者：薛逢（唐）
by Xue Feng (Tang Dynasty, fl. 841-866)

系马宫槐老，持杯店菊黄。
故交今不见，流恨满川光。

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 《京中客舍闻筝》
Hearing a Zheng in an Inn in the Capital (Jing Zhong Keshe Wen Zheng)
作者：薛能（唐）
by Xue Neng (Tang Dynasty, c. 817-880)

十二三弦共五音，每声如截远人心。
[With its] twelve [or] thirteen strings, [it produces] five tones in all,
Each note piercing the heart of a traveler from afar.
当时向秀闻邻笛，不是离家岁月深。
At the moment Xiang Xiu heard a neighbor play a flute,
[He] wasn't far from home, [but he felt] the profound depth of times gone by.

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 《吴声子夜歌》
作者：薛奇童（唐）
by Xue Qitong (Tang Dynasty)

 净扫黄金阶，飞霜皓如雪。
下帘弹箜篌，不忍见秋月。

Notes:

题注：一作崔国辅诗，题云《古意》。

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 《赠郑女郎（一作郑氏妹）》
作者：薛馧（唐）
by Xue Yun (Tang Dynasty)

 艳阳灼灼河洛神，珠帘绣户青楼春。
能弹箜篌弄纤指，愁杀门前少年子。
笑开一面红粉妆，东园几树桃花死。
朝理曲，暮理曲，独坐窗前一片玉。
行也娇，坐也娇，见之令人魂魄销。
堂前锦褥红地炉，绿沈香榼倾屠苏。
解佩时时歇歌管，芙蓉帐里兰麝满。
晚起罗衣香不断，灭烛每嫌秋夜短。

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 《听李凭弹箜篌二首》
Listening to Li Ping Play the Konghou, no. 2 (Ting Li Ping Tan Konghou, Er Shou)
作者：杨巨源（唐）
by Yang Juyuan (Tang Dynasty, 755-c. 833)

 听奏繁弦玉殿清，风传曲度禁林明。
君王听乐梨园煖，翻到云门第几声。
花咽娇莺玉漱泉，名高半在御筵前。
汉王欲助人间乐，从遣新声坠九天。

Notes:

引用典故：云门

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《望江南 其六》
作者：隋炀帝杨广（随）
by Emperor Yang of Sui, personal name Yang Guang (Sui Dynasty, 569-618)

湖上女，精选正轻盈。
犹恨乍离金殿侣，相将尽是采莲人。
清唱谩频频。

轩内好，嬉戏下龙津。
玉管朱弦闻尽夜，踏青斗草事青春。
玉辇从群真。

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=875389

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 《吹笙歌》
(Chui Sheng Ge)
作者：殷尧藩（唐）
by Yin Yaofan (Tang Dynasty, fl. 814)

 伶儿竹声愁绕空，秦女泪湿燕支红。
玉桃花片落不住，三十六簧能唤风。

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《夜闻方响》
Hearing a Fangxiang at Night (Ye Wen Fangxiang)
作者：雍陶（中唐）
by Yong Tao (mid-Tang Dynasty; born c. 805; fl. 834)

方响闻时夜已深，声声敲著客愁心。
At the time I heard the fangxiang, it was already deep into the night,
And the cling-clang of its incessant striking was unsettling to my guests.
不知正在谁家乐，月下犹疑是远砧。
I don't know whose house this music was coming from,
But, under the moon, it closely resembled [the sound of] a distant anvil.

Notes:

The fangxiang (方响) was a glockenspiel-like instrument consisting of 16 tuned iron (or, more rarely, bronze or jade) keys in a vertical frame, which was used in yanyue music in the Tang and Song dynasties.


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《奉和献岁宴宫臣》
作者：虞世南（隋末唐初）
by Yu Shinan (late Sui Dynasty/early Tang Dynasty, 558-638)

履端初起节，长苑命高筵。
肆夏喧金奏，重润响朱弦。
春光催柳色，日彩泛槐烟。
微臣同滥吹，谬得仰钧天。


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 《结客少年场行》
作者：虞世南（隋末唐初）
by Yu Shinan (late Sui Dynasty/early Tang Dynasty, 558-638)

 韩魏多奇节，倜傥遗声利。
共矜然诺心，各负纵横志。
结交一言重，相期千里至。
绿沉明月弦，金络浮云辔。
吹箫入吴市，击筑游燕肆。
寻源博望侯，结客远相求。
少年怀一顾，长驱背陇头。
焰焰戈霜动，耿耿剑虹浮。
天山冬夏雪，交河南北流。
云起龙沙暗，木落雁门秋。
轻生殉知己，非是为身谋。

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《光、威、裒姊妹三人少孤而始妍乃有是作精粹难俦虽谢家联雪何以加之有客自京师来者示予因次其韵》
作者：鱼玄机（唐）
by Yu Xuanji (Tang Dynasty, c. 840-c. 868 or c. 844-c. 871)

昔闻南国容华少，今日东邻姊妹三。
妆阁相看鹦鹉赋，碧窗应绣凤凰衫。
红芳满院参差折，绿醑盈杯次第衔。
恐向瑶池曾作女，谪来尘世未为男。
文姬有貌终堪比，西子无言我更惭。
一曲艳歌琴杳杳，四弦轻拨语喃喃。
当台竞斗青丝发，对月争誇白玉簪。
小有洞中松露滴，大罗天上柳烟含。
但能为雨心长在，不怕吹箫事未谙。
阿母几嗔花下语，潘郎曾向梦中参。
暂持清句魂犹断，若睹红颜死亦甘。
怅望佳人何处在，行云归北又归南。

Notes:

This poem was written in Wuhan in the year 862.


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 《春词》
Spring Song (Chun Ci)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

 一双玉手十三弦，移柱高低落鬓边。
A pair of jade-white hands and thirteen strings,
Shifting the bridges higher and lower while hair falls down from her temples.
即问向来弹了曲，羞人不道《想夫怜》。
I approach and ask if she has ever played a certain piece, 
But she is embarrassed that she doesn't know "Regret at Missing My Husband."

 Notes:

按：（《千载佳句》卷下《宴喜部·筝》）。

 A piece with a very similar title, "Xiang Fu Lian" / Sōfuren《想夫恋》/《想夫戀》), appears in two important Sino-Japanese collections of Tang-era music:  Sango Yōroku 『三五要録』 and Jinchi Yōroku 『仁智要録』, both compiled c. 1180.

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《和李校书新题乐府十二首 其五 法曲》
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

吾闻黄帝鼓清角，弭伏熊罴舞玄鹤。
舜持干羽苗革心，尧用咸池凤巢阁。
大夏濩武皆象功，功多已讶玄功薄。
汉祖过沛亦有歌，秦王破阵非无作。
作之宗庙见艰难，作之军旅传糟粕。
明皇度曲多新态，宛转侵淫易沈著。
赤白桃李取花名，霓裳羽衣号天落。
雅弄虽云已变乱，夷音未得相参错。
自从胡骑起烟尘，毛毳腥膻满咸洛。
Ever since barbarian cavalry raised smoke and dust,
The sheep-and-goat stench of felt and furs has filled Chang’an and Luoyang.
女为胡妇学胡妆，伎进胡音务胡乐。
Our women became barbarian wives, learned barbarian makeup;
Singsong girls offered barbarian tunes, applied themselves to barbarian music.
火凤声沈多咽绝，春莺啭罢长萧索。
The tune "The Fire-Roc" was stilled, with much sobbing cut off;
"The Singing of Spring Warblers" ceased and lapsed forever into silence.
胡音胡骑与胡妆，五十年来竞纷泊。
Barbarian tunes, barbarian riders, together with barbarian makeup,
For fifty years these contended in spreading through [our society].
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《和李校书新题乐府十二首·华原磬》
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

 泗滨浮石裁为磬，古乐疏音少人听。
工师小贱牙旷稀，不辨邪声嫌雅正。
正声不屈古调高，钟律参差管弦病。
铿金戛瑟徒相杂，投玉敲冰杳然零。
华原软石易追琢，高下随人无雅郑。
The soft stone of Huayuan is substituted for the
polished,
From high to low the followers ignore the elegant and
corrupt.
弃旧美新由乐胥，自此黄钟不能竞。
The petty music officials discard the old and decorate
the new;
From this the Yellow Bell cannot compete.
玄宗爱乐爱新乐，梨园弟子承恩横。
Xuanzong loves music, he loves the new music,
The pupils in the Pear Garden carry forth the perversion
he has bestowed.
霓裳才彻胡骑来，云门未得蒙亲定。
"Rainbow Skirts" then penetrates and the barbarians ride in on horses,
"Cloud Gate" has not yet been able to pacify the uncultured clans.
我藏古磬藏在心，有时激作南风咏。
伯夔曾抚野兽驯，仲尼暂叩春雷盛。
何时得向笋簴悬，为君一吼君心醒。
愿君每听念封疆，不遣豺狼剿人命。

Notes:

题注：李传云：天宝中，始废泗滨磬，用华原石。

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《何满子歌》
He Manzi Song (He Manzi Ge)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

何满能歌能宛转，天宝年中世称罕。
婴刑系在囹圄间，水调哀音歌愤懑。
梨园弟子奏玄宗，一唱承恩羁网缓。
便将何满为曲名，御谱亲题乐府纂。
鱼家入内本领绝，叶氏有年声气短。
自外徒烦记得词，点拍才成已夸诞。
我来湖外拜君侯，正值灰飞仲春琯。
广宴江亭为我开，红妆逼坐花枝暖。
此时有态蹋华筵，未吐芳词貌夷坦。
翠蛾转盼摇雀钗，碧袖歌垂翻鹤卵。
定面凝眸一声发，云停尘下何劳算。
迢迢击磬远玲玲，一一贯珠匀款款。
犯羽含商移调态，留情度意抛弦管。
湘妃宝瑟水上来，秦女玉箫空外满。
缠绵叠破最慇勤，整顿衣裳颇（一作事）閒散。
冰含远溜咽还通，莺泥晚花啼渐懒。
敛黛吞声若自冤，郑袖见捐西子浣。
阴山鸣雁晓断行，巫峡哀猿夜呼伴。
古者诸侯飨外宾，鹿鸣三奏陈圭瓒。
何如有态一曲终，牙筹记令红螺碗（一作盏）。

Notes:

张湖南座为唐有态作，有态一作有熊。

This poem was written in the second month of the year 814.

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《哭女樊四十韵》
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

逝者何由见，中人未达情。
马无生角望，猿有断肠鸣。
去伴投遐徼，来随梦险程。
四年巴养育，万里硖回萦。
病是他乡染，魂应远处惊。
山魈邪乱逼，沙虱毒潜婴。
母约看宁辨，余慵疗不精。
欲寻方次第，俄值疾充盈。
灯火徒相守，香花只浪擎。
莲初开月梵，蕣已落朝荣。
魄散云将尽，形全玉尚莹。
空垂两行血，深送一枝琼。
秘祝休巫觋，安眠放使令。
旧衣和箧施，残药满瓯倾。
乳媪闲于社，医僧婗似酲。
悯渠身觉剩，讶佛力难争。
骑竹痴犹子，牵车小外甥。
等长迷过影，遥戏误啼声。
涴纸伤馀画，扶床念试行。
独留呵面镜，谁弄倚墙筝。
忆昨工言语，怜初妙长成。
撩风妒鹦舌，凌露触兰英。
翠凤舆真女，红蕖捧化生。
只忧嫌五浊，终恐向三清。
宿恶诸荤味，悬知众物名。
环从枯树得，经认宝函盛。
愠怒偏憎数，分张雅爱平。
最怜贪栗妹，频救懒书兄。
为占娇饶分，良多眷恋诚。
别常回面泣，归定出门迎。
解怪还家晚，长将远信呈。
说人偷罪过，要我抱纵横。
腾蹋游江舫，攀缘看乐棚。
和蛮歌字拗，学妓舞腰轻。
迢递离荒服，提携到近京。
未容夸伎俩，唯恨枉聪明。
往绪心千结，新丝鬓百茎。
暗窗风报晓，秋幌雨闻更。
败槿萧疏馆，衰杨破坏城。
此中临老泪，仍自哭孩婴。

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《连昌宫词》
A Ci About Lianchang Palace (Lianchang Gong Ci)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

连昌宫中满宫竹，岁久无人森似束。
又有墙头千叶桃，风动落花红蔌蔌。
宫边老翁为余泣，小年进食曾因入。
上皇正在望仙楼，太真同凭阑干立。
楼上楼前尽珠翠，炫转荧煌照天地。
归来如梦复如痴，何暇备言宫里事。
初过寒食一百六，店舍无烟宫树绿。
夜半月高弦索鸣，贺老琵琶定场屋。
力士传呼觅念奴，念奴潜伴诸郎宿。
须臾觅得又连催，特敕街中许燃烛。
春娇满眼睡红绡，掠削云鬟旋装束。
飞上九天歌一声，二十五郎吹管逐。
逡巡大遍凉州彻，色色龟兹轰录续。
李谟擫笛傍宫墙，偷得新翻数般曲。
平明大驾发行宫，万人歌舞涂路中。
百官队仗避岐薛，杨氏诸姨车斗风。
明年十月东都破，御路犹存禄山过。
驱令供顿不敢藏，万姓无声泪潜堕。
两京定后六七年，却寻家舍行宫前。
庄园烧尽有枯井，行宫门闭树宛然。
尔后相传六皇帝，不到离宫门久闭。
往来年少说长安，玄武楼成花萼废。
去年敕使因斫竹，偶值门开暂相逐。
荆榛栉比塞池塘，狐兔骄痴缘树木。
舞榭欹倾基尚在，文窗窈窕纱犹绿。
尘埋粉壁旧花钿，乌啄风筝碎珠玉。
上皇偏爱临砌花，依然御榻临阶斜。
蛇出燕巢盘斗栱，菌生香案正当衙。
寝殿相连端正楼，太真梳洗楼上头。
晨光未出帘影黑，至今反挂珊瑚钩。
指似傍人因恸哭，却出宫门泪相续。
自从此后还闭门，夜夜狐狸上门屋。
我闻此语心骨悲，太平谁致乱者谁。
翁言野父何分别，耳闻眼见为君说。
姚崇宋璟作相公，劝谏上皇言语切。
燮理阴阳禾黍丰，调和中外无兵戎。
长官清平太守好，拣选皆言由相公。
开元之末姚宋死，朝廷渐渐由妃子。
禄山宫里养作儿，虢国门前闹如市。
弄权宰相不记名，依稀忆得杨与李。
庙谟颠倒四海摇，五十年来作疮痏。
今皇神圣丞相明，诏书才下吴蜀平。
官军又取淮西贼，此贼亦除天下宁。
年年耕种宫前道，今年不遣子孙耕。
老翁此意深望幸，努力庙谋休用兵。

More information:
https://baike.baidu.com/item/%E8%BF%9E%E6%98%8C%E5%AE%AB%E8%AF%8D

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《六年春遣怀八首 其四》
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

婢仆晒君馀服用，娇痴稚女绕床行。
玉梳钿朵香胶解，尽日风吹玳瑁筝。

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 《和李校书新题乐府十二首·骠国乐》
(Piaoguo Yue)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

 骠之乐器头象驼，音声不合十二和。
促舞跳趫筋节硬，繁辞变乱名字讹。
千弹万唱皆咽咽，左旋右转空傞傞。
俯地呼天终不会，曲成调变当如何。
德宗深意在柔远，笙镛不御停娇娥。
史馆书为朝贡传，太常编入鞮靺科。
古时陶尧作天子，逊遁亲听康衢歌。
又遣遒人持木铎，遍采讴谣天下过。
万人有意皆洞达，四岳不敢施烦苛。
尽令区中击壤块，燕及海外覃恩波。
秦霸周衰古官废，下堙上塞王道颇。
共矜异俗同声教，不念齐民方荐瘥。
传称鱼鳖亦咸若，苟能效此诚足多。
借如牛马未蒙泽，岂在抱瓮滋鼋鼍。
教化从来有源委，必将泳海先泳河。
是非倒置自古有，骠兮骠兮谁尔诃。

Notes:

During the Tang Dynasty, the Pyu states of Upper Burma had trade and diplomatic relations with China.  In 800 and 801-802, the Pyu kingdom of Sri Ksetra (in Pyay, Bago Region, south-central Burma) sent a formal embassy, along with a group of 35 musicians, to the Tang court.  The poets Bai Juyi and Yuan Zhen attended the second of these performances, and both wrote poems detailing their experience.

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 《琵琶》
Pipa
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

 学语胡儿撼玉玲，甘州破里最星星。
Learning the [musical] language of the people of the West,
which produces a crystalline sound like the tinkling of shaken jade ornaments,
The po ["broaching"/development section] of "Ganzhou" is like a profusion of stars.
使君自恨常多事，不得工夫夜夜听。
Civil governors being consumed with too many matters [of state],
They don't have sufficient time to listen to it night after night.

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《琵琶歌》
Pipa Song (Pipa Ge)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

琵琶宫调八十一，旋宫三调弹不出。
玄宗偏许贺怀智，段师此艺还相匹。
自后流传指拨衰，昆仑善才徒尔为。
澒声少得似雷吼，缠弦不敢弹羊皮。
人间奇事会相续，但有卞和无有玉。
段师弟子数十人，李家管儿称上足。
管儿不作供奉儿，抛在东都双鬓丝。
逢人便请送杯盏，著尽工夫人不知。
李家兄弟皆爱酒，我是酒徒为密友。
著作曾邀连夜宿，中碾春溪华新绿。
平明船载管儿行，尽日听弹无限曲。
曲名无限知者鲜，霓裳羽衣偏宛转。
凉州大遍最豪嘈，六幺散序多笼撚。
我闻此曲深赏奇，赏著奇处惊管儿。
管儿为我双泪垂，自弹此曲长自悲。
泪垂捍拨朱弦湿，冰泉呜咽流莺涩。
因兹弹作雨霖铃，风雨萧条鬼神泣。
一弹既罢又一弹，珠幢夜静风珊珊。
低回慢弄关山思，坐对燕然秋月寒。
月寒一声深殿磬，骤弹曲破音繁并。
In the cold moonlight, one sound is heard from a chime deep in the palace,
Briskly playing the breakdown, the sounds are numerous and varied,
百万金铃旋玉盘，醉客满船皆暂醒。
[Like] millions of golden bells spinning on a jade plate;
The drunken guests on the boat all become momentarily sober.
自兹听后六七年，管儿在洛我朝天。
游想慈恩杏园里，梦寐仁风花树前。
Apricot Garden
去年御史留东台，公私蹙促颜不开。
今春制狱正撩乱，昼夜推囚心似灰。
暂辍归时寻著作，著作南园花坼萼。
胭脂耀眼桃正红，雪片满溪梅已落。
是夕青春值三五，花枝向月云含吐。
著作施樽命管儿，管儿久别今方睹。
管儿还为弹六幺，六幺依旧声迢迢。
猿鸣雪岫来三峡，鹤唳晴空闻九霄。
逡巡弹得六幺彻，霜刀破竹无残节。
幽关鸦轧胡雁悲，断弦砉騞层冰裂。
我为含凄叹奇绝，许作长歌始终说。
艺奇思寡尘事多，许来寒暑又经过。
如今左降在闲处，始为管儿歌此歌。
歌此歌，寄管儿。
管儿管儿忧尔衰，尔衰之后继者谁。
继之无乃在铁山，铁山已近曹穆间。
性灵甚好功犹浅，急处未得臻幽闲。
努力铁山勤学取，莫遣后来无所祖。

 Notes:

 Guan'er (管儿), a member of the Li family, was a noted female pipa player during the reign of the Tang emperor Xuanzong (r. 713-756).

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=6947

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《善歌如贯珠赋》（以“声气圆直，有如贯珠”为韵，依次用）
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

珠以编次，歌有继声。
美绵绵而不绝，状累累以相成。
偏佳朗畅，屡比圆明。
度雕梁而暗绕，误缀网之频惊。
响象而然，非谓结之以绳约；
气至则尔，故可贯之以精诚。
原夫以节为珠，以声为纬。
渐杳杳而无极，以多多而益贵。
悠扬绿水，讶合浦之同归；
缭绕青霄，环五星之一气。
望明月而宛转，感潜鲛之歔欷。
若非象照乘之珍，安能忘在齐之味。
其始也，长言逦迤，度曲缠绵。
吟断章而离离若间，引妙啭而一一皆圆。
小大虽伦，离朱视之而不见；
唱和相续，师乙美之而谓连。
当其拂树弥长，凌风乍直，意出弹者与高音而臻极；
及夫属思渐繁，因声屡有，想无胫者随促节而奔走。
以洞彻为精英，比瑕疵于能否。
次第其韵，且殷勤于士衡之文；
上下其音，谓低昂于游女之手。
窈窕远矣，徘徊绎如。
仿佛成象，玲珑构虚。
频寄词于章句之末，愿连光于咳唾之馀。
清而且圆，直而不散。
方同累丸之重叠，岂比沉泉之撩乱。
惧无知者，初悯默于暗投；
善则返之，乃因循于旧贯。
美清泠而发越，忆辉光之璀璨。
始终虽异，细大靡殊。
中规矩于圆折，成条贯以萦纡。
似是而非，赋《湛露》则方惊缀冕；
有声无实，歌《芳树》而空想垂珠。
美恶难掩，前后不逾。
亦比抡材而至者，岂独善歌之谓乎。

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《听妻弹别鹤操》
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

别鹤声声怨夜弦，闻君此奏欲潸然。
商瞿五十知无子，更付琴书与仲宣。


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《和李校书新题乐府十二首·五弦弹》
(Wu Xian Tan)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

 赵璧五弦弹徵调，徵声巉绝何清峭。
辞雄皓鹤警露啼，失子哀猿绕林啸。
风入春松正凌乱，莺含晓舌怜娇妙。
呜呜暗溜咽冰泉，杀杀霜刀涩寒鞘。
促节频催渐繁拨，珠幢斗绝金铃掉。
千靫鸣镝发胡弓，万片清球击虞庙。
众乐虽同第一部，德宗皇帝常偏召。
旬休节假暂归来，一声狂杀长安少。
主第侯家最难见，挼歌按曲皆承诏。
水精帘外教贵嫔，玳瑁筵心伴中要。
臣有五贤非此弦，或在拘囚或屠钓。
一贤得进胜累百，两贤得进同周召。
三贤事汉灭暴彊，四贤镇岳宁边徼。
五贤并用调五常，五常既叙三光耀。
赵璧五弦非此贤，九九何劳设庭燎。

Notes:

引用典故：三贤事汉

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《筝》
Zheng
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

莫愁私地爱王昌，夜夜筝声怨隔墙。
Mo Chou harbors a secret love for Wang Chang,
And every night the sound of [her] zheng [expresses her] resentment [toward] the wall that separates them.
火凤有凰求不得，春莺无伴啭空长。
A fiery phoenix might seek a mate, but such can never be,
And a spring warbler without a companion sings endlessly to an empty sky.
急挥舞破催飞燕，慢逐歌词弄小娘。
With urgent strokes, she brandishes [her plectra] and smites [her strings] as if to disperse a flock of swallows,
Or leisurely follows the song's lyrics as if flirting with a young dame.
死恨相如新索妇，枉将心力为他狂。
[Consumed with] a hatred unto death for this Xiangru's newly wedded wife,
[She's] wasted all [her] mental and physical strength being crazy for him!

Notes:
1. The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  It was usually plucked with tortoiseshell or ivory picks, which were affixed to the thumb and first two fingers of the right hand.
2. Mo Chou (莫愁) and Wang Chang (王昌) are believed to have lived sometime during the Six Dynasties period, and appear in romantic literature (especially Yuefu poems) of the Southern Dynasties and Tang periods.  Poets of the Tang Dynasty believed that Mo Chou was the hardworking and intelligent daughter of a family from Luoyang.  Although the identity of Wang Chang, the man she desired and regretted not marrying, is unknown, he is assumed to have held a high position, lived in a house to the east, and been handsome in appearance.
3. In the mythology of ancient China, there were two types of phoenix:  the male feng (凤) and the female huang (凰).  Later, however, the two terms were merged and the phoenix, which was now considered female (as a counterpart to the dragon, which was considered male), began to be referred to as fenghuang (凤凰).  The phoenix was also said to be a solitary creature that does not seek out a mate.
4. Both "Huo Feng"《火凤》(The Fiery Phoenix) and "Chun Ying Zhuan"《春莺转》(The Spring Warbler's Song) are yanyue (court banquet music) pieces known to have been in circulation in China in the 8th century, which were both transmitted to Japan during the Nara period.  The poet's embedding of these two piece titles as the first two characters of each line of the poem's second couplet was probably intended to provide a smile to the music lovers of his time, who would immediately have picked up on these references.
5. "Xiangru" is likely a metaphorical allusion to the Western Han Dynasty politician and poet Sima Xiangru (司马相如, c. 179 BC-117 BC), who eloped with and married a talented and well educated young widow from Sichuan named Zhuo Wenjun (卓文君).  The story of Sima and Zhuo present parallels to that related in this poem in two ways.  First, according to legend Sima, while visiting the home of Zhuo Wenjun's family, sang a metaphorical poem he had written entitled "Feng Qiu Huang"《凤求凰》(The Phoenix Seeks Its Mate) in order to seduce her.  Second, after being invited to return to the imperial court at  Chang'an by Emperor Wu, Sima (perhaps motivated by a belief that Zhuo, as a relatively introverted person, was not adapted to palace life) became extremely indifferent to her and planned to take a concubine.  Saddened, Zhuo Wenjun is said to have replied with a poem of her own entitled "Bai Tou Yin"《白头吟》(White-Haired Lament), which idealizes fidelity, complains about the inconstancy of male love, and criticizes the love of the new and the dislike of the old.  The poem supposedly moved Sima so deeply that he became ashamed of his plan and returned to be with Zhuo, living together with her until old age.

More information:
https://sou-yun.cn/Query.aspx?type=poem1&id=6627

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《追昔游》
(Zhui Xi You)
作者：元稹（中唐）
by Yuan Zhen (mid-Tang Dynasty, 779-831)

谢傅堂前音乐和，狗儿吹笛胆娘歌。
花园欲盛千场饮，水阁初成百度过。
醉摘樱桃投小玉，懒梳丛鬓舞曹婆。
再来门馆唯相吊，风落秋池红叶多。

Notes:

This poem was written in Luoyang in the year 809.  Located about 350 km east of Chang'an, Luoyang (洛阳), in Henan province, flourished as the second city and eastern capital of the Tang Dynasty, and at its height it had a population of around one million, second only to Chang'an, which, at the time, was the largest city in the world.

More information:

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《采桑》
Picking Mulberry [Leaves] (Cai Sang)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

自古多征战，由来尚甲兵。
长驱千里去，一举两蕃平。
按剑从沙漠，歌谣满帝京。
寄言天下将，须立武功名。

Notes:

羽调曲，一云本清商西曲，又有《杨下采桑》。

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《观宋州于使君家乐琵琶》
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

历历四弦分，重来上界闻。
玉盘飞夜雹，金磬入秋云。
陇雾笳凝水，砂风雁咽群。
不堪天塞恨，青冢是昭君。

More information:

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《李谟笛》
Li Mo's Flute (Li Mo Di)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

平时东幸洛阳城，天乐宫中夜彻明。
Ordinarily, [when] the emperor came eastwards [to] Luoyang town,
[There was] heavenly music in the palace [each] night 'til morning light.
无奈李谟偷曲谱，酒楼吹笛是新声。
However, Li Mo stole the score,
And the flute playing in the taverns has a new sound.

Notes:

Li Mo (李谟) was a noted di (transverse flute) player of the Liyuan (梨园), an elite musical institution of the Tang Dynasty, during the Kaiyuan period (713-741).  无奈 (wunai), which I have translated as "however," can also be understood to mean "nothing can be done [about the fact that]..."

Located about 350 km east of Chang'an, Luoyang (洛阳), in Henan province, flourished as the second city and eastern capital of the Tang Dynasty, and at its height it had a population of around one million, second only to Chang'an, which, at the time, was the largest city in the world.

This is apparently the story on which the poem is based:

李谟/无奈李谟偷曲谱
Li Mo/Alas, Li Mo Has Stolen the Score

唐诗人张祜有一首《李谟笛》诗：
The Tang poet Zhang Hu has a poem [entitled] "Li Mo's Flute":

平时东幸洛阳城，天乐宫中夜彻明。
Ordinarily, [when] the emperor came eastwards [to] Luoyang town,
[There was] heavenly music in the palace [each] night 'til morning light.
无奈李谟偷曲谱，酒楼吹笛是新声。
However, Li Mo stole the score,
And the flute playing in the taverns has a new sound.

诗中所说的，是这样一个故事：
What the poem says is a story that goes like this:

酷爱音乐的唐明皇也是一个吹笛的高手。有一天晚上，他在上阳宫吹他新创作的一首笛曲。第二天是正月十五元宵节，他微服出宫赏灯，忽然听到酒楼有人在吹笛子，吹的就是他昨天晚上才创作的新曲。唐明皇非常奇怪，因为这首曲子还没有外传。于是他让人悄悄把吹笛的人抓来审问。吹笛人说：“昨天晚上，我在天津桥赏月，听到宫中有人吹笛，我就把曲谱记下来了。”这个人就是当时长安吹笛的第一高手李谟。
Tang Minghuang, who loved music, was also a master of playing the di (transverse flute).  One night, he played a newly composed flute piece in Shangyang Palace.  The next day was the Lantern Festival on the fifteenth day of the first lunar month.  He went out of the palace to admire the lanterns, and suddenly heard someone playing the flute in a tavern.  It was the new piece he had composed only last night.  Tang Minghuang felt very strange, because this piece had not yet been announced.  So he had someone quietly arrest the flute player for interrogation.  The person who had been playing the flute said:  "I was watching the moon at Tianjin Bridge last night, and I heard someone playing a flute in the palace, so I wrote down the score."  This person was Li Mo, the best flute player in Chang'an at that time.

据唐崔令钦《教坊记》记载，李谟是教坊乐工。唐明皇遇到高秋明月之夜，常常召著名女歌手许和子唱歌，“明皇尝独召李谟吹笛逐其歌”。
According to an account in the Tang Dynasty author Cui Lingqin's Jiaofang Ji, Li Mo was a Jiaofang musician.  When Tang Minghuang found himself under the light of the moon during the Double Ninth Festival, he often summoned the famous female singer Xu Hezi to sing:  "Minghuang, once while alone, summoned Li Mo to play the flute to follow the song.

More information:
https://www.xiaoshuo.online/yinyuebaike/31.html
https://baike.baidu.com/item/%E6%9D%8E%E8%B0%9F/4853762

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《听筝》
Listening to the Zheng (Ting Zheng)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

十指纤纤玉笋红，
[The player's] ten fingers are slender and delicate, like rosy jade bamboo shoots,
雁行轻遏翠弦中。
And [her instrument's] wild geese are lined up in a row, gently restraining down its middle [each] string of kingfisher-green hue.
分明似说《长城苦》，
[The music, which] distinctly resembles a rendition of "Hardship of the Great Wall,"
水咽云寒一夜风。
[Conjures] choked river waters, frigid clouds, and a [chill] wind blowing the whole night through.

Notes:

Notes: The zheng (筝) is a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty.  "Wild geese" (yan, 雁) refers to the bridges of the zheng, which are lined up in a diagonal row like a flock of wild geese in flight.

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《途次杨州赠崔荆二十韵》
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

逆旅杨州郭，音容幸此遭。
酒浆曾不罢，风月更何逃。
寺塔排云直，闾门架水牢。
烟笼春树薄，日映曙楼高。
碧草连除卷，青旗指浊醪。
粉胸斜露玉，檀脸慢回刀。
跃马君心劲，嗔奴我气豪。
尾生从抱柱，颜子也酺糟。
赤柏看眉睫，生憎惜羽毛。
北邙终寂寞，南国且游遨。
觱篥行移束，箜篌旋转绦。
袖因迎顐破，肩为请挼劳。
未省求媒氏，焉能泥贼曹。
拣花偷芍药，和叶窠樱桃。
闷口无端语，穷头尽兴搔。
覆身唯绿葛，医病只青蒿。
事过宜他哂，诗成苟自褒。
醉时心烂漫，别夜眼号啕。
接席观诚忝，升堂迹贵叨。
殷勤欲离抱，为尔一挥毫。

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《王家琵琶》
The Pipa in the Prince's Household (Wang Jia Pipa)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

金屑檀槽玉腕明，子弦轻撚为多情。
Over a gold-flecked sandalwood soundbox, jade wrists glow;
Gentle pressure on the thinnest string makes feelings flow.
只愁拍尽凉州破，画出风雷是拨声。
There's only sorrow at the stroke that ends "Liangzhou"'s Po,
Wind and thunder are conjured from that plucked note.

Notes:

In the Tang Dynasty, "Liangzhou"《凉州》was the title of a piece of music originating from Liangzhou (modern-day Wuwei, Gansu) in China's far northwest, which had for centuries been an important hub in the Silk Road trade.  Liangzhou's location at the edge of Chinese civilization, and its high degree of influence from the cultures of neighboring Central Asia, gave its music an exotic character that made it especially attractive to Tang-period listeners.

In music of the Tang period, po (破, translated as "broaching," "breaking," or "breakdown") was a movement of medium tempo that usually fell between an introductory xu (序, prelude) and a final ji (急, "quick"), movement, essentially taking the form of a development section.

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《杂曲歌辞 春莺啭》
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

兴庆池南柳未开，太真先把一枝梅。
内人已唱春莺啭，花下傞傞软舞来。

More information:

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《筝》
(Zheng)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

绰绰下云烟，微收皓腕鲜。
夜风生碧柱，春水咽红弦。
翠佩轻犹触，莺枝涩未迁。
芳音何更妙，清月共婵娟。

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《听筝》
Listening to the Zheng (Ting Zheng)
作者：张九龄（唐）
by Zhang Jiuling (Tang Dynasty, 678 or 673-740)

端居正无绪，那复发秦筝。
When I'm sitting at home, utterly listless and devoid of emotion,
That's when I call again for the Qin zheng.
纤指传新意，繁弦起怨情。
Slender fingers convey new thoughts and feelings,
And from its many strings arise sorrowful emotions.
悠扬思欲绝，掩抑态还生。
Its gentle rippling arouses a profound yearning that's nearly unbearable,
And which, however much I try to suppress it from my demeanor, always reappears.
岂是声能感，人心自不平。
Is it really sounds that can move people,
Or are people's hearts already unsettled?

Notes:

Qin (秦) was an ancient state of northwest China, centered on today's Shaanxi province; the zheng (筝, a bridge zither with 12 or 13 silk strings, which enjoyed great popularity in the court music of the Tang Dynasty) is often referred to in historical literature as Qin zheng (秦筝) based on the belief that the Qin Dynasty general and inventor Meng Tian (蒙恬, d. 210 BC) was the inventor of this instrument.

More information:

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 《晓过南宫闻太常清乐》
作者：张濛（唐）
by Zhang Meng (Tang Dynasty)

玉珂经礼寺，金奏过南宫。
雅调乘清晓，飞声向远空。
慢随飘去雪，轻逐度来风。
迥出重城里，傍闻九陌中。
应将肆夏比，更与五英同。
一听南薰曲，因知大舜功。

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《击瓯赋》（有序）
作者：张曙（唐）
by Zhang Shu (Tang Dynasty)

宋玉《九辩》曰：“悼馀生之不时也。”甲辰，窜身巴南，避许溃师。郡刺史甚欢接春。一日登郡东楼，下临巴江，馔酒簇乐，以相为娱。言间有马处士末至，善击瓯者。请即清宴，爰骋妙绝。处士审音以知声，馀审乐以知化。斯可以抑扬淫放，顿挫匏竹，运动节奏，出鬼入神。太守请馀赋之。馀曰：“不图为乐之至于斯。”酒酣舐笔，乃为赋云：

器之为质兮白而贞，水之为性兮柔而清。水投器而有象，器藉水而成声。始因心而度曲，俄应手以征情。莫不敲萧熠爚，撇捩纵横。胡不自匏丝而起，胡不从金石而生。孰谓节奏，乐我生平。何彼秾矣，高楼燕喜。叩寂含商，穷元咀征。拂绮井以连骞，送枫汀之靡迤。岩隈有雪，彪咻而雕虎扬睛。潭上无风，捷猎而金蚪跋尾。目运心语，波回浪旋。似欲奋而还驻，若将穷而复连。得不似惊沙叫雁，高柳鸣蝉。董双成青琐鸾饥，啄开珠网。穆天子红缰马解，踏破琼田。愕眙衡盱，神清调古。既嗟叹之不足，谅悲哀以为主。誓不向单于台畔，和塞叶胡笳。定不入宋玉筵中，随齐竽楚舞。疾徐奋袂，曲折萦组。潺湲下陇底之泉，呜咽上涔阳之橹。莺隔溪而对语，一浦花红。猿袅树以哀吟，千山月午。斯皆从有入无，妙动元枢。滟飐则水心云母，丁当则杖杪真珠。于是发春卉，骇灵姝。羞杀兮钿筝金铎，愁闻兮鬼啸神呼。时也曲阕酒阑，烟遂雾隔。览故步以踯躅，有馀声而滴沥。临流而欲去依依，转首而相看脉脉。太守曰：“遘止良辰，好乐还淳。讽赋已劳于进牍，讴歌为序其芳尘。”馀乃歌曰：“江风起兮江楼春，千里万里兮愁杀人。楼前芳草兮关山道，江上孤帆兮杨柳津。是何况我兮击拊，眷我兮殷勤。”回首而渔翁鼓枻，凝眸而思妇沾巾。夫当筵一曲，人生一世。何纷糅乎是非，顾何慕乎隆替。飘缨宜入醉乡来，自识天人之际。

More information:

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《无弦琴赋附歌》
作者：张随（唐）
by Zhang Sui (Tang Dynasty)

乐无声兮情逾倍，琴无弦兮意弥在。
天地同和有真宰，形声何为迭相待（见《文苑英华》卷七七。）。


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《咏尺八》
(Yong Chiba)
作者：张鷟（唐）
by Zhang Zhuo (Tang Dynasty)

眼多本自令渠爱，口少元来每被侵。
无事风声彻他耳，教人气满自填心。

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 《闻笛》
(Wen Di)
作者：赵嘏（唐）
by Zhao Gu (Tang Dynasty, 802-c. 853)

 谁家吹笛画楼中？断续声随断续风。
响遏行云横碧落，清和冷月到帘栊。
兴来三弄有桓子，赋就一篇怀马融。
曲罢不知人在否，余音嘹亮尚飘空。

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《雁》
(Yan)
作者：郑谷（唐末）
by Zheng Gu (late Tang Dynasty, c. 851-c. 910)

八月悲风九月霜，蓼花红澹苇条黄。
石头城下波摇影，星子湾西云间行。
惊散渔家吹短笛，失群征戍锁残阳。
故乡闻尔亦惆怅，何况扁舟非故乡。

Notes:

This poem was written in the year 866.


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《观元相公花饮》 or 《观元相公花宴》
Watching Chancellor Yuan's Flowery Drinking Party
or
Watching Chancellor Yuan's Flower Banquet
作者：直言（唐）
by Zhiyan (Tang Dynasty)

尺八调悲银字管，琵琶声送紫檀槽。
The chiba's melodies [are] sorrowful, [coming from] a silver-filigreed pipe,
[While] the pipa's sound is emitted from a violet sandalwood soundbox.

Notes:

（《千载佳句》卷下《宴喜部·管弦》）（按：此诗署「僧直言」。同书卷上作「僧直玄」，《和汉朗咏集》卷下作「僧亘玄」，《全唐诗逸》卷中作「真元」。未详孰是。

Based on his name, the author of this couplet was likely a Buddhist monk, whose name, Zhiyan (直言), literally translates as "honest speech"; because his name is given several different ways in different sources, it is uncertain which of these names is the correct one.

The "Chancellor Yuan" in the poem's title refers to the mid-Tang Dynasty poet Yuan Zhen (元稹, 779-831), who briefly served as chancellor during the reign of Emperor Muzong (r. 820-824).

The Tang chiba (尺八, literally "[one] foot, eight [inches]," the ancestor of the better-known Japanese shakuhachi) was an end-blown vertical flute that was named for its length, which was 1.8 Chinese feet.

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《塞下曲》
(Sai Xia Qu)
by Zhou Pu (late Tang Dynasty, d. 879)
作者：周朴（唐末）

石国胡儿向碛东，爱吹横笛引秋风。
夜来云雨皆飞尽，月照平沙万里空。

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 《六朝门·简文帝》
作者：周昙（唐）
by Zhou Tan (Tang Dynasty)

 救兵方至强抽军，与贼开城是简文。
曲项琵琶催酒处，不图为乐向谁云。

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《雁门太守行》（一作相和歌辞 雁门太守行） 
作者：庄南杰（唐）
by Zhuang Nanjie (Tang Dynasty, fl. 827)

旌旗闪闪摇天末，长笛横吹虏尘阔。
跨下嘶风白练狞，腰间切玉青蛇活。
击革摐金燧牛尾，犬羊兵败如山死。
九泉寂寞葬秋虫，湿云荒草啼秋思。

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Thanks to Benjamin Daniels, Ai-Lin Chen, David Fang, Michael A. Fuller, Goh Kiah Mok, Stephen Jones, Lin Chiang-san, Qihan Liu, Jeff Loh, Kazik Michalik, Steven G. Nelson, Qiu Ng, Zsófia Pádár, Graham Sanders, Xiaojing Sun, Jarek Szymanski, Malcolm Watson, Wendy Wu, Yang Ting, Riccardo Yeh, Sii Ming Yiu, and Yanchen Zhang for assistance with this page.

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