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The Verse of Chu Contents 前言.....................................................................................................................3 Preface .................................................................................................................11 I. 离骚 The Tales of Woe ..................................................................................23 II. 九歌 The Nine Praises .................................................................................47 1. 东皇太一 Praise to the Sovereign of the East ......................................47 2. 云中君 Praise to the Lord of Cloud...................................................... 48 3. 湘君、湘夫人 The Unfulfilled Tryst of the Lord and Ladies of Xiang...49 4. 大司命 Praise to Fate the Great ............................................................55 5. 少司命 Praise to Fate the Minor ...........................................................57 6. 东君 Praise to the Sun God .....................................................................59 7. 河伯 Praise to the Count of the Yellow River ......................................60 8. 山鬼 Praise to the Goddess of Mountains ..........................................62 9. 国殇 Eulogy on the Martyrs of the State ............................................64 III. 天问 Inquiries into the Universe ..............................................................67 IV.九章 The Nine Songs ..................................................................................87 1. 惜颂 Plaintive Lines .............................................................................87 2. 涉江 The Voyage....................................................................................92 3. 哀郢 Sorrow Over the Fall of Ying ....................................................95 4. 抽思 Intonation of My Heart and Mind .............................................98 5. 怀沙 Protestation ............................................................................103 6. 思美人 Yearning towards the Beauty ...............................................107 7. 惜往日 Memory of the Bygone Days ...............................................111 8. 橘颂 Ode to the Orange Tree ............................................................115 9. 悲回风 The Devastating Whirlwind ..................................................117 V.远游 The Pilgrimage ..................................................................................125 VI.卜居 Making Choices through Divination ...............................................135 VII.渔父 A Dialogue with the Fisherman .....................................................139 VIII. 招魂 Requiem ......................................................................................141 X. 大招 The Grand Requiem ........................................................................157 X. 九辩 The Nine-Canto Lyric ......................................................................171 附录 I 楚辞新考五十例 ..................................................................................185 Appendix I: Fifty New Findings in the Research on The Verse of Chu (synopsis)............................................................................................................222 附录 II 楚辞英译若干问题的商榷.................................................................223 Appendix II: Discussions about the Translation of The Verse of Chu (synopsis)............................................................................................................231 跋.........................................................................................................................233 Afterword (synopsis).........................................................................................257 参考文献（References).....................................................................................259 作者简介（About the Author） ......................................................................261 前言 一 与《诗经》一样，产生于两千多年前的《楚辞》是中国诗歌乃至中国 文化的源头之一。刘向编定的《楚辞》16 卷原本已佚，今存最早的《楚辞》 注本是东汉王逸的《楚辞章句》。《楚辞章句》以刘向《楚辞》为底本， 除了对楚辞做了较完整的训释之外，还提供了有关原本的情况。南宋洪兴 祖在《楚辞章句》的基础上作了《楚辞补注》，南宋朱熹著有《楚辞集注》， 清初王夫之撰有《楚辞通释》，清代蒋骥有《山带阁注楚辞》，等等。当 代学者也有不少楚辞研究方面的著作。 屈原是《楚辞》的代表作家，他流传下来的作品凡 26 篇。《离骚》是 屈原的代表作，也是中国古代文学史上最长的一首浪漫主义的政治抒情诗； 《天问》提出了 170 多个问题，涉及天文、地理、历史、社会、伦理、文 学(神话、传说)、哲学等许多领域，表现了诗人对传统观念的大胆怀疑和追 求真理的科学精神；《九歌》是在祭歌的基础上加工而成的 11 篇歌谣，诗 中创造了大量神与巫的形象；《九章》（9 篇）叙述诗人的遭际，抨击误国 害民的群小，抒发诗人爱国爱民的情怀和政治理想；《远游》叙述诗人在 “遭沈浊而淤秽”而又郁结难抒之际，“悲时俗之迫阨”，想象自己遨游 于神仙世界，与众仙际遇，以此表达对真理的不倦追求和对故国的深厚热 爱；《卜居》、《渔父》借占卜和与渔父的对话表达诗人崇高的人生观； 《大招》是招魂曲词。本书还收入了《九辩》和《招魂》，目前学术界普 遍认为它们是宋玉(公元前 298-265 年)所作。 二 屈原（约公元前 339～公元前 278 年）, 名平，出生于战国时期楚国的 丹阳(今湖北秭归)，是我国历史上杰出的政治家和第一位伟大的爱国诗人。 他明于治乱，娴于辞令，在担任三闾大夫、左徒期间坚决主张联齐抗秦， 积极辅佐怀王变法图强，使楚国一度出现国富兵强、威震诸侯的局面，成 为“合纵”抗秦的重要力量。 然而，由于与楚国腐朽贵族集团发生了尖锐的矛盾，屈原遭到上官大 夫子兰等人的排挤、诬陷和楚怀王的疏远。公元前 304 年(怀王十五年)， 张仪由秦至楚，以重金收买靳尚、子兰、郑袖等人充当内奸，同时以“献 商於之地六百里”诱骗怀王，致使齐楚断交。怀王受骗后恼羞成怒，两度 向秦出兵，均遭惨败。于是屈原奉命出使齐国, 重修旧好。这时张仪再次由 秦至楚，进行瓦解齐楚联盟的活动。公元前 295 年（怀王二十四年），秦 楚缔结黄棘之盟，楚国彻底投入了秦的怀抱。屈原遂被逐出郢都，流亡到 了汉北。 公元前 289 年（怀王三十年），屈原回到郢都。同年，怀王应约赴武 关会秦王，被秦扣留，最终客死秦国。顷襄王即位后继续实施投降政策， 屈原再次被逐出郢都，流放江南，辗转流离于沅、湘二水之间。公元前 278 年（顷襄王二十一年），秦将白起攻破郢都。屈原在极度悲愤中自沉汨罗 江。 屈原的崇高精神和伟大人格，动天地而泣鬼神。司马迁（公元前 145？ －？）评价说，屈原“虽与日月争光可也”（《史记》）。据《续齐谐记》 和《隋书·地理志》载，屈原投江的时间是农历五月五日。中国民间五月五 端午节包粽子、赛龙舟的习俗就源于人们对屈原的景仰。1953 年，屈原被 列为世界四大文化名人之一，受到世界和平理事会和全世界人民的隆重纪 念。 三 楚国一带自古就有它独特的地方音乐，古称南风、南音；也有它独特 的土风歌谣，如《说苑》中记载的《楚人歌》、《越人歌》、《沧浪歌》。 楚人以歌舞娱神，使神话大量保存，使诗歌音乐得以迅速发展。春秋以后， 一向被称为荆蛮的楚国日益强大。它在问鼎中原、争霸诸侯的过程中与北 方各国频繁接触，促进了南北文化的广泛交流，楚国也受到北方中原文化 的深刻影响。正是这种南北文化的汇合，孕育了屈原这样伟大的诗人和《楚 辞》这样异彩纷呈的伟大诗篇。 屈原所“上下而求索”的“美政”，就是“举贤而授能兮，循绳墨而 不颇”(《离骚》)、“察笃夭隐，孤寡存只”和“田邑千里，人阜昌只。美 冒众流，德泽章只。先威后文，善美明只。”（《大招》）。所谓“举贤 授能”，就是不分贵贱，把真正有才能的人选拔上来治理国家，反对世爵 世禄，限制旧贵族对权位的垄断；所谓“循绳墨而不颇”，就是修明法度， 以法律为准绳，限制旧贵族的种种特权；所谓“察笃夭隐，孤寡存只”、 “田邑千里，人阜昌只。美冒众流，德泽章只。先威后文，善美明只”， 就是明赏罚，重民生，施福利，德、法相济，富民强国。这种理想是建立 在伟大的人道主义精神的基石之上的。屈原深刻揭露了楚国政治的黑暗、 贵族集团的腐朽和楚王的昏庸，同时又“长太息以掩涕兮，哀民生之多艰” （《离骚》），对战争造成的“民离散而相失”（《哀郢》）寄托了深切 的同情；为了实现崇高的理想，他不怕“路修远以多艰”，“虽九死其犹 未悔”（《离骚》）。所有这一切都闪耀着人道主义的光辉，表现了他忧 国忧民、以天下为己任的使命感和刚正不阿、对祖国无限忠诚的崇高品格。 屈原的作品充满了积极的浪漫主义精神。他将对理想的热烈追求融入 了艺术的想象和神奇的意境之中，如《离骚》写他向重华陈辞之后御风而 行，上下求索；《涉江》写他登昆仑、食玉英和与重华遨游“瑶之圃”； 《九歌》、《天问》、《卜居》、《远游》等采用了大量神话和历史传说 为素材。其想象之大胆、奇特，古今罕有。 屈原以一系列比兴手法来表情达意。他以美人、鲜花象征“美政”的 理想和高洁的品行，以臭物、萧艾比喻奸佞或变节的小人，使忠与奸、美 与丑、善与恶形成鲜明的对照，产生言简意赅、言有尽而意无穷的艺术效 果。 屈原的作品形式上参差错落、灵活多变；采用大量典故和经过提炼的 楚地方言，辞藻华美，极富于乡土气息和艺术表现力。 《楚辞》突破了《诗经》的表现形式，极大地丰富了诗歌的表现力， 对汉赋的形成和后代的诗歌创作产生了深刻影响，为中国的诗歌创作开辟 了一片新天地。 司马迁说：“《国风》好色而不淫，《小雅》怨诽而不乱，若《离骚》 者，可谓兼之矣”（《史记》）。朱熹对楚辞褒贬参半。他所说的使“天 性民彝之善”“交有所发”是不错的，因为楚辞闪耀着人文精神之光辉， 具有呼唤、启迪人性真善美之感召力。然而，从现在的观点看来，所谓“过 于中庸”者，乃蔑视传统道德观念，敢于超越叛逆也；所谓“流于跌宕怪 神，怨怼激发”者，乃疾恶如仇，气势磅礴，融神话与现实于一炉也；所 谓“不知学于北方，以求周公仲尼之道，而独驰骋于变风变雅之末流”者， 乃富于创新精神，开百代之文风也。 四 早在 1651 年，日本就出版了《注解楚辞全集》。在西方，从 19 世纪 上半叶起，楚辞便陆续有外译问世。1825 年，费兹曼博士在维也纳出版了 德文译本的《<离骚>和<九歌>—公元前三世纪的两篇中国诗》；1870 年 德尔韦侯爵在巴黎出版了法文译本；1953 年，前苏联的杂志刊登了《卜 居》〉、《渔父》等俄文译作，1954 年，国家文学出版社出版《屈原诗集》……。 虽然楚辞的英译起步较晚，却呈现出蓬勃发展的势头。自从 1879 年派 尔克在《中国评论杂志》发表了《离骚》英译以来，楚辞英译便层出不穷。 1884 年, 翟理斯教授在上海出版了《中国文学精华》，其中有《卜居》《渔 父》和《山鬼》英译；1895 年, 理雅各在《亚洲学刊》发表了《离骚》英 译；1918 年,韦利在孔斯答勃尔出版《中国诗歌一百七十首》其中有《国殇》。 1919 年,韦利在阿伦与昂汶公司出版的《中国文学译作续编》上译介了《大 招》, 1928 年，比亚拉斯《华北分会学刊》发表了《屈原的生平和诗作》， 其中有《东皇太乙》、《山鬼》、《惜颂》、《卜居》、《渔父》及天问 前 12 行的英译。1929 年，林文庆在上海出版了英译〈离骚〉。1947 年， 纽约出版了白英和西南联大师生合译的《白驹集》（古今中国诗选），其 中有《九歌》、《九章》、《卜居》、《渔父》、《招魂》、《天问》。 1953 年，杨献益夫妇在外文出版社出版了他们选译的《楚辞》。1955 年， 韦利出版了《九歌》。1959 年，霍克思在牛津大学出版《楚辞》全译本， 该译本 1985 年由企鹅出版公司再版。 近年国内出版的英译本则有许渊冲英译、杨逢彬编注的《楚辞》（:湖 南出版社，1994）、孙大雨的《屈原诗选英译》（上海外语教育出版社， 1996）和杨献益、戴乃迭的《楚辞选》（外文出版社，2001）等。 7 尽管他们的译品瑕瑜互见，但是这些走在前面的巨人们弘扬了华夏文 化，探索了翻译的路径，为产生更好的译作准备了条件。 为了最大限度地迁移或再现原诗的形式美、意韵美、节奏美、情感美、 意境美和风格美，2006年出版的《大中华文库·楚辞》英译采用了两个指导原则：其一是，以严谨的态度进行考据，精确理解原作的意境和风格。经过训诂、移情推理、考据、文化历史观照、文本内证及外证、互文观照以及诗人与文本的互证等方法，得以澄清、纠正的重要问题近百个，例如，对于有关少司命是“女神”、《九歌》“各篇不存在对唱而均为独唱” 的见解和有关“过夏首而西浮兮，顾龙门而不见”（《哀郢》）、“厥严不奉，帝何求”（《天问》）、“怜思心之不可惩兮，证此言之不可聊”（《悲回风》）的解读，考辩说明是错误的、缺乏根据的，因而英译都未予以采信；其二是，借形传神，以诗译诗，以使译作与原作臻于形神兼似。英译根据原诗形式，借鉴英诗的各种诗体，使韵式、形体达到近似；根据语篇内容，把长诗划分为诗章(canto)、诗节(stanza)；英译还力求最大限度地保持典故、花草、传说中的神仙等等的文化意义。 2024年，《大中华文库·楚辞》（英译）的修订版《璀璨的楚辞―新解·复原·英译》在全知出版集团（Omniscriptum S.R.L Publishing Group）旗下的金琅学术出版社（Golden Light Academic Publishing）出版。它基于新解，对《楚辞》加以复原，即恢复其原有的内容与形制（详情可参看该书的“跋”），是全英版《楚辞》的前身。全英版楚辞与现有其它楚辞英译版本有诸多不同之处,主要是： a.形制不同：其它版本（包括中文版及中英对照版）的“九歌”有 11 篇，在拙著中 9 篇，有拙文“典籍英译中的形制研究—以九歌为例”等典 籍翻译理论著述为依据，具有突破性和里程碑意义； b.内容解读不同：有拙文“楚辞新考五十例”（《新国学研究》第四 期，2006，104 -134）等国学研究成果为依据，而不是依据某一白话版本， 照本宣科、将错就错； c.借形传神：例如原文五、六、七行诗节变通地借鉴英诗五、六、七行 诗体，不同于以四行或八行诗节一以贯之； d.唱词作了角色区分，脉络清晰，而不是将不同角色的唱词作无序堆 砌，将读者置于雾里云中； e.长诗划分了诗章，能产生阅读阶段感，符合阅读心理，有助于避免审 美疲劳； f.书名、篇目的确立历经千锤百炼，经得起推敲，例如“涉江”译为 The Voyage (参看拙文“楚辞英译若干问题的商榷”，《云梦学刊》2011 第五期，139-141)；楚辞译为 The Verse of Chu, 简约而蕴含地理历史信息，便 于引用。 g.拙稿将包含卓译《大中华文库･楚辞》出版十余年年来具有突破性的 研究成果（例如解决了“九歌” 中的“九”是实指还是虚指的问题）,具有较鲜明的 特色和创造性。 h.译本为文言与英译对照本，没有像其它版本那样选定某一今文底本，但有 自己的今文腹稿。 “屈平辞赋垂日月，楚王台榭空山丘”（李白）。屈原是我国文学之父、 骚人墨客百世不祧之祖；《楚辞》融入了华夏文化，丰富了中国语言，是世界 的文化瑰宝。畅观历史，倚权仗势，苛暴肆虐的丑类，终将遗臭万年，而象屈原 那样竭忠尽智，敦厚仁慈的伟人，连同他们的功德著述，将流芳百世！ 卓振英 2025 年 11 月 2 日 Preface I The Verse of Chu, like The Book of Poetry, is one of the sources of Chinese poetry and, in a broader sense, of Chinese culture. The sixteen-volume edition compiled by Liu Xiang of the Western Han Dynasty, which had included not only the poems composed by Qu Yuan and Song Yu, but also those written byJia Yi, Dongfang Shuo, Wang Bao and others of the Han Dynasty, has already been lost. The earliest edition extant today is The Verse of Chu with Notes and Commentary compiled by Wang Yi of the Eastern Han Dynasty, which supplies us with information of the sixteen-volume edition and rather detailed textual interpretations. In the Southern Song Dynasty, Hong Xingzu compiled The Verse of Chu with Supplementary Notes and Commentary on the basis of The Verse of Chu with Notes and Commentary, and Zhu Xi put out his Variorum Edition of The Verse of Chu. In the Qing Dynasty, Wang Fuzhi and Jiang Ji respectively published The Verse of Chu with Verified Explanations and The Shandai Pavillion Edition of The Verse of Chu. Besides, modern and contemporary scholars have also published valuable works on The Verse of Chu. Handed down are twenty-six pieces composed by Qu Yuan, the representative writer of The Verse of Chu. These include The Tales of Woe, his masterpiece, which is the longest romantic political lyric in the history of Chinese literature; The Nine Praises, which are adapted from elegiac songs; Inquiries into the Universe, which gives expression to the poet’s critical mind about the convention and to his scientific spirit of seeking the Truth by raising more than 170 questions concerning such fields as astronomy, geography, history, sociology, ethics, literature (mythology and legendary), and philosophy; The Nine Songs, which narrates the poet’s frustrations, lash out at the crooks who have brought calamities to the nation and people, and express the poet’s political ideal and sympathetic sentiments towards the people; The Pilgrimage which, by recounting how the poet, who is “Fed up with the smothering convention” and yet finds no way to lay bare his sentiments, tours the imaginary world and carries on dialogues with the celestial beings, expresses the poet’s boundless love for his homeland and undaunted pursuit of Truth; Making Choices through Divination and A Dialogue with the Fisherman, which, through the divination and the dialogue, embody the poet’s philosophy of life, and The Grand Requiem, a song for calling back the soul of the dead. This edition has also included Requiem and The Nine-Canto Lyric, which are generally attributed to Song Yu (298-265 BC), a literary follower of Qu Yuan. II Qu Yuan(approx.339-278 BC), other name Qu Ping, was born during the Warring States Period in Dangyang (the now Zigui of Hubei). He was a distinguished statesman and the first great poet in the history of China. Astute and eloquent, he advocated the reliance with the State of Qi in resistance to the aggression of Qin and helped King Huai of Chu in the reforms for the strengthening of Chu when he was in the positions of Lord of the Three Clans and Senior Councilor of Statutes. As a result, Chu became so powerful that it became a mighty force in the Vertical Reliance against Qin. As he was in acute conflict with the decadent aristocratic clique, Qu Yuan was calumniated and supplanted by Zilan, the Minister of Personnel, and was consequently estranged by the king. In 304BC (15th year in King Huai’s reign), Zhang Yi, who came to Chu from Qin , bribed Jin Shang, Zilan and Zheng Xiu (the king’s concubine) into treason and, with the “territories of Shang and Yu” as a lure, induced Chu to break ties with Qi. Aware of the deception the King of Chu, who flew into a rage with shame, launched two campaigns against Qin, only to be disastrously defeated. In such circumstances Qu Yuan was entrusted with a mission to Qi to restore friendly relations. However, at this critical moment Zhang Yi came to Chu once more to disintegrate the alliance between Qi and Chu. In 295BC (the 24th year of King Huai’s Reign),Qin and Chu signed the Treaty of Alliance at Huangji, which marked the submission of Chu to Qin. Consequently Qu Yuan was deported from the capital Ying and exiled to the north of the Han River. In 289 BC (the 30th year of King Huai’s Reign), the year when Qu Yuan returned to Ying, King Huai went to the Wuguan Pass to meet the King of Qin, was detained, and finally died in a strange land. When he ascended the throne, King Qingxiang continued the policy of capitulationism. Qu Yuan was once again deported from Ying and exiled to the south, wandering about between the Yuan and the Xiang Rivers. In 278 BC (the 21th year of King Qingxiang’s Reign), the Qin forces under the command of Bai Qi captured the capital Ying. In his great sorrow and indignation Qu Yuan drowned himself in the River of Miluo. The lofty personality of Qu Yuan, whose glory, as Sima Qian（145BC?－?）says, can be compared to the sun and the moon, is most touching and inspiring. According to Sequel of the History of Qi and Geography in The History of the Sui Dynasty, Qu Yuan took his own life on the 5th day of the 5th month in the lunar calendar. It is customary of the Chinese people to make zongzi (a cone-shaped dumpling of glutinous rice wrapped in reed leaves) and observe the Dragon Festival on the very day to pay homage to the great poet. In 1953, Qu Yuan was acknowledged as one of the Four Most Renowned Cultural Figures in the World, since which people all over the world, as well as the World Council of Peace, cherish their memory of Qu Yuan every year. III From of old the State of Chu had boasted of its unique local-colored music, termed as Music of the South, and its peculiar folk songs and ballads, such as Songs of Chu, Songs of Yue, Song of the Canglang River, etc., according to Garden of Doctrines ― Learning from History by Liu Xiang of the Han Dynasty. The custom of Chu to entertain gods with dancing and singing had enabled the preservation of mythology and the rapid developments of verse and music. After the Spring and Autumn Period, Chu, formerly despised as the “Savage Jin”, grew stronger and stronger. In the course of contending for leadership and hegemony among the counties, principalities and duchies, it had frequent contacts with the northern states, which had promoted the cultural exchanges between the north and the south. As a result Chu was greatly influenced by the culture of the Central Plains. It was the synthesis of the southern and northern cultures that had nursed the great poet Qu Yuan and the The Verse of Chu —a radiant classic. “Up hill and down dale for the Beauty I will quest!”— What Qu Yuan had sought as “Good Government” was government by which “Talent were appointed in accord with the norm, / And the laws and statutes were impartially used ”(The Tales of Woe), “For th’ bereaved and th’ sick steps /Are taken to provide”, “In country and cities / People thrive and abound. … / Rigor’s wisely tempered / With benevolent care. /… Punishments / And rewards are both fare”(Great Requiem). By “Talent were appointed in accord with the norm” is meant the selection of talented people for the government of the nation regardless of their status, which posed a restriction on the power of the aristocrats in opposition to the hereditary system; by “the laws and statutes were impartially used” is meant equality before law ―the establishment and strengthening of a sound legal system, the unbiased application of rules and regulations and the imposition of a restriction on the privileges of the decayed nobility; by “For th’ bereaved and th’ sick steps /Are taken to provide”, “In country and cities / People thrive and abound. …/ Rigor’s wisely tempered / With benevolent care. /… Punishments / And rewards are both fare” is meant fairness in meting out rewards and punishments, emphasis on people’s livelihood, and the policy of law in combination with welfare for the prosperity of the society. The cornerstone of such an ideal is the great spirit of humanism. In his poetry Qu Yuan ruthlessly exposes the darkness of the politics of Chu, the corruption of the aristocratic clique and the fatuity of the king, and at the same time he expresses his great sympathy for the suffering populace. “For th’ folk living in an abyss of misery, / Sad tears I wipe away and long, long sighs I heave”(The Tales of Woe), “Homes break up, and th’ wives with their husbands part”( Sorrow over the Fall of Ying), he writes. He proved a dauntless fighter for his ideal. “…long and rugged and difficult is the way”, “But e’en if doomed to die nine deaths, to those which burst / With beauty I shall cling without feeling distressed”(The Tales of Woe), he says. His moral integrity, his loyalty to the nation, his dauntless spirit in face of evil forces, and his sense of mission of putting the destiny of the nation before his own — all these radiate with the glory of humanism! Qu Yuan’s are imbued with the spirit of active romanticism. Qu Yuan subtly integrates the pursuit of the ideal with artistic imagination and mystical conception. For example, The Tales of Woe describes how he, Having talked to Chonghua, rides on the gale and seek for the Beauty up hill and down dale, The Voyage narrates how he ascends Mount Kunlun, dines on jasper, and tour the Jade Garden with Chonghua. Besides, he employs mythology and legends as subject matter in the composition of such poems as The Nine Praises, Inquiries into the Universe, The Pilgrimage and Making Choices through Divination, etc. His peculiar soaring imagination is unique in history. Qu Yuan takes advantage of figures of speech to express his sentiments. He uses the Beauty and the flowers to symbolize “Good Government” and people of moral integrity, and the filthy and smelly the crafty and evil, thus making a sharp contrast between the true, good, beautiful and the sham, evil and hideous. Such a succinct style helps to produce an immense artistic impact. Qu Yuan’s works are eloquent and rich in local color. In form, they are full of variety, as the poet writes with a easy and free style; and in language, they exude with literary grace, as they are tinctured with the refined vernacular expressions of Chu. The Verse of Chu, having broken through the forms of expression of The Book of Poetry, has enhanced the expressiveness of poetry and produced a great impact on the formation of fu (a literary form of descriptive prose interspersed with verse) of the Han Dynasty, and has opened up a new horizon for the development of Chinese poetry. Sima Qian says: “The Folk Songs of the Fifteen States are romantic without being obscene, while The Poems Set to Refined Music are critical without being radical. As far as The Tales of Woe is concerned, we can well say that it has all the virtues of both” ( Records of History). Zhu Xi, however, is half appreciative and half critical of The Verse of Chu in his Variorum Edition of The Verse of Chu. He is right when he says that The Verse of Chu is “capable of calling forth the kind and enevolent in human nature”, for the verse in question, glowing with the brilliant spirit of humanism, enjoys an irresistible artistic appeal to summon what is true, good and beautiful. But from the present point of view, in what he deems as “transgression of the Doctrine of the Mean” lies the spirit of daring to challenge and rebel against the traditional values and beliefs; in what he deems as “being too weird and uncanny and radical” lies the inveterate hatred for the vicious and the stylistic vigor in perfectly integrating the reality with mythology; in what he deems as “indulgence in the insignificant transformation of The Folk Songs of the Fifteen States and The Poems Set to Refined Music owing to negligence of learning from the north to pursue the doctrines of the Duke of Zhou and of Confucius” lies the unusual originality to open up a new horizon for the development of literature. IV The Verse of Chu has enjoyed an increasing popularity in the world. As early as 1651, The Annotated Edition of The Verse of Chu came out in Japan. Since the early 19th century, translations and editions in foreign languages have been published in succession. In 1825, Dr. A. Pfizmaien published his German edition in Vienna; in 1870, Marquis d’Hervey de Saint Denys published his French edition in Paris; in 1900, the Italian translation of The Tales of Woe came out; such Russian translations as Making Choices through Divination and The Fisherman began to appear in 1953, and in 1954 the Russian edition of A Collection of Qu Yuan’s Poems was put into print by the Soviet Union’s Literary Press…. The translation of The Verse of Chu into English has a later start, however, it seems to have developed with a gathering impetus. Since 1879, when E. H. Parker put out the earliest English version of Sadness of Separation in China Review; translations have been constantly emerging. 1884 witnessed Giles’s translations of Divination, The Fisherman, and The Goddess of the Mountain in Shanghai; 1895, James Legge’s The Li Sao Poem and its Author in Journal of the Royal Asiatic Society; 1918, Arthur Waley’s A Hundred and Seventy Chinese Poems, in which For those Fallen for the Country is included; 1919, A.Waley’s More Transaltions from the Chinese, which includes Great Requiem; 1928, X. Biallas’s The Almighty Lord of the East, The Goddess of the Mountain, I Make My Plaint, Divination, and The Fisherman in Journal of the North China Branch of the Royal Asiatic Society; 1929, Dr. Lim Boon Keng’s The Li Sao, an Elegy on Encountering Sorrows in Shanghai; 1947, Robert Payne’s The White Pony, an Anthology of Chnese Poetry from the Earliest Times to the Present Day, which includes The Nine Songs, Crossing the River, and Sorrow after Departure, in New York; 1953, Yang Xianyi and Gladys Yang’s The Li Sao and other Poems of Qu Yuan in Beijing; 1955, A. Waley’s The Nine Songs: A Study of Shamanism in Ancient China (excluding For those Fallen for the Country and Epiloque of the Rites of Sacrifice ); and 1959, Hawkes’ Ch’u Tz’u, the Songs of the South (Oxford: Clarendon), the second edition of which was put out by Penguin Books in 1985…. The translations published in the Chinese mainland include: Poetry of the South, translated by Xu Yuanchong (Changsha: Hunan Publishing House.1994), Selected Poems of Qu Yuan, translated by Sun Dayu (Shangai: Foreign Educational Press.1996), Selected Elegies of the State of Chu, translated by Yang Xianyi & Gladys Yang (Beijing: Foreign Languages Press. 2001), etc. Whatever defects they may have, those translations have made The verse of Chu known to the world, and we owe much to the giants before us who have promoted cultural exchanges and paved the way to a better translation. In order to maintain the aesthetic values of the original (i.e., the beauty in form, taste, style, rhyme, rhythm, sentiment, imagery, and conceptual realm), two guiding principles are adopted for the present translation. The first is that of rigorous textual studies for an accurate comprehension of the imagery and style of the original. Through such methods as etymological survey, philological investigation, empathetic reasoning, cultural and historical examination, textual and inter-textual analyses, inter-textual studying, and verification through author researches, etc, many important issues have been clarified and lots of mistakes corrected. For instance, the opinions that most of The Nine Praises are solos( i.e., with one character acting different parts) and that Fate the Minor is a female god, and the interpretations of “西浮” in Sorrow Over the Fall of Ying as “sail back to the west” or “yearn for the west”, etc., etc., are not adopted, for researches have shown that they are mere groundless suppositions. The second is the principle of employing the forms of English verse to approximate perfection in form and content. Attempts have been made to bridge the form of the original and the taste of English-speaking readers through adaptive employment of the meter of English poetry, division of long poems into cantos through discourse analysis, and maintenance of the cultural meanings of the allusions, plants, and legendary figures through optimum techniques of translation. The present edition, which has restored The verse of Chu in form and content on the basis of around one hundred new findings, owes much to its namesake predecessors The Verse of Chu in Library of Chinese Classics and The glorious Verse of Chu ―Restored with New Findings and Translated into English (Published in 2024 by Golden Light Publishing, a trademark of OmniScriptum S.R.L.Publishing Group.) It differs from other English editions majorly in the following aspects: A. It bears a peculiar originality. For instance, The Nine Praises includes nine pieces rather than eleven，signaling a breakthrough in the studies on The verse of Chu. B. Its interpretations embrace the deep-level meanings, in light of which《涉江》is rendered as The voyage rather than Crossing the River(s), as Qu Yuan’s journey includes touring on land and by water, 《渔父》is put into A Dialogue with the The Fisherman instead of The Fisherman, because it has nothing to do with a story about, or biographical sketch of, the fisherman, …. C. For the sake of acceptance the metrical form of English poetry is flexibly employed. D. In The Nine Praises, the roles and the words to be sung out by various characters are clarified so as to present a clear picture of the operas. E. The long poems are divided into cantos, which may create a sense of gain in reading and make it easy for the readers to grasp the ideas , …. In sum, it embraces some breakthroughs both in the studies on The verse of Chu and in the art and techniques of verse translation. “Like the sun and th’ moon Qu Ping’s poems forever shines bright; / Where th’ king’s resorts had stood the mounts show a rueful sight” (Li Bai, 701-762). Qu Yuan, father of Chinese literature, has given inspiration to generation upon generation of men of letters, and The Verse of Chu, which has enriched the Chinese language and merged into Chinese culture, is a gem in the treasure house of the world. History tells us that the tyrants who ride rough-shod over the people by resorting to wealth, power and violence, are doomed to leave a stink for a hundred and one years, whereas the great personages like Qu Yuan, who persist in humanity, justice and virtue, will be remembered — together with their works and merits— for generations to come! Zhuo Zhenying November 2, 2025 I. The Tales of Woe Canto I 帝高阳之苗裔兮，朕皇考曰伯庸。 摄提贞于孟陬兮，惟庚寅吾以降。 I am descendant of Zhuanxu, a king of fame, And Boyong was my late sire’s illustrious name. On th’ Day of gengyin in th’ first month of early spring Of th’ Year of yin, into being th’ world did me bring. 皇览揆余初度兮，肇锡余以嘉名。 名余曰正则兮，字余曰灵均。 Auspicious names was given to me by my sire, For I as a newborn baby did him inspire. My personal name Zhengze does mean “Just and Square”, And the other name Lingjun denotes “Wise and Fair”. 纷吾既有此内美兮，又重之以修能。 扈江离与辟芷兮，纫秋兰以为佩。 With my physical composition which does shine, I am endowed with innate qualities fine. For Sichuan Lovage and Angelica I care, And wreaths of Cymbidium flowers I oft wear. 汨余若将不及兮，恐年岁之不吾与。 朝搴阰之木兰兮，夕揽洲之宿莽。 Aware that time and tide for nobody will wait, To make hay while th’ sun shines I do myself cultivate. I pluck the Magnolia on the slope at dawn; In th’ eve on the sand-bar I pick the Winter-Thorn. 日月忽其不淹兮，春与秋其代序。 唯草木之零落兮，恐美人之迟暮。 The sun and th’ moon in due course rise and fall so swift; While in due course spring and autumn take turns in th’ shift. The plants and flowers may wither, which today thrive; Before it’s too late for th’ tryst with th’ Beauty I’ll strive! 不抚壮而弃秽兮，何不改乎此度？ 乘骐骥以驰骋兮，来吾道夫先路！ I am determined to purge the vile in my prime: Shouldn’t the Institution be reformed in time? Riding on the steed I would rush and charge ahead As path-breaker, so as to stand th’ cause in good stead. Canto II 昔三后之纯粹兮，固众芳之所在。 杂申椒与菌桂兮，岂惟纫夫蕙茞！ Why had the Three Ancient Kings been so pure and true? Around them had gathered Flowers Red and Blue. Good use of Sweet Grass and Angelica they made, And heed to Cassia and Ash they also paid. 彼尧、舜之耿介兮，既遵道而得路。 何桀纣之昌披兮，夫惟捷径以窘步。 King Yao and King Shun, who was just and fair, believed In th’ righteous way, and their noble goals they’d achieved; Whereas Jie and Zhou, who had their power abused, Found their kingdoms lost and themselves of sin accused. 惟夫党人之偷乐兮，路幽昧以险隘。 岂余身之殚殃兮，恐皇舆之败绩。 For ignoble ease and pleasure th’ Faction have longed; Th’ obscene road they take is indeed with perils thronged. My fear is not that I’d meet with personal plight, But that upon the Sovereign they can be a blight! 忽奔走以先后兮，及前王之踵武。 荃不察余之中情兮，反信谗而齌怒。 With utter devotion I’ve bent myself to th’ quest; That the Sweet Flag follow th’ Wise Kings I have professed. Who knows that he should ignore my lofty intent? And, credulous to slander, his spite he did vent. 余固知謇謇之为患兮，忍而不能舍也。 指九天以为正兮，夫惟灵修之故也。 That good advice jars on the ear I am aware, But away from the cause I can not myself tear. I swear that I’d spared no effort for th’ monarchy: Providence could be Witness of my royalty. 初既与余成言兮，后悔遁而有他。 余既不难夫离别兮，伤灵修之数化。 At first we both committed ourselves to the cause, Why, then, did you in th’ middle regret and remorse? Oh, not that th’ separation I fear and resent, But that th’ Beauty’s changeability I lament Canto III 余既滋兰之九畹兮，又树蕙之百亩。 畦留夷与揭车兮，杂杜衡与芳芷。 A thousand or more patches of Orchids I grew And planted Cymbidium for a hundred mu. Moreover, there were also Azalea bright And the Rumex fragrant and the Lichen white. 冀枝叶之峻茂兮，愿俟时乎吾将刈。 虽萎绝其亦何伤兮，哀众芳之芜秽。 A luxuriant growth I had longed to see: Their multi-coloured bloom would put me in high glee. It matters not if they had been withered or hurt; What saddens me is that they befriend Filth and Dirt! 众皆竞进以贪婪兮，凭不厌乎求索。 羌内恕己以量人兮，各兴心而嫉妒。 The Faction for their personal interests do look; Insatiable, they gather wealth by hook or crook. Gauging th’ minds of others with their own measure mean, They supplant those who are hateful in their eyes green. 忽驰骛以追逐兮，非余心之所急。 老冉冉其将至兮，恐修名之不立。 To vie and scramble for fame and wealth? －Oh dear! ’Tis not at all where my aspiration does lie. As senility is ruthlessly coming near, My only wish is to earn a reputation high. 朝饮木兰之坠露兮，夕餐秋菊之落英。 苟余情其信姱以练要兮，长顑颔亦何伤。 At dawn the dew on Magnolia leaves I drain; In th’ eve the petals of Chrysanthemum I dine. Now that pure and fair my inner world will remain, What matters if I stay hungry and away pine? 揽木根以结茝兮，贯薜荔之落蕊。 矫菌桂以纫蕙兮，索胡绳之纚纚。 With Costus Root Angelica flowers I string, And with th’ petals of the climbing fig wreaths I plait. Cassia twigs and orchids I together bring; With tendrils of Ivy tassels I fabricate. 謇吾法夫前修兮，非世俗之所服。 虽不周于今之人兮，愿依彭咸之遗则。 Since I have resolved to follow the sagely way, Howe’er can the present world for my values care? Unwilling to conform to th’ convention today, The same standards with the sage Peng Xian I shall share. 长太息以掩涕兮，哀民生之多艰。 余虽好修姱以鞿羁兮，謇朝谇而夕替。 For th’ folk living in an abyss of misery, Sad tears I do shed and long, long sighs I do heave. My bane has proved to be my sublimity: I pleaded in the morn and was removed at eve. 既替余以蕙纕兮，又申之以揽茝。 亦余心之所善兮，虽九死其犹未悔。 And for the Cymbidium which I wore they cursed Me, and cursed me for th’ Melilotus I possessed. But e’en if doomed to die nine deaths, to those which burst With beauty I shall cling without feeling distressed! 怨灵修之浩荡兮，终不察夫民心。 众女嫉余之蛾眉兮，谣诼谓余以善淫。 The Women envied me for my brows nice and long, And smeared me with “licentiousness” the bad name. Oh, the Crown should have failed to discern right from wrong When th’ supreme power is in his hold. What a shame! 固时俗之工巧兮，偭规矩而改错。 背绳墨以追曲兮，竞周容以为度。 And ’tis no wonder the worldlings, slick and sly, Despise the rules, and what a mess of things they’ve made! “Currying favour” is the guideline they hold high; They act as carpenters who th’ line-maker degrade. 忳郁邑余侘傺兮，吾独穷困乎此时也。 宁溘死以流亡兮，余不忍为此态也。 Why should I have been frustrated in this moment? Depressed and sad I can’t but hesitate; howe’er, I’d rather bravely meet my death in banishment Than conform to th’ attitude to which I won’t share! 鸷鸟之不群兮，自前世而固然。 何方圜之能周兮，夫孰异道而相安？ It is indeed the course of nature from of old That the eagle won’t join birds of vulgarity. The circle cannot match with a square, men who hold Diff’rent doctrines, likewise, can’t live in harmony. 屈心而抑志兮，忍尤而攘诟。 伏清白以死直兮，固前圣之所厚。 I must bestir myself and get prepared in mind So that th’ disgrace and injustice I can endure. For it is th’ heritage the sages have left behind That e’en if doomed to death one should stay white and pure. Canto IV 悔相道之不察兮，延伫乎吾将反。 回朕车以复路兮，及行迷之未远。 I have misjudged the way — oh, how I feel remorse! I balk and hesitate and wish to make a change. I turn my carriage round and take the backward course. Since I have not yet covered too long a range. 步余马于兰皋兮，驰椒丘且焉止息。 进不入以离尤兮，退将复修吾初服。 Along the Orchid-Fringed lake-side walks my steed And gallops to th’ Pepper Hill, where a rest I take. Rejecting th’ Fraction now an exiled life I lead, In retreat th’ costume of my own fashion I’ll make. 制芰荷以为衣兮，集芙蓉以为裳。 不吾知其亦已兮，苟余情其信芳。 With lotus leaves and stems I knit a garment sound; With lotus flowers I prepare my long-missed attire. What if I am not understood by those around, So long as pure and fragrant stays my soul entire? 高余冠之岌岌兮，长余佩之陆离。 芳与泽其杂糅兮，唯昭质其犹未亏。 I pinnacle my lofty hat wonderfully, And wear my long pendant, which gracefully swings. Although it had once been mixed up with Flagrancy, To my relief, to purity Fragrance still clings. 忽反顾以游目兮，将往观乎四荒。 佩缤纷其繁饰兮，芳菲菲其弥章。 I gaze back into th’ past, for very soon away I’ll go and put the world’s corners in my full glare. With ornaments I adorn myself to greet th’ day; Th’ aroma from my costume permeating th’ air. 民生各有所乐兮，余独好修以为常。 虽体解吾犹未变兮，岂余心之可惩。 What constitutes pleasure depends on a man’s way Of life. As for me self-refinement gives delight. Nothing － even if I’m smashed to pieces － can sway My will. My integrity how can setbacks blight? Canto V 女嬃之婵媛兮，申申其詈予。 曰：“鲧婞直以亡身兮，终然夭乎羽之野。 汝何博謇而好修兮，纷独有此姱节。 薋菉葹以盈室兮，判独离而不服。 众不可户说兮，孰云察余之中情。 世并举而好朋兮，夫何茕独而不予听？” My sister, affectionate although discontent With my attitude, does repeatedly me chime: “’Tis because of his uprightness that Gune was sent To exile in Mount Yu th’ wilderness in his prime. Why, then, do you remain so true in word and deed And cherish moral integrity all alone? Why do you untimely confront so many a weed， Which are poisonous and gather around the throne? To men from door to door your points you can’t explain, Who then could know that your conscience is clean and clear? Th’ faction are held together for personal gain, Why stand aloof and to my word turn a deaf ear?” 依前圣以节中兮，喟凭心而历兹。 济沅、湘以南征兮，就重华而陈词： I resort to th’ Ancient Sages to ease the woe Inflicted on me owing to my sinless heart. Along th’ Yuan and th’ Xiang Rivers I southward go, And to Chonghua the ancient king I thus impart: 启《九辩》与《九歌》兮，夏康娱以自纵。 不顾难以图后兮，五子用失乎家衖。 “ Qi of Xia had exchanged three beauties for Th’ Nine Odes and Th’ Nine Praises; his son Taikang led a loose life Regardless of th’ future of his kingdom, in line With which his five sons lost th’ power for civil strife. 羿淫游以佚畋兮，又好射夫封狐。 固乱流其鲜终兮，浞又贪夫厥家。 Yi, who loved to shoot foxes, himself amused With hunting and touring and all, consequently His wife was by his own subject Hanzhuo seduced And his kingdom lost ’cause of his fatuity.” 浇身被服强圉兮，纵欲而不忍。 日康娱而自忘兮，厥首用夫颠陨。 “Yao (浇), unbridled , ’bout sensual pleasures was mad: He was steeped in entertainments night and day. Though armed with weapons and in armor he was clad, His head was th’ price for the folly he had to pay.” 夏桀之常违兮，乃遂焉而逢殃。 后辛之菹醢兮，殷宗用而不长。 “ ’Cause of his perverse acts Jie of th’ Xia Dynasty Encountered the catastrophes and lost his crown; King Zhou of Shang minced his premiere cruelly, And consequently his throne was toppled down.” 汤、禹俨而祗敬兮，周论道而莫差。 举贤才而授能兮，循绳墨而不颇。 “Tang and Yu, earnest and prudent, a contrast form. . The founders of Zhou had ne’er their power abused: Talent were appointed in accord with the norm, And the laws and statutes were impartially used.” 皇天无私阿兮，览民德焉错辅。 夫维圣哲以茂行兮，苟得用此下土。 “ Providence is ne’er by partiality swayed, To those virtuous He’ll reach out a helping hand. Only people of the sagely and saintly grade Are chosen to dominate o’er this sacred land.” 瞻前而顾后兮，相观民之计极。 夫孰非义而可用兮？孰非善而可服？ “ ’Tis evident, if we look ahead and behind, That in humanity lies the final judgment. How ever can we conduct anything unkind, Or practice anything that is malevolent?” 阽余身而危死兮，览余初其犹未悔。 不量凿而正枘兮，固前修以菹醢。 “ ’Tis unfit to put a square peg in a round hole, For which put to death was many a greatest soul. But I feel not the least rue when my past I trace, Notwithstanding th’ peril of my life I may face!” 曾歔欷余郁邑兮，哀朕时之不当。 揽茹蕙以掩涕兮，沾余襟之浪浪。 跪敷衽以陈辞兮，耿吾既得此中正。 O’er my fate I often sigh, and grieve, and lament: Wherefore to such a wrong age should I have been sent? With the Sweet-Grass leaves I hide my tears of distress, Which stream down my cheeks and wet the front of my dress. Kneeling on th’ hem of my gown my mind I reveal, Sublimated to find Truth I cling to so real. Canto VI 驷玉虬以桀鹥兮，溘埃风余上征。 朝发轫于苍梧兮，夕余至乎县圃。 My gorgeous phoenix carriage four dragons do draw, Which, aided by a helpful gale, does skyward soar. The brake is taken off at daybreak in Cangwu, And I arrive in th’ eve at th’ Garden of Xuanpu. 欲少留此灵琐兮，日忽忽其将暮。 吾令羲和弭节兮，望崦嵫而勿迫。 Around the holy gate I wish awhile to stay, But lo, the sun’s ending his journey of the day! With Yanzi in sight, the sun may well his time take; And thus I motion Xihe to ride on the brake. 路漫漫其修远兮，吾将上下而求索。 饮余马于咸池兮，总余辔乎扶桑。 Long, long is th’ way, but my efforts nothing’ll arrest; Up hill and down dale for the Beauty I shall quest! On Pond Xianchi , th’ sun’s bath, the draught beasts slake their thirst ; I tie them to Fusang, which prompts th’ sun to out burst. 鸾皇为余先戒兮，雷师告余以未具。 吾令凤鸟飞腾兮，继之以日夜。 The Phoenixes as vanguards are to clear the way, But the Thunder apologizes for his delay. At my instruction the Phoenixes soar and fly And hover unceasingly day and night in th’ sky. 折若木以拂日兮，聊逍遥以相羊。 前望舒使先驱兮，后飞廉使奔属。 I break off a branch from Ruomu the Fairy Tree To motion the sun to stay for a while with me. Wangshu, the Moon’s driver, acts as my pioneer, And Feilian, the Wind God, for me brings up the rear. 飘风屯其相离兮，帅云霓而来御。 纷总总其离合兮，斑陆离其上下。 The Zephyr, which plucks up itself, brings happily Th’ Rainbow and Rosy Clouds to keep me company. They float round, now in team, now apart, to amuse Me, glowing above or below with many hues. 吾令帝阍开关兮，倚阊阖而望予。 时暧暧其将罢兮，结幽兰而延伫。 I request the gate-keeper to let me go past, But leaning on th’ gate-frame a cold glance he does cast. The sky is getting murkier, the hour is late, Bouquet of Orchids in hand, though, for long I wait. 世溷浊而不分兮，好蔽美而嫉妒。 朝吾将济于白水兮，登阆风而绁马。 忽反顾以流涕兮，哀高丘之无女。 Oh, is th’ world so blind as to confuse wrong and right? So jealous as to hide others’ grace out of spite? In the morn I cross the River White and ascend The Langfeng Peak, where a rest to my steeds I lend. Gazing around I burst into tears, for up there I can find not a trace of goddess fair. 溘吾游此春宫兮，折琼枝以继佩。 及荣华之未落兮，相下女之可诒。 I come to the Vernal Palace at a good pace, Where a Jasper Bough to my pendant adds grace. It may make a good gift, before the flowers fall, For a secular Beauty on whom I might call. 吾令丰隆乘云兮，求宓妃之所在。 解佩纕以结言兮，吾令謇修以为理。 I ask Fenglong to ride on th’ clouds without delay, And to find out where Fufei the Nymph does stay. I take off my ribbon to knot my love that’s keen, And Jianxiu th’ Music God acts as my go-between. 纷总总其离合兮，忽纬繣其难迁。 夕归次于穷石兮，朝濯发乎洧盘。 保厥美以骄傲兮，日康娱以淫游。 虽信美而无礼兮，来违弃而改求。 At first th’ Nymph takes an attitude hazy and strange, Then she drifts to stiffness, leaving no room for change. She goes to Qiongshi for a clandestine affair, Th’ next morn she’s back to th’ Weipan Rill rinsing her hair. Proud of her features she assumes a wanton way, Loafing about and seeking pleasure night and day. Beautiful as she is, she’s not at all refined; Thus I’ll have to look for one of a diverse kind. 览相观于四极兮，周流乎天余乃下。 望瑶台之偃蹇兮，见有娀之佚女。 吾令鸩为媒兮，鸩告余以不好。 雄鸠之鸣逝兮，余犹恶其佻巧。 I gawk, gape and gaze into the Four Bounds on high, And search here and there before I descend from th’ sky. I spot Jiandi, Damsel of th’ Yousong Tribe, who stays In the Jasper Tower, which glares with splendid rays. I want the bird Zhen to knit the conjugal tie, Who makes the Damsel a target to vilify. For th’ help of the Turtle-Dove I’d better not ask, For he may be too frivolous for such a task. 心犹豫而狐疑兮，欲自适而不可。 凤皇既受诒兮，恐高辛之先我。 欲远集而无所止兮，聊浮游以逍遥。 及少康之未家兮，留有虞之二姚。 Cares and worries piling up, I do hesitate: If I went in person, th’ rites I would violate. Since the Phoenix has given her, at the command Of King Ku, the bride-price, a scant chance I might stand. I’d go afar, but where can my foothold be found? I rove and roam and wander here and there at ease. Before King Shaokang is by marriage with them bound, The chance to court the Youyu sisters I may well seize. 理弱而媒拙兮，恐导言之不固。 世溷浊而嫉贤兮，好蔽美而称恶。 However, the match-makers, who are dense and dull, Won’t be able to render convincing advice. Moreover, the foul world will seek a result null, For it’s apt to suppress virtue and favor vice. 闺中既以邃远兮，哲王又不寤。 怀朕情而不发兮，余焉能忍而与此终古？ Alas, the secluded boudoirs are beyond reach, And the king, wise as he is, seems ne’er to awake. Ere my mind finds a chance to express itself by speech, Such a situation how can I for aye take? Canto VII 索琼茅以筳篿兮，命灵氛为余占之。 曰：“两美其必合兮，孰信修而慕之？ 思九州之博大兮，岂惟是其有女？” 曰：“勉远逝而无狐疑兮，孰求美而释女？ 何所独无芳草兮，尔何怀乎故宇？” And ask th’ Holy Oracle for me to divine. “Two worthy parties surely make a perfect pair， There ought to be nice belles who for th’ virtuous pine. A man like you th’ belles of vision wouldn’t skip past! Just leave without hesitation,” comes th’ decree clear. “As th’ territories of the Nine Domains are vast, Howe’er could there be no Beauties apart from here? “In each and every place Fragrant Flowers abound; Whereat your vision to your homeland is confined? ” 世幽昧以昡曜兮，孰云察余之善恶？ 民好恶其不同兮，惟此党人其独异！ 户服艾以盈要兮，谓幽兰其不可佩。 Oh, by whom can my real sentiments be out found, Since dazzling is the world treacherous and unkind? It is for certain that differ may people’s tastes,. But that of th’ Faction is peculiar indeed: It is with stinking Mugwort that they gird their waists, And they regard Orchids as far beneath their need. 览察草木其犹未得兮，岂珵美之能当？ 苏粪壤以充祎兮，谓申椒其不芳。 The ability to distinguish plants they lack: To entrust them with th’ judgment of Gems there’s no call! Their scent-bags with muck and dirt they will fill and pack, Saying that Ash Flowers are not fragrant at all. 欲从灵氛之吉占兮，心犹豫而狐疑. 巫咸将夕降兮，怀椒糈而要之。 Should I follow th’ kindhearted oracle’s advice? It is the question that still makes me hesitate. And thus I prepare Ash Flowers and grind fine rice At eve to invite Wuxian, the Diviner Great. 百神翳其备降兮，九疑缤其并迎。 皇剡剡其扬灵兮，告余以吉故。 He descends with the angels, whose wings covered th’ sky; Th’ Fairies from Mount Jiuyi greet him with all their hearts. The Diviner Great, who glows with immense splendor, Th’ philosophy and tales of old to me imparts: 曰：“勉升降以上下兮，求矩矱之所同。 汤、禹俨而求合兮，挚、咎繇而能调。 苟中情其好修兮，又何必用夫行媒？ 说操筑于傅岩兮，武丁用而不疑。 “Just go and seek up hill and down dale for the one Whose very way and ideal you enjoy and share. Yu and Tan yearned for talent, thus their premiers, Gaoyao and Yi Zhi, of the kingdoms took good care.” “And so, if She sincerely cherishes Virtues, What’s the need for you to engage a go-between? Without the slightest doubt King Wuding put trust in Fu Yue, a tamper at Fuyan who had once been. 吕望之鼓刀兮，遭周文而得举。 宁戚之讴歌兮，齐桓闻以该辅。 King Wen of Zhou recognized the counsellor in Lu Wang, who used to be a butcher selling meat. When he heard Ning Qi, a cowherd, humming a dirge, Him as the premier of Qi did Duke Huan treat. 及年岁之未晏兮，时亦犹其未央。 恐鹈鴃之先鸣兮，使夫百草为之不芳。” Thus it follows that, while you are still in your prime And all chances are not yet lost, you’d better strive. Otherwise, once the cuckoos begin to chuckle, The Fragrant Flowers will stand no chance to survive.” 何琼佩之偃蹇兮，众薆然而蔽之。 惟此党人之不谅兮，恐嫉妒而折之。 时缤纷其变易兮，又何可以淹留？ 兰芷变而不芳兮，荃蕙化而为茅。 Alas, whereat should the crowd willfully impair My precious Pendant, which with such glory does glare? The unscrupulous Faction, inclined to employ Hook or crook, may out of jealousy them destroy! Capricious is th’ age, fickle are men today: Howe’er can I in such a treacherous place stay? The Orchid and Angelica lose their perfume, And th’ shape of thatching grass th’ Fragrant Herbs assume. 何昔日之芳草兮，今直为此萧艾也？ 岂其有他故兮，莫好修之害也！ 余以兰为可恃兮，羌无实而容长。 委厥美以从俗兮，苟得列乎众芳。 椒专佞以慢慆兮，樧又欲充夫佩帏。 Oh, why do the old-time Flowers let themselves sink To th’ status of such weeds as Skunk Cabbage which stink ? Their misconducts what reason can likely explain? They have failed to cultivate themselves and stay sane! As reliable the Orchid I used to deem, However, soulless and flashy now it does seem. Among the Favored Flora to earn a place, It’s chosen to forsake its fine essence and grace. Th’ Ash, at th’ same time servile and tyrannic, does brag; The Cornel’s trying its best to enter th’ scent-bag. 既干进而务入兮，又何芳之能祗？ 固时俗之流从兮，又孰能无变化？ 览椒兰其若兹兮，又况揭车与江离？ Going all out to pursue promotion and gain, However can they their fragrance maintain? As nowadays people tend to drift with the tide, Few can stay unchanged and keep their honest pride. Such a life even the Orchid and the Ash lead, Let alone the Rumex and the Chuanxiong indeed! 惟兹佩之可贵兮，委厥美而历兹。 芳菲菲而难亏兮，芬至今犹未沬。 和调度以自娱兮，聊浮游而求女。 及余饰之方壮兮，周流观乎上下。 After all the unjust contempt and wretched plight, What I wear, however, remains uniquely bright. Its unusual fragrance will never, never fade, And its beautiful features will never degrade. With peaceful sublimity I myself enjoy, Pursuing th’ Beauty in near and coy. While new and brilliant is my favorite wear, I shall in my quest wander and tramp here and there. Canto VIII 灵氛既告余以吉占兮，历吉日乎吾将行。 折琼枝以为羞兮，精琼爢以为粻。 为余驾飞龙兮，杂瑶象以为车。 何离心之可同兮？吾将远逝以自疏。 Since th’ Oracle’s revealed the sensible way out, On th’ auspicious day chosen I’ll leave and go ’bout. For bacon I pluck jade twigs which looks nice and good, And prepare with care jasper scraps for solid food. I have the Flying Dragons to my carriage brought, Which of rare jasper and fine ivory is wrought. How can people of different beliefs unite? I’ll go far away and leave the crooks out of sight! 邅吾道夫昆仑兮，路修远以周流。 扬云霓之晻蔼兮，鸣玉鸾之啾啾。 Towards the Kunlun Mountain my carriage now gears, Along the distant way the scenes feasting mine eyes. The clanking phoenix bells of jade amuse my ears, And th’ fleecy banners of clouds flutter in the skies. 朝发轫于天津兮，夕余至乎西极。 凤皇翼其承旗兮，高翱翔之翼翼。 忽吾行此流沙兮，遵赤水而容与。 麾蛟龙使梁津兮，诏西皇使涉予。 路修远以多艰兮，腾众车使径待。 路不周以左转兮，指西海以为期。 At dawn from th’ Heavenly Ford of the Milky Way We start out, destined in th’ eve for th’ Western Extreme. The phoenixes hover on, their wings touching th’ clouds, And it is in a leisurely grace that they seem! Before long we reach th’ Quicksand, and I move at ease Along the Red River. The Dragons I enlist To function as a bridge, and to cross the river I ordain the Emperor of th’ West to assist. I instruct the carriages to be on the watch, For long and rugged and difficult is the way. We turn left after passing by th’ Buzhou Mountains, Heading for th’ West Sea, which is assigned for our stay. 屯余车其千乘兮，齐玉轪而并驰。 驾八龙之婉婉兮，载云旗之委蛇。 抑志而弭节兮，神高驰之邈邈。 奏《九歌》而舞《韶》兮，聊假日以偷乐。 陟升皇之赫戏兮，忽临睨夫旧乡。 仆夫悲余马怀兮，蜷局顾而不行。 I round up th’ carriages, o’er one thousand in all, Which begin to dash ahead side by side amain. Each drawn by eight draught dragons, the vehicles just Meander on, th’ flag-like clouds flying o’er the train. I have the flags lowered and the carriages braked, Yet my imagination continues to soar. Oh, The Nine Praises are played, and to the Nine Movements Dance proceeds. I enjoy awhile what I adore. I glance down, and my homeland comes clearly in sight, For a brilliant light the rising sun does shed. The entourage now hesitate and th’ dragons balk: None of them are willing to maneuver ahead. 乱曰： 已矣哉！ 国无人莫我知兮，又何怀乎故都！ 既莫足与为美政兮，吾将从彭咸之所居！ Epilogue: To go on, or drop things of th’ kind? Why for the homeland is there still th’ care, Where nobody knows my loving mind? Th’ thought “Good Government” with none to share, With th’ sage Peng Xian I will make a pair! II. 九歌 The Nine Praises 1.东皇太一 Praise to the Sovereign of the East (灵巫:) 吉日兮辰良，穆将愉兮上皇。 (Sing the Usherette:) Lucky is the hour, and auspicious th’ day; Now homage to th’ Sovereign of th’ East we’ll pay. （东皇太一：） 抚长剑兮玉珥，璆锵鸣兮琳琅。 (Sing Sovereign of the East：) I lay hold of my long sword, which is inlaid With emerald, clanking my pendants of jade. (灵巫:) 瑶席兮玉瑱，盍将把兮琼芳。 蕙肴蒸兮兰藉，奠桂酒兮椒浆。 扬枹兮拊鼓，疏缓节兮安歌, 陈竽瑟兮浩倡。 (Sing the Usherette:) Fixed with opal weights is th’ cushion divine, And the fragrant bouquets look nice and fine. On th’ Cymbodium is orchid-steamed meat, And brewed with cassia is th’ nectar sweet. Drum-sticks raised, resounding many a drum, ’Tis in slow rhythms that we sing and hum. To the yu and se’s perfect melody, The anthem we carol in harmony. （东皇太一：） 灵偃蹇兮姣服，芳菲菲兮满堂。 (Sing Sovereign of the East:) Aroma imbuing th’ ritual hall’s space, Plumed enchantresses dance with easy grace. (灵巫:) 五音纷兮繁会，君欣欣兮乐康。 (Sing the Usherette:) The pitches of the music rise and fall; Delighted, Your Grace may bless us all! 2.云中君 Praise to the Lord of Cloud (灵巫:) 浴兰汤兮沐芳，华采衣兮若英。 灵连蜷兮既留，烂昭昭兮未央。 (Sing the Usherette:) To usher in the Lord I am now brilliantly plumed; In orchid water I have bathed and myself perfumed. Now that the beloved Lord of Cloud descends and stays, The cosmos is imbued in his splendorous rays. （云中君：） 謇将憺兮寿宫，与日月兮齐光。 龙驾兮帝服，聊翱游兮周章。 (Sing the Lord of Cloud:) So pleased and contented with my majestic shrine, Like th’ Major and the Minor Lights I now do shine. In th’ cart with draught dragons and in kingly attire, I oft-times, when I please, tour the cosmos entire. 49 (灵巫:) 灵皇皇兮既降，猋远举兮云中。 览冀洲兮有余，横四海兮焉穷。 思夫君兮太息，极劳心兮忡忡。 (Sing the Usherette:) Having stayed long in th’ secular world, he does rise; In a twinkle, he’s high back into th’ holy skies. Dominating over Jizhou the Middle Land, His glory o’er th’ infinity he does expand. O’er the departure of the Lord of Cloud I grieve; With yearning seething in me, oh, long sighs I heave! 3. 湘君、湘夫人 The Unfulfilled Tryst of the Lord and Ladies of Xiang （湘君:） 君不行兮夷犹，蹇谁留兮中洲？ 美要眇兮宜修，沛吾乘兮桂舟。 （Sing the Lord of Xiang:） My beloved ones, are you still hesitating? And what on earth keeps you on th’ midstream isle waiting? Nice and fair, you must have made yourselves up to taste; To join me on th’ cassia boat you’d better make haste. （湘夫人:） 帝子降兮北渚，目眇眇兮愁予。 袅袅兮秋风，洞庭波兮木叶下。 (Sing the Ladies of Xiang: ) Pricesses by birth we now descend on the North Isle, Eager expectancy makes our yearning hearts ache. We can see only th’ leaves falling in th’ autumn winds And the waves surging in the boundless Dongting Lake! （湘君:） 令沅湘兮无波，使江水兮安流。 望夫君兮未来，吹参差兮谁思？ （Sing the Lord of Xiang:） May the Yuan and th’ Xiang Rivers calmly go, And the waters therein tranquilly flow. Oh, it is for you , who fail to appear, That my flute sounds melodiously drear! （湘夫人：） 白薠兮骋望，与佳期兮夕张。 鸟萃兮苹中？罾何为兮木上？ (Sing the Ladies of Xiang) For the tryst we have prepared tents and all. Gazing far on th’ sedge slope nothing we see. Were we th’ birds which wrongly nest on th’ duckweed? Were we casting th’ fishing net atop th’ tree? （湘君:） 驾飞龙兮北征，邅吾道兮洞庭。 薜荔柏兮蕙绸，荪桡兮兰旌。 望涔阳兮极浦，横大江兮扬灵。 (Sing the Lord of Xiang） In the Dragon boat a northbound course I take, Through twists and turns I make for th’ Dongting Lake. Fig sceens, orchid sails and all are secure; Jasmine flags fly, sweet-flag oars are applied. Though the shoal of Cenyang still looks obscure, O’er th’ Great River my boat does swiftly glide! （湘夫人：） 沅有芷兮澧有兰，思公子兮未敢言。 荒忽兮远望，观流水兮潺湲。 (Sing the Ladies of Xiang：) The Yuan River boasts of cymbidium, and th’ Li of Orchids; but alas, no word of love dare we say! Peering into the distance, we can only see The babbling waters hastily surging away! （湘君：） 扬灵兮未极， 女婵媛兮为余太息。 横流涕兮潺湲， 隐思君兮陫侧。 桂棹兮兰枻， 斵冰兮积雪。 采薜荔兮水中， 搴芙蓉兮木末。 （Sing the Lord of Xiang:） We row with might and main, but all’s in vain. E’en our maids sigh for my unfulfilled dreams. I could hardly hide my yearning and pain, With sad tears rolling down my cheeks like streams! Magnolia helm and Cassia oars Plough the waves, which splash up like gobs of snows. Could I be plucking in a water course Fig blooms, or lotus that atop trees grows? （湘夫人：） 麋何食兮庭中？ 蛟何为兮水裔？ 朝驰余马兮江皋， 夕济兮西澨。 (Sing the Ladies of Xiang:) Could the stags expect to browse in a barren yard? What whim has brought the silly dragons to the beach? At dawn we galloped along the river bank, In the eve the West Shoal we by ferry did reach. （湘君:） 心不同兮媒劳， 恩不甚兮轻绝。 石濑兮浅浅， 飞龙兮翩翩。 交不忠兮怨长， 期不信兮告余以不闲。 朝骋骛兮江皋， 夕弭节兮北渚。 鸟次兮屋上， 水周兮堂下。 （Sing the Lord of Xiang:) Could it be that we were not of th’ same mind, Or that our love were too slight? In spite of that Our Flitting Dragon is leaving behind The crystal waters, which on pebbles spat. In unfaithfulness grievances reside. Were you breaking tryst with me on a plea ? At dawn I galloppped along th’ Riverside, Now that I’m on th’ North Isle what can I see? Only th’ birds which atop the roofs repose, And a river that past the houses flows! （湘夫人:） 闻佳人兮召予， 将腾驾兮偕逝。 筑室兮水中， 葺之兮荷盖。 荪壁兮紫坛， 播芳椒兮成堂。 桂栋兮兰橑， 辛夷楣兮药房。 罔薜荔兮为帷， 擗蕙櫋兮既张。 白玉兮为镇， 疏石兰兮为芳。 芷葺兮荷屋， 缭之兮杜衡。 合百草兮实庭， 建芳馨兮庑门。 九嶷缤兮并迎， 灵之来兮如云。 (Sing the Ladies of Xiang：) That Your Highness summon us in mind we do bear; ’Tis devoutly wished that th’ same carriage we may share. Aquatic palaces for the event have thus been built, And for th’ roofs of which lotus leaves we have prepared. Sweet-flags dot the wall and purple shells make th’ court, And the fragrant pepper scent the walls of the rooms; Th’ cassia beams and orchid rafters smell of blooms. Th’ climbing fig tendrils are knitted into curtains, And wrought into screens are the orchids blue and white; Precious jadeite will be the weights for the cushions, And the floor strewn with fragrant flowers will delight! The roofs are decked with azaleas, and wild Gingers Brightly fringe the precincts. The flowers gayly lend Charm to the courtyard, and to th’ halls and th’ wing-chambers An irresistible fragrance they do forth send. Nice to greet all th’Jiuyi guests who come like clouds at full blast! But alas, the efforts turned out to be in vain at last! （湘君:） 捐余玦兮江中， 遗余佩兮醴浦。 采芳洲兮杜若， 将以遗兮下女。 时不可兮再得， 聊逍遥兮容与。 (Sing the Lord of Xiang： ) May th’ archery ring onto you by th’ River passed, And token pendants onto the Li Shoal I cast. Wild ginger flowers from th’ Fragrant Isle I’ll obtain, Which will be floated to your maids whom I would please. Chance lost can’t be regained, but my love I’ll retain. For a while I might as well ramble ’bout at ease. （湘夫人：） 捐余袂兮江中， 遗余褋兮澧浦。 搴汀洲兮杜若， 将以遗兮远者。 时不可兮骤得， 聊逍遥兮容与。 (Sing the Ladies of Xiang: ) The vests as tokens onto you may th’ River passed, And th‘ gift gowns and vests into the Li Shoal we cast. Wild ginger flowers from th’ Tingzhou Isle I’ll obtain, So that the entourage from afar we may please. Chance lost can’t be regained, but our love we’ll retain. For a while we might as well ramble ’bout at ease. 4. 大司命 Praise to Fate the Great （大司命：） 广开兮天门，纷吾乘兮玄云。 令飘风兮先驱，使涷雨兮洒尘。 (Sing Fate the Great:) Be the Gate of Heavens opened wide: On the holy clouds I am to ride. I ask Zephyr to be pioneer And Drizzle to make air clean and clear. (灵巫:) 君回翔兮以下，逾空桑兮从女。 (Sing the Usherette:) You have come spiraling into view; Across Kongsang I’ll go to meet you. （大司命：） 纷总总兮九州，何寿夭兮在予。 高飞兮安翔，乘清气兮御阴阳； (Sing Fate the Great :) The fates of mortals in the Nine Lands Are all in the firm grip of my hands; Of this and th’ nether worlds I take care. Now from th’ Vault I’m flying through pure air. (灵巫:) 吾与君兮齐速，导帝之兮九坑。 (Sing the Usherette:) I will move with you at the same speed, And th’ way to Mount Jiugang I shall lead. （大司命：） 灵衣兮被被，玉佩兮陆离。 一阴兮一阳，众莫知兮余所为。 (Sing Fate the Great :) My attire is fluttering in th’ haze; My pendants are shedding splendid rays. Yin versus yang－ guided by the law I work, but men don’t know what’s in store. (灵巫:) 折疏麻兮瑶华，将以遗兮离居。 老冉冉兮既极，不浸近兮愈疏。 (Sing the Usherette:) I pluck the holy hemp’s gem-like bloom For th’ Deity who would away zoom. Senility slowly creeping near, That I’d lose favor with you I fear. （大司命：） 乘龙兮辚辚，高驰兮冲天。 (Sing Fate the Great:) The Dragon Carriage rumbling to th’ sky, Higher and higher I’m now to fly. (灵巫：) 结桂枝兮延伫，羌愈思兮愁人。 愁人兮奈何，愿若今兮无亏。 固人命兮有当，孰离合兮可为？ (Sing the Usherette:) Laurel in hand I can’t bear to part; I gaze upward with a saddened heart. ’Tis of no use, howe’er, just to weep: Morals I must e’er since duly keep! By our own stars we can’t but abide; To meet or to part who can decide? 5. 少司命 Praise to Fate the Minor （少司命：） 秋兰兮麋芜，罗生兮堂下。 绿叶兮素华，芳菲菲兮袭予。； (Sing Fate the Minor:) Rosemary and autumn orchids bright Grow lushly side by side ere the hall. Their leaves deep green, their blooms lily-white, Their flooding fragrance does me enthrall! (灵巫：) 夫人兮自有美子，荪何以兮愁苦? (Sing the Usherette:) Well, men may anyhow have their own pairs, Why shouldn’t you free yourself from th’ cares? （少司命：） 秋兰兮青青，绿叶兮紫茎； (Sing Fate the Minor:) Of my answer th’ autumn orchid now tells: Green leaves match the stems of a purple hue. (灵巫:) 满堂兮美人，忽独与余兮目成。 (Sing the Usherette:) No wonder that among a hall of belles, I alone come into Your Honour’s view! （少司命：） 入不言兮出不辞，乘回风兮载云旗。 悲莫悲兮生别离，乐莫乐兮新相知。 (Sing Fate the Minor:) Silent I came, and speechless I depart, Riding on gales with cloud flags fluttering. Newly-acquainted friends most delight th’ heart, While partings constitute the saddest thing. (灵巫:) 荷衣兮蕙带，儵而来兮忽而逝。 夕宿兮帝郊，君谁须兮云之际。 (Sing the Usherette:) Out of the blue you came, and in a wink you’ll part. In a lotus garb and a pretty orchid band, Whoe’er is the soul holding the key to your heart In the precincts of Palaces on Th’ Sacred Land？ （少司命：） 与女沐兮咸池，曦女发兮阳之阿； 望美人兮未来，临风怳兮浩歌； (Sing Fate the Minor:) I just wish to bathe with you in th’ Heavenly Pond, And air your locks on th’ Valley where the Sun does rise. Waiting in vain for you, th’ belle of whom I am fond, I am now chanting my woes in the windy skies! (灵巫:) 孔盖兮翠旌，登九天兮抚彗星。 竦长剑兮拥幼艾，荪独宜兮为民正。 (Sing the Usherette:) Midst feather flags and ’neath a peacock canopy, Th’ comets you soar up to th’ Dome of th’ Sky to caress. Oh, you’re worthy guardian of th’ commonality. Babe in hold and sword in hand, th’ nice and kind you bless! 6. 东君 Praise to the Sun God (灵巫:) 暾将出兮东方，照吾槛兮扶桑。 抚余马兮安驱，夜皎皎兮既明。 (Sing the Usherette:) To rise in the east is the morning sun, For he’s sent from Fusang to th’ railings streaks Of light. I curb my steed and at ease run, For with night fading away day now breaks. （东君：） 驾龙輈兮乘雷，载云旗兮委蛇。 长太息兮将上，心低徊兮顾怀。 (Sing the Sun God) My dragon chariot’s rumbling astride Thunder, th’ cloud-flags fluttering alongside. Starting to ascend I heave a long sigh; Looking down, I’m kind of perplexed in th’ sky. (灵巫:) 羌声色兮娱人，观者儋兮忘归。 縆瑟兮交鼓，萧钟兮瑶簴。 (Sing the Usherette:) So enchanting is the entertainment That spectators of the event are drowned. Th’ Smitten strings of se in concert with th’ drums, Vertical flutes and th’ complex bells resound. （东君：） 鸣篪兮吹竽，思灵保兮贤姱。 翾飞兮翠曾，展诗兮会舞。 (Sing the Sun God:) The chi’s being blown and the yu’s played， Which shows th’ smart usherette’s creative mind. Lithe being the whirling, graceful the steps, Th’ rhythm of verse and dance are well designed. (灵巫:) 应律兮合节，灵之来兮敝日。 (Sing the Usherette) To the notes of th’ melody, the Sun God Now arrives with his entourage behind! （东君：） 青云衣兮白霓裳，举长矢兮射天狼。 操余弧兮反沦降，援北斗兮酌桂浆。 撰余辔兮高驰翔，杳冥冥兮以东行。 (Sing the Sun God： ) In a costume of white cloud and blue haze, To shoot the Heaven Wolf my bow I raise. Arrow in hand, my way back I’m to make. To fetch Osmanthus Wine from th’ Moon I take The Dipper. Let the reins be held and seized ! I’ll fly high in th’ nocturnal shade to th’ east. 7. 河伯 Praise to the Count of the Yellow River (灵巫:) 与女游兮九河，冲风起兮水扬波。 (Sing the Usherette:) Could you include me in th’ zigzag tour of th’ River? Exciting to see th’ towering waves your move heaves! （河伯：） 乘水车兮荷盖，驾两龙兮骖螭。 (Sing Count of the Yellow River : ) Let’s ride on th’ hydro-carriage and four draught dragons Underneath th’ canopy that’s made of lotus leaves. (灵巫:) 登昆仑兮四望，心飞扬兮浩荡。 日将暮兮怅忘归，惟极浦兮寤怀。 鱼鳞屋兮龙堂，紫贝阙兮珠宫。 灵何为兮水中？ (Sing the Usherette:) Atop Mount Kunlun I gaze far and wide, Finding my mind care-free and magnified. Carried away by th’ scenes, I’m not aware Of dusk. Howe’er, for th’ yonder shoal I care. Fish-scaled domes with dragons painted on th’ halls, Purple shell towers and pearled palace walls — Your interest in such a place what forth calls? （河伯：） 乘白鼋兮逐文鱼，与女游兮河之渚； 流澌纷兮将来下。 (Sing Count of the Yellow River: ) Here I’ll chase the Carp astride Turtle White， And tour the holm with you in great delight: The surging waves constitutes quite a sight! (灵巫:) 子交手兮东行，送美人兮南浦。 (Sing the Usherette:) After farewell you’ll go east, my lord; Let me send you off on the southern ford. （河伯：） 波滔滔兮来迎，鱼鳞鳞兮媵予。 (Sing Count of the Yellow River : ) Th’ dancing waves are greeting me in high glee; And th’ fish are come to keep me company! 8.山鬼 Praise to the Goddess of Mountains (灵巫：) 若有人兮山之阿，被薜荔兮带女萝。 (Sing the Usher:) A soul seems to be coming down the mountain crest, In fig-leave cloak and usnea skirt she’s comely dressed. （山鬼：） 既含睇兮又宜笑，子慕予兮善窈窕。 乘赤豹兮从文狸，辛夷车兮结桂旗。 (Sing Goddess of Mountains :) Lo, my smiles are sweet and my eyes look tender, You can’t but admire me for th’ figure slender. I ride on th’ leopard-drawn magnolia cart; Laurel flags waving, ahead th’musk foxes dart. (灵巫：) 被石兰兮带杜衡，折芳馨兮遗所思。 (Sing the Usher:) Th’ Asarum gown with Wild Ginger belt I wear, For th’ soul of my heart a bouquet I prepare. （山鬼：） 余处幽篁兮终不见天，路险难兮独后来。 表独立兮山之上，云容容兮而在下。 (Sing Goddess of Mountains :) I come from bamboo groves which obscure th’ sky, And my arrival th’ rugged paths have delayed. I loom on the summit of the mountain high, watching the clouds miraculously arrayed. (灵巫:) 杳冥冥兮羌昼晦，东风飘兮神灵雨。 留灵修兮憺忘归，岁既晏兮孰华予。 (Sing the Usher:) Th’ sky’s bleak and obscure even during day time, As breezes oft inspire Providence to rain. But I’m lost in th’ fancy of th’ tryst. If my prime I am past, who could make me robust again? （山鬼:） 采三秀兮于山间，石磊磊兮葛蔓蔓。 怨公子兮怅忘归，君思我兮不得闲。 (Sing Goddess of Mountains :) For a gift in Mount Wu I pick magic plants Midst the jagged rocks and intertwining vines. My scion failing to come, a sad song I chant. Is it true he’s too busy but for me pines? (灵巫:) 山中人兮芳杜若，饮石泉兮荫松柏。 君思我兮然疑作。 (Sing the Usher:) Oh, Soul of Mounts, you are th’ Asphodel in full bloom. You drink from springs and take shelter under the pines. I wonder whether your love for me really boom? （山鬼） 雷填填兮雨冥冥，猿啾啾兮狖夜鸣； 风飒飒兮木萧萧，思公子兮徒离忧。 (Sing Goddess of Mountains :) Apes are jabbering and monkeys howling at night; By day thunders are booming and pouring is th’ rain. Th’ winds whistling and leaves falling make a rueful sight! Oh, would I be yearning for my scion but in vain? 9. 国殇 Eulogy on the Martyrs of the State （众将士：） 操吴戈兮披犀甲，车错毂兮短兵接。 旌蔽日兮敌若云，矢交坠兮士争先。 (Sing in Chorus the Soldiers:) Clad in rhino armor, dagger-axes we wield; Th’ chariots clashing, at the foes we bravely tear. Th’ banners hiding th’ sun, the foes surge like clouds in th’ field, Yet we charge ahead, arrows crisscrossing in th’ air. （将领：） 凌余阵兮躐余行，左骖殪兮右刃伤。 霾两轮兮絷四马，援玉枹兮击鸣鼓。 (Sing the Warrior:) Our lines broken through, our ranks are in disarray; My left-side steed’s killed, and wounded th’ right side one’s become. The reins are entangled, and bogged down two wheels stay; I raise high the stick of jade, though, and beat the signal drum. （众将士：） 天时懟兮威灵怒，严杀尽兮弃原野。 出不入兮往不反，平原忽兮路超远。 带长剑兮挟秦弓，首身离兮心不惩。 (Sing in Chorus the Soldiers:) Fierce battles over, littered with corpses is now the plain; It seems that Heaven were falling because of wrath and pain; We set out resolved not to return but die A heroic death in the remote battle field. Our heads chopped off, without the least regret we lie. Th’ Qin bows are clenched tight, and th’ sabers we still seem to wield! （民众：） 诚既勇兮又以武，终刚强兮不可凌。 身既死兮神以灵，魂魄毅兮为鬼雄。 (Sing the Populace:) Oh, devoted and valiant souls of the state, Indomitable, a lofty realm you attain! Your are slain, but with glory will shine your deeds great, And souls of all souls you shall forever remain! 礼魂 （众灵巫：） 成礼兮会鼓，传芭兮代舞; 姱女倡兮容与。 春兰兮秋菊，长无绝兮终古。 Epilogue ─Saluting to the Heroic Souls. （Sing the Usherettes:) The rites performed, majestic the drums sound And th’ belles melodiously chant. To pay Homage we dance in turn and pass around Th’ posy. Orchids in spring we’ll for you lay And chrysanthemums in autumn for aye! III. 天问 Inquiries into the Universe Canto I 遂古之初，谁传道之？ 上下未形，何由考之？ Whoever has conveyed to us Histories of the remotest past? Who can verify the shapeless Beginning time has overcast? 冥昭瞢暗，谁能极之？ 冯翼惟象，何以识之？ Who can confirm the world had been A mass without darkness and light? If th’ universe were but chaos, What evidence is there in sight? 明明暗暗，惟时何为？ 阴阳三合，何本何化？ And then, how was it arranged That there came to be night and day? ’Mongst th’ yin, th’ yang and th’ ether that made Things, th’ vital role which one did play? 圜则九重，孰营度之？ 惟兹何功，孰初作之？ If the heavens did have nine domes, Who’d done th’ project of such a scale? Could the construction of the vaults Turn out to be merely a tale? 斡维焉系，天极焉加？ 八柱何当，东南何亏？ What ties up the handle of th’ Plough? Th’ rest for Cosmos what can provide? What sustains th’ eight pillars of th’ skies? Why does th’ earth in th’ southeast subside? 九天之际，安放安属？ 隅隈多有，谁知其数？ What constitutes the basements for Th’ edges of the nine vaults of skies? The number of th’ turns and twists of Th’ circumferences who supplies? 天何所沓？十二焉分？ 日月安属？列星安陈？ Where do the heavens meet the earth? Why should twelve hours make up a day? How can the sun and th’ moon hang high? How do the stars themselves array? 出自汤谷，次于蒙汜。 自明及晦，所行几里？ If th’ sun sets at th’ River of Meng And from th’ Sun Valley it rises, Then from the morning till th’ evening What distance does its journey count? 夜光何德，死则又育？ 厥利维何，而顾菟在腹？ What virtue has the minor light, Which makes it wax after its wane? What’s the use to have a Rabbit In th’ belly for it to sustain? 女岐无合，夫焉取九子？ 伯强何处？惠气安在？ Why is it that Lady Nuqi Had got nine sons without a spouse? Where dwells Boqiang, the God of Gales, And whence do the Breezes arouse? 何阖而晦？何开而明？ 角宿未旦，曜灵安藏？ What closes when day darkens up? What opens when it becomes bright? Before it dawns at the Gate Posts, Where is resting the Major Light? Canto II 不任汩鸿，师何以尚之？ 佥曰“何忧”，何不课而行之？ If Gune was unfit to tame th’ floods, Why was he commended for th’ task? Ited be wise to try him out first, But questions ’bout him none did ask! 鸱龟曳衔，鲧何听焉？ 顺欲成功，帝何刑焉？ How could Gune trust in th’ tortoises And owls, which offered to tug sand? Why did th’ king send him to exile When completion was near at hand? 永遏在羽山，夫何三年不施？ 伯禹愎鲧，夫何以变化？ Why was Gune denied of release, Since for three years in Mount Yu heed been detained? And ’tis said Yu was born of Gune, How could things as such be properly explained? 纂就前绪，遂成考功。 何续初继业，而厥谋不同？ Yu succeeded his sire in th’ post And th’ floods he managed to tame. Why were th’ approaches adopted By father and son were not th’ same? 洪泉极深，何以窴之？ 地方九则，何以坟之？ Whereat did Yu stem the waters, Since the flood was so vast and deep? Into nine regions Yu’d marked th’ land: To what mapping ways did he keep? 应龙何画，河海何历？ 鲧何所营,禹何所成？ How did the Winged Dragon trench With its tail so as th’ floods to drain? What had Gune achieved in the works? What had Yu done in th’ great campaign? 康回冯怒，地何故以东南倾？ 九州安错？川谷何洿？ How could Kanghui’s wrath have caused The earth in th’ southeast to subside? What has made th’ rills and vales so deep? How have th’ Nine Domains their divide? 东流不溢，孰知其故？ 东西南北，其修孰多？ The rivers keep surging to th’ seas, But why’s it that th’ seas o’erflow ne’er? With the meridians, how do The parallels in length compare? 南北顺椭，其衍几何？ 昆仑悬圃，其尻安在？ What is Earth’s ellipticity If it is an oval upright? If th’ Garden in the Air does lie In Kunlun, where’s its exact site? 增城九重，其高几里？ 四方之门，其谁从焉？ Zengcheng boasts of nine city walls, But then th’ heights of those who can tell? And what are th’ beings who commute Through its four gates and in it dwell? 西北辟启，何气通焉？ 日安不到,烛龙何照？ When Heaven’s northwest gate opens, What wind is then allowed to screech? Why’s th’ Torch Dragon needed in th’ north When nothing is out of th’ sun’s reach? 羲和之未扬，若华何光？ 何所冬暖？何所夏寒？ Before Xihe raises his whip, How can th’ Ruomu Tree’s flowers glow? Where lies the place in winter warm? Where do chill winds in summer blow? 焉有石林？何兽能言？ 焉有虬龙，负熊以游？ How can there be Forest of Jade? What beasts can their own language use? Where are Hornless Dragons with bears On their backs, which themselves amuse? 雄虺九首，鯈忽焉在？ 何所不死？长人何守？ Where is the Nine-Headed He-Snake， Which like lightning flashes about? Where lies th’ Immortality Land? The Giants’ place who can find out? 靡蓱九衢? 枲华安居？ 灵蛇吞象，厥大何如？ Where can nine-branched duck-weed be found? Where does hemp as tall as trees grow? What’s the size of th’ Serpent of Ba, Which gulps down an elephant at a go? 黑水玄趾?三危安在？ 延年不死，寿何所止？ Where’s the Black Stream, which dyes th’ wader’s Toes? Where does Mount Three-Perils lie? Men there are said to have long life, But when, if ever, will they die? 鲮鱼何所？鬿堆焉处？ 羿焉彃日？乌焉解羽？ Where does the bull-sizeed Land Carp live? Where stays th’ Huge Bird with a white head? How did Yi shoot down the nine suns? How does th’ Suns’ Crow its plumes shed? Canto III 禹之力献功，降省下土四方。 焉得彼涂山女，而通之於台桑？ When fighting th’ floods with might and main, Yu inspected th’parts under th’ sway. Could he have made love to th’ Lass Of Tushan in th’ woods out of th’ way? 闵妃匹合，厥身是继。 胡维嗜不同味，而快朝饱？ To leave offspring in their wake, men And women themselves tie and bind. Could Yu had sought a moment’s joy With the girl of a varied kind? 启代益作后，卒然离蠥。 何启惟忧，而能拘是达？ In th’ attempt to usurp Yi’s throne, Qi was thwarted and sent to jail. How did he escape when he should Have been put to death without fail? 皆归射鞫，而无害厥躬。 何后益作革，而禹播降？ Yi’s men surrendered their weapons, And the strife Qi did thus survive. Why did Yi lose his crown? How did Th’ exploits of Yu help Qi to thrive? 启棘宾商，《九辨》《九歌》。 何勤子屠母，而死分竟地？ Did Qi offer God three belles, so that Th’ Nine Praises and Nine Cantos he could take? How was it that Qi had been born By a rock, who did afterwards break? 帝降夷羿，革孽夏民。 胡射夫河伯，而妻彼雒嫔？ To salvage th’ folks of Xia from woe, God had sent Yi down from the sky. Why did Yi lure th’ Lady of Luo And shoot Count of th’ River in th’ eye? 冯珧利决，封豨是射。 何献蒸肉之膏，而后帝不若？ What with his strong bow and his skill He took the life of the Huge Boar. When he offered the steamed pork, Why did God want to show him th’ door? 浞娶纯狐，眩妻爰谋。 何羿之射革，而交吞揆之？ Hanzhuo seduced Yi’s wife Chunhu, And they conspired towards Yi’s fall. With arrows that cut armor through , Why couldn’t Yi resist at all? 阻穷西征，岩何越焉？ 化而为黄熊，巫何活焉？ If Gune had managed to go west, Th’ Rocky Mounts how did he transverse? Had he been turned into a bear, How could th’ wizard free him from th’ curse? 咸播秬黍，莆雚是营。 何由并投，而鲧疾修盈？ Gune’d taught th’ folk how to exploit cattails And cultivate millet in his prime. After all th’ merits he was exiled. Did the punishment fit in with th’ crime? 白蜺婴茀，胡为此堂？ 安得夫良药，不能固臧？ In her brilliant Rainbow Array With what in th’ hall would Chunhu deal? Why didn’t Yi th’ Life Remedy In a securer place conceal? 天式从横，阳离爰死。 大鸟何鸣，夫焉丧厥体？ It is Nature’s irresistible law: One dies when th’ sap of life runs out. Since God had killed him, how could Gu Become a bird heralding drought? 蓱号起雨，何以兴之？ 撰体协胁，鹿何膺之？ Pinghao can at will summon rain, But howe’er does he operate? And how does Lord of Wind, the deer With a bird’s head, coordinate? 鳌戴山抃，何以安之？ 释舟陵行，何之迁之？ The Turtles bearing th’ mountains stir, But how can th’ mountains steady stand? How did th’ Longbo Giant caught the Turtles When he had left the ship and moved on land? 惟浇在户，何求于嫂？ 何少康逐犬，而颠陨厥首？ What did Ao pursue when he called On Nuqi, his sister-in-law? How did Shaokang manage to kill Him during hunting out-of-door? 女歧缝裳，而馆同爰止。 何颠易厥首，而亲以逢殆？ Nuqi took care of Ao’s trousers, And in the same room they did lodge. Taken for Ao, Nuqi lost her head: Why then couldn’t she her ill fate dodge? Canto III 汤谋易旅，何以厚之？ 覆舟斟寻，何道取之？ Shaokang allied himself with Youyi troops: Such a goal how did he manage to attain? And how did he restore the Xia, Which fell after th’ Zhenxun Campaign? 桀伐蒙山，何所得焉？ 妺嬉何肆，汤何殛焉？ From th’ raucous war against Mengshan What was th’ booty that Jie obtained? What justified the banishment Of Moxi, which Tang had ordained? 舜闵在家，父何以鳏？ 尧不姚告，二女何亲？ Unwed, Shun was laden with cares: Why did his sire leave him alone? Why did Yao(尧)decide to marry His daughters to Shun on his own? 厥萌在初，何所亿焉？ 璜台十成，谁所极焉？ He’s wise who predicts the future Of a thing in th’ bud by its sign. Who foretold that the ten-story Tower would lead to Shang’s decline? 登立为帝，孰道尚之？ 女娲有体，孰制匠之？ Fuxi was crowned, but who had Supported him with a good grace? Who had conjured Nuwa’ odd form ─ A serpent with a human face? 舜服厥弟，终然为害。 何肆犬豕，而厥身不危败？ Shun was kind to his brother Xiang, Who with hatred did love requite. Why could the black sheep go at large, Whose evil had caused public spite? 吴获迄古，南岳是止。 孰期去斯，得两男子？ The State of Wu, which lies around Nanyue, has survived for ages. Where lies the subtlety of th’ case? Just because it’d got th’ two sages? 缘鹄饰玉，后帝是飨。 何承谋夏桀，终以灭丧？ The taste of goose pleased Jie, the goose Which Yi Yin dressed in a jade plate. How did Tang rely on Yi Yin And topple down Jie’s sovereign state? 帝乃降观，下逢伊挚。 何条放致罚，而黎服大说？ In his inspection of the land Tang found that Yi had a mind bright. When Tang banished Jie to Mingtiao, Why did the folk hail it with delight? Canto IV 简狄在台，喾何宜？ 玄鸟致贻，女何喜？ Jiandi stayed high up in th’ tower: How court to her could Ku pay? How could the Swallow’s egg gulped down Put her in the family way? 该秉季德，厥父是臧。 胡终弊于有扈，牧夫牛羊？ Hai should have modeled himself on His sire, who to virtues did keep. Why did he, in th’ course of his stay In Youhu, lost his life and sheep? 干协时舞，何以怀之？ 平胁曼肤，何以肥之？ How did he, by means of shield dance, Seduce the chieftain’s daughter there? What was it that had made the girl Appear to be buxom and fair? 有扈牧竖，云何而逢？ 击床先出，其命何从？ How did a herdsman chance to find out What they were just up to in bed? On whose word did he draw his sword, With which he chopped off Gai’s head? 恒秉季德，焉得夫朴牛？ 何往营班禄，不但还来？ Heng’s said to have followed his sire. The cattle how did he regain? Why didn’t he return but just Stayed in Youyi for rank and gain? 昏微循迹，有狄不宁。 何繁鸟萃棘，负子肆情？ Wei followed suit and he deprived Youyi of peace with troops abused. Like incestuous owls in th’ woods His late uncle’s love he seduced. 眩弟并淫，危害厥兄。 何变化以作诈，而后嗣逢长？ By seducing his love th’ brazen Inflicted on his brother pain. How can this vicious family Its continuity sustain? 成汤东巡，有莘爰极。 何乞彼小臣，而吉妃是得？ On his journey of inspection Tang arrived in Youshen’s domain. He coveted th’ humble slave, but How did he instead th’ belle obtain? 水滨之木，得彼小子。 夫何恶之，媵有莘之妇？ Born by th’ mulberry tree on th’ stream, Th’ slave had been adopted by th’ lord. Given as dowry, he turned out To be th’ premiere Tang adored. 汤出重泉，夫何辠尤？ 不胜心伐帝，夫谁使挑之？ Tang was jailed in the Water Cell: Had he committed any crime? He couldn’t but rise against Shang: Who had enticed him at the time? 会朝争盟，何践吾期？ 苍鸟群飞，孰使萃之？ How could the peers keep tryst with th’ Duke of Zhou , who had their forces brought? At whose command were th’ warriors, Who like eagles charged and fought? 列击纣躬，叔旦不嘉。 何亲揆发足，周之命以咨嗟？ Ji Fa stabbed the corpse of King Zhou, Upon which his brother Dan frowned. How did Dan twist his brother’s arm To make the kingdom safe and sound? Canto V 授殷天下，其位安施？ 反成乃亡，其罪伊何？ What had been the reason by which God mandated to Shang the crown? What had been th’ sin that caused the throne Before long to be toppled down? 争遣伐器，何以行之？ 并驱击翼，何以将之？ How were the soldiers organized, Who with valor their weapons plied? In th’ flank attack, who commanded The forces fighting side by side? 昭后成游，南土爰底。 厥利惟何，逢彼白雉？ Three expeditions to the south King Zhao of Zhou managed to make. Was it for th’ promised pheasants white That he put his own life at stake? 穆王巧梅，夫何为周流？ 环理天下，夫何索求？ Why did King Mu rove the land and Gather wealth by hook or by crook? As sovregn of the dynasty, For what did he earnestly look? 妖夫曳炫，何号于市？ 周幽谁诛？焉得夫褒姒？ A queer couple peddled in th’ street. What was the real purpose of th’ pair? By whom was King You of Zhou slain? How had he procured Baosi th’ fair? 天命反侧，何罚何佑？ 齐桓九会，卒然身杀。 How capricious is the Mandate! Who knows when God will laugh or cry? Duke Huan, who’d hosted peer meetings Nine times, a tragic death did die! 彼王纣之躬，孰使乱惑？ 何恶辅弼，谗谄是服？ Who had allured King Zhou of Shang To th’ abyss of folly and lust? Why did he hate th’ loyal so much ? And why did he in th’ toadies trust? 比干何逆，而抑沈之？ 雷开阿顺，而赐封之？ He killed Bigan only because He had pled out of loyalty, And gave Leikai wealth and peerage Merely for his servility! 何圣人之一德，卒其异方？ 梅伯受醢，箕子详狂？ Oh, th’ sagely share the same virtues, But may end up in joy or pain. Mei th’ earl was minced for his candour, And madness Jizi had to feign. 稷维元子，帝何竺之？ 投之于冰上，鸟何燠之？ Why did King Ku abandon Ji, His first-born son, after his birth? How did th’ birds protect th’ babe from cold when he was thrown on th’ icy earth? 何冯弓挟矢，殊能将之？ 既惊帝切激，何逢长之？ When grown up, Ji could bend strong bows, And command of troops he could take. Ku was ill at ease at Ji’s birth: Why a name did he help Ji make? 伯昌号衰，秉鞭作牧。 何令彻彼岐社，命有殷国？ When the Shang was on the decline, Th’ peers the Earl of th’ West rose to lead. How could th’ replacement of th’ altar Of the Shang’s have been a real deed? 迁藏就岐，何能依？ 殷有惑妇，何所讥？ When Zhou moved the capital to Mount Qi, why could people comply? Bewitched by the succubus, On whom else could King Zhou rely? 受赐兹醢，西伯上告。 何亲就上帝罚，殷之命以不救？ When Zhou served him his son’s minced meat, Appeal to God did Duke of th’ West. Since Zhou had been punished by God, Why couldn’t Shang’s fate be redressed? 师望在肆，昌何识？ 鼓刀扬声，后何喜？ There was talent in the butcher Wang. But how could Chang see it through? When he saw him clanking his knife, Why was it that happy Chang grew? 武发杀殷，何所悒？ 载尸集战，何所急？ When Jifa ended the Shang’s rule, Why did th’ fire of hate in him leap? Why did he make haste to launch th’ war, When he was still in mourning deep? 伯林雉经，维其何故？ 何感天抑墬，夫谁畏惧？ Wherefore did King Zhou hang himself In th’ woods near the Tower of Deer ? He felt the skies were falling down: What had struck into his spine th’ fear? 皇天集命，惟何戒之？ 受礼天下，又使至代之？ What commandments had Providence Made with th’ Yins when He did ordain? Why should th’ Ji’s have substituted For Zi Shou in th’ course of his reign? Canto VI 初汤臣挚，后兹承辅。 何卒官汤，尊食宗绪？ Yi Zhi started from a low rank, But Tang’s Premier he became. With th’ royal ancestors how could He share sacrificial rites th’ same? 勋阖梦生，少离散亡。 何壮武历，能流厥严？ Helu, grandson of Shoumeng th’ King, Had been thwarted and pushed aside. How could he grow up brave and wise And become renowned far and wide? 彭铿斟雉，帝何飨？ 受寿永多，夫何久长？ Why did th’ throne enjoy th’ pheasant soup So much, which Peng Keng did prepare? Peng Keng lived for eight hundred years: Why was he blessed with such great care? 中央共牧，后何怒？ 蜂蛾微命，力何固？ Why did King Li raged at it That regents the dukes had became? Why do small creatures like the bees And ants to life make a strong claim? 惊女采薇，鹿何佑？ 北至回水，萃何喜？ Yi and Qi were mocked by a maid. How could the doe came to their aid? What made them move north to Huishui, Where they happily gladly stayed? 兄有噬犬，弟何欲？ 易之以百两，卒无禄？ What make Zhen lust for Duke Jing’s hound? He would get it at any cost. In the end his rights was deprived, And his high-ranking post was lost. Canto VII 薄暮雷电，归何忧？ 厥严不奉，帝何求？ Oh, what’s the hurry to return When at dusk thunders me besiege? Oh, what can God expect of Chu, Now it hardly holds its prestige? 伏匿穴处，爰何云？ 荆勋作师，夫何长？ Oh, Banished deep in the mountains What say have I ’bout state affairs? How can Chu last long since only For grandeur through warfare th’ king cares? 悟过改更，我又何言？ 吴光争国，久余是胜。 Why need I to warn and advise If the king could ever repent? Th’ King of Wu has got th’ upper hand Of Chu: What disgrace to lament! 何环穿自闾社丘陵, 爰出子文？ 吾告堵敖以不长! 何试上自予， 忠名弥彰？ Be found may th’ Ziwen of today, Be he in th’ wilderness or near! May Xiong Yun, who did justly slay Th’ fatuous, in Chu reappear, Otherwise Chu’s doomsday is near! IV.九章 The Nine Songs 1. 惜诵 Plaintive Lines Canto I 惜诵以致愍兮，发愤以抒情。 所非忠而言之兮，指苍天以为正。 The plea having proved to cause my despair, I hum an elegy to vent my pain. ’Tis nothing but truth, I solemnly swear To Heaven, that my protest does contain. 令五帝使折中兮，戒六神与向服。 俾山川以备御兮，命咎繇使听直。 Let the Five Emperors their judgment make And the facts th’ Six Deities verify. Let the floor the mountains and rivers take, And let Gaoyao, to hear the case, descend from th’ sky! Canto II 竭忠诚而事君兮，反离群而赘肬。 忘儇媚以背众兮，待明君其知之。 To my services I did myself bend, Just to be isolated as a foe. Short of claptrap, men ’round I did offend, But I hoped my loyalty th’ king could know. 言与行其可迹兮，情与貌其不变。 故相臣莫若君兮，所以证之不远。 Both my word and deed are self-evident, And my looks and inner world stay their own. I thought none could make a better assessment Than th’ king, for evidence is ’round the throne. 吾谊先君而后身兮，羌众人之所仇也。 专惟君而无他兮，又众兆之所雠也。 I’d held that ’fore himself one should put th’ king, Only by men around to be attacked; ’Tis to utter devotion that I cling, Only to invite hate and stay unbacked. 壹心而不豫兮，羌无可保也。 疾亲君而无他兮，有招祸之道也。 Now I am unable to myself fend, Though loyal I had managed to remain; To selfless service I used to bend, Which as a result had become my bane. 思君其莫我忠兮，忽忘身之贱贫。 事君而不贰兮，迷不知宠之门。 As the most devoted man next to none, I had no regard for personal fate. Wholeheartedly I had served the throne, Ignoring where to favor lies the gate. 患何罪以遇罚兮，亦非余之所志也。 行不群以巅越兮，又众兆之所咍也。 On punishment for faith what can shed light? That’s an issue I can never make clear. Why should my nonconformity invite Setbacks, at which men around laugh and jeer? 纷逢尤以离谤兮，謇不可释也。 情沉抑而不达兮，又蔽而莫之白也。 I find it hard to myself extricate In face of piles of frustrations and smears. My pent-up emotion where can I state? Th’ king misled, my words would fall on deaf ears. 心郁邑余侘傺兮，又莫察余之中情。 固烦言不可结而诒兮，愿陈志而无路。 I am driven to despair and distress; Moreo’er, nobody understands my plight. My ideas no discourses can express; And what’s th’ conveyance if put in black and white? 退静默而莫余知兮，进号呼又莫吾闻。 申侘傺之烦惑兮，中闷瞀之忳忳。 Be tacit, and I’ ll not be understood; Appeal loud, and none will care ’about my thought. Gloom adding to the pain of perplexed mood, In a dilemma I find myself caught. Canto III 昔余梦登天兮，魂中道而无杭。 吾使厉神占之兮，曰有志极而无旁。 I had dreamed I was ascending the sky, And that in the course of climbing I strayed. The god, asked to explain it, did reply: “You have lofty ideals and yet no aid.” 终危独以离异兮，曰君可思而不可恃。 故众口其铄金兮，初若是而逢殆。 “Does it isolation and exile bode?” “Kings are to be missed but not on relied, And slanders conspire to metals erode. ’Cause of that many devotees have died.” 惩于羹者而吹齑兮，何不变此志也？ 欲释阶而登天兮，犹有曩之态也。 “One scalded by broth frets ’fore a cold pie, And yet you do not seem to change your way: Without a ladder you try to climb th’ sky, And with the same attitude you still stay.” 众骇遽以离心兮，又何以为此伴也？ 同极而异路兮，又何以为此援也？ “Out of fear your trust those around betray, However can they as your company stand? Though from th’ same point, they take a different way. Can they, in case of need, give you a hand?” 晋申生之孝子兮，父信谗而不好。 行婞直而不豫兮，鲧功用而不就。 “Shensheng of Jin was filial indeed; When smeared, estranged from his sire he became. Gune, upright, to pliancy paid no heed, And as a result th’ floods he failed to tame.” 吾闻作忠以造怨兮，忽谓之过言。 九折臂而成医兮，吾至今而知其信然。 I had regarded as a big mistake Th’ statement that loyalty results in spite. A doctor lingering sickness does make: Now on the truth my frustrations shed light. 矰弋机而在上兮，罻罗张而在下。 设张辟以娱君兮，愿侧身而无所。 Overhead the bows are readily bent, Underneath nets and snares they slyly lay. On claptrap for th’ king they being intent, To render service I can find no way. 欲儃徊以干傺兮，恐重患而离尤。 欲高飞而远集兮，君罔谓汝何之？ To linger around and for chances wait? But there is the risk of incurring blight. To go high and far away from the state? Alas, th’ bad name of treason is a fright. 欲横奔而失路兮，盖志坚而不忍。 背膺牉以交痛兮，心郁结而纡轸。 Moreover, my spirit will not permit Me to render my flesh a looser rein. Thus distress and grievance, which seem to split My mindset, have filled my heart with pain. Canto IV 擣木兰以矫蕙兮，糳申椒以为粮。 播江离与滋菊兮，愿春日以为糗芳。 Magnolia and orchid bloom I knead, And pestle ash for future livelihood; The mums and angelica on the mead I grow for making next spring’s solid food. 恐情质之不信兮，故重著以自明。 矫兹媚以私处兮，愿曾思而远身。 Oh, in my sentiments th’ king might not trust, That is why I once more my mind bare lay. Reason tells me seclusion’s what I lust For, and thus with th’ virtues I’ll go away! 2. 涉江 The Voyage Canto I 余幼好此奇服兮， 年既老而不衰。 带长铗之陆离兮， 冠切云之崔嵬， 被明月兮佩宝璐。 世混浊而莫余知兮， 吾方高驰而不顾。 For this unique attire my taste has been strong, Which has not the least waned though I am now old. The sheath of th’ sword I wear is motley and long; My Cloud-Touching Hat bears a grandeur untold. For a perfect entity my Moon Pearls glow, And jadeite pendants are pleasant to the eye. The confounded world, howe’er, does not me know, And hence without regret I’ll go far and high! 驾青虬兮骖白螭，吾与重华游兮瑶之圃。 登昆仑兮食玉英，与天地兮同寿， 与日月兮同光。哀南夷之莫吾知兮， 旦余将济乎江湘！ Might th’ dragons green and white send me to Kunlun, where I and Chonghua could tour the Jade Garden. We’d dine On th’ ruby bloom, and eternity we would share With Earth and Heaven,when with the stars we would shine! Oh, that I’m not understood in the south I mourn, And thus the Yangtze and th’ Xiang I’m to cross at dawn. Canto II 乘鄂渚而反顾兮，欸秋冬之绪风。 步余马兮山皋，邸余车兮方林。 On Ezhu I look back to my exile place, And sigh o’er receding winter’s biting blast. At th’ foot of th’ hill the steeds take a sluggish pace, My carriage does, howe’er, reach Fanglin at last. 乘舲船余上沅兮，齐吴榜以击汰。 船容与而不进兮，淹回水而疑滞。 Against the surges of th’ Yuan I sail upstream, The oars applied in chorus, which do the waves cleave. But reluctant to advance my boat does seem, And ’midst th’ whirls little headway does it achieve. 朝发枉渚兮，夕宿辰阳。 苟余心其端直兮，虽僻远之何伤。 At dawn my embarkation Wangzhu does see, In th’ eve I reach Chenyang, where I spend the night. When integrity’s maintained, nothing to me Matters — even banishment in such a plight! Canto III 入溆浦余儃徊兮，迷不知吾所如。 深林杳以冥冥兮，乃猿狖之所居。 I enter Xupu, where I wander ’bout, Bewildered as to where I ought to go. The deep and gloomy woods can be made out To be the homes of apes, as th’ signs do show. 山峻高以蔽日兮，下幽晦以多雨。 霰雪纷其无垠兮，云霏霏而承宇。 The sun’s hidden by many a high peak, And tousled clouds are oft-times hanging low. The weather is rainy, the place is bleak, And at times th’ world’s permeated with snow. 哀吾生之无乐兮，幽独处乎山中。 吾不能变心而从俗兮，固将愁苦而终穷。 Oh, what a life denied of happiness！ In th’ deep mounts loneliness I’m now to know. Unwilling to conform to worldliness, I’m bound to suffer lifelong plight and woe. Canto IV 接舆髡首兮， 桑扈臝行。 忠不必用兮， 贤不必以。 伍子逢殃兮， 比干菹醢。 与前世而皆然兮， 吾又何怨乎今之人！ 余将董道而不豫兮， 固将重昏而终身！ Jieyu had his head shaved, and sure Enough Sanghu wandered ’bout nakedly. Trust is what loyalty may not ensure; For promotion wisdom’s no warranty! Wu Yun shed his blood, and Bigan was slain: Such cases are not rare in history. About today’s pretty state of affairs Is there still the need for me to complain? I shall uphold the truth resolutely, Though future heralds endless pain and cares! 乱曰： 鸾鸟凤皇，日以远兮。 燕雀乌鹊，巢堂坛兮。 露申辛夷，死林薄兮。 腥臊并御，芳不得薄兮。 阴阳易位，时不当兮。 怀信佗傺，忽乎吾将行兮！ Epilogue: The Phoenixes fly farther day by day, While Crows and Sparrows in th’ court and hall stay. Th’ Azalea and Magnolia die Where Weeds and Thorny plants grow thick and high. When what’s smelly is regarded as dear, How can th’ fragrant be allowed to come near? Th’ positive and th’ negative are reversed, And absurd are the times, which should be cursed! When faith brings distress, what have I to say? Th’ soonest I shall go, and go far away! 3.哀郢 Sorrow over the Fall of Ying Canto I 皇天之不纯命兮，何百姓之震愆？ 民离散而相失兮，方仲春而东迁。 Oh, how wayward is Providence on high, Whose wrath does the common folk terrify! Homes break up, and th’ wives with their husbands part. Spring sees me rush east with an aching heart! 去故乡而就远兮，遵江夏以流亡。 出国门而轸怀兮，甲之鼂吾以行。 Leaving my hometown as a refugee, Along the Long and th’ Xia Rivers I flee. In th’ early morn of a Jia day I speed Out of th’ city-gate, when my heart does bleed! 发郢都而去闾兮，怊荒忽其焉极？ 楫齐扬以容与兮，哀见君而不再得。 The capital Ying I am now to leave, Not knowing how long I shall tramp and grieve. Th’ reluctant oars slowly rippling the stream, I sigh that audience has turned a dream. 望长楸而太息兮，涕淫淫其若霰。 过夏首而西浮兮，顾龙门而不见。 At th’ sight of Catalpas I sough for pain, Homesick tears falling and dripping like rain. I pass by Xiashou, which seems to drift west; Th’ Dragon-Gate out of sight, I feel distressed. 心婵媛而伤怀兮，眇不知其所蹠。 顺风波以从流兮，焉洋洋而为客。 Lingering at heart being woe and pain, I know not where a foothold I could gain. What can I do but follow th’ waves and breeze And pose myself as a tourist at ease? 凌阳侯之汜滥兮，忽翱翔之焉薄。 心絓结而不解兮，思蹇产而不释。 ’Gainst th’ rampant God of Waves making its way, My boat is sailing like a wild-goose stray. My sorrows and cares are like knots at heart, And worries and grievance hard to impart. 将运舟而下浮兮，上洞庭而下江。 去终古之所居兮，今逍遥而来东。 Away from th’ Yangzi my boat is to drift, And beyond th’ Dongting Lake its way will shift. Th’ departure from my home of old I mourn, And I float eastward aimless and forlorn! 羌灵魂之欲归兮，何须臾而忘反。 背夏浦而西思兮，哀故都之日远。 Even in dreams I am keen to return; There’s not a single wink but that I yearn. Xiapu left behind, in th’ west th’ soul does stay; ’Tis sad to see homeland fading away! 登大坟以远望兮，聊以舒吾忧心。 哀州土之平乐兮，悲江介之遗风。 A chance to mount the bank and gaze I seize, Hoping my sadness-laden heart to ease. Th’ loss of th’ bygone peace is my lasting sore, And too high a cost is the style of yore! 当陵阳之焉至兮，淼南渡之焉如？ 曾不知夏之为丘兮，孰两东门之可芜？ At Lingyang I can find nowhere to stay; Ere th’ waves I know not how to southward go. Th’ city gates ruined form a great dismay, And th’ fall of th’ state remains a heavy blow. Canto II 心不怡之长久兮，忧与愁其相接。 惟郢路之辽远兮，江与夏之不可涉。 I have been haunted by sadness for long， For mishaps befall in many a throng. The capital Ying in th’ distance is lost, And now th’ Long and th’ Xia Rivers can’t be crossed. 忽若去不信兮，至今九年而不复。 惨郁郁而不通兮，蹇侘傺而含慼。 Time flies, and it flies incredibly fast! E’er since my departure nine years have passed. No word so far, I’m driven to despair, And my heart is laden with woe and care. 外承欢之汋约兮，谌荏弱而难持。 忠湛湛而愿进兮，妒被离而鄣之。 Those who show servile love to court th’ king’s favor, Weak in soul, are like stale pies wanting flavor; While to play their role the honest find it hard, For with jealousy th’ way has been strongly barred. 尧舜之抗行兮，瞭杳杳而薄天。 众谗人之嫉妒兮，被以不慈之伪名。 Yao(尧) and Shun had displayed qualities fine, Their virtues, like the sun and th’ moon, do shine. The envious, though, gave them the bad name: For “unkindness” they laid on them the blame. 憎愠惀之修美兮，好夫人之慷慨。 众踥蹀而日进兮，美超远而逾迈。 Honesty for th’ virtuous is oft th’ bane, While claptrap paves th’ way to ignoble gain. Thus the toad-eaters prosper day by day, And th’ good get farther and farther away！ 乱曰: 曼余目以流观兮，冀一反之何时？ 鸟飞反故乡兮，狐死必首丘。 信非吾罪而弃逐兮，何日夜而忘之？ Finale: The fox, when dying, faces his own lair; Where’er they fly, the birds return to th’ nests; With great expectancy I gaze and glare: Hope is slim, but on does time wear! Sent into exile for trumped-up crime, I justly long for home from time to time! 5.抽思 Intonation of My Heart and Mind 心郁郁之忧思兮，独永叹乎增伤。 思蹇产之不释兮，曼遭夜之方长。 My pent-up thoughts and sentiments, touched up When I am alone, just adds to my grief. Long and weary is the night, during which My sorrow-stricken heart finds no relief. 悲秋风之动容兮，何回极之浮浮。 数惟荪之多怒兮，伤余心之忧忧。 ’Tis saddening to see, in th’ autumn wind, Th’ trees change their hues and th’ Dipper seems to shake. The thought that the Sweet-Flag is inclined To rage more oft than not makes my heart ache. 愿摇起而横奔兮，览民尤以自镇。 结微情以陈词兮，矫以遗夫美人。 I wish to get away in spite of all, But from doing so th’ folk’s woes me prevent. I put my sentiments in verse, which I Now hold high and to the Beauty present. “昔君与我诚言兮，曰黄昏以为期。 羌中道而回畔兮，反既有此他志。” “You have already made the tryst with me, Saying that we are to meet in the eve. Yet you break your word and with another The conjugal tie you begin to weave.” 憍吾以其美好兮，览余以其修姱。 与余言而不信兮，盖为余而造怒。 “You flaunt and brag about his persona, And regard his nature as nice and sage. You’re not only perfidious to me, But you also vent upon me your rage.” 愿承閒而自察兮，心震悼而不敢。 悲夷犹而冀进兮，心怛伤之憺憺。 “At your convenience I long to lay Bare my mind, but I balk — quaking with awe. My wish for a role in conflict with doubt, Eagerness and sorrow at my heart gnaw.” 兹历情以陈辞兮，荪详聋而不闻。 固切人之不媚兮，众果以我为患。 “Your majesty would oft turn a deaf ear, Though the circumstances I did narrate. To claptrap honesty’s a mortal foe, Which explains why I’ve been a common hate. ” 初吾所陈之耿著兮，岂至今其庸亡？ 何独乐斯之謇謇兮？愿荪美之可光。 “Should you have forgotten all I’ve conveyed To you before, which is so crystal clear? Why should I have assumed a manner frank And blunt? It is for th’ sake of your career.” 望三王以为像兮，指彭咸以为仪。 夫何极而不至兮，故远闻而难亏。 If only I took Peng Xian as th’ model, And th’ path of Three Kings and Five Crowns you’d tread! Whatever goal then couldn’t we attain? And your indelible renown would spread! 善不由外来兮，名不可以虚兮。 孰无施而有报兮，孰不实而有获？ Fine qualities come not from the outside; His good repute one is to win and keep. With no deeds where comes th’ reward? And without sowing howe’er can we expect to reap? 少歌曰: 与美人抽思兮，并日夜而无正。 憍吾以其美好兮，敖朕辞而不听。 Interlude: My sentiments I express to my Belle; I plead day and night but there’s none to judge. Her seducer’s charm she dwells on and on, But to my words e’en an ear she does grudge. 倡曰: 有鸟自南兮，来集汉北。 好姱佳丽兮，牉独处此异域。 惸茕独而不群兮，又无良媒在其侧。 道卓远而日忘兮，愿自申而不得。 望北山而流涕兮，临流水而太息。 望孟夏之短夜兮，何晦明之若岁？ Chant: A bird flies from the southern clime and perch On the tree in the Han Rill’s northern reach. How lovely he is! Though in a strange land He bravely flings himself into the breach. He is alienated; furthermore His message he can find none to convey. Oh, remote and obscure is his homestead! And to speak his mind he can find no way. The sight of th’ Northern Hill does make him mourn, And th’ stream wearing on sets him into tears. Early summer nights, although short in fact, Should seem to be as weary as long years! 惟郢路之辽远兮，魂一夕而九逝。 曾不知路之曲直兮，南指月与列星。 愿径逝而未得兮，魂识路之营营。 何灵魂之信直兮，人之心不与吾心同！ 理弱而媒不通兮，尚不知余之从容。 The capital Ying is far, far away, Where I dream to commute nine times a night: Though twists and turns make one easily stray, Judging by th’ stars I take a southward flight. Trying to seek a short-cut there in vain, I’m busy making out where I should go. Alas, as I am so honest and straight, Whoever would share my joy and pain? My unswerving loyalty who cares to know? ’Tween the throne and me none would mediate! 乱曰: 长濑湍流，溯江潭兮。 狂顾南行，聊以娱心兮。 轸石崴嵬，蹇吾愿兮。 超回志度，行隐进兮。 低徊夷犹，宿北姑兮。 Epilogue: Against the rapids wild I make Upstream th’ Han Rill from th’ Dongting Lake. For a southward turn I again And again craze to ease my pain. Oh, th’ rugged rocks blocking my way, I’m thwarted and struck with dismay! Stranded in a predicament, I become sad and hesitant. When I stoop and size up the case, For a rest to Beigu I pace. 烦冤瞀容，实沛徂兮。 愁叹苦神，灵遥思兮。 路远处幽，又无行媒兮。 道思兮颂，聊以自救兮。 忧心不遂，斯言谁告兮。 I have been smeared, attacked and wronged; With frustrations my life is thronged! I lament, I mourn, and I sigh; My soul to my homeland does fly! No medium can I secure, For th’ place is remote and obscure. Thus a song of sadness I write To myself amuse and delight. Oh, my grief what can alleviate? And to whom can I my woe relate? 6.怀沙 Protestation 滔滔孟夏兮，草木莽莽。 伤怀永哀兮，汩徂南土。 ’Tis in an early summer day That th’ trees and grasses are so lush. Humming th’ tragic theme of dismay Towards the southern land I rush. 眴兮杳杳，孔静幽默。 郁结纡轸兮，离慜而长鞠。 I gawk, I gaze, but all is gloom, And around me quietude reigns. In my mind distress does large loom, For I have suffered long from pains. 抚情效志兮，冤屈而自抑。 刓方以为圜兮，常度未替。 With all th’ setbacks in my career， I have withstood being estranged. Though th’cube is turned into a sphere, Th’ contents proudly remain unchanged. 易初本迪兮，君子所鄙。 章画志墨兮，前图未改。 To change beliefs for fears or gains It is what gentlemen despised, While he who his standards sustains Is held in high esteem and prized. 内厚质正兮，大人所盛。 巧倕不斲兮，孰察其拨正。 He who is straight and kind inside Wins th’ love of men morally sound. If Chui had never his axe plied, How could his feats become renowned? 玄文处幽兮，矇瞍谓之不章； 离娄微睇兮，瞽以为无明。 Ugly the poor-sighted may deem Th’ cloth left in th’ dark, though well-designed, The sharp-eyed Lilou’s squint may seem To the ignorant an act blind! 变白以为黑兮，倒上以为下。 凤皇在笯兮，鸡鹜翔舞。 Virtue is regarded as vice, While darkness is construed as light. The chicks and ducks covet the skies, But th’ phoenix, caged, suffers from plight. 同糅玉石兮，一概而相量。 夫惟党人之鄙固兮，羌不知余之所臧。 The rock has been mingled with jade And treated as of the same brand. The Faction, contemptibly-made, Can ne’er my virtues understand! 任重载盛兮，陷滞而不济。 怀瑾握瑜兮，穷不知所示。 My mission great can hardly creep, Just as a cart bogged in th’ earth. Though jade and precious stones I keep, Who would care to value their worth? 邑犬之群吠兮，吠所怪也。 非俊疑杰兮，固庸态也。 The country hounds will bark and snap At one whose status they can’t tell. It is like the vulgar to slap And smear talented personnel. 文质疏内兮，众不知余之异采。 材朴委积兮，莫知余之所有。 In talent and graces I shine, But ignorant the world seems. When the decayed is piled on th’ fine, Who knows there’s timber good for beams? 重仁袭义兮，谨厚以为丰。 重华不可遌兮，孰知余之从容！ To enrich myself I rise at five, And with refinement I do glow. If only Chonghua could revive， Otherwise my worth who could know!? 古固有不并兮，岂知其何故也？ 汤禹久远兮，邈而不可慕也？ Great minds hardly meet crowns of note, From which fact much we can induce; Tang’s and Yu’s reigns were so remote That yearning is of little use！ 惩违改忿兮，抑心而自强。 离慜而不迁兮，愿志之有像。 I curb my ire and check my hate So as to try my starch and spine. Though thwarted I won’t hesitate, And I’ll follow th’ examples fine! 进路北次兮，日昧昧其将暮。 舒忧娱哀兮，限之以大故。 To th’ north I go on to progress; A dim light th’ setting sun does cast. Cares and pains I calmly repress, And I’ll plunge ahead till the last! 乱曰: 浩浩沅湘，分流汩兮。 修路幽蔽，道远忽兮。 Finale: The Yuan and th’ Xiang Rills ahead flow, Telling their tales of cares and woe. Obscure is th’ way rugged and long, On which uncertainties do throng. 怀质抱情，独无匹兮。 伯乐既没，骥焉程兮。 A devotee with essence high, I find none at me casts an eye. With th’ judge Bole passing away, Who would let steeds gallop and neigh? 民生禀命，各有所错兮。 定心广志，余何所畏惧兮？ Man is born to take his own way, And his role he’s fated to play. My aim is high; my mind is set. Nothing to me can be a threat! 曾伤爰哀，永叹喟兮。 世浑浊莫吾知，人心不可谓兮。 Endless sorrow, endless concerns, With indignation my heart burns. The dark world keeping me apart, To whom can I lay bare my heart? 知死不可让，愿勿爱兮。 明告君子，吾将以为类兮。 Embrace death when it should befall Rather than survive moral’s call! My pledge I solemnly declare: The sages’ outlook I’ll share! 7. 思美人 Yearning towards the Beauty Canto I 思美人兮，揽涕而竚眙。 媒绝路阻兮，言不可结而诒。 For you, soul of my heart, I bear a craze! Wiping my tears I peer afar and gaze. Cut off and having none to on depend, My message I know not how to out send. 蹇蹇之烦冤兮，陷滞而不发。 申旦以舒中情兮，志沉菀而莫达。 I have been wronged for words which jar on th’ ear; Thus I’m like a mire-stuck cart that can’t gear. I wish day by day to express my mind, But what chance is there for which I’ve pined? 愿寄言于浮云兮，遇丰隆而不将。 因归鸟而致辞兮，羌迅高而难当。 高辛之灵盛兮，遭玄鸟而致诒。 I’d ask th’ clouds to take what I manifest, Yet th’ lord Fenglong refuses my request. I hope that the swan might convey my speech, But swift and high it is out of my reach. I envy King Ku, to whom luck was lent: A magic egg to Jiandi th’ Black Bird sent. Canto II 欲变节以从俗兮，愧易初而屈志。 独历年而离愍兮，羌凭心犹未化。 宁隐闵而寿考兮，何变易之可为！ For sure conformity would make me fret; I’ll cling to my purport without regret! Year by year woes and frustrations abound; Whene’er can my indignation be drowned? Till th’ end of life the sufferings I’d bear Rather than away from th’ chosen course tear. 知前辙之不遂兮，未改此度。 车既覆而马颠兮，蹇独怀此异路。 Even if blocked is the road afore, I would never alter my course of yore; E’en if th’ cart did turn o’er and th’ steeds did fall, I’ll pursue the unique way after all. 勒骐骥而更驾兮，造父为我操之， 迁逡次而勿驱兮，聊假日以须时。 指嶓冢之西隈兮，与纁黄以为期。 Th’ steeds I’d harness again and th’ cart redress; I’d seek the help of Zaofu, th’ Driver Great. Then at a secure pace I would progress, And for my chance, though slim indeed, I’d wait. To th’ west of Mount Bozhong my way I’d press, And I’d keep th’ tryst at dusk at any rate! Canto III 开春发岁兮，白日出之悠悠。 吾将荡志而愉乐兮，遵江夏以娱忧。 Th’ morning sun rises at an easy pace; And with spring coming, a new year does start! Along the Long River and the Xia Rill I roam and rove with a lightened heart. 揽大薄之芳茝兮，搴长洲之宿莽。 惜吾不及古人兮，吾谁与玩此芳草？ I pluck in th’ woods Angelica flowers And from the sandbar Orpheus I prepare. Oh, as th’ sages of old are gone, th’ flowers’ Beauty intrinsic with whom can I share? 解萹薄与杂菜兮，备以为交佩。 佩缤纷以缭转兮，遂萎绝而离异。 Can th’ weeds and grass take the flowers’ place As ribbons on the left and on the right? Wherefore should the fragrant be cast away Ere their leaves wither and their petals blight? 吾且儃徊以娱忧兮，观南人之变态。 窃快在中心兮，扬厥凭而不竢。 To ease my pain I rove about, watching Th’ southerners’ exotic way of life. My bosom is filled with joy and delight, For I’ve transcended sorrows and the strife. 芳与泽其杂糅兮，羌芳华自中出。 纷郁郁其远蒸兮，满内而外扬。 情与质信可保兮，羌居蔽而闻章。 Oh, if fine qualities a plant attains, E’en if mingled with the foul and the rude, A way through its pores its fragrance will gain. Just as from th’ core th’ sweet scent will obtrude, So man, if his fine essence does remain Unchanged, is bound to his good name exude. Canto IV 令薜荔以为理兮，惮举趾而缘木。 因芙蓉而为媒兮，惮褰裳而濡足。 Th’ climbing fig may well make the plead for me, Yet I am unwilling to climb the tree; The Lotus may act as my go-between, But I fear the wade would smear my dress clean. 登高吾不说兮，入下吾不能。 固朕形之不服兮，然容与而狐疑。 To seek ties with those higher socially, Or else to sink into obscenity? ’Tis after neither I in nature lust; My noble mind th’ above options disgust. 广遂前画兮，未改此度也。 命则处幽吾将罢兮，愿及白日之未暮也。 独茕茕而南行兮，思彭咸之故也。 To effectuate what I have maintained, I have struggled and fought with starch and spine. Though setbacks and frustrations have me pained; My ideal is like th’ sun which does still shine. Forlorn, I go southward, for I resolve To follow Peng Xian, an example fine! 8.惜往日 Memory of the Bygone Days Canto I 惜往日之曾信兮，受命诏以昭时。 奉先功以照下兮，明法度之嫌疑。 I cherish th’ memory of th’ bygone day， When I was trusted to purge th’ state of sin. The law clarified and brought to full play Th’ heritage, profit did the folk therein. 国富强而法立兮，属贞臣而日竢。 秘密事之载心兮，虽过失犹弗治。 The statutes set up, the state achieved gains; Th’ king entrusted tasks to th’ loyal with glee. To handle vitals of th’ state I took pains; And allowed e’en to err, I felt care-free. 心纯庞而不泄兮，遭谗人而嫉之。 君含怒而待臣兮，不清澈其然否。 Though honest, secrets I ne’er gave away, Hence the attack of slanderers I drew. Thus blame on me the throne began to lay， Regardless of whether the charge was true. 蔽晦君之聪明兮，虚惑误又以欺。 弗参验以考实兮，远迁臣而弗思。 信谗谀之浑浊兮，盛气志而过之。 Blotting the king’s ears and blinding th’ king’s eyes, They had misled the king with cheats and lies. The smears he believed to such an extent That his wrath and spite on me he did vent. Without evidence to justify th’ case The king banished me to a remote place. Canto II 何贞臣之无罪兮，被离谤而见尤。 惭光景之诚信兮，身幽隐而备之。 Oh, whereat should the innocent and bright Suffer from slanders and inflicted pain? Devoted as shadows are to the light Am I still , though devotion is my bane. 临沅湘之玄渊兮，遂自忍而沉流。 卒没身而绝名兮，惜壅君之不昭。 In the pool of th’ Yuan or the Xiang I’d drown Myself for the above-mentioned cause. What if th’ limpid takes my life and renown? But th’ thought of th’ benighted leaves a remorse. 君无度而弗察兮，使芳草为薮幽。 焉舒情而抽信兮，恬死亡而不聊。 独障壅而弊隐兮，使贞臣为无由。 Th’ flowers victims of floods the throne has made: Neither by law nor sense does he abide. As my mind finds nowhere to be bare laid, I would rather die than swim with the tide. The king blindfolded, th’ road already blocked, How could the talent of th’ loyal be plied? Canto III 闻百里之为虏兮，伊尹烹于庖厨。 吕望屠于朝歌兮，宁戚歌而饭牛。 不逢汤武与桓缪兮，世孰云而知之。 Baili, a prisoner, worthless had seemed; Yi Yin had worked as a chef at his best. A lifelong butcher Lu Wang had been deemed, And Nin Qi had been peddler much distressed. But for th’ insight of King Tang, King Wu, Duke Huan and Duke Mu, those minds would’ve been repressed! 吴信谗而弗味兮，子胥死而后忧。 介子忠而立枯兮，文君寤而追求。 封介山而为之禁兮，报大德之优游。 思久故之亲身兮，因缟素而哭之。 Truth and falsehood not having been discerned, Th’ King of Wu killed Zixu and lost the reign. Not until th’ snubbed Jiezi fled and got burned, Did th’ Duke of Jin regret and feel the pain. He named the mount after him as a seal Of his contributions and loyalty. Thinking of bygone days when they shared weal And woe, in white he mourned painfully. 或忠信而死节兮，或訑谩而不疑。 弗省察而按实兮，听谗人之虚辞。 芳与泽其杂糅兮，孰申旦而别之？ 何芳草之早殀兮，微霜降而下戒。 谅聪不明而蔽壅兮，使谗谀而日得。 The devoted for integrity die, The falsifier, though, win royal trust. Without making clear the wherefore and why, The throne just caters to the plotters’ lust. When the hideous mingle with the fair, It is hard to discern them day and night. Wherefore do the fragrant wither and die? When frost descends they lack intensive care. He who lets idle his ears and his sight Is poison to th’ honest and meat to th’ sly. Canto IV 自前世之嫉贤兮，谓蕙若其不可佩。 妒佳冶之芬芳兮，嫫母姣而自好。 虽有西施之美容兮，谗妒入以自代。 Oh, jealousy has been an age-old theme, And worthless th’ orchids people tend to deem. At their own ugly forms they are elate, Whereas the charm of th’ beautiful they hate. Even if one’s gifted with Xishi’s grace, By hook or crook they will usurp her place. 愿陈情以白行兮，得罪过之不意。 情冤见之日明兮，如列宿之错置。 I’d rid myself of th’ groundless charge and smear Inflicted upon me out of the blue. The issue, like the stars in th’ sky, is clear, And ’tis easy to tell the sham from th’ true. 乘骐骥而驰骋兮，无辔衔而自载； 乘泛泭以下流兮，无舟楫而自备。 背法度而心治兮，辟与此其无异。 So long as you have no saddle and reins, How can you manage to ride on a steed? So long as you have no rudder and oars, How can you hope to set sail in the mains? ’Tis similarly perilous indeed To forsake law and let your whims sway th’ course. 宁溘死而流亡兮，恐祸殃之有再。 不毕辞而赴渊兮，惜壅君之不识。 To see injustice repeat I can’t bear, And thus I would sooner my own life take. Those lines composed, into th’ rapids I’ll tear, With th’ sorrow o’er th’ throne, who will ne’er awake! 9.橘颂 Ode to the Orange Tree 后皇嘉树，橘徕服兮。 受命不迁，生南国兮。 深固难徙，更壹志兮。 绿叶素荣，纷其可喜兮。 Oh, under th’ sky and on the earth Your solemn existence you claim. You live in th’ south with joy and mirth, Adhering firmly to your aim. Deep-rooted and distraction-tight, You defy attempts to you sway. What with leaves green and flowers white, You’re gloriously lush and gay. 曾枝剡棘，圆果抟兮。 青黄杂糅，文章烂兮。 精色内白，类任道兮。 纷緼宜修，姱而不丑兮。 Oh, dotted with many a prick, What golden fruit your branches bear! Having as a foil the leaves thick, They bear a splendid charm to share. The outside red and th’ inside white, Justice your peels seem to embrace. Luxuriant and trimmed right, You brim with unusual grace. 嗟尔幼志，有以异兮。 独立不迁，岂不可喜兮？ 深固难徙，廓其无求兮。 苏世独立，横而不流兮。 Hail orange! Though young you aim high. Distinctive are your features fine. You’re firm and on yourself rely, Showing such qualities as shine! Self-reliant and decay-proof, You have a broad mind from vice free. Sane and from worldly thoughts aloof, You never drift with th’ tide in th’ sea. 闭心自慎，终不失过兮。 秉德无私，参天地兮。 Prudently you yourself restrain, And to avoid mistakes you try. Detached from private loss or gain, You’re as noble as Earth and Sky. 愿岁并谢，与长友兮。 淑离不淫，梗其有理兮。 年岁虽少，可师长兮。行比伯夷，置以为像兮。 I wish to be your life-long friend, And spend with you each night and day. Unwavering despite the trend, You stand erect in fine array. Oh, though you are tender in age, A worthy tutor you can be. As virtuous as Boyi th’ sage, You’re a fine example for me! 9. 悲回风 The Devastating Whirlwind Canto I 悲回风之摇蕙兮，心冤结而内伤。 物有微而陨性兮，声有隐而先倡。 Lo, th’ whirlwind is shaking the orchids fair, At the sight of which I can not but sigh. To harm the solid the shapeless should dare, And th’ inaudible should sound loud and high! 夫何彭咸之造思兮，暨志介而不忘！ 万变其情岂可盖兮，孰虚伪之可长？ How I admire Peng Xian, the ancient sage, For his will that’s unwavering and strong. Ideals lofty survive many an age, While hypocrites will not deceive for long! 鸟兽鸣以号群兮，草苴比而不芳。 鱼葺鳞以自别兮，蛟龙隐其文章。 The birds and beasts for their kinds coo and neigh, But midst the weeds the fragrant flowers blight. To make a show the fish their scales display, While the dragon conceals its colors bright. 故荼荠不同亩兮，兰茝幽而独芳。 惟佳人之永都兮，更统世以自贶。 Greens of diverse tastes do not interlace, Th’ orchid, left alone, is for th’ gods a sight. Eternal will remain the noble’s grace; My unique qualities give me delight. 眇远志之所及兮，怜浮云之相羊。 介眇志之所惑兮，窃赋诗之所明。 My lofty ambition soars to the sky, Defying th’ floating clouds in terms of height. However, at me the dwarfs look awry, Thus I hope on th’ truth my poem may shed light. Canto II 惟佳人之独怀兮，折若椒以自处。 曾歔欷之嗟嗟兮，独隐伏而思虑。 Why should I have the sagely gifts in vain, Which are like th’ Ash and th’ Ginger left alone? Oft-times I grieve and sigh over the pain, When I am sunk in deep thoughts on my own. 涕泣交而凄凄兮，思不眠以至曙。 终长夜之曼曼兮，掩此哀而不去。 Sorrow-stricken I shed tear upon tear And meditate many a sleepless night. Every night appears to be long and drear, During which I am haunted by my plight. 寤从容以周流兮，聊逍遥以自恃。 伤太息之愍怜兮，气于邑而不可止。 糺思心以为纕兮，编愁苦以为膺。 折若木以弊光兮，随飘风之所仍。 At dawn I take a stroll to extricate Myself from the mood of feeling distressed, To find my mind in such a sorry state That emotions are choking in my chest. Griefs woven could be ribbons long and wide, And knitted into gowns might be my woe. Only when th’ sun th’ Fairy Tree twigs should hide， Would I drift along with th’ crafty main flow! 存彷佛而不见兮，心踊跃其若汤。 抚珮衽以案志兮，超惘惘而遂行。 Howe’er could I put the world out of sight In spite of the thoughts seething in my mind? Caressing the pendant I ask myself, Should I go ahead and leave th’ doubts behind? 岁曶曶其若颓兮，时亦冉冉而将至。 薠蘅槁而节离兮，芳以歇而不比。 Alas, approaching is the end of th’ year, And th’ day’ll come when my raven hair turns gray. The wild ginger’s fragrance will disappear When the plant’s luxuriant leaves decay. 怜思心之不可惩兮，证此言之不可聊。 宁溘死而流亡兮，不忍此心之常愁。 Howe’er, my integrity does disdain Th’ above-presumed attitude towards life. I’d rather perish than endure the pain When thoughts and reality are at strife. 孤子吟而抆泪兮，放子出而不还。 孰能思而不隐兮，照彭咸之所闻。 The orphan, moaning, is wiping his tear; Once banished, he’s denied his home for aye. Who can accept such a case with good cheer? To follow Peng Xian is the only way. Canto III 登石峦以远望兮，路眇眇之默默。 入景响之无应兮，闻省想而不可得。 Atop a rocky hill afar I peer: The lonely and distant road strikes me dumb. The faculties of th’ mind, the eye and th’ ear The deathly quietness seems to benumb. 愁郁郁之无快兮，居戚戚而不可解。 心鞿羁而不开兮，气缭转而自缔。 Oh, my anxieties can find no vent, And overlapping cares are like a skein. Deep in my mind is my grievances pent, And knotted at heart is pain upon pain. 穆眇眇之无垠兮，莽芒芒之无仪。 声有隐而相感兮，物有纯而不可为。 邈漫漫之不可量兮，缥绵绵之不可纡。 愁悄悄之常悲兮，翩冥冥之不可娱。 凌大波而流风兮，讬彭咸之所居。 Misgivings are like the universe great, And my mind the circumstances obscure: Inaudible voices should penetrate, And made useless should be sentiments pure！ Hard to predict are the affairs mundane, While bleak and mysterious prospects seem; Sorrow oft-times in silence gnaws inside, And imagination flutters with pain! I would plunge myself in the wavy stream, For I yearn for where Peng Xian does reside! Canto IV 上高岩之峭岸兮，处雌蜺之标颠。 据青冥而摅虹兮，遂儵忽而扪天。 To th’ summit of rugged cliffs I now tear, And o’er the zenith of th’ rainbow I rise. The arch I grip and wave in th’ azure air, And at times I touch the dome of the skies. 吸湛露之浮源兮，漱凝霜之雰雰。 依风穴以自息兮，忽倾寤以婵媛。 Of th’ refreshing morn dew I sip a dose, And a bit of sobering frost I taste. Pillowed by the Font of Winds I repose, But lingering cares wake me up in haste. 冯昆仑以澂雾兮，隐渂山以清江。 惮涌湍之礚礚兮，听波声之汹汹。 Atop Mount Kunlun I’d clear th’ haze which looms; On Mount Min I’d purify the Min Rill. Lo, th’ torrent fiercely splatters and booms, And the roaring waves constitute a shrill. 纷容容之无经兮，罔芒芒之无纪。 轧洋洋之无从兮，驰委移之焉止？ Riotous, for norms th’ River shows no care, Its waters boundless and disorderly. Turbulent it seems to come from nowhere, And it meanders to infinity！ 漂翻翻其上下兮，翼遥遥其左右。 氾潏潏其前后兮，伴张驰之信期。 Heaving and rolling, the billows dash And toss, now to the left, now to the right. Chasing each other the waves spray and splash; The seasons change, th’ tides ebb and flood in light. 观炎气之相仍兮，窥烟液之所积。 悲霜雪之俱下兮，听潮水之相击。 On th’ vapor of summer my eye I cast, And witness autumn mist thicken in th’ gloom; I sigh o’er the sleet falling thick and fast, And hearken to th’ waves which collide and boom. 借光景以往来兮，施黄棘之枉策。 求介子之所存兮，见伯夷之放迹。 心调度而弗去兮，刻著志之无适。 Oh, ties with Qin were castles in the air, On which the Huangji Treaty had been signed. Th’ loyal Jiezi got burnt in th’ wood-fire glare, And the sagacious Boyi starved and pined. Those events nothing could duly explain. Oh, th’ smothering of justice gives me pain! 曰: 吾怨往昔之所冀兮，悼来者之悐悐。 浮江淮而入海兮，从子胥而自适。 望大河之洲渚兮，悲申徒之抗迹。 骤谏君而不听兮，重任石之何益？ 心絓结而不解兮，思蹇产而不释。 Finale: I mourn the shattered hope of th’ bygone day, And dread th’ prospects, which heralds cares and pain. To join Wu zixu I’d plunge into th’ waterway Of the River and float to the great main. Gazing at the isles in th’ River I moan Over the righteous Shentu’s sorry fate! ’Bout his pleads not a pin did th’ king care, Thus he drowned himself by holding a stone. From th’ inner conflicts death did extricate The sage , who had been driven to despair! V.远游 The Pilgrimage Canto I 悲时俗之迫阨兮，愿轻举而远游。 质菲薄而无因兮，焉讬乘而上浮？ Fed up with the smothering convention I’d like to soar high and far away fare. But alas, my faculty is fragile And my luck slim, how could I ride on th’ air? 遭沈浊而污秽兮，独郁结其谁语！ 夜耿耿而不寐兮，魂营营而至曙。 Oh, born to a foul and confounded world I find none to impart my deep concern. Forlorn, in th’ course of long and weary nights I lie on bed awake and toss and turn. 惟天地之无穷兮，哀人生之长勤。 往者余弗及兮，来者吾不闻。 Man is destined to endlessly toil, oh, Just as boundless is th’ cosmos wide and vast. The future is not yet predictable, And yonder my reach is the bygone past! 步徙倚而遥思兮，怊惝怳而乖怀。 意荒忽而流荡兮，心愁悽而增悲。 Lost in reveries I linger around; Th’ ideal thwarted, I’m driven to despair. In a trance I know not on what I could Rely, which adds much sorrow to my care. 神倏忽而不反兮，形枯槁而独留。 内惟省以操端兮，求正气之所由。 My soul all of a sudden does depart, Leaving behind the flesh which wanes away. I struggle to keep my integrity So that I can find out where Truth does stay! Canto II 漠虚静以恬愉兮，澹无为而自得。 闻赤松之清尘兮，愿承风乎遗则。 ’Tis in calm void that real pleasure one owns, And tranquility creates inner ease. The mode of Master Brown-Pine, who is known For freedom from worldly dust, does me please. 贵真人之休德兮，美往世之登仙； 与化去而不见兮，名声著而日延。 The virtues of the True Men I admire; For th’ Immortals’ sublimation I pine. How I wish I could vanish as they did, Whose good name will for generations shine! 奇傅说之讬辰星兮，羡韩众之得一。 形穆穆以浸远兮，离人群而遁逸。 I marvel at Fu Yue’s for his good star, And envy Han Zhong who obtained the Way. Their flesh peacefully disappeared, and their Souls part with the secular world for aye. 因气变而遂曾举兮，忽神奔而鬼怪。 时仿佛以遥见兮，精晈晈以往来。 If only I could, sublimated, fly Skyward, at which ghosts and spirits take fright. In th’ distance as if were seen deities Coming and going with their divine light. 超氛埃而淑邮兮，终不反其故都。 免众患而不惧兮，世莫知其所如。 Transcending th’ dusty world I’d stand aloft, Visits to home I’d never, never pay. Void of cares and anxieties, fearless I’d be, and th’ world wouldn’t know where I stay. 恐天时之代序兮，耀灵晔而西征。 微霜降而下沦兮，悼芳草之先蘦。 聊仿佯而逍遥兮，永历年而无成。 谁可与玩斯遗芳兮？长向风而舒情。 高阳邈以远兮，余将焉所程？ But oh, th’ seasons each other supersede, And the Major Light will descend to th’ west. When from th’ sky the merciless frost does speed, The fragrant flowers will first be depresed. To appease my heart I rove far and near, Turned into naught has my life-long career. With whom could I enjoy th’ bloom in distress? To th’ winds I could only myself express! Remote being Gaoyang of th’ bygone day, To lay bare my mind I could find no way! Canto III 重曰： 春秋忽其不淹兮，奚久留此故居。 轩辕不可攀援兮，吾将从王乔而娱戏。 Repetition: Year in year out autumn and spring take turns; Wherefore should I in my hometown long stay? Emperor Huang being far out of reach, Together with Prince Qiao of th’ Zhou I’ll play. 餐六气而饮沆瀣兮，漱正阳而含朝霞。 保神明之清澄兮，精气入而麤秽除。 I sip the sun’s vigor, breathe in th’ morn haze, Dine on the Six Essences, and drink dew. In order to remain sober-minded I exhale the stale and inhale the new. 顺凯风以从游兮，至南巢而壹息。 见王子而宿之兮，审壹气之和德。 Riding on the south wind I start on th’ tour, And ere I reach Nancao I make no stay, Where I salute Prince Qiao with deep respect And ask, “To attain Oneness where lies th’ Way?” 曰“道可受兮，不可传； 其小无内兮，其大无垠。 “The Way, which is to be perceived with th’ mind Rather than conveyed in words,” he replies, “’Tis as tiny as if it has nothing Inside and as huge as boundless in size.” 毋滑而魂兮，彼将自然； 壹气孔神兮，于中夜存。 “Banish distracting thoughts and feel at ease So that you can reach the natural plane. Concentrate your exclusive attention, And around mid-night you will that attain. 虚以待之存，无为之先； 庶类以成兮，此德之门。” Just await it in the void and quiet; Mind that non-action is vital of all. In th’ course of nature things originate: Catch it, and you hold the key to Way’s hall.” Canto IV 闻至贵而遂徂兮，忽乎吾将行。 仍羽人于丹丘，留不死之旧乡。 To th’ precious advice I at once comply, And, having been prepared, I go my way. I join the Winged Fairies in Danqiu, th’ Land Of Immortality, where I shall stay. 朝濯发于汤谷兮，夕晞余身兮九阳。 吸飞泉之微液兮，怀琬琰之华英。 At dawn I rinse my hair in th’ Sun’s Valley, And at dusk I bathe myself in th’ Sun’s shine. I sip at the Flying Spring and I hold In my arms gems, jasper and jadeite fine. 玉色頩以脕颜兮，精醇粹而始壮。 质销铄以汋约兮，神要眇以淫放。 Soon my complexion’s as high as jasper, And my super-ego grows strong and pure. My mortal flesh renewed, I’m dexterous, And, exalted, freedom th’ soul does secure. 嘉南州之炎德兮，丽桂树之冬荣； 山萧条而无兽兮，野寂漠其无人。 载营魄而登霞兮，掩浮云而上征。 I enjoy the warmth of the southern clime, And adore th’ laurel for its winter grace. Th’ mountains are devoid of beasts for a time, And the tranquil wilds free from human trace. With a soul sublimated I do rise On th’ fleecy clouds and fly up to the skies. Canto V 命天阍其开关兮，排阊阖而望予。 召丰隆使先导兮，问太微之所居。 I request th’ gate-keeper to let me in, Who, opening the gate, of me takes care. With Fenglong, the God of Clouds, as my guide, Towards th’ Taiwei Constellation I fare. 集重阳入帝宫兮，造旬始而观清都。 朝发轫于太仪兮，夕始临乎于微闾。 I reach the Ninth Vault, come to th’ Capital, Call on Grand White, and round th’ places I drive. I start off from Palace Supreme at dawn, And in th’ eve at Mount Yuweilu arrive. 屯余车之万乘兮，纷容与而并驰。 驾八龙之婉婉兮，载云旗之逶蛇。 建雄虹之采旄兮，五色杂而炫耀。 服偃蹇以低昂兮，骖连蜷以骄骜。 I round up myriads of carriages, All of which dash abreast at a good pace. Each vehicle is drawn by eight dragons, With th’ cloud flags waving with an easy grace. The Rainbow Colored Banner is hoisted, Its five colors making a dazzling sight. The two yokes of dragons, strong, dash ahead, And the spare beasts, robust, look proud and bright. 骑胶葛以杂乱兮，斑漫衍而方行。 撰余辔而正策兮，吾将过乎句芒。 The carriages now rumble on and on, And th’ splendid procession in speed does gain. I grip the reins and raise the whip, prepared To pass the east, which is Jumang’s domain. Canto VI 历太皓以右转兮，前飞廉以启路。 阳杲杲其未光兮，凌天地以径度。 With the Wind God Feilian to lead the way, Bidding Taihao farewell I turn to th’ right. I cross the Heavenly Pool at a go, When day is breaking with a gentle light. 风伯为余先驱兮，氛埃辟而清凉。 凤凰翼其承旂兮，遇蓐收乎西皇。 Feilian, who functions as my pioneer, Spares no pains to make the air fresh and clean. Th’ phoenixes bearing th’ cloud flags with their wings, Rushou and Emperor of th’ West are seen. 揽慧星以为旍兮，举斗柄以为麾。 叛陆离其上下兮，游惊雾之流波。 As banners I take and wave the comet And the Dipper’s handle, which glare and gleam. Darting and flashing through th’ haze like lightning, How grotesquely glorious they seem! 时暧曃其曭莽兮，召玄武而奔属。 后文昌使掌行兮，选署众神以并轂。 It getting dark and obscure, and summoned Is Xuanwu, God of th’ North, to follow near. The gods duly chosen and positioned, Wenchang, God of Letters, brings up the rear. 路漫漫其修远兮，徐弭节而高厉。 左雨师使径侍兮，右雷公以为卫。 Long and distant still is th’ way, at a speed Lower I aim higher and struggle hard. On my left the Lord of Rain waits on me, And th’ God of Thunder serves as my right guard. 欲度世以忘归兮，意姿睢以抯挢。 内欣欣而自美兮，聊媮娱以淫乐。 To transcend worldliness and forget ’bout Home, how I wish to go on with my flight! I may well indulge in the adventure, Which fills my saddened heart with great delight! 涉青云以汎滥游兮，忽临睨夫旧乡。 仆夫怀余心悲兮，边马顾而不行。 On th’ blue clouds I tour to my heart’s content, When amain I catch sight of Home below. Th’ carter’s aware my nostalgia seethes; Th’ dragons, balking, refuse to ahead go. 思旧故以想象兮，长太息而掩涕。 泛容与而遐举兮，聊抑志而自弭。 The sights and scenes of th’ past fresh in my mind, I cannot but sigh and shed tears of pain. l fly higher and leave the cares behind, For my burning passions I must restrain. 指炎神而直驰兮，吾将往乎南疑。 览方外之荒忽兮，沛罔瀁而自浮。 To th’ Fire God I directly make my way, And at Mount Jiuyi tribute I will pay. Gazing on th’ bleak sight beyond the world's pale, In th’ vast expanse I seem to drift and sail. 祝融戒而跸御兮，腾告鸾鸟迎宓妃。 张咸池奏承云兮，二女御九韶歌。 For Fufei the Nymph the Phoenix is sent By the Fire God , who has cleared the way. Conducted by Yao’s daughters , The Xian Pool , On th’ Clouds, and Th’ Nine Songs the band sweetly play. 使湘灵鼓瑟兮，令海若舞冯夷。 玄螭虫象并出进兮，形蟉虯而逶蛇。 Of th’ zithers th’ Ladies of Xiang take charge, And th’ River God dances with God of th’ sea; The Dragon Black and th’ Water Elves, coiling And undulating, perform in high glee. 雌蜺便娟以增挠兮，鸾鸟轩翥而翔飞。 音乐博衍无终极兮，焉乃逝以徘徊。 Th’ Phoenix flies lithely, which does me astound; The Rainbow coils and circles round and round. Th’ concert seems to go on without an end, Thus for th’ sake of peace my way out I wend. Canto VI 舒并节以驰骛兮，逴绝垠乎寒门。 轶迅风于清源兮，从颛顼乎增冰。 The reins loosened, the steeds start to gallop, And soon I reach the Gate of th’ North Extreme. Traversing th’ gales at th’ Source of Chill, I go See Zhuanxu in th’ world which with ice does teem. 历玄冥以邪径兮，乘间维以反顾。 召黔赢而见之兮，为余先乎平路。 Parting with God of th’ North I follow trails, And at th’ juncture of Sky and Earth I peer Back. For an interview th’ Creator comes, And he’s to pave the way as pioneer. 经营四方兮，周流六漠。 上至列缺兮，降望大壑。 下峥嵘而无地兮，上寥廓而无天。 视倏忽而无见兮，听惝恍而无闻。 超无为以至清兮，与泰初而为邻。 The Four Extremities I’ve roamed about, And to all parts of th’ universe I’ve been. Above, Lightning’s Lodge I have found out, And below, th’ Bottomless Abyss I’ve seen. The Earth underneath turns all the more blurred; Upwardly the sky gets more obscure still. Nothing out of many can leave a trace; Nothing out of many is ever heard. I transcend th’ Ego, mount the Realm Tranquil, And Ultimate Purity I embrace! VI.卜居 Making Choices through Divination 屈原既放， 三年不得复见。 竭知尽忠， 而蔽障于谗。 心烦虑乱， 不知所从。 乃往见太卜郑詹尹曰： “余有所疑， 愿因先生决之。” 詹尹乃端策拂龟， 曰：“君将何以教之？” It’s been three years since Qu Yuan was banished, When for audience he’s allowed no right. Hasn’t he served his state with might and main? Ensnared, he’s been condemned to such a plight! Is there right and wrong? Distressed and confused He knows not what to oppose and support. Hence he goes to see the Chief Diviner Zheng Zhanyin, to whom he does have resort. “I have come for your advice,” Qu Yuan says, “I’m at a loss as to what course to take.” Having prepared his tortoise shell and all, Zheng asks, “What decisions are you to make?” 屈原曰：“吾宁悃悃款款朴以忠乎， 将送往劳来斯无穷乎？ “Should I be honest , sincere, diligent And devoted to the state, ” Qu Yuan asks, “Or should I merely tend to receiving And seeing off guests and like vulgar tasks?” “宁诛锄草茅以力耕乎， 将游大人以成名乎？ “Am I to live by the sweat of my brow, Hoeing up the weeds and plowing the land, Or to go canvassing th’ noble titles And dukedoms so as to make a name grand?” “宁正言不讳以危身乎， 将从俗富贵以偷生乎？ 宁超然高举以保真乎， 将哫訾栗斯， 喔咿儒儿以事妇人乎？” “Is it advisable to speak the truth Without reservation, come rain or shine, Or to seek wealth and rank, content with ease And creature comforts like a philistine? Shall I, transcending all, go far away To maintain my moral integrity, Or shall I bow and scrape to court th’ Ladies In power at the cost of dignity?” 宁廉洁正直以自清乎， 将突梯滑稽， 如脂如韦以洁楹乎？ “I’m bewildered whether honest and fair And unaffected by th’ vile I should stay, Or gagging and jesting in a way slick And sly, circumspectly safe I should play.” “宁昂昂若千里之驹乎， 将泛泛若水中之凫， 与波上下， 偷以全吾躯乎？ 宁与骐骥亢轭乎， 将随驽马之迹乎？ 宁与黄鹄比翼乎， 将与鸡鹜争食乎？ 此孰吉孰凶？ 何去何从？” “Ought I to cherish lofty ambitions And plunge ahead like a winged steed with pride, Or to imitate the wild duck, which floats With the waves and drifts along with the tide?” “To keep abreast with the galloping steeds, Or to follow in th’ crippled horse’s wake? To soar high in th’ sky like a yellow swan, Or with th’ picking hen to share the same make? Of th’ alternatives which is auspicious And which ominous? What course must I take? ” “世溷浊而不清， 蝉翼为重， 千钧为轻； 黄钟毁弃， 瓦釜雷鸣； 谗人高张， 贤士无名。 吁嗟默默兮， 谁知吾之廉贞！” “In a world that has lost its sight, Weighty th’ cicada’s wing is thought, Whereas a hundredweight is light; Th’ Bronze bells to destruction are brought, While the clay pots like thunder boom; High positions th‘ crafty have got, And th’ wise are left in th’ wretched gloom. Oh, enough! What’s th’ use to complain? Ere th’ obscured virtuous woes loom!” 詹尹乃释策而谢曰： “夫尺有所短，寸有所长； 物有所不足，智有所不明； 数有所不逮，神有所不通。 用君之心，行君之意。 龟策诚不能知此事。” “Sometimes a foot may lack the strength,” Putting down his herb Zheng does say, “While an inch is just fit in length. Things have their flaws, and the wise may Sometimes prove to be dim in sight. All may not divination reveal; All oracles are not to be applied. Just do whatever you think right, And act in light of your ideal: On those things I can’t for you decide.” VII.渔父 A Dialogue with the Fisherman 屈原既放, 游于江潭， 行吟泽畔。 颜色憔悴， 形容枯槁。 渔父见而问之曰：， “子非三闾大夫欤？ 何故至于斯？” Qu Yuan strolls along the riverside, humming a tale Of woe. Being in exile he looks haggard and pale. “Could you be the Lord of the Three Clans, sir? ” at the sight The fisherman asks, “What’s reduced you to such a plight?” 屈原曰：“举世皆浊我独清， 众人皆醉我独醒，是以见放。” Qu Yuan replies: “I’m banished ’cause into vice th’ world’s sunk While I am pure, and I’m sober when th’ public is drunk.” 渔父曰： “圣人不凝滞于物， 而能与世推移。 世人皆浊， 何不淈其泥而扬其波？ 众人皆醉， 何不餔其糟而啜其醨？ 何故深思高举， 自令放为？” The fisherman remarks: “A wise man is not confined To concepts, and to adapt to the times he’s inclined. Since the whole world is, as you say, filthy out and out, Wherefore don’t you in the mire splash and wallow and rout? Now that people around are already mellow with drink, Why then from wine and the distiller’s grain do you shrink? And why should you, embracing the thoughts profound, have stuck To lofty ideals, which has incurred so tough a luck?” 屈原曰： “吾闻之: 新沐者必弹冠， 新浴者必振衣。 安能以身之察察， 受物之汶汶者乎？ 宁赴湘流， 葬身于江鱼之腹中。 安能以皓皓之白， 而蒙世俗之尘埃乎？” “As the saying goes,” Qu Yuan retorts, “one shakes his clothes And dusts his cap after bath to rid the dirt he loathes. How can I, honest and pure and from corruption free, Allow the external world to contaminate me? The filth of the corrupted world how could I endure? I’d rather drown in th’ Xiangjiang River this body pure!” 渔父莞尔而笑， 鼓枻而去。 乃歌曰： “沧浪之水清兮， 可以濯吾缨。 沧浪之水浊兮， 可以濯吾足。” The fisherman, with a faint smile, paddles away, Humming a ballad instead of what he has to say: “When the Canglang River is clear, I can wash my tassels and gear; Even when turbid the stream grows, I can still rinse my feet and toes.” VIII. 招魂 Requiem Canto I 朕幼清以廉洁兮， 身服义而未沫。 主此盛德兮， 牵于俗而芜秽。 上无所考此盛德兮， 长离殃而愁苦。 The soul moans: “ By birth I am pure and clean, And in justice I’ve been entrenched. Th’ secular world’s turned me to waste, Though for virtues my thirst’s unquenched. Of my merits th’ throne has lost sight, Thus I am left in such a plight!” 帝告巫阳曰： “有人在下， 我欲辅之。 魂魄离散， 汝筮予之。” Then Providence says to Wizard Yang: “Th’ one suffering below I’d bless, Whose flesh and soul have fallen apart. Please by witchcraft relieve his distress.” 巫阳对曰： “掌梦? 上帝：其难从； 若必筮予之， 恐后之谢， 不能复用。” Yang replies: “ You mean the one in Yunmeng? Oh, his revival is too hard a task. Yet I’ll set out before the soul wilts, Or vain will be efforts for which you ask.” Canto II 巫阳焉乃下招曰： 魂兮归来！ 去君之恒干， 何为四方些？ 舍君之乐处， 而离彼不祥些！ Hence Yang descends to summon th’ soul: “Oh, you the Soul! Please homeward fare! Why should you have left your body To wander alone here and there? Isn’t the land of mirth better Than the ominous nest of mare? 魂兮归来！ 东方不可以讬些。 长人千仞， 惟魂是索些。 十日代出， 流金铄石些。 彼皆习之， 魂往必释些。 归来兮！不可以讬些。 “Oh, Soul, please return right away! In the east you’d better not dwell, For ’tis rife with the soul-eating Giants, who make the place a hell! There the rocks crack and metals melt, For ten suns glare and blaze in turn. The heat by th’ dwellers is not felt, But souls, once there, sizzle and burn. Oh Soul, come home! Oh Soul, come home! The east you must ne’er, never roam. 魂兮归来！ 南方不可以止些。 雕题黑齿， 得人肉以祀， 以其骨为醢些。 蝮蛇蓁蓁， 封狐千里些。 雄虺九首， 往来倏忽， 吞人以益其心些。 归来兮！不可久淫些。 Oh, Soul! Would you please come straight back! In the south you’d better not stay. Their brows tattooed and their teeth black, Men offer th’ flesh of those they slay As sacrifice and th’ bones they pound. Besides, fearful serpents abound. Th’ nine-headed snakes creep to and fro, And the foxes pose a real dread. They gulp down humans at a go So as to lengthen their life’s thread. Oh, please come back without delay. Oh, in the south you shouldn’t stay! 魂兮归来！ 西方之害， 流沙千里些。 旋入雷渊， 爢散而不可止些。 幸而得脱，其外旷宇些。 赤蚁若象，玄蜂若壶些。 五谷不生，丛菅是食些。 其土烂人，求水无所得些。 彷徉无所倚，广大无所极些。 归来兮！恐自遗贼些。 Oh, you the Soul! Please homeward fare! Oh, come back from the wretched west, For th’ quicksand would surely you scare, Which runs a thousand li sans rest. Into th’ Thunder Pool should you fall, There’s no way to survive at all. Besides, the wild spreads like a pall. Th’ red ants are of th’ elephant’s size, And wasps are big as a gourd. All being barren under th’ skies, Grass is the only food assured. Drinking water is hard to find, And erosive soil is a threat. To set foot on you find nowhere, For th’ wild is in front and behind. If into trouble you won’t get, Oh, stop roving and homeward fare! 魂兮归来！北方不可以止些。 增冰峨峨，飞雪千里些。 归来兮！不可以久些。 魂兮归来！君无上天些。 虎豹九关，啄害下人些。 一夫九首，拔木九千些。 豺狼从目，往来侁侁些。 悬人以嬉，投之深渊些。 致命于帝，然后得瞑些。 归来！往恐危身些。 Oh, Soul! Please stop roaming around; To the north you should neither go. There th’ sky-touching icebergs abound, And floating everywhere is snow. Oh, come home, come home right away! In the north you mustn’t long stay. Oh, return, return to your home! Neither the sky should you ascend. The tigers are guarding the dome, Which on men’s flesh and bones depend. The nine-headed beings, oho, Pull up scores of trees at a go! Like wolves, which have vertical eyes, They patrol in packs day and night. They hang the captive ere he dies And throw him to pools for delight. Before God of his capture knows, He can not die with his eyes close. Oh, Soul! Return upon my call, Or else perils will you befall! 魂兮归来！ 君无下此幽都些。 土伯九约， 其角觺觺些。 敦脄血拇，逐人伂駓駓些。 参目虎首，其身若牛些。 此皆甘人，归来！ 恐自遗灾些。 Oh Soul, please come back in full charge! Go not to Hell’s terrible lands Guarded by monsters with limbs large And broad shoulders and bloody hands. A bull-like body gives a scare; On a tiger’s head three eyes glare. Being of a different race, Like mad they after humans chase. Lo, their horns are sharp as a knife! Oh, come home for th’ sake of your life! 魂兮归来！入修门些。 工祝招君，背行先些。 秦篝齐缕，郑绵络些。 招具该备，永啸呼些。 Oh, come back to your own homestead! Now enter at once th’ city gate! With the wizards stepping backward To guide the way, why hesitate? Th’ basket from Qin and th’ strings from Qi And the nice gauze from Zheng and all Have been well prepared for th’ event, And for your arrival they call. 魂兮归来！反故居些。 天地四方，多贼奸些。 像设君室，静闲安些。 Oh Soul, for your hometown do make, And follow in th’ wizards’ wake! No matter in the north or th’ south, Thieves, muggers and robbers infest. Just think of th’ home in which you’ve lived: How much comfort and what sweet rest! Canto III 高堂邃宇，槛层轩些。 层台累榭，临高山些。 The court’s spacious and the hall’s tall, And balustrades make the house shine. The pavilions on the hill side Are of ingenious design. 网户朱缀，刻方连些。 冬有穾厦，夏室寒些。 Th’ carved lattice doors and windows, Painted crimson, look fair and nice. The winter chambers are warm, And th’ summer resorts cool as ice. 川谷径复，流潺湲些。 光风转蕙，氾崇兰些。 Th’ paths are winding astride th’ valleys, And th’ streams are flowing gently by. Caressed by the sun and the breeze, The orchids scent sweet far and high. 经堂入奥，朱尘筵些。 砥室翠翘，挂曲琼些。 In th inner room the red ceilings Shine and pretty the carpet looks. Marble walls dotted with plumes green, Th’ mosquito net hangs with jade hooks. 翡翠珠被，烂齐光些。 蒻阿拂壁，罗帱张些。 Quilt covers, dotted with jadeite And pearls, wonderful hues all display. Silken cloth decorates the walls, Th’ canopies stand in neat array. 纂组绮缟，结琦璜些。 室中之观，多珍怪些。 兰膏明烛，华容备些。 二八侍宿，射递代些。 Set off with silks and ribbons fine, The jewels and precious stones shine. The bedrooms offer a varied sight, Being adorned with treasures rare. Lamps of orchid oil burning bright, The furniture is nice and fare. On both sides stand sixteen girls chaste, Who please you and refresh your taste. 九侯淑女，多迅众些。 盛鬋不同制，实满宫些。 Th’ princesses from many a land, Like swans among chickens, out stand. Made up in their own styles they team At your house, which does nicely gleam. 容态好比，顺弥代些。 弱颜固植，謇其有意些。 姱容修态，絚洞房些。蛾眉曼睩，目腾光些。 Extremely attractive in looks, They brighten up e’en th’ chamber nooks. Slender in form and in health sound, With deep affections they abound. Each exuding an unusual charm, They into your chambers do swarm. Their brows and eyes will you entrance When they cast an amorous glance. 靡颜腻理，遗视矊些。 离榭修幕，侍君之闲些。 翡帷翠帐，饰高堂些。 红壁沙版，玄玉梁些。 Their skin soft and their features fine, Their eyes with fascination shine. When you’re in resorts at leisure, They may offer lots of pleasure. Many a canopy and screen Hang in th’ halls, adorned with plumes green. On pink walls red panels are laid, And th’ beams are wrought with jet and jade. 仰观刻桷，画龙蛇些。 坐堂伏槛，临曲池些。 芙蓉始发，杂芰荷些。 紫茎屏风，文缘波些。 文异豹饰，侍陂陁些。 The carved rafters stretch out on high, And th’ dragons seem to soar to th’ sky. The hall o’erlooks a crescent pool, Whose water is serene and cool. The lotus flowers, interspersed With green leaves, with beauty burst. Th’ floating hearts wave their purple leaves Whene’er the ripples the breeze heaves. Soldiers in leopard’s furs and ropes Are posted on the mountain slopes. 轩辌既低，步骑罗些。 兰薄户树，琼木篱些。 魂兮归来！何远为些？ Th’ vans and carriages on call stay, And horse and foot themselves array. With orchids the doorway is fringed, And the fence of fine wood is hinged. Oh Soul! Home’s delightful and gay. Wherefore should you linger away? Canto IV 室家遂宗，食多方些。 稻粢穱麦，挐黄梁些。 Together with your family Over good foods you may rejoice. Well prepared, rice, beans, wheat, millet And sorghum are ready at choice. 大苦醎酸，辛甘行些。 肥牛之腱，臑若芳些。 Salt, sour, sweet, hot or bitter, food Of all kinds invites you to chew. Tasty indeed is the beef tendon, Which constitutes the choicest stew. 和酸若苦，陈吴羹些。 胹鳖炮羔，有柘浆些。 Bitter flavored sour soup of Wu Will greatly rouse your appetite; The steamed turtle and roasted lamp, Dressed with cane juice, will you delight. 鹄酸臇凫，煎鸿鸧些。 露鸡臛蠵，厉而不爽些。 Swan and duck flavored with sour sauce Are served with wild goose fried with paste. Tortoise soup and braised chick are not The least greasy but good in taste. 粔籹蜜饵，有餦餭些。 瑶浆蜜勺，实羽觞些。 挫糟冻饮，酎清凉些。 华酌既陈，有琼浆些。 归来反故室，敬而无妨些。 As dessert there is malt sugar, Rice-flour nuts and honey pies steamed. For drink there is wine and honey, With which the bird-shape cups are teemed. The liquor tastes mellow and cool, Free from dregs and added with ice. When th’ engraved cups are neatly set, You’ll take a sup of nectar nice. Oh, just stay at home, for it is Full of love but devoid of vice. Canto V 肴羞未通， 女乐罗些。 敶钟按鼓， 造新歌些。 Ere all delicacies are served, The band and girl dancers come round. New songs are sung to the rhythm Of the bells and drums which resound. 《涉江》《采菱》，发《扬荷》些。 美人既醉，朱颜酡些。 Th’ voyage, Picking Water chestnuts And Th’ Sunny Slope are sung in turn. Tipsy, th’ girls are lovelier still, For with charm th’ pretty faces burn. 嬉光眇视，目曾波些。 被文服纤，丽而不奇些。 Now and then you catch them casting Upon you an amorous glance. In embroidered capes and gauzy Costumes, with gracefulness they dance. 长发曼鬋，艳陆离些。 二八齐容，起郑舞些。 衽若交竿，抚案下些。 They are radiant with beauty, Th’ raven locks fluttering in th’ air. In two rows of eight they perform With an ease that’s beyond compare. Connecting their skirts at salute They gently step back in retreat. 竽瑟狂会，搷鸣鼓些。 宫庭震惊，发《激楚》些。 吴歈蔡讴，奏大吕些。 The pipes and zithers then resound, And drums majestically beat. When Th’ Anthem of Valor is played, Th’ palace with courage is infused. As to the melodies of Wu And Cai, the second pitch is used. 士女杂坐，乱而不分些。 放敶组缨，班其相纷些。 When men and maids sit side by side, Jests and pranks are not at all strange. The belts, caps and ribbons scattered About on th’ ground, seats they exchange. 郑卫妖玩，来杂陈些。 《激楚》之结，独秀先些。 Now the coquettes from Zheng and We i Join in to bring th’ farce to its peak, After which Th’ Anthem of Valor Comes to its epilogue unique. Canto VI 菎蔽象棋，有六簙些。 分曹并进，遒相迫些。 In th’ game called Six Rounds are involved Ivory chess and chips of jade. The rivals divide into pairs Before the game is duly played. 成枭而牟，呼五白些。 晋制犀比，费白日些。 They compete with their wits and skills, On a par they’ll call for “Five White”. The winner will be awarded A hook made in Jin, which shines bright. 铿钟摇簴，揳梓瑟些。 娱酒不废，沈日夜些。 The musicians ringing the bells And plucking th’ zithers in high glee, Notwithstanding it’s day or night, The hosts and th’ guests go on the spree. 兰膏明烛，华灯错些。 结撰至思，兰芳假些。 The scented candles, orchid lamps And carved lanterns lighting the place, Men rack their brains to compose verse Impromptu, which is filled with grace. 人有所极，同心赋些。 酎饮尽欢，乐先故些。 魂兮归来！反故居些。 Each one flying his own colors, Their compositions they recite. At intervals the Jests jokes And anecdotes they share with delight. Oh Soul! Return to your hometown That’s imbued with joy day and night. 乱曰： 献岁发春兮，汨吾南征。 菉蘋齐叶兮，白芷生。 Epilogue: Oho, spring has now come anew! Thus I hastily southward go. The duckweed is now lush and green, And clovers have started to grow. 路贯庐江兮，左长薄。 倚沼畦瀛兮，遥望博。 I cross the Lu River to find A dense jungle on th’ left-hand side. I gaze, just to see a vista Of bleak swamp spreading far and wide. 青骊结驷兮，齐千乘。 悬火延起兮，玄颜烝。 The horses black and greenish grey Are matched to draw the thousand carts. The train of torches meanders Along, and their smoke skyward darts. 步及骤处兮，诱骋先。 抑骛若通兮，引车右还。 When foot and horse slow down, the game The guides charge ahead to out scare. The speed curbed with consummate skills In th’ hunt, men turn right and back fare. 与王趋梦兮，课后先。 君王亲发兮，惮青兕。 I go with th’ king to Lake Yunmeng, And we have a race all th’ way through. The king now bends his bow, alas! He shoots th’ rhino under taboo! 朱明承夜兮，时不可以淹。 皋兰被径兮，斯路渐。 It is true that time and tide wait For no man. Days so swiftly pass, And the brook-side path, now damp, is Covered with th’ overgrowth of grass! 湛湛江水兮，上有枫。 目极千里兮，伤春心。 魂兮归来，哀江南！ Oh, th’ river deep flows on and on, And on both banks grow maples green. I gaze into infinity, My heart aching at the spring scene. Oh, Soul! Return! The south’s imbued With a yearning for you so keen! IX. 大招 The Grand Requiem Canto I 青春受谢，白日昭只。 春气奋发，万物遽只。 Spring being on its turn, The sun does brightly glow. The earth bursting with life, Things appear keen to grow. 冥凌浃行，魂无逃只。 魂魄归徕!无远遥只。 魂乎归徕!无东无西， 无南无北只。 Ice melting here and there, Souls should not elsewhere stay. Oh, Soul! Return, return! Don’t you wander away! Go east, west, north or south, And you’d become a stray! 东有大海，溺水浟々只。 螭龙并流，上下悠悠只。 To th’ east the ocean lies, In which men oft get drowned. With dragons, which creep ’bout In flocks, th’ place does abound. 雾雨淫淫，白皓胶只。 魂乎无东!汤谷寂寥只。 Rains and fogs so frequent, Sky and earth seem to merge. Soul, go not east! The lone Sun’s Valley hums a dirge. 魂乎无南!南有炎火千里，蝮蛇蜒只。 山林险隘，虎豹蜿只。 Oh, Soul, go not to th’ south, Where flames spread far and wide. In rugged mounts snakes creep, And in jungles beasts hide. 鰅鳙短狐，王虺骞只。 魂乎无南! 蜮伤躬只。 Th’ ghosts, bull-fish and serpents Constitute a real fright. Oh, you Soul! Shun the south And th’ vampire’ fatal bite! 魂乎无西! 西方流沙，漭洋洋只。 豕首纵目，被发鬤只。 长爪踞牙，诶笑狂只。 魂乎无西!多害伤只。 Oh, Soul! Th’ west you must leave, Where quick-sand’s like a sea That does waves and whirls heave! The ghost grins in high glee At th’ sight of men. With paws Long and teeth sharp as saws, At human bones he gnaws. Oh, go not to the west Which ghosts and pests infest! 魂乎无北! 北有寒山，逴龙赩只。 代水不可涉，深不可测只。 天白颢颢，寒凝凝只。 魂乎无往!盈北极只。 To th’ north you mustn’t get: Th’ Icy Mount coldly lies; Th’ Lamp Dragon is a threat, And th’ Dai River defies Th’ crossing anyone makes. On th’ shroud of ice th’ earth takes. And th’ air’s filled with snow-flakes. Oh, to th’ north don’t you go, For there’s nothing but snow! Canto II 魂魄归徕!闲以静只。 自恣荆楚，安以定只。 逞志究欲，心意安只。 穷身永乐，年寿延只。 魂乎归徕!乐不可言只。 Soul, return to enjoy Tranquility and ease. The State of Chu offers Freedom, order, and peace. As sweet dreams oft come true, Men from cares do feel free. Your life will be prolonged, For you live in high glee. Oh, return and behold: Here pleasure is untold! 五谷六仞，设菰粱只。 鼎臑盈望，和致芳只。 内仓鸽鹄，味豺羹只。 魂乎归徕!恣所尝只。 Th’ five cereals abound, And tasty is wild rice. Cauldrons of meat appeal To you when dressed with spice. Dove, heron and wild goose With jackal broth is sweet. Oh Soul, come back to see What can best your taste meet! 鲜蠵甘鸡，和楚酪只。 醢豕苦狗，脍苴莼只。 吴酸蒿蒌，不沾薄只。 魂兮归徕!恣所择只。 Fresh turtle and chicken With cheese are good to eat; Spiced with bitter wine are Minced pork and cured dog’s meat. Th’ pickled asparagus Of Wu agrees to your taste. To enjoy what you like, Oh, return and make haste! 炙鸹烝凫，煔鹑陈只。 煎鰿膗雀，遽爽存只。 魂乎归徕!丽以先只。 Savory are the foods: Quail soup, duck cooked in steam, Roast heron, braised pigeon Together with fried beam. Oh, return and make haste! ’Tis nice to take a taste! 四酎并孰，不涩嗌只。 清馨冻饮，不歠役只。 吴醴白孽，和楚沥只。 魂乎归徕!不遽惕只。 Distilled time and again, the wine Is mellow and smooth if drunk cold. Aromatic, the iced wine’s not What servants can hope to get hold. Oh, th’ rum of Wu and th’ wine Of Chu make a blend great. Oh, soul! Return, return! Why should you hesitate? Canto III 代、秦、郑、卫，鸣竽张只。 伏羲《驾辩》，楚《劳商》只。 讴和扬阿，赵箫倡只。 魂乎归徕!定空桑只。 Th’ music of Dai, Qin, Zheng And Wei does in turn ring. Fuxi’s Jiabian is played; Chu’s Laoshang set to th’ string. Accompanied by flutes Is th’ chorus Th’ Sunny Shore. Oh, return! Th’ zither’s sweet Music you will adore! 二八接舞，投诗赋只。 叩钟调磬，娱人乱只。 Sixteen girls dance to Th’ Poems Set to the melody, The bells and the chime stones Struck in great harmony. 四上竞气，极声变只。 魂乎归徕!听歌撰只。 Th’ movements and unison Are melodic and clear. Oh, return! The music And songs appeal to th’ ear! 朱唇皓齿，嫭以姱只。 比德好闲，习以都只。 丰肉微骨，调以娱只。 魂乎归徕!安以舒只。 With lips red and teeth white, Th’ dancers are nice and fair. Virtuous and serene, An easy grace they bear. Well-developed but slim, How lovely they appear! Oh, Soul! Return, return! They’ll put you in good cheer! 嫮目宜笑，蛾眉曼只。 容则秀雅，稚朱颜只。 魂乎归徕!静以安只。 姱修滂浩，丽以佳只。 曾颊倚耳，曲眉规只。 滂心绰态，姣丽施只。 小腰秀颈，若鲜卑只。 魂乎归徕!思怨移只。 Th’ brows expressive, th’ smiling Eyes with affection glows, And innocence adds charm To each face of a rose. Oh, Soul! Homeward you fare, And with th’ belles ease you’ll share! Gentle and natural, Their grace for itself speaks. So fine are their features: From the ears, brows, to th’ cheeks. A reserved elegance Tells of excellent tastes. Th’ necks are dainty and th’ belts Broad betray th’ slim waists. Oh, return! Your dismay Will soon be smoothed away! 易中利心，以动作只。 粉白黛黑，施芳泽只。 长袂拂面，善留客只。 魂乎归徕!以娱昔只。 Bright and gay they deport Themselves aptly. They cream Their cheeks and dye their brows, And their clothes they perfume. To the guests their long sleeves They enticingly flick. Oh, to have fun all night Please come home and be quick! 青色直眉，美目媔只。 靥辅奇牙，宜笑嘕只。 丰肉微骨，体便娟只。 魂乎归徕!恣所便只。 There are still belles who have Neat brows and eyes which glow. When they smile their dimples And ivory teeth show. Healthy yet delicate, They move along with ease. Oh, return and have fun With th’ maidens if you please! Canto IV 夏屋广大，沙堂秀只。 南房小坛，观绝溜只。 曲屋步壛，宜扰畜只。 腾驾步游，猎春囿只。 Spacious are the resorts With paintings nice and fair. Th’ terrace ere th’ southern house Is in style past compare. The maze with loggias For training pets is neat, And th’ hunting park awaits You to display your feat. 琼毂错衡，英华假只。 茝兰桂树，郁弥路只。 魂乎归徕!恣志虑只。 Their naves and yokes inlaid With jade and gold, th’ carts shine. Th’ path fringed with fragrant plants, Th’ air’s filled with a scent fine. Oh, come back and home stay: At will you’d sport and play! 孔雀盈园，畜鸾皇只。 鹍鸿群晨，杂鹙鸧只。 鸿鹄代游，曼鹔鹴只。 魂乎归徕!凤皇翔只。 Raised in th’ park are peacocks And phoenixes and hawks. At dawn the cranes and coots Croak in chorus with th’ storks. The graceful swans hover about With the green-feathered geese. Oh, return! Th’ phoenixes Are now flying at ease! 曼泽怡面，血气盛只。 永宜厥身，保寿命只。 室家盈廷，爵禄盛只。 魂乎归徕!居室定只。 Happy, you’ll have a face Which with sanguine does shine. You’ll enjoy a long life If oft in fettle fine. Your clan will fill the court, Holding positions high. Oh, return! You can on Th’ blood Family rely. Canto V 接径千里，出若云只。 三圭重侯，听类神只。 察笃夭隐，孤寡存只。 魂乎归徕!正始昆只。 Along the thoroughfares Men and carriages stream. In handling state affairs Wise as gods the peers seem. For th’ bereaved and th’ sick, steps Are taken to provide. Oh, return! Policies Await you to decide. 田邑千畛，人阜昌只。 美冒众流，德泽章只。 先威后文，善美明只。 魂乎归徕!赏罚当只。 In country and cities People thrive and abound. They profit from your rule Which is wise and renowned. Rigor’s wisely tempered With benevolent care. Oh, return! Punishments And rewards are both fare. 名声若日，照四海只。 德誉配天，万民理只。 Your name shines like the sun That on th’ earth sheds its light. Your virtues, which has brought Order, reach a new height. 北至幽陵，南交址只。 西薄羊肠，东穷海只。 魂乎归徕!尚贤士只。 North to Youzhou and south To Jiaozhi th’ domain stands; West to th’ Yangchang and east To the seas it expands. Oh, Soul, come home and stay To bring th’ wise into play! 发政献行，禁苛暴只。 举杰压陛，诛讥罢只。 直赢在位，近禹麾只。 豪杰执政，流泽施只。 魂乎归徕，国家为只。 Decree to recruit th’ wise And ban harsh government; Let virtue thrive and purge Th’ court of th’ incompetent, And, just as Yu had done, Bring the just near to th’ throne. Your grace spreads far and wide When power th’ talented own. Oh, return and haste make! Return for the state’s sake! 雄雄赫赫，天德明只。 三公穆穆，登降堂只。 诸侯毕极，立九卿只。 昭质既设，大侯张只。 执弓挟矢，揖辞让只。 魂乎徕归!尚三王只。 How great you’ll be, with your Virtue bright as th’ clear sky! On th’ three stately dukes’ Good advice you rely. Nine ministries function And th’ states pay due respect. Th’ ritual starts when th’ screen And target stand erect. Bow and arrow in hand， Salutes th’ hosts and guests make. Oh, return! The Three Kings As models may you take! X.九辩 The Nine-Canto Lyric Canto I 悲哉秋之为气也！ 萧瑟兮草木摇落而变衰。 憭栗兮若在远行, 登山临水兮送将归。 Oh, as a season autumn is dismal and drear; In its soughs and chill leaves fall and plants become sere. Which suggests of a lone tramp in a place remote, Or of sending off ’tween hill and rill a friend dear. 泬寥兮天高而气清； 寂寥兮收潦而水清。 憯悽增欷兮薄寒之中人。 Void and empty th’ sky is high, and the draught is cold; With little rain the rivers are wretchedly clear. To the sorrow and grief of the unprotected, The early chill adds a depressing atmosphere. 怆怳懭悢兮去故而就新； 坎廪兮贫士失职而志不平。 廓落兮羁旅而无友生； 惆怅兮而私自怜。 Compelled to leave home for a strange place, I’m distressed; Relieved of my post, indignation in me does burn. A wanderer, who finds no companions but grief And distress, can just tell himself his own concern. 燕翩翩其辞归兮，蝉寂漠而无声。 雁廱廱而南游兮，鹍鸡啁哳而悲鸣。 The swallows, dipping and darting, are faring home, And taciturn the fervent cicadas remain. The wild geese, cawing plaintively, are now southbound, While th’ partridges are chucking all at once with pain. 独申旦而不寐兮，哀蟋蟀之宵征。 时亹亹而过中兮，蹇淹留而无成。 Melancholic at night I lie awake till dawn, Th’ crickets chirping evokes a deep sense of distress. How time flies! Half of my life’s silently passed Without any visibility of success! Canto II 悲忧穷戚兮独处廓，有美一人兮心不绎。 去乡离家兮徠远客，超逍遥兮今焉薄？ Stricken with sorrow, frustration and cares, I find My unblemished heart demonstrating out of woe. Away from home I am stranded in a strange place, Wandering alone without knowing where to go. 专思君兮不可化，君不知兮可柰何！ 蓄怨兮积思，心烦憺兮忘食事。 My utter devotion to th’ king remains steadfast, But what can be done without being understood？ With worries and grievances pent up at my heart, I oft-times feel sad and forget to take my food. 愿一见兮道余意，君之心兮与余异。 车既驾兮朅而归，不得见兮心伤悲。 Though aware that the king does not share the same view, My ideas to the king I wish to impart! Full of hope I start off in my carriage; denied An audience I return with a saddened heart! 倚结軨兮长太息，涕潺湲兮下霑轼。 慷慨绝兮不得，中瞀乱兮迷惑。 私自怜兮何极？心怦怦兮谅直。 Leaning back in th’ carriage I do grieve, sigh and moan, Rueful tears rolling down and wetting the armrest. Indignant but unwilling to part hands with th’ throne, I feel deeply bewildered and greatly distressed. My grief and worries and self-pity see no bounds, And yet that honest heart of mine righteously pounds! Canto III 皇天平分四时兮，窃独悲此廪秋。 白露既下百草兮，奄离披此梧楸。 Providence has cut a year into four seasons, Of which I feel so sorry for autumn alone. The dew chilly, the grasses shiver, the plane trees And the catalpas, their leaves falling, scream and moan. 去白日之昭昭兮，袭长夜之悠悠。 离芳蔼之方壮兮，余萎约而悲愁。 The lovely bright daytime shrinks and dwindles away; The long dreary night, however, on and on wears. Bidding farewell to the prime of my life I come To a phase marked with poverty, sickness and cares! 秋既先戒以白露兮，冬又申之以严霜。 收恢台之孟夏兮，然欿傺而沉藏。 Autumn brings the warning with dreadful chilly dew, And in its wake comes winter with its severe frost. No more signs of early summer’s exuberance Is to be seen, and without a trace life seems lost. 叶菸邑而无色兮，枝烦挐而交横。 颜淫溢而将罢兮，柯仿佛而萎黄。 Th’ leaves, discolored, demonstrate no vitality, The branches, tarnished, form a pitiable sight. The grasses, no more lush, have begun to languish, And now the trunks assume a sorry look of blight. 萷櫹椮之可哀兮，形销铄而瘀伤。 惟其纷糅而将落兮，恨其失时而无当。 As if suffering from serious injuries Th’ defoliated twigs of th’ trees are ruefully bare. Why should th’ colorful vegetation wilt so soon? Out of th’ favor of th’ times they are left in despair! 揽騑辔而下节兮，聊逍遥以相佯。 岁忽忽而遒尽兮，恐余寿之弗将。 Loosening the reins and sparing the whip, as if I were carefree and unfettered, at ease I ride . The year drawing near to its end, I fear too short My life will be, as for no man wait time and tide! 悼余生之不时兮，逢此世之俇攘。 澹容与而独倚兮，蟋蟀鸣此西堂。 Alas, why should I have been born in such an age, In which in confusion is each and every thing? With a lonely detachment I lean on th’ door-frame, Listening to the crickets chirping in th’ west wing. 心怵惕而震荡兮，何所忧之多方。 卬明月而太息兮，步列星而极明。 Why am I laden with so much sorrow and care ? Awaking to the sudden dread and shock I mourn! Gazing at the bright moon repeated sighs I heave, And I wander and linger in th’ starlight till dawn. Canto IV 窃悲夫蕙华之曾敷兮，纷旖旎乎都房。 何曾华之无实兮，从风雨而飞飏！ 以为君独服此蕙兮，羌无以异於众芳。 In secret I lament over the orchid proud, Which had once filled the mansions grand in neat array. Why isn’t it allowed to thrive, as its bloom’s loud? And why should it be shattered by th’ rain out of th’ way? I had fancied that th’ king would love it, but alas, Who should have thought it is treated like common grass! 闵奇思之不通兮，将去君而高翔。 心闵怜之惨悽兮，愿一见而有明。 重无怨而生离兮，中结轸而增伤。 As I can find no way to the king to express My wonderful ideas, I shall go far away. Yet my heart revolts with grief and pain and distress, For my utter devotion I wish to bare lay. Without committing any crime I had to leave, And, puzzles adding pain to grief, deep sighs I heave! 岂不郁陶而思君兮？君之门以九重！ 猛犬狺狺而迎吠兮，关梁闭而不通。 Concerned about the state, I do yearn for the king, But off from the throne I am by the nine gates cut! The dogs guarding the palace at me fiercely bark, And the gates upon gates to me are closely shut. 皇天淫溢而秋霖兮，后土何时而得漧？ 塊独守此无泽兮，仰浮云而永叹！ Oh, Providence has been constantly sending down Rains and drizzles! Who knows when Earth can become dry? Stranded in this desolate marshland all alone, I can but raise my eyes to glare at th’ clouds and sigh! Canto V 何时俗之工巧兮？背绳墨而改错！ 郤骐骥而不乘兮，策驽駘而取路。 当世岂无骐骥兮，诚莫之能善御。 见执辔者非其人兮，故驹跳而远去。 凫雁皆唼夫梁藻兮，凤愈飘翔而高举。 The crafty world defies laws human and divine, Just like th’ carpenter who puts th’ line-marker aside. Scornfully rejecting th’ steeds that are strong and fine, On the nags weak and feeble it prefers to ride. What if steeds were here, there and everywhere today, When no competent riders can be found indeed? At th’ sight of th’ inferior rider coming by, Out of disgust they would surely gallop away. Oh, let the vulgar ducks and geese vie for the weed, —The phoenix, with lofty ideals, will hover high! 圜凿而方枘兮，吾固知其鉏铻而难入。 众鸟皆有所登栖兮，凤独遑遑而无所集。 The result of the attempt to fix a square peg Into a round hole ’tis not difficult to know. Atop the tall trees the little birds have perched, While the phoenix, bewildered, knows not where to go. 愿衔枚而无言兮，尝被君之渥洽。 太公九十乃显荣兮，诚未遇其匹合。 I would save my breath to cool my porridge, and yet Soften at th’ thought that his majesty had shown care. Jiang Shang’s worth was known at th’ age of ninety, And yet cases as such in history is too rare! 谓骐骥兮安归？谓凤皇兮安栖？ 变古易俗兮世衰，今之相者兮举肥。 Where could th’ phoenix find a branch on which he can perch ? When could the steed meet the rider who gives free play? As the morals have declined and th’ standards have changed, Only weight is valued by th’ horse judge nowadays! 骐骥伏匿而不见兮，凤皇高飞而不下。 鸟兽犹知怀德兮，何云贤士之不处？ Sinking into obscurity the steed’s overlooked; Flushing to th’ sky the phoenix dares not to descend. Even birds and beasts are conscious of love and hate, Let alone talent, who on th’ throne dread to attend. 骥不骤进而求服兮，凤亦不贪餧而妄食。 君弃远而不察兮，虽愿忠其焉得？ The steed won’t condescend to plead for a draught role, Nor will th’ phoenix reach out for food without reserve. Estranged by the king disregard of actual deeds, Though loyal what chance do I stand the state to serve? 欲寂漠而绝端兮，窃不敢忘初之厚德。 独悲愁其伤人兮，冯郁郁其何极？ For a tranquil mind I would let it pass, and yet Balk at th’ thought of his favor of the bygone day. Oh, what torture with autumnal anxieties, Yet to end up those troubles I could find no way! Canto VI 霜露惨悽而交下兮，心尚幸其弗济。 霰雪雰糅其增加兮，乃知遭命之将至。 愿徼幸而有待兮，泊莽莽与野草同死。 I had hoped the wretched dew and frost wouldn’t last When they were spreading mercilessly like a pall. Now that the sleet and snow are falling thick and fast, I fear that doom will inevitably befall. On th’ chance of a clear day my position I’ll hold, Though, even if like the grass I might die of cold!. 愿自往而径游兮，路壅绝而不通。 欲循道而平驱兮，又未知其所从。 然中路而迷惑兮，自厌按而学诵。 性愚陋以褊浅兮，信未达乎从容。 窃美申包胥之气晟兮，恐时世之不固。 To take a shortcut and to th’ king my mind confide? But lo, the path having been blocked, how can I go? Thus on the main road my little carriage I ride, And yet no guide’s available the way to show. As a result halfway I feel perplexity, To appease myself The Poetry aloud I read. What with my uprightness and with my reckless way, I cannot deport myself indifferently. I do admire Shen Baoxu’s patriotic deed, But fear circumstances are different today! 何时俗之工巧兮？灭规矩而改凿！ 独耿介而不随兮，愿慕先圣之遗教。 The vulgar world is sophisticated and sly: The compass and angle square it does disregard. For th’ sake of integrity I’ll not drift along, And th’ behest of th’ ancient sages I’ll lay to heart. 处浊世而显荣兮，非余心之所乐。 与其无义而有名兮，宁穷处而守高。 It is beneath my dignity and ’gainst my will To seek in a world so foul for glory and fame. I would maintain my loftiness in poverty Rather than rout and vie for an ill-gotten name. 食不媮而为饱兮，衣不苟而为温。 窃慕诗人之遗风兮，愿托志乎素餐。 I shall not for food drag out an ignoble life, Nor shall I for clothing’s sake drift along with th’ tide. I shall cherish my ideal in simplicity, And by th’ Poet’ example I’ll abide. 蹇充倔而无端兮，泊莽莽而无垠。 无衣裘以御冬兮，恐溘死不得见乎阳春。 Wandering in the boundless wilderness, I find My heart filled with a sense of injustice untold. Before spring comes I might all of a sudden die, For I have no furs to resist the biting cold. Canto VII 靓杪秋之遥夜兮，心缭悷而有哀。 春秋逴逴而日高兮，然惆怅而自悲。 In late autumn’s long and lonely and dead still nights, My heart is haunted by boundless worries and care. How time flies! With old age approaching day by day, I find myself in melancholy and despair. 四时递来而卒岁兮，阴阳不可与俪偕。 白日晥晚其将入兮，明月销铄而减毁。 岁忽忽而遒尽兮，老冉冉而愈弛。 心摇悦而日幸兮，然怊怅而无冀。 中憀恻之悽怆兮，长太息而增欷。 The four seasons, which constitute a year, take turns In the ordinary course of things, to be sure. At dusk the sun duly sets in th’ west and down burns, And th’ moon that is on the wax will become obscure. Day in and day out, drawing to its end is th’ year; And senility has clipped my will of its wings. Hoping against hope less and less I tend to grieve, Though about the fact that chance is slim I am clear. Sorrow upon sorrow to my heart ill luck brings, And thus sighs upon sighs of sadness now I heave! 年洋洋以日往兮，老嵺廓而无处。 事亹亹而觊进兮，蹇淹留而踌躇。 Time is irresistibly in its daily flow; In senility I can find nowhere to stay. Th’ state of affairs changing, I wish to forge ahead, But lo, stranded in th’ wasteland I can find no way! Canto VIII 何氾滥之浮云兮？猋廱蔽此明月。 忠昭昭而原见兮，然霠曀而莫达。 Why should the clouds, rolling, scudding and thickening, Cover up like heavy shrouds the bright minor light? Loyal and true, I’m keen to display my talent; But why should I have been reduced to such a plight? 愿皓日之显行兮，云蒙蒙而蔽之。 窃不自料而原忠兮，或黕点而汙之。 How I wish that th’ sun, which is warm and bright, might shine, And yet concealed by the clouds it fails to appear. In th’ interest of th’ state I would like to do my bit, However, people gratuitously me smear. 尧舜之抗行兮，了冥冥而薄天。 何险巇之嫉妒兮？被以不慈之伪名。 Oh, how great were the virtuous kings Yao（尧） and Shun, Who have left so splendid a heritage behind!. Howe’er, out of envy the vicious had slandered This as being “unloving ” and that as “unkind”. 彼日月之照明兮，尚黯黮而有瑕。 何况一国之事兮，亦多端而胶加。 Even the sun and th’ moon have their spots and shadows, Notwithstanding how bright they oft-times shine and glare; Not to speak of the current affairs of the state, The complication of which is without compare! 被荷裯之晏晏兮，然潢洋而不可带。 既骄美而伐武兮，负左右之耿介。 Oh, my sovereign lord! Elegant as is your vest Of lotus leaves, it’s so loose it defies a tie. Complacent with your fine appearance and valor, On th’ hypocritical officials you rely. 憎愠惀之修美兮，好夫人之慷慨。 众踥蹀而日进兮，美超远而逾迈。 At the beauty in truth and righteousness you sneer, But to those ingratiating smiles you are prone. And thus the slick and sly come closer day by day, While th’ virtuous go farther away from the throne. 农夫辍耕而容与兮，恐田野之芜秽。 事绵绵而多私兮，窃悼後之危败。 If the peasants stop farming and saunter about, Their fields, uncultivated, may someday waste turn. With state and public affairs done for private gains, That th’ state might decline and fall ’tis my great concern! 世雷同而炫曜兮，何毁誉之昧昧！ 今修饰而窥镜兮，後尚可以鼠藏。 Howe’er, the world at once exalts the golden age, Recklessly confusing what’s wrong and what is right. Oh, when could people see themselves in the mirror And redress abuses, which might rid them of th’ blight? 愿寄言夫流星兮，羌儵忽而难当。 卒廱蔽此浮云，下暗漠而无光。 I wish the shooting star would bring my word to th’ throne, And yet it ignores my request and flashes past. Alas, the world is deprived of the sun’s light, For the azure with pitch-dark clouds is overcast! Canto IX 尧舜皆有所举任兮，故高枕而自適。 谅无怨於天下兮，心焉取此怵惕？ Having selected talented people for th’ posts, Yao and Shun, free from cares and woes, could well sleep sound. Why should they worry about affairs of the state When under their reigns no grievances could be found? 乘骐骥之浏浏兮，驭安用夫强策？ 谅城郭之不足恃兮，虽重介之何益？ When the steeds gallop ahead along the right path, What is the need to employ a whip stout and long? Fortified walls can’t ensure a city’s safety, Even if guarded by armored forces which throng. 邅翼翼而无终兮，忳惛惛而愁约。 生天地之若过兮，功不成而无嶜。 On the endless rugged trail I progress with care, Haunted by poverty, sorrow, worries and woe. Like a rover I hurry through my trip of life, With no chance to fulfill th’ task or gifts to bestow. 愿沉滞而不见兮，尚欲布名乎天下。 然潢洋而不遇兮，直怐愗而自苦。 Into obscurity sometimes I’d like to sink, But at heart I still wish a good name to attain. Alas, opportunities far beyond my reach, I turn out to be naively seeking for pain! 莽洋洋而无极兮，忽翱翔之焉薄？ 国有骥而不知乘兮，焉皇皇而更索？ O’er the desolate land which is boundless and vast, I hover and look down, only to find no perch. When steeds can be seen and found in the state itself, Why elsewhere should those people for fine horses search? 甯戚讴於车下兮，桓公闻而知之。 无伯乐之相善兮，今谁使乎誉之？ When he heard Ning Qi humming a ballad of woe, Duke Huan of Qi perceived the gifts in him with mirth, Now that Bole the connoisseur is gone for long, Who else can ever recognize a horse’s worth? 罔流涕以聊虑兮，惟著意而得之。 纷纯纯之愿忠兮，妒被离而鄣之。 I stop weeping to brood, awakening to th’ truth That wisdom’s visible only to those sincere. When the throne is rife with jealousy, the royal Will certainly be rejected with smear and sneer. 愿赐不肖之躯而别离兮，放游志乎云中。 乘精气之抟抟兮，骛诸神之湛湛。 Oh, how I wish his majesty could set me free, When my soul saunter at ease through th’ azure sky. On columns of the essence of life I will ride, With a willing heart to pursue th’ deities on high. 骖白霓之習習兮，历群灵之丰丰。 左硃雀之茇茇兮，右苍龙之躣躣。 With the rainbow serving as my draught animal, I now feast my eyes with the stars which twinkle bright. Th’ Constellation of Rose-Finch flutters on the left, And the Green-Dragon meanders just on the right. 属雷师之阗阗兮，通飞廉之衙衙。 前轻辌之锵锵兮，後辎乘之从从。 The God of Thunder now booms and rumbles behind, And the God of Winds sweeps the way as pioneer. The sleeping carriages rattle on at the head, And the squeaking carts of cargo bring up the rear. 载云旗之委蛇兮，扈屯骑之容容。 计专专之不可化兮，愿遂推而为臧。 赖皇天之厚德兮，还及君之无恙。 The cloud banners wave in the wind over the train, And the entourage add grandeur to the array. As firm as rock will my aspiration remain, And hoping ’gainst hope my gifts I wish to display. Devoutly to th’ great and kind Providence I pray, May the sovereign in nice and good condition stay! 附录 I 《楚辞》新考五十例（原载《新国学研究》，作者卓振英。本附录剔除了原文中的窜文，诸如“自我称许渊冲”之中的“渊冲”、“车既复而马茂元颠兮”之中的“茂元”，等等；所引用的英译来自初稿；参考文献从略。） 一． 引 言 与《诗 经》一样，《楚辞》是中国诗歌乃至中国文化的源头之一；主要楚辞作家屈原是我国文学之父、骚人墨客百世不佻之祖。把《楚辞》这样的经典著作译为英文，这对于保持华夏民族的文化身份、促进中西交流，显然有着十分重要的意义。不过，两千多年的语言文化变迁，使得其中不少字句意义不明，疑难比比皆是，而历代《楚辞》学者往往各执一说,令人感到无所适从。这就使得文本诠释成为典籍英译的首要环节。英译若要作为权威版本来要求，首先就应该力求成为诠释方面的集大成者，切不可率尔为之。因此,笔者采用训诂、考据、推理、文化历史观照、文本内证及外证、互文观照以及诗人与文本的互证等方法，对疑难问题多方求证。费时吃力，自不待言。可以引以为慰的是，通过考辨、考据，尚能有所鉴别、有所发现，为英译提供了较为坚实可靠的基础。 二．若干疑难的考辨 对于楚辞的某些诗章、字句的理解，历代学者或众说纷纭，莫衷一是，或鹦鹉学舌，人云亦云，或凭空臆断，谬误流传。笔者经考辨得以纠正、澄清的问题主要有以下五十例。 1.“惟草木之零落兮,恐美人之迟暮。”（《离骚》） 王逸、朱熹等认为“美人” 喻君，黄文焕、朱熹冀等认为自喻，马其昶认为泛言贤士，戴震认为喻壮盛之年。刘德重说：“‘美’有壮盛的意思，既曰‘恐美人之迟暮’，自然是指壮年的人；而其具体对 象，联系上下文观之，当以自喻近是”。笔者认为，王、朱的理解为是。在《楚辞》中，“美人”或喻楚王，或喻美政（诗人的政治理想）。与《九章･思美人》中的“思美人兮,擘涕而好胎”，《抽思》中的“与美人抽思兮，并日夜而无正”一样，在这里也是喻指楚王。联系上下文，两句的意思应是：“随着时序的变化，繁茂的草木终会凋零；因 此我总担心会坐失与美人（楚王）结合、实现美政的时机。” 英译： 'Tis true that wither may the plants, which today thrive, To meet th' Beauty in her youth' tis wise that I strive. 2.“余虽好修娉以鞿羁兮，骞朝谇而夕替。”（《离骚》） “朝谇夕替”应如何理解？刘德重认为：“’朝谇夕替’，是说一群小人朝朝暮暮在排挤他,不是当面打击，就是背后暗算”; 解释为朝进谏而夕被废，“说虽可通，然与屈原初为左徒时甚得怀王信任不合”。 笔者认为，刘说难以成立。因为写离骚时，屈原已经“信而见疑，忠而被谤”，楚怀王也已“怒而疏屈平”（《史记•屈原贾生列 传 》）。“朝”、“夕”形容楚王翻脸之速。韩愈“一封朝奏九重天，夕贬朝阳路八千”可作互文参照。“谇，让也”，有“劝告，谏浮”（《说 文》）之 义，如：“立而谇语”（《汉书•贾谊传》）。因此二句应理解为：“我爱好美好正直的品质，却让人感到碍手碍脚；我早上进谏，晚上 就被贬黜。” 英译： My bane has proved to be my sublimity, I pleaded in the morn and was remov'd at eve. 3.“女媭之婵媛兮，申申其詈予。”（《离骚》） “女媭”：王逸说是“屈原姊也”；郑玄《周易》注：“屈原之妹名女媭”；郭沫若以为指称侍女：“今姑译为'女伴'，疑是屈原之侍女”； 周拱辰《离骚拾细》以为指女巫：“媭乃女巫之”；汪谖：“媭者，贱妾之称，以比党人也”；刘德重说“郭说较为圆通。‘媭’的本义为女，……因而‘女媭’应当作为广义的女性来解释”。 笔者认为“女媭”理解为“我姐姐”为是。“女媭”、“詈”有如下解释： “贾侍中说:楚人谓姊为媭”（《说文》）；“詈，骂也”（《说文》）；“怒不至詈”（《礼记•曲礼》）;“乃使勇士往詈齐王”（《战国策•秦策》）。 在屈原所处的历史时期，侍女、“贱妾” 地位低下。早在春秋时期已有“男女授受不亲”的观念。假若诗人说“我的贱妾（或:侍女）一再责备我说……”恐怕就会被人笑话；而如果说“我姐姐出于爱护，一再责备我说……”则是合情合理的。 英译： My elder sister fair and virtuous, who's fill'd With anxiety, does repeatedly me chime. 4. “路修远以多艰兮，腾众车使径待。”（《离骚》） 王逸说：“令众车先过，使从邪径以相待也”；朱熹说：“由径路先过而相待我”；吴广平说:“我传令众车直接保卫”；陈子展说:“传 话众车使在路旁等待”。 笔者认为吴广平是对的。“待”者，防备也。例如：“今城郭不完，兵甲不备，不可以待不虞”《( 韩非子•外储说左上》)。“路修远以多艰兮”说明了“腾众车使径待”的缘由。 英译： I instruct the carriages to be on the watch, For long and rugged and difficult is the way. 5.《九歌》中的多数诗篇到底是不同角色相互唱和，还是由一个巫兼任多种角色？ 吴广平引用钱钟书《管锥编•楚辞洪兴祖补注》“巫之一身二 任”条所说的话:“《九歌》'灵’为神而亦为巫，一身而二任，所谓’又 做师婆又做鬼故《九歌》中之‘吾’、‘予’、‘我’或为巫之自称，或为灵之自称，要均出于一人之口。巫与神又或作当局之对语，或为旁观之指目。作者假神或巫之口吻，以抒一己之胸臆。忽合而一， 忽分而二，合为吾我，分相尔彼，而隐约参乎神与巫之离坐离立者，又有屈子在，如玉之烟，如剑之气。胥出一口，宛若多身，叙述搬 演，杂用并施，其法当类后世之‘说话’、’说书时而巫语称’灵’，时而灵语称’予’，交错以出，一身二任，双簧独演”，并根据这个观 点，认为“《九歌》各篇不存在对唱而均为独唱，但独唱者一人而兼神、巫两种角色，时而此人，时而彼者，充分表现了《九歌》抒写手法的灵活性”。 笔者对此不敢苟同。理由如下： (1)“巫之一身二任”这种单一、原始的文艺形式与楚国当时的音乐发展水平不相称。1978 年 5 月 22 日在湖北随州城郊出土的 曾侯乙墓六十五个陪葬编钟。检测结果显示：这些二千四百三十年前(早于屈原诞生)的编钟音域跨越五个八度，只比现代钢琴少一个八度，中心音域十二个半音齐全。曾国是楚国范围内的小国。可以推而知之，当时楚国的音乐已相当发达。 . (2)“一身二任”说也不符合《九歌》的发展史。《九歌》的历史悠久。《山海经•大荒西经》说，“开上三嫔于天，得《九辩》与《九歌》 以下”。“开”就是夏后启。《竹书纪年》说“帝启十年舞《九招》于大 穆之野”，可见这种音乐活动的规模不小。从帝启十年舞《九招》 (元前约 21 世纪)到屈原生活的时代(公元前约 339—278),其间 也有约一千七百六十多年的时间，根据文艺进化的规律，《九歌》必定会不断发展完善，作为与音乐有着紧密联系的舞蹈等表演技巧 也会得到同步发展，而不会停留在“一身二任”的水平上。 (3)《九歌》中不同角色的化妆、道具不同，这是“巫之一身二 任”的形式难以适应的。扮演山鬼的巫“被薜荔兮带女罗”，而迎神 的巫则“被石兰兮带杜衡”；大司命“灵衣兮被被，玉佩兮陆离”，可 能还有“飘风”、“冻雨”伴舞;而迎神的巫“折疏麻兮瑶华，将以遗兮 离居”。云中君“华采衣兮若英”、“龙驾兮帝服”，少司命荷衣蕙带, 孔盖翠旌，而迎神的巫与他们的装扮是不同的。 (4)从歌词的内容看，迎神歌舞涉及不同角色。例如，《大司 命》里“君迪翔兮以下”、“导帝之兮九坑”显然是迎神的女巫所唱，而“纷总总兮九州，何寿夭兮在予”则是扮演大司命的男巫所唱。 (5)楚国巫文化发达，并不缺乏能歌善舞的巫。 不同角色的区分有助于文本解读。例如，《少司命》里“夫人自有兮美子，苏何以兮愁苦？”是迎神的女巫所提出的问题，照理说, 扮演少司命的巫应该有答词。但王逸只说“言已事神崇敬，重种芳草，茎叶五色，芳香益畅也”；从杨金鼎、吴广平、陈子展、张愚山的注解中，也找不到回答。其实，下两句“秋兰兮青青，绿叶兮紫茎” 就是少司命的答词：“你看那青青秋兰，要有人为绿叶配上紫茎才好看哪！”意思是要有人掌握因缘。再下面两句“满堂兮美人，忽独 与余兮目成”是迎神的女巫所唱，意思是：“(原来是这样啊？)难怪您在满堂美人中偏偏对我眉目传情！ ”这样，诗歌的脉络才清楚，意义才连贯，我们壮才能领悟迎神歌舞的诙谐多趣。 英译：(Sing the Witch as Usherette ：) People may anyhow have their own pairs. Why shouldn't you free yourself from th' cares? (Sing Wizard as Fate the Minor ：) The answer the autumn orchids now tells ： Green leaves match the stems of a purple hue. (Sing the Witch as Usherette ：) No wonder that among a hall of belles I alone come into Your Grace's view! 又如，《国疡》前四句写两军交战时“士争先”的场面，应是众将 士齐唱共舞;后续六行是特写，刻画一位驾驭战车的勇士在“左修殖兮右刃伤，霾两轮兮紫四马”的情况下顽强奋战的情形及战后惨烈的结局，是独唱独舞；接下来四句写战士们“身首离兮心不惩”的豪气，参加歌舞的应是勇士和众士兵；最后四句“诚既勇兮又以武，终刚强兮不可凌！身既死兮神以灵，子魂魄兮为鬼雄”是颂词，歌颂为国死难的战士，故歌舞者应是迎神或领祭的巫。 据此，英译对各段作了分别处理： Eulogy on the Martyrs of the State (Sing in Chorus Soldiers Incarnate ：) Clad in rhinoceros hide, dagger-axes we wield, The clariots clashing, at the enemy we tear. Th' banners hiding th5sun,the foes surge like clouds in the field, Yet we charge ahead despite arrows flitting in the'air. (Sing Warrior Incarnate ：) Our lines broken through, our ranks are now in disarray, One horse is kilPd, and wounded another has become. The reins are entangl'd,and bogged down two wheels stay; I raise the stick of jade, though, and beat the signal drum. Fierce battles over, litter'd with corpses is the plain; It seems th'Heavens were falling because of wrath and pain; (Sing Warrior and Soldiers Incarnate ：) We set out resolved not to return but die A heroic death on the remote battle ground. Heads chopped off, without the least regret we lie; Wearing sabers, th5strong bows of Qin we still hold sound. （Sing Wizards as Ushers ：） Oh, courageous and valiant souls of the state, Indomitable, a lofty realm you attain! Your are slain'd, but with glory will glow your deeds great, And souls of all souls you shall forever remain! 6.关于湘君、湘夫人的性别 陈子展认为《湘君》叙述湘夫人对湘君的思念，《湘夫人》则叙述湘君（指舜）对湘夫人（指娥皇、女英）的爱慕；司马贞在《史 记索隐》也说：“夫人是尧女，则湘君当是舜”。据许渊冲译本，《湘君》、《湘夫人》各篇俱男（God）、女（Lady）对唱；据杨献益译本，湘君、湘夫人俱为女性（Goddess-Lady）,单数；据孙大雨译本，湘君为 男性、湘夫人为女性；根据朱熹的解释，湘君、湘夫人俱为女性（娥 皇、女英）。陈子展的观点比较符合有关舜与娥皇、女英的传说，也与文本 内容相合。舜在九嶷，湘夫人在洞庭；湘夫人设想着湘君“驾飞龙 兮北征，遭吾道兮洞庭”，是符合他们所处的地理位置的；他们打算送给湘君的是男子用物“玦”和“琼”，而湘君为她们准备的礼物是 袂和牒。礼物本欲当面馈赠，因未能相遇而委之水滨。王从仁说, “’玦'和'琼'是男子的用物，是湘君送给湘夫人的。最初把它丢在水里，是为了表示决绝之意”。笔者认为，把“玦”和“琼”理解为湘 夫人为湘君准备的礼物更为合适；湘君和湘夫人相爱颇深，一次不 遇即要“决绝”，不甚合乎情理。还是朱熹说得对：由于“爱慕之心 终不能忘”，就“委之水滨”，“以阴寄吾意，而冀其或将取之”。 7. 关于少司命的性别 王从仁说“少司命是一位年青美貌、温柔多情的女神”；陈子展 认为大司命、少司命都是女神：“大司命、少司命实各自登场，同演出人间之喜剧。盖一司人之寿夭，一司人之美子（爱人），同为主宰 人生两大命运之神，而为楚人所迷信者也。中国古神话司命运之女神二人，希腊古神话司命运之女神盖三人也”；吴广平也认为“定 为女神似更恰当些”。笔者认为，少司命应是男神。理由之一是：1950 年山东济宁 发现汉石抱子俑，高 30.1 厘米，正面形象为男子左手抱幼儿。这与应劭《风俗通义•祀典》中记载的汉代司命神像相符，孙作云等专家学者普遍承认那就是少司命的形象；理由之二是：迎神的女巫的唱词中有“满堂兮美人，忽独与余兮目成”。若少司命为女神，那就是与男子眉目传情，而这是难以被当时的社会所接受的；理由之三：“竦长剑”、“抚彗星”所表现的是阳刚之气。 8. 怊荒忽其焉极（《哀郢》） 各家的解释是:“我神伤心碎不知要走向何方？” ；“忧思慌慌张张地哪 里是终极”；“我心头恍恍惚惚难辨方向”；“国破家亡，前路茫茫，不知何往”。 笔者认为，怊：“怅也”（《字林》）；下文“眇不知其所跖”才是不知所 之的意思，而这一句意思应是“流浪、忧伤的生活何时才是终极?” 英译： The capital Ying I am now to leave, Not knowing how long I shall tramp and grieve. 9. 过夏首而西浮兮，顾龙门而不见（《哀郢》） “西浮”应如何理解？王逸只是说，“夏首，夏水口也。船独流为浮也”，认为是指船的运动；于省吾说：“西浮即西背”；张家英说 是“西负”，即背朝西；郭沫若说是“西思”，即心思西边的故乡；郭在 贻说是“迅浮”，即形容船行之疾;吴广平孟复说:“迁流”，还是指船 行;吴广平说:“其人东行，其心西向，故过夏首时，又回舟而西浮”； 杨金鼎认为，从郢都到夏口是屈流亡的第一阶段，由夏口入湖、湘 是第二阶段，“第二段的行程，可以说是由东转西，也可以说是由北转南，所以这里说 ‘西浮’，下文转 ‘南渡’ ”。 诗人由西东行，若“西浮”即“西背”，那就是说了多余的话。“过了夏首就背朝西”，—过夏首之前不也背朝西吗？若为“西思”，过夏首前后不也是一直“西思”吗？ “迅浮”、“迁流”之类的说法也依据不足，且无意义。“回舟西浮”更是有悖事理：只要我们确定屈子的头脑是正常的，他就不会因思念故土而回舟西行，因为那就等于是刚从火坑中逃出又往回跳。既然“可以说是由东转西"， 何以“也可以说是由北转南”？所以就可以说“西浮”？ 首先，我们不妨使用“移情法”，去感悟诗歌的意象、意蕴和意境。 什么是移情法？它是否可靠？ “移情（Empathy）原是个美学一心理学概念。在美学的范畴里，它是指审美活动中主体的感情移入对象，使对象仿佛有了人的情感，其汉译为，移情作用；而从心理学的角度看，它是指想像自己处于他人的境地，去理解其感情、欲望、思想、动机和行为，汉语 往往译为’神入本章将其推衍至译学方法论研究，笼而统之地以’移情‘概括'神入'与’移情作用‘两个概念，既指译者想像自己 处于诗人或诗中之’我’（例如金昌绪《春怨》一诗中的‘妾’）的境地，去感悟其思想感情，又指译者在进入诗人的心理状态或模拟其 审美定势之后，把感情'外化'而移人诗歌形象，使诗歌形象心灵化和人格化，从而与诗人的审美感受产生共鸣。” 康德指出，“一个鉴赏判断所要求的必然性的条件是共通感的观念”。所谓共通感，“就是将个人感受事物时所享受的愉快、崇高传达给他人的必然性心理规律”。这就意味着，诗人所创造的艺术形象是具有可感受性的。 人的思维具有超时间、超空间的特点。所谓“寂然凝虑，思接千载；悄然动容，视通万里；吟咏之间，吐珠玉之声；眉睫之前，卷风云之色，其思例之致乎”（刘勰《文心雕龙神思》），阐明的正是形象思维的超时空性。即使诗人生活在千年之前，诗中的景物生发于万里之外，我们依然可以运用意象、联想和想像，做到“神与物游” （刘勰《文心雕龙•神思》），去追溯诗人的审美感受和审美创造。 接受美学揭示，审美过程是能动的再创造过程：一方面是主体的审美能力的外化，另一方面是客体的审美特征的心灵化。这种双重双向建构也符合诗歌的阅读欣赏。读者受到诗歌的刺激，产生审美反应、感知和接纳，在心目中形成诗歌意象，并对其进行审美观照，做出审美判断。例如，在我们把李商隐的“春蚕到死丝方尽，蜡炬成灰泪始干”这一客观存在变为主观心意中的物象之后，我们会把“无私奉献”这一人格特征投射到“蜡炬”和“春蚕”身上， 而蜡炬和春蚕也似乎具备某一类人的特征，令我们感到其崇高之美。 共通感的观念、审美的有关规律和思维的超时空特性为移情法的可行性提供了美学、心理学和思维科学的依据。我们是能够 发挥想像力，模拟诗人的审美定势，去重现、观照和感受诗歌形象的，是能够获得诸如“蛙声十里出山泉”（查慎行《次实君溪边步月 韵》句）的直觉（Intuition）、诸如“霜叶红于二月花”（杜牧《山行》句）的知觉（Perception）、诸如“日出江花红胜火”（白居易《忆江南》句） 的联觉（Synesthesia）和诸如“留得残荷听雨声”（李商隐《宿骆氏亭 寄怀崔雍崔兖》句）的统觉（Aperception）的。 假设我们自己就是诗人，仓皇离开沦陷了的郢都，乘舟东行。 过了夏首，仍然频频回首西望。我们将看到、感受到什么呢？船向 东运动，在烟波浩淼中，处于相对静止的夏首就宛若向西漂逝，而郢都的东门是已经望不见了。我们心里该是多么惆怅凄怆啊！ 其次，我们可以进行句法分析。“过夏首而西浮兮，顾龙门而不见”是两个排比句，夏首、龙门分别是“西浮”、“不见”的逻辑主语。西浮的是夏首。 这样一来就清楚了： “西浮”的是夏首，而不是诗人的心意或船只之类。写夏首西浮，是为了刻画诗人依恋故乡的感情之深切。这两句的意思应是：“船过了夏首，回头望去，它就像是朝西边漂流而去;想看看郢的东城门，但它却已经消失在远方。” 英译： I pass by Xiashou, which seems to drift west, Th' Dragon-Gate out of sight, I feel distress'd. 10. “何芳草之早夭兮？微霜降而不戒。”（《惜往日》） “不戒”原作“下戒”，据洪兴祖《楚辞考异》改。王逸的注释说： “贤臣被谗，命不久也”，“严刑卒至，死有时也”；杨金鼎说：“戒：戒备”；“微霜初降的时候即须戒备。意指芳草经不起风霜的摧残，用以比喻贞臣受不住小人的谗毁”。吴广平说：“因微霜下降没有提防”。 以上解释都认为，芳草早夭是因为本身“不戒”所致。笔者认为，“贞臣受不住小人的谗毁”回答不了上句的问题，也没有揭示什么有意义的道理。从上下文看，诗人并非责怪芳草本 身“不戒”、“没有提防”，而是哀怨种花或拥有花草的人（用人者）对香花不爱护，因而给风霜（谗佞）以可乘之机。否则不合全篇思想。两句的意思应是：“香花为什么会夭折？那是因为严霜无情，而人们又不加以怜惜保护”。 英译： Wherefore do the fragrant wither and die? When frost descends they lack intensive care. He who lets idle his ears and his sight Is poison to th' honest and meat to th'sly. 11.“后皇嘉树，橘储服兮。”（《橘颂》） “后皇”，王逸解释说：“后，后土也；皇，皇天也”；杨金鼎也认为指“天地”。但朱熹说:“后皇指楚王也”；郭沫若译为：“辉煌的橘树 啊”;吴广平译为：“天地间最美的橘树”；陈子展译为：“君王有美树”。 笔者认为，“嘉树”不属于楚王，“后皇”也没有“辉煌”的意思。 王逸、吴广平、杨之说可取。 英译： Oh, under th'sky and on the earth Your solemn existence you claim. 12.情吾以其美好兮，览余以其修娉（《抽思》） 王逸认为这两句指楚王自夸，杨金鼎也认为“言怀王骄矜得意，自以为是”。姜亮夫则认为“指怀王信上官子兰以之为美好修娉，杂正与己之见放为对照也”。 笔者认为姜言为是。诗人所疾愤者乃楚王之信谗佞与远忠直，而非楚王之不美好、不修娉。可以参考“少歌”中“情吾以其美 好兮，敖朕辞而不听”两句，其中的“其”（他）与“朕”（我）形成对照。 英译： You admire and brag about his good looks, And boast of his qualities of a sage. You're not only perfidious to me, But you also vent upon me your rage. 13.“怜思心之不可惩兮，证此言之不可聊。”《悲回风》 有以下不同解释：“履信被害，志不惩也”，“明己之词，不空设也”（王逸 ）；“可怜思虑的不可制止啊，证明了这些谗言的无聊”； “可怜我的痴心无法救药，证明以上的话并不可靠”；“证：明也，在这里是表白的意思”，“不可聊：谓无聊之极”。 笔者认为，诗人失望之际说了一些类似遁世的气话。“此言” 指上文所假设的生活态度；惩：改变，如：“不惩其心”（《诗•小雅•节南山》），“变律改经，一皆惩革”（陆保《新刻漏》）。两句的意思是:“可惜我的一片忠心改变不了，看来以上所说到的做法只是说说而已”。 英 译 ： Howe'er, my integrity does disdain Th' above-presum'd attitude towards life. 14.“穆眇眇之无垠兮，莽芒芒之无仪。”（《悲回风》） 吴广平译为：“宇宙渺茫茫没有边际，天地莽苍苍无可匹配”。陈子展译为：“风深渺渺的没有边际啊，又是莽茫茫的没有形象”。 笔者认为，这里描述的是诗人内心的忧愁困惑，而非宇宙或风。应参考上下文所述的愁思。朱熹的解释“言己之愁思浩然广大幽深，不可为象也”是对的。 英译： My deep thoughts are like the universe great, And my mind the circumstances obscure. 15.“八柱何当？东南何亏？”（《天问》） 吴广平译为：“八根擎天柱与哪八座山相当？为何东南地势低陷海水茫茫”；陈子展译为：“八根擎天的大柱子对准什么地方？东南的柱子为什么亏短不一样长”；黄寿祺、梅桐生译为：“八根擎天柱坐落在何方？地的东南角为什么倾塌”。杨金鼎认为指的是天，“八根大柱撑在什么地方？东南方为什么陷塌了一大块?”把指地作为“一说”备考。 笔者认为，天柱本身就是山，如不周山；“何当”是“坐落何处”。《淮南子·天文训》言共工触不周山，“天倾西北”，“地不满东南”。第二句应指东南的地势下倾。 英译： What sustains th'eight pillars of th'vault? Why does th'earth in th'southeast subside? 16.“ 康回冯怒。”（《天问》） 王逸认为康回是“共工名”，朱熹然之。但吴广平说“但没有文献依据”。汤炳正《楚辞类稿》认为，“’康回’……奸邪之意”。顾颉刚说:“共工氏也就是鲸：‘共工’二字是‘鲸’字的缓声，‘鲸’字是 ‘共工’二字的急音”。 笔者认为“共工名”之说可取。（1）扣帽子以指称传说人物的名字，非屈原风格，再者屈子在他的诗中也无贬抑共工之意；（2）共工与鲧所处的时代不同，故二者非指同一人：共工与颛顼争帝位, 颛顼乃黄帝孙，大大早于尧舜禹；“禹之父曰鲧”（《史记》），为舜所殛，其事远在共工之后。 英译： How could Kanhui's wrath have caused The earth in th'southeast to subside? 17.“黑水玄趾，三危安在？”（《天问》） 吴广平引《路史•余论》注“黑水染足，涉者其色黝黑人肤”；杨金鼎引用王逸的话：“玄趾、三危，皆山名也”；又引用周拱辰《屈辞精义》:“玄趾无考，意即所谓玄股之国者也。” 从楚辞句法看，吴广平说为是。楚辞中未见名词甲加名词乙为上句、名词丙加谓语为下句的情形。 英译： Where's the Black Stream, which dyes th' wader's Toes? Where does Mount Three Perils lie? 18.“白霓婴茀，胡为此堂？安得夫良药，不能固臧？”（《天问》） 杨金鼎引王逸所言，认为是指崔文子、王子侨故事；丁晏认为指嫦娥传说，陈子展然之:“白霓为裳还有编了珠宝的首饰,她为什么来在这个庙堂”。 笔者取丁、陈子展说。按前一种说法，诗人是认为，王子乔应把不死之药好好藏起来留给自己用，而这不符合诗人的思想和诗歌的格调。 英译： In her brilliant Rainbow Array With what in th'hall would Chunhu deal? Why didn't Yi th'Life Remedy In a securer place conceal? 19.“撰体协胁，鹿何膺之？”（《天问》） “膺”，陈子展作“响应”解；杨金鼎马释为“承受”（“神鹿骈生着两个上身，是从哪里承受这种奇特的形体的？”）。 陈子展说更能照应上下文。“被赋予鹿形的风神是如何响应 雨神的？" 英译： （Pinghao can at will summon rain , But howe'er does he operate ?） And how does Lord of Wind, the deer With a bird's head,coordinate? 20.“汤谋易旅，何以厚之？ 覆舟斟寻，何道取之？”（《天问》） 王逸对前两句的解释是：“汤欲变易夏众，使之从己，独何以厚待之乎”； 杨金鼎解释为“商汤谋划对于师旅有所赏赐，为什么要如此厚待 呢”；张惠言说“汤疑当作阳”，即“少康阳为田猎，因以袭浇”；朱熹以为汤乃康之误：“汤与上句过浇、下句斟寻事不相涉，疑本康字之误。谓少康也”。 笔者认为朱熹说可取，其余的解释较牵强。初，笔者据吴广平的译文“浇谋划制造甲胄，怎样使它坚厚？ 浇打翻斟寻的飞舟，取胜用的什么计谋？”译为： To design armor strong and firm, What approaches did Ao employ? What strategy did he adopt When his foe's ships he did destroy? 后改译为： ’Twas hard to make his army strong ： How could Shaokang his goal attain? And how did he restore the Xia, Which fell after th' Zhenxun Campaign? 21.“舜闵在家，父何以鳏？”（《天问》） 吴广平译为：“舜的母亲就在家中，他的父亲怎么会打单身”， 认为这反映了“母氏社会里母权的显赫”。王逸、朱熹认为是舜忧虑成家之事而父母不为之娶（令其无妻），杨金鼎同意此说：“舜在成家问题上忧愁,他父亲为什么让他独身”。后者符合传说。“鳏”作动词用。 初据吴广平说译为： Why was Shun's father a widower When Shun's mother was well and sound? Without Shun's mother's consent how Comes Yao his daughters and Shun bound? 后改为： Unwed, Shun was laden with cares： Why did his sire leave him alone? Why did Ya o decide to marry His daughters to Shun on his own? 22.“吴获迄古，南岳是止；孰期去斯，得两男子？”（《天问》） 杨金鼎提供两种选择：（1）“吴得到了古公亶父那里来的人，他们到南岳居住；谁料得到他们迁移到吴广平这个地方，使吴国得到了两个男子汉？ ”（2）“吴国得以长久存在，在南方立国，谁会料想到出现这种情况？这是由于得到了太伯、仲雍两个男子的缘故”。后者与吴广平的解释基本相同。 笔者认为，“使吴国得到了两个男子汉”的说法欠妥：据 《史记•吴太伯世家》，古公亶父欲立季历，太伯、仲雍主动出走至江南，创建了吴国。其时未有吴也。闻一多说：“案去当从一本作夫，字之误也”。这样,“孰期夫斯”就是“谁会料想到出 现这种情况”的意思。 英译： The State of Wu, which lies around Nanyue,has surviv'd for ages. Where lies the subtlety of th'case? Just because it's had two sages? 23.“缘鹄饰玉，后帝是飨。何承谋夏杰，终以灭丧?”（《天问》） 王逸认为后帝是指汤；杨金鼎释为：“伊尹借助用饰着美玉的鼎做鹄羹献食的机会接近汤。伊尹又是怎样接受汤图谋夏桀的任务，终于使夏桀灭亡的呢？” 笔者认为，“后帝”是指夏桀。《竹书纪年》：“……曰琬，曰琰。后爱二人，而弃其元妃于洛，曰末喜氏，以与伊尹交，遂以夏亡”； “十七年，商使伊尹来朝。”《吕氏春秋》也记载，汤欲伊尹往观旷夏，恐其不信,乃自射伊尹。伊尹奔夏，三年，听于末喜之言以告汤。伊尹为灭夏而当间谋，实有文献可作依据。伊尹的烹饪技术是可以肯定的，利用它去接近桀，也顺理成章。 英译： The taste of goose pleas'd Jie, the goose Which Yi Yin dress'd in a jade plate. How did Yang rely on Yi Yin And topple down Jie's sovereign state? 24.“何条放致罚，而黎服大说？”（《天问》） 王逸认为指汤（将夏桀）“放之鸣条之野”；陈子展译为：“怎么 夏桀放到鸣条受罚，而众多的贱农就大为开心”。 笔者认为，汤放桀于南巢，此为文献所载，毋庸置疑；鸣条只是战场。译文应是：“汤在鸣条打败桀之后，把他处以流放的刑罚。老百姓为什么对此感到欢天喜地？” 英译： When he banish'd Jie from Mingtiao, Why did th'folk hail it with delight? 25.“受赐兹醢，西伯上告。”（《天问》） “兹醢”，王逸、朱熹认为指梅伯之醢；杨金鼎也说：“醢，肉酱，这里指纣王时诸侯梅伯的肉酱”。吴广平引《史记•殷本纪》正义所引用的《帝王世纪》的记载：“囚文王，文王之长子伯邑考，质于殷，为纣御。纣烹为羹，赐文王，曰：‘圣人当不食其子羹。’文王食之。纣曰：‘谁谓西伯圣者，食其子羹，尚不知也’，认为是指伯邑考之醢。 笔者认为吴广平说可取。“兹”的意思是“这”或“那”，也可能是 “子”的转音。 英译： When Zhou cook'd his son and serv'd him Th' soup, plead to God did Duke of th' West. Zhou having been punish'd by God, Why couldn't Shang's fate be redress'd? 26.“伯林雉经，维其何故？何感天抑地，夫谁畏惧？”（《天问》） 王逸认为指晋太子申生事；黄寿祺、梅桐生也认为指“晋献公太子申生的自杀”；陈子展则认为指“管叔在北林上吊自杀”；郭沫若译为：“纣王和他的妃嫔为何要吊死？以衣蒙面，怕见天地？”杨金鼎按申生说，把四句解释为：“申生上吊自杀，是什么原因？为什么他死了能感天动地？他到底怕的是谁呢”。朱熹对此解释表示怀疑，说“未知是否”；吴广平译为“将纣王尸体挂在柏树上，那是为什么缘故？” 笔者认为，“为什么他（申生）死了能感天动地”、“他到底怕的是谁呢”，这些问题问得有些莫名其妙，也缺乏文献依据。还是后者有理，可以使四句的意义连贯。但前两句应理为"纣王的尸体被挂在柏树上，他怎么会落得这种下场”比较妥当，后两句则是：“伐纣多么感天动地，当时是谁感到恐惧?” 英译： Wherefore did Ji Fa hang King Zhou's Corpse on th' cypress when he did die? Who was stricken with fear in th' war, Which seem'd to shake the Earth and the Sky? 27.“中央共牧，后何怒？”（《天问》） 王逸以为，中央之洲，有蛇争草实，比喻夷狄相争，君王何以怒之？朱熹言“未详”。杨金鼎列出多种解释，皆似前后不洽。姑采用马其昶说:指厉王怒共伯和摄政的故事。 英译： Why did King Li rage at it when The duke He the regent became? 28.“厥严不奉，帝何求？”（《天问》） 王逸以为，“帝何求”是说“虽从天帝求福，神无如之何”。杨金鼎、马茂元解释说：“楚王的威严已不能保持，我对天帝又有什么可求的呢”。在以上解释中，“求”逻辑主语或是楚人，或是我。吴广平的译文赞同此说。陈子展译为：“上帝对我还要求什么”。逻辑主语是上帝，宾语则是我。 笔者认为应理解为屈子的失望之叹：“楚国连自己的尊严都保持不了，上帝对它还能有何指望啊？ ”逻辑主语是上帝，宾语是楚国。如此则于语法可通，与诗人的思想也吻合。 英译: What is the hurry to return When at dusk thunders me besiege? Oh, what can God expect of Chu Now it hardly holds its prestige? 29.“释舟陵行，何以迁之？”（《天问》） 王逸注：“使龟释水而陵行，则何能迁徙山乎？ ”杨金鼎引《列子·汤问》:“龙伯之国有大人，……一钓而连六鳌”的传说，介绍了另一种解释：“龙伯巨人不用船，而在陆地上走，怎么能把六鳌从大海中弄走的呢”。吴广平同意闻一多《天问疏证》的观点：寒浞之子浇的动物化身为鳌，有陆地行舟的传说。 笔者认为，取闻说为妥。“释”，放也，如：“有卖油翁释担而立”（欧阳修《归田录》）。两句意 思是：“浇把船放到陆地上行驶，是靠什么来推动呢？” 英译： The Turtles bearing th'mountains stir, But how can th'mountains steady stand? What impetus propels his ship When Han Ao sails on solid land? 30.“伯昌号衰，秉鞭作牧？（《天问》） 吴广平译为：“文王痛哭着戴孝服丧，仍然执鞭放牧牛羊”，并引用萧兵的话，认为服丧期间如此，不但有带头改革旧俗、鼓励生产的作用，而且还有表示“韬晦”的政治意图。 我认为，史有武王戴孝征讨商纣之说，未闻文王服丧放牧之事。鞭乃权力之象征，故应是“号令于商衰微之际，管辖一方也”。王逸、朱熹、陈子展基本持此见解。 英译： When the Shang was on the decline, Duke of th'West rose the peers to lead How could th'replacement of th'altar Of the Shang's have been a real deed? 31.“何环穿自闾社，以及丘陵（是淫是荡），爰出子文？吾告堵敖以不长，何试上自予，忠名弥彰？”（《天问》） 王逸注：“旋穿闾社，通于丘陵，以淫而生子文”；“屈原言我何 敢尝试君上，自号忠直之名以显彰后世乎？诚以同姓之故，中心恳恻，义不能已也”。朱熹也以为指斗伯比“淫于郧子之女”，“他则不可晓矣”。吴广平译为：“斗伯比和郧女怎样穿过社庙，进入陵墓中？他们这样荒淫这样放荡，于是生出了令尹子文。我说堵敖在位不久长，为什么熊恽杀堵敖自立为王，而忠直的名声更加远扬”。陈子展说：“怎得穿遍了从闾里乡社以及丘陵，于是寻出一个将来做令尹的子文？我已经告诉过贤者堵敖、以为楚国衰了不能久长！为什么谏议君上、自我称许，使得忠直的名声愈加彰扬”。黄寿祺、梅桐生译为：“为什么在村头丘陵幽会,私通淫乱却能生出子文？我说堵敖在位不能长久，为何成王杀了国君自立，忠名更加显 著得到表彰”。杨金鼎认为，前面两句的意思是：“为什么子文的母 亲环绕闻社，穿越丘陵，和斗伯比淫乱私通，却能生出贤相子文 来”；后面三句的意思是：“我说堵敖的统治不会长久，为什么杀了君上，把王位给了自己，而忠名更加显著”。 值得注意的是，历代学者对于楚辞中存在错简、窜文提出过质疑：在“‘吾告堵傲以不长’二句”之下，汪瑗注曰：“此上疑有缺文。”（《楚辞集解》456页），洪兴祖（宋）通过文意逻辑分析，提出《抽思》等篇可能存在错简；刘永济（近现代）通过审文气、探文义，认为《九章》等多篇存在错简，并尝试复原闻一多（近现代）从校勘学、音韵学的角度为错简说提供精细的语言学证据。 结尾部分显现出的非逻辑性，疑为窜文、遗漏或错乱所致。译者不可将错就错，而应根据背景、诗人的情思及整个语篇的总意象 等因素，重新进行整合。据《左传•宣公四年》记载，楚之先王若敖娶郧国之女，生子斗伯比。若敖死，斗伯比跟着母亲生活在郧国，与郧国国君的女儿私通，生下了子文。郧夫人派人把子文扔到云梦泽中，却有一只老虎来给他喂奶。郧子打猎看到了，就收养了他。楚国人称奶为“毂 （谷）”，称虎为“於菟（巫图）”，因此给予子文取名“斗毂於菟”，字子文。子文长大，有贤人之才，做了楚国令尹，辅佐楚成王。《论语》称其忠。成王弑兄藕自立，“布德施惠”（《史记•楚世家》）。二者分别是楚国历史上的良臣、明主。但根据上文所引各家解说，屈原却似乎对他们出言不逊。而辱前贤、刺圣主，固非屈子之所为。诗歌上文说到诗人进谏而不被采纳，楚国安全不保。根据全诗内容及屈子忧国忧民的思想，可以推断，屈子言及子文、成王，是想把他们与当时的令尹子兰和顷襄王进行对照。 基于以上推论，这一语段可理解为：“子文安在啊？不论城市或山村，但愿他能再世！成王挽楚于危败，青史流芳。除非有像他那样的明主和子文那样的良相，否则我就可以对王室的亡灵断言，岌岌可危的楚国国运不长啦！” 英译: May Ziwen be found of today, Were he in th' wilderness or near; May Xiong Yun, who did justly slay Th' fatuous, in Chu reappear， Or else Chu's fall is what I fear! 32.“惜诵以致愍兮，发愤以抒情。”（《惜诵》） 陈子展译为：“痛惜进言以招致忧患啊，发愤就来写诗抒情”。吴广平译为：“借助诉讼以表达不幸，发泄愤懑来抒写性情”；张愚山译为：“陈述往事来表达不幸，发泄愤懑来抒写衷情”。杨金鼎译为：“以悼惜的心情，称述往事来表达忧苦之思”。 笔者认为，陈子展译对“发愤以抒情”的缘由有所交代，且符合诗人的遭际。“诵”的义项之一是，以婉言、隐语讽谏。如：诵言（讽 劝自己的言语），诵训（古代掌管百工的工师所讽诵的谏言）；致：造 成；导致，如：“何意致不厚”（《玉台新咏•古诗为焦仲卿妻作》）。 “致负诚托”（李朝威《柳毅传》）。取陈子展说。 英译： My plea having prov'd to be a despair, I hum an elegy to vent my pain. 33.“知前辙之不遂兮，未改此度。车既复而马颠兮，蹇独怀此异路。”（《思 美人》） 杨金鼎解释说：“ ‘前辙未遂’指怀王时代背齐合秦政策的错误”，“未改此度：指顷襄王的媚敌忘仇”，“车颠马复：指战争的失败”； 朱熹说：“知直道之不可行而不能改其度，虽至于车倾马仆而犹独怀其所由之道不肯同于众人也”。张愚山译为：“我明知前面的路不会无阻，也决不改我要推行的法度”。吴广平译为：“我明知前面车路不通， 但也决不改变道路。尽管车以翻马又跌倒，我依然望着前途”，认为表现了屈原虽长期以来一再遇到政治上的挫折，仍然不改变自己的志向。 笔者认为，朱熹、吴广平的说法可取。下文有“勒骐骥而更驾兮，造父为我操之”，可见是指屈原自己董道不豫的情操。 英译： Even if blocked is the road afore, I would never alter my way of yore; The cart may turn over and the steeds fall, I shall take the unique route after all. 34.“解萹薄与杂菜兮，备以为交佩；佩缤纷以缭转兮，遂萎绝而离异。”（《思 美人》） 朱熹解释说：“言解去二物而以上文之蔽莽备为交佩也”，“缭，绕也。缤纷缭转，言佩之美。然适佩之而遽已萎绝而离异矣”。吴广平说:“采集成丛的萹蓄与恶菜，备置它们来做左右佩带。尽管佩饰繁盛缠绕，但是最终枯死还得丢开”；“这四句各家的理解出入很大,其喻意迄无定论”。陈子展说：“采下扁竹一丛啊，准备好了以为左右佩带？佩带它很纷繁地来环绕啊，就让它到枯死了而后撒开”；“旧有注说皆误。焉有萹丛杂菜而可谓芳草者乎”。 杨金鼎引用了王夫之的话：“恶草充佩，则芳草委而不用”，又引用蒋骥所说的“菜皆不芳而可食，以喻中才可用之人，然向之佩之者，或忽 焉委而去之，盖时俗之流从如是，况能玩此芳草哉”，认为前两句指子兰为令尹，下两句指自己遭谗被迁。张愚山译为：“你采摘丛生的萹蓄和杂菜，把它们编织成左右的佩带。杂菜啊密密麻麻互相缠绕，香草却日渐枯萎被你抛开。”“解”，王逸《楚辞章句》释为“解去”，蒋骥《山带阁注楚辞》释为“拔取”，释义刚好相反。 笔者认为，萹、菜都不是香草。萎，通委，丢弃，抛弃。"委，弃 也”（《广雅》）；“委而去之”（《孟子･公孙丑下》）。“萹薄与杂菜”与被“萎绝而离异”的香花应是不同意象，诗人是以对比手法讽喻楚王近小人而远君子。这四句可以解释为：“难道可以把篇蓄和杂菜 当成左右佩带？原先佩带的香花还那么鲜艳夺目，为什么就将其 抛弃？” 英译： Can th' weeds and grasses take the flower's place As ribbons on the left and on the right? Wherefore should the fragrant be cast away Ere their leaves wither and their petals blight? 35.“吾且儃徊以娱忧兮，观南人之变态。”（《思美人》） 朱熹译为：“于是且复优游忘忧以观世变”；陈子展译为：“瞧一瞧那南边人的动态”；吴广平译为：“观赏一下南蛮的异态”；张愚山译为：“我姑且消闲自娱将忧愁排解，静观朝中小人的种种丑态”。杨金鼎解释说:“南人：指楚国的统治集团”，“变态：一种出乎情理 以外不正常的态度”，即“楚国君臣只有欢娱逸乐之心，并无雪耻报 仇之意”。 笔者认为，“儃徊以娱忧”的主语是“吾”而非他人。这两句与下文“窃快在中心兮，扬其凭而不埃”都是说诗人在极度失望中采取的超脱态度。若“南人”是指统治集团，或者诗人是想要“观世变”、瞧“动态”，那就超脱不了，如何“娱忧”？“观南人之变态”应指领略流放地土著的特殊风俗。 英译： To ease my pain I rove about, watching Th 'southerners' exotic way of life. My bosom is fill'd with joy and delight, For I've transcended sorrows and the strife. 36.“惭光景之诚信兮，身幽隐而备之。”（《惜往日》） 朱熹解释说：“无罪见尤，惭见光景，故窜身于幽隐，然亦不敢不为之备也”；张愚山译为：“光与影之间能够忠诚可信，惭愧啊我 被放逐还得小心。吴广平译为：“有惭于光和影的不可分离，我将 隐身深渊来逃避”；杨金鼎译为：“阳光真实，无所不照。但自己则 将一身收藏在幽隐的地方，感受不到，深觉可惭。意指生意已尽”。 闻一多《楚辞校补》说,"案备字无义，疑当为避，声之误也……避谓 避光景，有惭于光景，故欲避之而隐身于玄渊中也”。 笔者要问：“无罪见尤”，何惭之有？“光和影的不可分离”，何以就要“隐身深渊来逃避”？屈原一直梦想能有机会施展才华、实 现美政，那么，“自己则将一身收藏在幽隐的地方”、“深觉可惭”从 何说起？这两句的意思应是：“可惜我的忠诚有如影之于光，却遭受困顿幽闭；虽然到了如此地步，诚信之心犹然具备也。” 英译：Oh, whereat should the innocent and bright Suffer from slanders and inflicted pain? Devoted as shadows are to the light Am I still, though devotion is my bane. 37.“物有微而陨性兮,声有隐而先倡。”（《悲回风》） 吴广平译为：“微弱的东西损伤性命，隐约的声音咆哮猖狂”；陈子展译为“香物是微小的就丧失了生机啊，风声是无形的而气 流为它先倡”;杨金鼎译为：“在回风震荡之中，凋陨了蕙草的微弱生机”，“这回风的初起，是有隐微的声音倡之于先的”；张愚山译为：“美好的蕙草被旋风伤害了生机，别看那风啊，开始时不声不响”。 联系上文“心冤结而内伤”，下文所提及的“志介”、“虚伤”，以及全篇的内容，笔者认为，诗人是借回风摇蕙这一自然现象，抒发 感慨，讽刺社会之怪异：群小虽无德无能,却为害不浅;他们生性隐 蔽诡秘，却往往占据上风，先声夺人，伤害美好。 英译：Lo,th'whirlwind is shaking the orchids fair, . At the sight of which I can not but sigh. To harm the solid the shapeless should dare, And th'inaudible should sound loud and high! 38.“折若木以蔽光兮，随飘风之所仍。”（《悲回风》） 吴广平说，上句“喻意为韬光养晦”，下句“喻意为随遇而安”； 译为：“攀折若木来遮蔽阳光，听凭那狂风把我吹荡。”杨金鼎也认 为，上句"是用以象征自己力求韬光养晦”，下句“意指心情的空 虚”。张愚山译为：“折下若木的枝条来遮蔽日光，任凭那狂风将我 吹向哪里”。 笔者认为，这是诗人的愤激之言,是他在无可奈何的情况下所 假设的愤世嫉俗的做法之一。可以参考下文“证此言之不可聊”。 “仍”通“扔”。两句的意思应为：“如果我能折若木来遮挡阳光，那我就可以（不顾良知），任凭风去把我飘荡了。” 英译： With twigs from th* Fairy Tree the sun I'd hide So that I'd move in light of how th' wind blows. 39.“心触结而不解兮，思蹇产而不释。”（《悲回风》） 郭沫若认为，包括这两行在内，诗的最后六行系别处窜入的文字，应删去；闻一多认为这两句是后人误加于此;杨金鼎引用蒋骥所说的：“子胥申徒，皆其同类。而忽感二子之死，不能救商与吴之亡。故踌躇徘徊，卒不忍遽死；而其愁思萦回而不能解释也”， 认为“所论深得原意”。张愚山译为：“我忧伤郁结得不到排解，绵绵思绪啊将我牢牢缚住”。 笔者认为，“释”是消除的意思；这二句是对前面所提的问题“任重石之何益”所作的回答：“这是因为申徒'心鞋结而不解兮，思 蹇产而不释，”（而随着他的自沉，所有愁思一了百了，他自己也得到解脱）。因此这两句并非窜入文字，也非后人所误加，不应删去。 英译:（'Bout his pleads not a pin did th' king care , Thus he drowne'd himself. And of what avail Was it? ） From th' conflicts it did extricate The sage, who had been driven to despair! 40.“鸟兽犹知怀德兮，何云贤士之不处？” 朱熹、陈子展、吴广平版本皆作“何云”，马茂元版本作“云何”。杨金鼎：“怀德：怀念有德者。这里有责怪的意思”；“鸟兽还知道怀念有人德的人呢，为什么贤士反而不留在朝廷呢？”吴广平：“鸟兽 尚知道怀恩报德，怎怪贤士不肯留在朝廷？” 笔者要问：“责怪”何人何事？上文所说“骐骥伏匿”、“凤凰高 飞”，指的就是贤士得不到任用。吴广平译较准确。两句可以解释为：“鸟兽都知道怀德，贤士就更不必说了。君王无德，怎么能怪贤士留不住呢？” 英译： Even birds and beasts are conscious of love and hate, Let alone talent, who on th' throne dread to attend. 41.“祝融戒而还衡兮，腾告鸾鸟迎宓妃。”（《远游》） 吴广平译为：“祝融劝告我立即回车，我传令鸾鸟迎接宓妃”； 黄寿祺、梅桐生译为：“祝融告戒我要停止前行，我传令鸾鸟把宓妃迎上”；陈子展译为：“火神祝融警告就得还辕啊，并通告鸾鸟去迎洛神宓妃”;杨金鼎解释：“戒：蒋骥说：‘前戒也。’在前面清道警 卫”。吴广平译为：“祝融劝告我立即回来，我传令鸾鸟迎接宓妃”。 笔者认为：“戒”在这里是“告请”的意思。这一用法见于《礼仪 聘礼》：“既图事，戒上介亦如之”；《礼仪•士冠礼》:“（主人）戒宾曰： '某有子某，将加布于其首，愿吾子之教之前句意思是“因祝融告请而还衡"。告请何事？将以歌舞款待之也。下句的传令者当为祝融，如此则有诗人受到礼遇的意思。前句“戒”若如杨所说，是 “在前面清道警卫”，则诗人正在行进中，与“迎宓妃”相配酷;若诗人自己“腾告鸾鸟迎宓妃”，那么，后来乐未尽便“逝以徘徊”，则颇不近情理。 英译： For Lady of th' Luo the Phoenix is sent By the God of Fire,who requests my stay. 42.“心摇悦而日幸兮，然悟怅而无冀。”（《九辩》） 吴广平：“心怀喜悦常存有侥幸，最终惆怅而没有希望”；陈子展：“心里转乐就觉自幸啊，但遗恨而没有什么希冀”；张愚山：“动 摇和喜悦伴随着我天天希望，惆怅啊却又打消了我的念头”。以上解释或失去转折,或逻辑不通。朱熹说:“冀，望也。心谓既老将有 所遇也，故摇悦而日幸。然卒自知其无望也”。朱熹说：“心谓既老 将有所遇，故摇悦而日幸，然卒自知其无所望也。” 笔者认为朱熹说可取。这两句是表现由希望到绝望的心理变化过程。 英译： Hoping against hope less and less I tend to grieve, Though about the fact that hope is slim lam clear. 43.“事亶亶而觊进兮,蹇淹留而踌躇。”（《九辩》） 吴广平：“国事在变我希望进取，久留此地我徘徊犹豫”；张愚山：“国事在不停地变化前进，而我却在荒原上徘徊久留”；陈子展：“事业要勤勉进取就指望进用啊，硬被停滞久了而独自进退踌躇”。 笔者认为，“觊进”即“等待进用的机会”。上句吴广平译较可取。下句的意思则应是：“却被耽搁在此，一筹莫展”。 英译： Th' state of affairs changing, I wish to forge ahead, But lo,stranded in th' wasteland I can find no way! 44.“罔流涕以聊虑兮，惟著意而得之。”（《九辩》） 王逸有两处注释：“怆然深思而悲泣也”，“知天生贤不空出也”；吴广平： “我惆怅哭泣深深思索，君王用心才能得贤才”；张 愚山 ：“在惆怅中你姑且想一想吧，只有用心才能得到贤者辅助”；杨金鼎：“在失意悲愁中，且来想一想，只有用心求贤的君主，才能得 到贤臣”;朱熹没有作解释。 笔者认为，“罔”有表示禁止或劝阻的意思，相当于“别”、“不要”。例如“罔失法度，罔游于逸，罔淫于乐”，“罔违道以干百姓之誉”（《尚书 •大禹谟》）；“事罔隆而不杀”（《汉书•杨雄传》）；“君罔谓汝 何之”（《 惜 颂 》）；“罔罪尔众”（《书•盘庚下》）。“聊”:且。“罔流涕”（抑制住眼泪）是为了“聊虑”。“罔流涕以聊虑”的应是“我”而非君王。“止住眼泪聊且思考一下”，于是悟出了“惟著意而得之”（即真心求贤的君主才能得到贤者）的道理。 英译： I stop weeping to brc»d, awakening to th' truth That wisdom's visible only to those sincere. 45.“何曾华之无实兮,从风雨而飞飏。”（《九辩》） 王逸：“外貌若忠，内心佞也”;“风动而草木摇，雨降而万物殖。故以风雨论君，言政令德惠所由出也。”错误地理解了“蕙”这一意象。从下文“以为君独服此蕙兮，羌无以异于众芳”判断，诗人是自比于蕙。 如何理解“无实”，也十分重要。“实，荣也”（《墨子经上》）。故“实”应理解为“发荣滋长”，但各家却往往解释为“结果”，例如，陈子展：“没有结实”；吴广平：“不结果”; 杨金鼎：“怎么重重叠叠的花 朵却不结果实，让它随着风雨飘散”；张愚山译为：“为什么光开花不结果，随着风雨的袭击飘落飞扬”。 笔者认为，蕙是观赏植物，无实是十分自然的。如果诗人问的是“为什么蕙只开花不结果”，那就太滑稽可笑了。诗人所怨的是，为君者对蕙不加以爱护，任凭风吹雨打，没有给它以发荣滋长的机会。 英译： Why isn't it allow'd to thrive, as their bloom's loud? And why should it be shatter'd by th' rain out of th' way? 46.“华容备些。”（《招魂》） 朱熹注:“华容谓美人也”，吴广平译：“美女等候在两旁”。陈 子展则说:“华贵的装饰”。吴广平注：“华容:华美的容貌，指美女。 备:齐备”。 笔者认为，“容”，假借为“用”。如 ：在“兵无所容其刃”（《老子•五十章》）中，“容”是动词，而在这里是作名词使用，指“用品”。这句所在的四行描述室内陈子展设，下句“二八侍宿”才是指美女。“华容备些”如指美女齐备，岂不与下文“九侯淑女，多迅众些”相互为赘？ 英译: The bedrooms offer a varied sight, Being adorn’d with treasures rare. Lamps of orchid oil burning bright, The furniture is nice and fare. 47 .“步及骤处兮，诱骋先。”（《招魂》） 对此各家的解说都有些问题。吴广平说：“走到车马奔驰处，狩猎向导在前奔”。我要问：何人 “走”？向导是步行还是骑马？ 陈子展说:“步行以及跑马和休息啊，都在诱使人驰骋争先”。我要问：“步行以及跑马和休息”怎么能“诱使”人驰骋争先？ 吴广平说:“步行驰马进复停,诱出野兽争追寻”。我要问：何人“诱出”? 朱熹说：“步行而及骤马所至之处，言走之疾也，诱盖为前导”。我要问：所言既为导猎者，何以既“步”且“骋”？人走再疾，焉能追及骤马？ 殷光熹说:“步行的从猎者追及驰马所至之处，向导一马当先,跑在前面”。我要问：狩猎当有其固有队形秩序，何须等待步者 “追”？难道原先队伍是混乱的？再说，向导不等于导猎；那么大型的狩猎活动，导猎也往往不止一人。 我认为“处”当为动词，意思是“止”。《易•系辞上函》“或出或处”的“处”就是这种用法。 两句的意思是：“步行、骑马的狩猎者停止前进，而导猎者则奔驰向前（去把野兽驱赶出来）。” 英译： When foot and horse slow down, the guides Charge ahead the game to out scare. At rest or in chaste, men are flush’d With th "hunt. Turning right we back fare. 48. “娱人乱只。”（《大招》） 殷光熹解释说：“乱：音乐的末章，尾声”。笔者要问：怎么乐人一上场就奏起尾声来？应是乐人的演奏严整得体。《尔雅•释诂》 解释说：“乱，治也”；《书•顾命》“其能而乱四方”中的“乱”即具有这种意义。朱熹、吴广平、陈子展皆言“乱”即“理”（有条理），这是对的。 英译：The bells and the chime stones Struck in great harmony. 49. 接径千里，出若云只（《大招》） 吴广平译为：“道路相连通千里，巡行车马多如云”；陈子展释义基本相同；殷光熹译为：“土地相连，道路万千，人口众多，遍布如云”。 笔者认为，“巡行”一词不甚妥当；与道路相关的是行人车马，两句并没有说到人口，殷的释义似与下文“人阜昌只”重复。译为“大道千里，出行的车马如云（描写繁荣景象）”也许可以避免牵强附会。 英译： Along the thoroughfares Men and carriages stream. 50. “三圭重侯，听类神只。”（《大招》） 吴广平：“各路英雄来执政，处理政务象神明”；陈子展；“三圭公侯伯、同侯有子男，听从类祭天神啦。”殷光熹的解释是：“公执恒圭，侯执信圭,伯执躬圭”；“公、侯、伯三种贵族”“受理案件，精审如同神明”。 笔者认为，“各路英雄”不甚准确;把子、男两种贵族包括 进去也不太妥当。还是殷说较可取。 英译： In handling state affairs Wise as gods the peers seem. 三．结束语 历代楚辞学者通过训诂、考据和疏注，展现了楚辞的璀璨。不必讳言，在楚辞研究中也不乏主观臆断、望文生义的情形。 典籍外译工作者赋予典籍以新的生命形态，拓展典籍的生存空间，捍卫华夏民族的文化安全，为文明互鉴铺路搭桥，功不可没。不必讳言，其中也不乏急功近利、粗制滥造者。个别利益驱动型的教师只图今朝闹得欢，不顾来日三百鞭，其规模化垃圾生产量达到骇人听闻的地步：如果从一岁算起，平均每年出版一本书甚或更多。他们前亵渎古人，后坑害来者，既误导外国读者又玷污民族文化，值得坚守良知者引以为鉴。 典籍外译属于研究型翻译，元典研究的环节不容忽略。我采用的考辨方法有训诂、考据、推理（包括移情推理）、文化历史观照、文本内证及外证、互文观照以及诗人与文本的互证等。 当某种诠释与作者的思想、个性、创作意图以及整个语篇的总意象相龃龉的时候,译者就必须提出怀疑，并寻求合理的解释以取代之，否则就可能采信错误的诠释，产生错误的理解和翻译。例如，“过夏首而西浮兮，顾龙门而不见”的两种译文：Passing Summer Head,westward we float, oh! / The Dragon Gate can't be seen from my boat,以及：East moves the Boat, I dream of West, / Far from the Country I love best,就是分别依照 对于“西浮”的错误解释翻译出来的（参看例 9）。 本文使用的考辨方法有训诂、移情（如例 9）、考据（如例 5）、推理（如例 16）、文化历史观照（如例 5、24）、文本内证及外证（如例 2、例 38）、互文观照（如例 1）以及诗人与文本的互证（如例 16）等。 Appendix I : Fifty New Findings in the Research on The Verse of Chu (synopsis) This paper presents fifty new findings in the research on the form and content of The Verse of Chu, briefing the supports and how the research is conducted. Through such methods as etymological survey, philological investigation, empathetic reasoning, cultural and historical examination, textual and inter-textual analyses , and verification through author researches, etc, many important issues have been clarified and lots of mistakes corrected. For instance, the opinions that most of The Nine Praises are solos( i.e., with one character acting different parts), that Fate the Minor is a female god, and that “西浮” in Sorrow Over the Fall of Ying means “sail back to the west” or “yearn for the west”, etc., etc., are not adopted, for researches have shown that they are mere groundless suppositions. The paper calls for scrutiny in the studies and renewal in the research paradigm. 附录 II 楚辞英译若干问题的商榷（原载于《云梦学刊》，在此书中以某某 某、某某替代评论对象。作者：卓振英 来伟婷 江 庆） 一、引言 在《楚辞传播学与英语语境研究》一书中，作者某某某、某某两位先生对中国译者的各种楚辞英译本进行了评论。批评他人，本应实事求是，以理服人。然而，该书的很多结论相当轻率，不少见解甚为偏颇，有违学术批评的规范。该书白纸黑字，流布较广，这就有必要辨明曲直，澄清是非，以正视听。限于篇幅，这里仅就其中有关楚辞英译的若干问题与作者商榷。 二、若干问题的商榷 典籍英译作为中国文化“走出去 ”的一种途径 ，有助于抵消文化殖民的影响、提高民族文化活力、加强中国与世界的文化联系。如果对于英译典籍存在的错误、缺点善意地提出中肯的批评，那是应该提倡、欢迎的。然而，某、某两位作者的做法却不是这样。他们或是将某种臆测强加于人，然后予以批驳；或是攻其一点，不及其余；或是冷嘲热讽，机械类比；如此等等，不一而足。下文将列举数例，摆事实，讲道理，逐一加以讨论。 （一）关于《离骚》篇名的英译 书的作者说 ，卓振英在《大中华文库·楚辞 》里把 “《离骚》篇题英译为 Tales of Woe，把这篇历来认为是长篇抒情诗看成了长篇叙事诗，虽然《离骚》中有叙事成分，如女媭的话语、三次飞行、求女、灵氛占卦等，但诗篇的总体特征是抒情，因此用 tales 显得很不合适”（某某某 某某，2008:100）。 首先，《离骚》既有叙事又有抒情，绝对化地将它看作抒情诗或叙事诗都不妥当。 说译者把它“看成了长篇叙事诗”，那是缺乏依据的。 该书作者的这种臆断违背了关于批评者“不能歪曲作者原意，更不允许将作者不曾有的观点、 说法强加于人”（教育部社会科学委员会学风建设委员会 2009：40）的规范。 其次，作者认为 Tales of Woe 只能作为叙事诗的题目，理据不足。Tales 用以指叙事，Woe 用以指抒情，怎么会“显得很不合适”呢？ 其三，作者后面所说的是“因此用 tales 显得很不合适”。他们故意把 of Woe 从卓译的整个题目中抽掉，这显然是偷换概念。 （二）关于《涉江》篇名的英译 《涉江 》的篇名有 The Voyage 和 Crossing the River 及 Crossing the Rivers 等不同译法。 作者断定说，卓把《涉江》译为 The Voyage “存在着一定的认识不足和认知偏差”，接着就提出了几点质疑：“第一，既然古人称长江为江 ，那么前人将 《涉江 》理解为渡过长江怎么就不对呢？ 如何是两条江，那么屈原就应该说成《涉江湘》，韩慧先生也许会说篇题只需要两个字，但这不是事实，因为在《九章》中用三个字的有好几个 ，如 《思美人》、《悲回风》等。再者，转喻是语言中常用的表达手段，在英语中表示同一类的东西用单数表示复数也是屡见不鲜的 （Open your book at page 5 是让所有在课堂上课的学生翻开某一页书 ，并非一本书），由此，the river 如何又表示复数不得？ 第二，卓译选用的 the voyage 未必就是很合适的字眼，不值得韩慧先生大加夸奖，打个高分。 为什么这样讲呢？因为 voyage 是航海，这里深含的是海洋文化，而屈原的涉江恐怕与航海区别甚大，中国湖南是典型的内陆，恐怕与航海沾不上边，如果把 voyage 理解成旅行，这好像离开了海 ，但仔细想也不对，因为屈原明明是要涉江，为什么放着这意思不说成 Crossing the Rivers,而偏要说成 The Voyage（航海 ）呢？”（某某某 某某，2008:101） 按作者在前面部分所表达的意思，屈原既然没说“涉江湘”，他所“涉”的就仅仅是长江而已了。 但根据各家的考据，《涉江》叙述的却是屈原入长江 、溯沅水 、赴溆浦的历程，根据诗句“步余马兮山皋，邸余车兮方林”判断，该历程还包括车马之旅。《涉江》原文明明白白地告诉我们“旦余将济乎江湘”，其中的“江湘”指的就是指长江和湘江（包括洞庭湖 ）。 请问两位作者，你们为何置此于不顾？本来，作者在他们的书第 85 页所引孙大雨先生的注也说得很清楚： “I would sail the Hsiang and River” means in his journey from Ling-yang to Tsen and Sue (辰溆), he must sail the River and steer through Doong-ding. Hsiang Stream is the main current of Lake Doong-ding; hence The Classic of Streams (《 水经 》)calls Doong-ding Hsiang-Stream. Crossing Doong-ding is therefore sailing the Hsiang.” 可见，“将《涉江》理解为渡过长江”确实就 是不对。 作者说，曾在文章中肯定 The Voyage 这种译法的韩慧先生“也许会说篇题只需要两个字”，然后便就此加以批驳。 笔者觉得，韩慧先生是否真的“也许会说”那样的话，首先必须向其本人问个明白，否则就是臆断。把“也许”的东西套在人家头上，加以批驳，这是作者把某种观点强加于人的又一个例子。 “voyage 是航海”，作者这么说也是有嫌武断的。词典释义有助于对voyage 的本义和用法的理解。上海外语教育出版社 2007 年出版的《新牛津英汉双解大辞典》第 2368 页说到，Voyage 在古英语中可用作动词，意思是“sail over or along (a sea or river)”，这就是说，它在古英语中可以指沿河航行；《牛津英语搭配词典》有这样的例句：“Going to college can be a voyage of discovery.上大学可以是一次发现之旅”，这就是说，它与 travel和 journey 是同义词；《新牛津美语大辞典》还注明了该词的语源：“ORIGIN Middle English (as a noun denoting a journey): from Old French voiage, from Latin viaticum ‘provisions for a journey’ (in late Latin‘journey’)”，这就是说，在中世纪英语中，该词作为名词，可以指旅行。实际的情况是，屈原是坐船沿江以及在湖面上航行，并非横渡某条或若干条江。 Crossing可以指横渡（某条江河），voyage 则既可以指在海上或沿江河航行，又可以指在陆地旅行。用 voyage 来指屈原由汉水入长江、溯沅水往溆浦的历程显然比 Crossing the River 或 Crossing the Rivers 合适。译者之所以“ 不说成 Crossing the Rivers, 而偏要说成 The Voyage”，道理正在于此。 为了说明 Crossing the River 中的“River”（江河）用单数的合理性，作者居然说 Open your book at page 5 中有转喻，而且是“用单数表示复数”。想通过机械类比，由这个站不住脚的论据推论出单数的 river 可以表示若干条河，其结论同样是站不住脚的。在《涉江》的语境下，the river 就是“表示复数不得”。 “学者在进行学术批评时， 要有强烈的使命感和责任感，勇于承担学术责任、道义责任和法律责任。”（教育部社会科学委员会学风建设委员会 2009：39）应当指出，作者的见解是有可能对读者产生误导的，是有违学术责任和道义的。 照作者的第一种看法，既然屈原没有说“涉江湘”，那就是没有涉湘江，“江”应是单数；照他们关于 river 以单数代替复数的辩解，又好象“涉”的不止是一条江，“江”应是复数。 这就令人难以判断他们对这个问题是否拿得准、有自己的定见了。 （三）关于《离骚》若干诗节的译法 离骚中的“昔三后之纯粹兮，固众芳之所在。 杂申椒与菌桂兮，岂维纫夫蕙芷？”四句，卓的英译是：Why had the Three Ancient Kings been so pure and true? / Around them were gathered Flowers Red and Blue. / Good use of Sweet Grass and Angelica they made, / And heed to Cassia and Ash they also paid。对此， 作者相当武断地说，“第二行的韵脚 blue 就是为了与 true 押韵而选的，这一选择并不理想， 可以说以韵害义，因为原文中只有‘众芳’，……这自然是为了凑韵。……三四两句中，译者干脆丢掉原文中的动词 ‘杂 ’、‘纫 ’，而选用英语的 made good use of 和 paid heed to，目的是让 made 与 paid 押韵。这种为押韵而改换动词的做法自然是不忠实于原文”。 （某某某 某某，2008：102）然而，到底是情形果真如此 ，还是作者在危言耸听 、吹毛求疵？ 屈原是以香花喻君子，歌颂三后广纳各种各样的人才：他们亲近（“纫”）、使用（“杂”）的不仅仅是“蕙芷”，而且包括“申椒与菌桂”。Flowers Red and Blue 以红、蓝两种颜色的花代表花的多样性 ，且兼顾音韵美的重构 ，本应无可厚非；Good use of Sweet Grass and Angelica they made,/ And heed to Cassia and Ash they also paid 喻指广纳人才、 听取众议。照理说，这样的译法并没有“丢掉”什么，也不存在“害义”的问题。没有充足的理由，就说“这自然是为了凑韵”、“自然是不忠实于原文”，这真是“欲加之罪，何患无辞”！ “重仁袭义兮，谨厚以为丰。 重华不可遌兮，孰知余之从容 ？” 卓的译文为 To enrich myself I rise at five, / And with refinement I do grow. / If only Chonghua could survive,/Otherwise my worth who could know? 对此，作者提出了一长串相当尖刻的批评性话语：“为了和 survive 押韵，卓译竟加进了 I rise at five，这在原文是不可能有的。今天生活的人们早晨五点起床，古人可能也会这个时候早起（屈原的原文没有任何与起床有关的字眼），但屈原那时使用的也不是现在 的 二 十四小时的小时制 ，哪来的 five 的说法？ 这一译法显得无中生有，颇为滑稽了。”（某某某 某某，2008:103） 作者作出这种结论，不知道是出于“一定的认识不足和认知偏差”，还是出于傲慢与偏见？ 有个英语谚语是这样说的 ：“He that will thrive must rise at five” 。 英语 rise at five 就好比汉语的“闻鸡起舞”，各自的表层意思是“五点起 床 ”、“鸡一报晓就起床舞剑”，深层含义则都是“勤奋”，二者都是以具体昭示抽象。卓译那样处理是利用该成语与屈原诗句的互文性。怎么能强不知以为知，只根据表层结构，便机械地把 rise at five 理解为“五点起床”，然后再把“五点起床”的译法批判一通？只要我们消除思维定势和功能固着等消极影响，在卓译和英语谚语间建立起关联，就能领悟到二者的互文性和译文的深层含义，就不会去嘲笑“这一译法显得无中生有，颇为滑稽了”。 （四）关于《天问》若干诗句的译法 《天问》中的四句“登立为帝，孰道尚之？女娲有体，孰制匠之”，卓译为：Nuwa was crowned, but who had / Supported her with a good grace? / Who had conjured her odd form — / A serpent with a human face?作者对此讥评道，“女娲人面蛇身，但在诗句中只是说她‘有体’，并未明说什么特征的体。如果把什么体明确说出来，这种坐实的译法没有给译文的解释留有空间，这明显是不可取的”。（某某某 某某，2008:104）在笔者看来，把原作的深层含义（女娲的形体）作显化处理，这有助于外国人士了解中国文化，从文化传播的角度看，比“给译文的解释留有空间”、硬叫外国人士凭空瞎猜瞎想要好。 （五）关于《大中华文库·楚辞》的总体评价及译作可接受性的讨论 基于诸如此类的非难、指责，作者于是在结论部分对卓译加以全盘否定：“卓译只能总结出他的译文的分章节的形式化特征，而这不是《楚辞》的本质特征。卓译使用的现代英语，译文中没有出现类似于 thou，doth 等传统诗歌的用语，因此在语言风格上不同于杨译和孙译。从四家的表达水平来看，卓译在简洁程度上逊于其他三家。卓译的许多地方使用的语句显得迂回拥塞，不够简洁明了”。（某某某 某某，2008:105） 请看，卓译唯一能“总结出”的东西，一下子就被“这不是《楚辞》的本质特征”否定掉了；这就是说，卓译一无是处。然而，在 94 页，他们却承认，“比较诸家译文，我们发现卓译在一定程度上吸收了前人英译的一定的成果，在此基础上，他又经过自己对《楚辞》的考证和深入研究和理解，然后再行翻译”，“许多前人英译不准确的地方，他都做了改进”；在 97 页，他们说卓将楚辞译为 The Verse of Chu “十分可取”；在 98 页，他们说卓根据英语诗歌的传统进行章节划分的做法“毕竟是一个有益的尝试”。这就前后矛盾，逻辑混乱，违背了同一率。 请问作者，“卓译的许多地方使用的语句显得迂回拥塞，不够简洁明了”，这有何依据？Thou，doth 相当于现代英语的 you 和 does。请问作者，将其界定为“传统诗歌的用语”，有何依据？ 我们认为，译文面向的是现今的读者，而不是莎士比亚时代的古人，译者考虑翻译文本的文体风格和及其可接受性(acceptability)，是无可厚非的。主要正是由于如此，圣经也才用现代英语进行重译。请问作者，怎么能断定典籍英译中用了现代英语，语言风格就一定差，而“出现类似于 thou, doth”等所谓的“传统诗歌的用语”就一定好呢?为什么一定要把中世纪英语强加于当代人呢？ 三、结束语 翻译批评是翻译研究的重要方面，它可以评价译本，指导和规范翻译实践，加强和完善译作评价体系，是“翻译理论与实践的一条根本纽带”（纽马克 1988：184）；《中国翻译词典》的定义是：“翻译批评即参照一定的标准，对翻译过程及其译作质量与价值进行全面的评价”。不过，批评乃学术之利器。它是一面双刃剑，既可为公，亦可为私；既可有建设性，亦可有破坏性；既可被用以刺向假、恶、丑，亦可被用以刺向真、善、美。其关键恐怕就在于批评者有无正确的立场和态度。“一名之立，旬日踌躇”，— 古人立言谨慎，堪为后世楷模。 我们应当“实事求是，以理服人”（教育部社会科学委员会学风建设委员会，2009：38），应当“提倡全面公允、实事求是的态度。基本是好的译文，不能以个别细节的错误而全盘否定；基本是坏的译文，指出错误的地方应持之有据，恰如其分”（周仪，罗平 1999：148），以营造良好的学术生态环境。 Appendix II: Discussions of Certain Issues Regarding the Translation of The Verse of Chu (synopsis) This paper refutes the opinions held by the authors of the monograph in question. For example, the authors believe that “Crossing the River” or “Crossing the Rivers” as translations for 《涉江》are better than “The Voyage.” By arguing that the poet’s journey involves travelling both by water and on land, and that the word “voyage” in origin may denote those ways in general, this paper rejects the authors’ idea. In the end, this paper warns against arbitration. 跋 一．复原的缘起与设想 我 2003 年承接《大中华文库･楚辞》英译的任务。鉴于学界在楚辞的 形制与文本解读等方面众说纷纭、莫衷一是的状况，我在参照各类有关著 述之后形成了自己的今文腹稿，即未成文的所谓“底本”。 未成文底本的形成决非一蹴而就。“哀郢”里有这么两句：“过夏首而 西浮兮，顾龙门而不见。” 对于其中的“西浮”就有多种不同的解读：王 逸解释说，“船独流为浮也”，据此则“西浮”是指船往西行驶；于省吾、 张家英、郭沫若、郭在贻、吴孟复分别解释为“西背”（即背朝西）、“西 负”（即背朝西）、“西思”（即心思西边的故乡）、“迅浮”（即形容 船行之疾）、“迁流”（即是说船是在水中移动的）；吴广平认为“其人 东行，其心西向，故过夏首时，又回舟而西浮”，据此则可理解为，诗人 原先乘船逃离沦陷的郢都以图跳出火坑，这时却因“其心西向”而调转船 头，让船朝着火坑的方向行驶。 我认为，该两句是排比句，主语都是诗人，谓语是“过”与“顾”， 而句子的宾语夏首、龙门则分别是“西浮”和“不见”的逻辑主语。诗人 是利用形象视错觉来表达自己对家国难以割舍的情感：船向东行驶，处于 绝对运动状态的诗人回首西望，相对静止的夏首看起来便似乎在往西漂浮， 而郢都的东门已经消失在远方。经过推敲，我产生了自己的今文腹稿：“回 头一望，所经过的夏首似乎向西漂流而去，越漂越远，而郢都的东门已经 消失在烟波浩淼之中（这时爱国诗人的心不禁为之一沉）。” 英译为： I pass by Xiashou, which seems to drift west; Th’ Dragon-Gate out of sight, I feel distressed. 关于”九歌”的形制，根据钱钟书《管锥篇》中的“巫之一身二任” 说，吴广平认为“‘九歌’各篇不存在对唱而均为独唱”。我则认为九歌 是多角色演唱的娱神歌舞剧，对所谓巫“一身两任，双簧独演”的见解提 出五项理据予以否定（参看“楚辞新考五十例”）。 我还对女媭的身份、少司命等神及灵巫的性别进行了辨析，驳斥了关 于女媭是贱婢、少司命是女神等见解。 广泛阅读和考辨扫除了翻译的藩篱，为未成文底本的形成打下了坚实 的基础。在我看来舍此无从下笔。 一件有意义的工作要做就必须做好，尽力做到极致。在屈原的人格和 精神的感召下，我便如痴如迷，无节无假地开展翻译工作。英译完成、交 稿很久后才接到今文译稿，出版社的意思是要我看看，给该稿提点意见或 建议。2006 年文库版《楚辞》问世。 拙作出版之后我经常扪心自问，我的英译存在哪些纰漏？如何使它更 趋于完善以助推其在国际上的再经典化？严晓江教授、冯俊博士等学者以 专著、论文等方式发表了中肯的见解，张建惠副教授奉献了自己积累的指 瑕记录和修改建议，田传茂教授为我指出了“鲧”、“宓妃”的英译错误， ┄ ┄。学术界的批评和建议使我对拙译有了更清晰的认识；我自己也反复推 敲琢磨，发现拙译《楚辞》是有懈可击的，“九歌”11 篇的形制也值得怀 疑，由此便产生了编著汉英对照复原版(或曰重构版)的想法。 顾名思义，此举旨在复原《楚辞》的内容与形制。这是牵涉大破大立 的艰巨工程，必须回答诸多学术问题。对于复原、重译的原则与策略，我 做了如下预设和考虑： 1. 原文解读以国学研究新成果为依据和支撑，而不仅仅依据某一白话 （今文）版本照本宣科。 2. 以诗译诗、借形传神：借鉴英国诗的诗体，变通地翻译原文中的五、 六、七行诗节，以令其朗朗上口，易于接受，并呈现楚辞参差错落、灵活 多变的风格特征，不采用无韵诗体或散文体译法，也不自始至终采用四行 或八行诗节而一以贯之。借鉴文库版，将长诗划分出诗章，以利于读者领 会诗意，避免审美疲劳，并产生阅读阶段感和相应的获得感。改正文库版 中的纰漏和错误，对英译进一步加以提炼、润色，令其与原作臻于形神兼 似，以求在文库版的基础上“更上一层楼”。 3. 基于“九歌”是迎神、娱神的歌舞剧的唱词这一判断，对不同角色 的唱词进一步进行检视、区分，以令文本在体例上连贯统一，在结构上脉 络清晰，在内容上一目了然，以免将读者置于雾里云中。要使区分成为可 能、可行、可取之举，必须对有关角色的着装、道具、话语以及场景、历 史、民俗进行考察和甄别，为这种区分提供合理的依据。 4. 名不正则言不顺。书名、篇目的确立十分重要，必须千锤百炼，反 复推敲。例如，“渔父”并非描写渔父的形貌特征或人生经历，而是呈现 诗人与渔父的对话，故应译为 A Dialogue with the Fisherman 而不取 The Fisherman 的译法；“涉江”中诗人的行旅并不只是横渡一条或多条河流， 而是水陆并进，其中水路主要是乘船顺流或逆流行进而不是横跨（参看“步 余马兮山皋，邸余车兮方林”、“乘舲船余上沅兮，齐吴榜以击汰”、 “朝 发枉渚兮，夕宿辰阳”等诗句）。应译为 The Voyage，以涵盖水陆之旅，不 采用 Crossing the River 或 Crossing the Rivers 等译法；文库版的英文书名 The Verse of Chu 简约而蕴含地理、历史信息，概括力比较强，具有便于引 用的优点；避免了以偏概全地把所有篇目都当成 elegies，且其用词另辟蹊径， 避免了与《诗经》英译 The book of Poetry 中的 poetry 一词雷同。类似这样的优点应予以保留。 5. 花草名称尽量采用英文单词。植物的拉丁学名音节数量过多，而文学作品不同于生物学上的实验报告和医学上的处方，不必胶柱鼓瑟。 二．“九歌”的重构与翻译 自从西汉的刘向编订《楚辞》以来，“九歌”都是按 11 篇编排的。下 文将以复原、复译工作最为艰难的“九歌”为例，展现其中的问题和解决 方案。 1.“九歌”之“九”是虚指还是实指？ 关于“九歌”的篇数，楚辞学界是有争议的。有的学者认为“九”是 实指，即“九歌”共有九篇；有的则认为“九”是虚指，意思是“多”， 据此认为十一篇的见解有其合理性。 首先，让我们来看看“九歌”与“九招”、“九辩”的相关性。《山 海经·大荒西经》说“开上三嫔于天，得 ‘九辩’与‘九歌’以下”；《竹 书纪年》说“帝启十年舞‘九招’于大穆之野”（按：“九招”即“九韶”）。 因此，“九辩”和 “九招”的形制就有助于我们了解 “九歌”。 经过研究，高亨得出了“九招这个乐曲当包括九章”的结论。王冰、 王丽娟在高亨所做研究的基础上，对“九招”作了这样的描述：它是集歌、 乐、舞三位于一体的文艺形式，称为韶乐，共分为九段，或曰九个乐章； 乐队的编配既有鼙（军用小鼓）、鼓、钟、磬、鞀（鼗鼓）、椎（捶击具） 等打击乐器，又有笙、管、篪等吹奏乐器；歌队（人抃）列于一旁，边鼓 掌边歌唱；由化装成凤鸟和山鸡的人员组成的舞蹈队则跟随着乐歌的节奏 翩翩起舞；乐舞的内容是“康帝德”，即宣扬大自然主宰万物的功德。毫 无疑问，在“九招”中，“九”是实指。这就使得“九歌”中的“九”作 为实指的用法有了横向的参照依据。 其次，让我们来考察一下，就“九”的用法而言，屈原具有什么样的 写作思维习惯。 写作思维习惯是作家在长期写作与社会实践中形成的，是 作家个性的表现，也是读者了解作家、解读作品的依据之一。一般来说， 写作思维习惯是具有连贯性的，否则就可能在文字及其意义等方面造成混 乱，影响创作意图的实现，这是一切成熟的作家所忌讳和竭力避免的。 屈原的写作思维习惯是有轨迹可寻的。在他的诗句中，“九”既有用 作虚指、又有用作实指的情况。例如“虽九死其犹未悔”（“离骚”）一 句中的“九”为虚指，而“地方九则”（“天问”）中的“九”则为实指。 在作品的数目方面，屈原对“九”又有什么样的用法呢？ 我们不妨检 视一下他的 “九章”。“九章”包括“惜诵”、“涉江”、“哀郢”等九 篇，这些诗篇的创作时间和地点不同，内容也没有太多的内在联系，然而， 诗人还是把它们集结为九篇。于此可见，与“九招”一样，“九章”中“九” 的用法也是属于实指。 根据诗人的写作思维习惯和“九歌”与 “九招”、“九章”的关联性 与互文性，我们可以推而知之，“九歌”中的“九”也应是实指，其所指 应为“九歌”的实际篇数。 2.“九歌”原有的十一篇应如何整合为九篇？ 既然“九”是实指，对原有十一篇应如何加以整合？ 对此同样众说纷 纭。有主张合并 “湘君”与“湘夫人”的，有主张合并 “大司命”与“少司命”的， 也有主张将“国殇”、“礼魂”排除在“九歌”之外的，等等。 认为有十一篇的见解属于主流，其代表作之一是洪兴祖的《楚辞补注》。 金开诚基本上亦持十一篇的看法。他认为：“‘九歌’之‘九’和祭祀神 鬼的歌词篇数是并无必然联系的”。总而言之，“九歌”的篇数及如何整 合的问题迄今尚无定论。就这些问题展开深入细致的探讨，以揭示“九歌” 在形制方面的本来面目，这对于楚辞研究及复原、英译无疑是十分有意义 的。 主张“九歌”原有篇数为九的专家学者不乏其人，但在对十一篇应如 何看待的问题上却莫衷一是。普遍的情形是，就某一研究者个体而言，对 某一问题的见解言之成理，对另一问题或有关细节的看法则有捕风捉影、 牵强附会的嫌疑。 黄凤显对有关篇数的研究进行了梳理，加上他自己的看法，大致上有 以下八 种见解： 周用《楚辞注略》认为当将“湘君”、“湘夫人”合而为一，“大司 命”、“少司命”合而为一 ； 黄文焕在《楚辞听直》中认为，“山鬼”、“国殇”及“礼魂”“虽 三篇实止一篇”，理由是，三篇所指俱为鬼。 陆时雍在《楚辞疏》中以“‘九章’止九篇”为由，主张十一减二等 于九的方法，将“国殇”、“礼魂”删去。 主张上述简单方法的还有钱澄之，他在“屈诂”中认为“河伯”、“山 鬼”两篇不能算数，因为河伯所在的黄河“非楚地域所及，而《山鬼》涉 于邪，屈原虽仍其名，而黜其祀，故祀神之歌，实为九篇”。 王闿运在其《楚辞释》中认为应排除“国殇”，而“礼魂”则是“每 篇之乱也”。 郑振铎认为，“东皇太一”是迎神曲，“礼魂”是送神曲，“不该计 入篇数之内”。 贺贻孙在其《骚笺》、许清奇在其《楚辞订注》中主张将 “湘君”、 “湘夫人”并为一篇，将“国殇”、“礼魂”并为一篇。林庚在他的《诗 人屈原及其作品研究》中持相近见解。 黄凤显在其对壮族“师公戏”的民俗调查的基础上，认为“九歌”的 篇数问题“其实只是这一组诗作的表层问题”，这组诗作的主祭歌是“代 表着九歌的命意的‘国殇’”。除了‘国殇’‘礼魂’，其余“ ９ 篇请神、 娱神以慰灵的祭歌，就是‘九歌’。” 让我们对以上的见解逐一加以辨析。 1）将《大司命》、《少司命》两篇合而为一是否合理？回答是否定的， 理据是：从身份、地位和职能看，大司命、少司命互不从属，各司其职。 前者根据阴阳规律，掌握人类的寿夭，后者则负责男女匹配，保护儿童； 从内容看，“大司命”、“少司命”各自独立成篇，且二者之间并无相互 呼应的内容和可供对唱的唱辞。 2）说 “山鬼”、“国殇”及“礼魂”所指俱为鬼，物以类聚，虽三 仍一，这种说法牵强附会。 首先，根据典籍，山鬼即山神。《史记·秦始皇本纪》云：“山鬼固不 过知一岁事也”； 北齐人樊逊在《天保五年举秀才对策》里说：“山鬼效 灵，海神率职”；汪瑷说，“谓之‘山鬼’者何也？ ……盖鬼神可以通称 也，此题曰‘山鬼’，犹曰山神山灵云耳。” 其次，《楚辞》中的“山鬼”美丽、率真，形象姣好，其外貌与心灵 类神而不类鬼；至于“国殇”，诗人是满怀敬意地用“神以灵”来指称他 们的，国殇也并非一般意义的鬼。再次，“山鬼”与“国殇”在内容上没 有内在联系，可谓风马牛不相及。综上所述，该三篇不可合并为一。 3）陆时雍在《楚辞疏》中谈及“国殇”、“礼魂”两篇时说，“想当 时所作不止此，后遂以附歌末”，李光地在《离骚经九歌解义》中认为九 歌“疑当尽于此”，故尔主张应将该两篇删去。他们未能举证说明，以自 己的“想”、“疑”立论，只凭臆测，不足为信。 4）因河伯所在的黄河“非楚地域所及，而‘山鬼’涉于邪”，而主张 将“河伯”、“山鬼”两篇从“九歌”中剔出，理据不足。正如上文所述， 山鬼即山神，并非邪祟。 虽然原来河伯是指黄河之神，但到了战国时代， 人们就把各水系的河神统称为河伯，巫风盛行的楚国更是不必顾忌源于中 原的“祭不越望”的规矩。 一般说来，神仙不会因某处与其距离遥远而断了香火。南方人叩拜玄 武大帝以求风调雨顺；北方人奉祀南极星君以祈福禄寿全；虽然黄大仙的 出生地浙江金华并非香港“地域所及”，但这并不妨碍港人崇拜黄大仙。 据悉，香港的黄大仙祠（原名啬色园）香火极旺。 5）在谈及“礼魂”时，汪瑗与王闿运持有同样的看法。他说：“盖此 篇乃前十篇之乱辞”。 对此我不敢苟同。“礼魂”所礼者乃魂也，只适用于“国殇”，而不 适用于涉及诸神的其他篇章。理由如次： 首先，灵有别于魂。“九歌”中对神的称谓一般是“灵”，指神灵， 偶尔也称为“君”或“帝”。例如“灵皇皇兮既降”（“云中君”），“灵衣兮被被”（“大司命”），“夕宿兮帝乡”（“少司命”），“灵之来兮蔽日”（“东君”），“灵何为兮水中”（“河伯”），“东风飘兮神灵雨”（“山鬼”），“导帝之兮九坑”（“大司命”），等等。而魂魄则是对人而言的。根据旧时对于人的生命的认识，魂主精神，而魄主身形。“魂，阳 气也”（《说文》），“人生始化为魄，既生魄，阳曰魂”（《左传·昭公七年》）。 其次，从《礼魂》的内容看，“春兰兮秋菊，长无绝兮终古”，这说 明人们在春秋两季以具有明显季节性的兰、菊献祭，合乎祭祀亡者的习俗 和《孝经》所谓“春秋祭祀，以时思之。”然而，礼魂的时令和祭品却并 不完全适用于祭拜大司命、少司命等神灵。 逐一对照起来，《礼魂》之外的原“九歌”其余十篇中，能够以“礼 魂”为尾声的就只有祭奠为国捐躯的将士的《国殇》。二者具有连贯性和 相互适应性，其合并也合乎礼俗。 6）“东皇太一”理应独立成篇，把它当作“迎神曲”是错误的。 太一乃太极，是“万物之源”。 根据王逸、朱熹、洪兴祖等楚辞学大 家的见解，东皇太一乃楚国尊神。再说，其内容也并不适合作为其他各篇 的迎神曲。根据其开头“吉日兮良辰，穆将愉兮上皇” 两句，金开诚针对 “迎神曲”的说法质问道：“难道他们也能称为‘上皇’？”此问可谓一 语中的。 7）林庚认为：“‘湘君’‘湘夫人’的内容文字如此相像，倒正因为 两篇原来就是一篇”。 他与贺贻孙、许清奇等主张将“湘君”、“湘夫人” 合而为一，将“国殇”、“礼魂”合而为一，这是很有见地的。 湘君与湘夫人的原型就是舜及其原配娥皇、女英。根据传说，舜巡察 南方，在苍梧亡故。娥皇和女英闻讯前往，一路上失声痛哭，眼泪洒在山 野的竹子上，使之成了斑竹，俗称湘妃竹。根据传说，她们最后投身湘江， 殉情而死。所谓二湘“乃敌体者也，而又有男女阴阳之别，岂可谓之一篇 乎”的质询不堪一击。男女情爱乃伦理之基，故尔“关雎”位居《诗经》 之首篇，梨园唱梁、祝之忠贞，“孔雀东南飞”颂焦、刘之殉情。舜与二 妃的爱情深沉执着，并非野合乱伦，是以世间传颂不辍。置“湘君”“湘 夫人”于一篇，有何不可？ 文本分析表明，两篇存在对唱的唱词。例如，“湘君”开篇的“君不 行兮夷犹，蹇谁留兮中洲？ ……”，与“湘夫人”开篇的“帝子降兮北渚， 目眇眇兮愁予。 ……”，可谓珠联璧合；“湘君”篇结尾的“捐余玦兮江 中，遗余佩兮醴浦。 采芳洲兮杜若，将以遗兮下女。 时不可兮再得，聊 逍遥兮容与”，与“湘夫人”篇的“捐余袂兮江中，遗余褋兮澧浦。 搴汀 洲兮杜若，将以遗兮远者。时不可兮骤得，聊逍遥兮容与”亦可谓一一相 对。正如汪瑗所指出的，“二篇为彼此赠答之词无疑”。 有人认为“‘湘君’由女神的扮演者演唱”，据此则“湘夫人”为湘 君的扮演者所唱（http://cyyangqiguan.com/shici/sc73284.html）。我原先也 持有同样的见解，但分析表明并非如此。“湘夫人”的开头是：“帝子降 兮北渚，目眇眇兮愁予。袅袅兮秋风，洞庭波兮木叶下。”这四句当出自 娥皇、女英之口：舜一般称为舜帝、帝俊，他是帝而不是帝子，能自称帝 子的就只能是尧帝之女娥皇、女英。高度人格化的湘君（舜）是不知道二 妃降临北渚后望眼欲穿、叶落波涌的情景的。 “驾飞龙兮北征，邅吾道兮洞庭”的是湘君，这是符合传说中他和湘 夫人所处的地理位置的。舜薨于苍梧，葬于九疑。《山海经》说：“赤水 之东，有苍梧之野，舜与叔均之所葬也。” 湘君在九嶷，湘夫人在洞庭。 湘君以洞庭为目的地，北征以会其二妃，这是顺理成章的。 湘夫人一开始就降临北渚，湘君则由于路途遥远而姗姗来迟（“夕弭 节兮北渚”）；由于在北渚久等而不见湘君，当湘君到达北渚时湘夫人已 经到另一个地方去寻找（“夕济兮西澨”）。 这使二者未能如约会见显得 合情合理。 “湘夫人”里“闻佳人兮召予”一句容易引起误解，以为“佳人”就 是女性，其实不然。它亦可用以指品质高尚之人，例如“惟佳人之永都兮， 更统世以自贶”，“惟佳人之独怀兮，折若椒以自处。”(“悲回风”) 叙 述地位高者与地位低者见面，其措辞是有所不同的，前者见后者是召见， 反之则为觐见。“闻佳人兮召予”中的“佳人”应当是地位比较高的男性， 指称湘君。 从互所遗所捐的物品看，男捐以玦、佩，女遗以袂、褋。“玦”的一种 意义为“佩玦”，另一种意义为“戴于右拇指助拉弓弦之器，俗称扳指”。 不论所指是其中哪种物品，都适合男子佩戴、使用。“古代君子，必佩玉” （《礼记·玉藻》）。《史记·项羽本纪》记载，范曾“举所佩玉玦以示之者 三。” 在未能相遇的情况下，湘君、湘夫人捐、遗对方熟悉的物品，很可能是利用那些物品的信息传递功能，让对方知道自己并没有爽约，并告知对方，自己已经返回，不必寻找等候，后会有期。 湘君称谓湘夫人的仆从为“从女”，而湘夫人则称谓来自九疑的湘君 的仆从为“远者”，男女皆有可能。女性角色的随从为女性，这合乎习俗 与礼教，可避免嫌疑与诟病。在男性社会里，假若《西厢记》里的崔莺莺 所使唤的是一个貌若潘安的男仆而不是红娘，其艺术效果可能将大打折扣。 湘君的随从中也有异性（“女婵媛兮为余太息”），但那是当时的道德风 尚所允许的。 关于合“国殇”与“礼魂”于一篇，后者是前者的尾声，其理据已在 上文有所陈述。 8）说“国殇”、“礼魂”之外的“９篇请神、娱神以慰灵的祭歌，就 是‘九歌’”，这实际上是变相地将“国殇”、“礼魂”排除在“九歌” 之外。说主祭歌是“国殇”，诸神只是请来聚会的“主持者或参与者”， 其主要依据是对师公戏的考察，缺乏有关“九歌”的形制、旨趣、民俗以 及历史等方面的理据，难以形成具有说服力的理据链。 神是被人格化了的，高高在上，俯视人间。众神各有其诞辰、职守和 处所，迎神各有其时序、仪式和意旨。神祇是不能想请就请的，必须遵照 一定的时令和规矩。根据民俗，人们在七月十五拜鬼王公，在八月十五拜 月神，分别在“司命公生（诞辰）”、“妈祖生”（农历三月二十三）拜 司命帝君和妈祖。 说“请”东皇太一为国殇主持仪式，并“请”其他诸神参与祭奠国殇 的活动，实际上是把神的地位从主宰降低到从属，把凡人的想法强加于神， 把今人的臆测硬套在楚人头上。从“九歌”的文本看，娱神活动所用供品 多样，迎神、送神的地点不同（如九坑、南浦等），歌辞的内容、情调和 所要求的气氛也有诙谐、肃穆、怨叹之别；众神与国殇中，有在地上的， 有来自空中或水上的。为了国殇这一所谓“主体”而同时将众神作为宾客 迎来的假设，也难以解释迎神、娱神、送神的地点等问题。总而言之，将 “国 殇”作为主祭歌而将其从“九歌”中排除出去的见解不足为信。 3.整合后的形制与内容如何？ 林庚先生有关“湘君”与“湘夫人”，“国殇”与“礼魂”分别合并 的见解是可取的，但对某些细节的看法却颇值得商榷。为了正确复原作品 的内容与形制，下面将对有关看法加以探讨，并就”九歌”英译提出形制设定。 1）关于“湘君”、“湘夫人” 林庚先生认为湘君、湘夫人会了面。他说：“反正最初湘君说来而没 有来，后来却终于来了，在故事里是叙述得很明白的”，“从巫的口中说 出湘夫人如何在北渚忧愁的神情，如何终于得到湘君来临的消息，于是召 了巫去，在水里筑了一个富丽的行宫，最后是湘君来了与湘夫人偕逝升天 而去。” 然而，情形并非如此。 由于双方到达约会地点（北渚）的时间 不同，他们并未见面，这才将礼物“委之水滨”，“以阴寄吾意，而冀其 或将取之。”（朱熹）若果真如林先生所说的湘君与湘夫人“偕逝升天而 去”，那么，礼物就完全可以当面互赠，双方也就不必叹息“时不可兮再 得，聊逍遥兮容与”、“时不可兮骤得，聊逍遥兮容与”了。 林庚先生还认为，“湘君湘夫人的故事虽是一篇，演出时可能是两幕”， “第一幕是由巫饰湘夫人”，“第二幕是巫自己的表演”；“第一幕可以 说是《迎神曲》，第二幕可以说是《送神曲》。” 这是难以令人信服的。“湘君”与“湘夫人”在内容与形式上都无“迎 神曲”和“送神曲”的痕迹。若分为两幕，必然割裂两篇间一唱一和的有 机联系，不但使内容松散，而且影响歌剧的审美效果。再说，湘君与湘夫 人的唱词都有那么长，是难以一气呵成的；若各自从头至尾一气唱完，不 但表演者难以得到喘息的余地，而且会使表演呆板单调。 按林先生的看法，迎神的是湘夫人，送神的是巫，而作为男主角的湘 君竟然消声匿迹，没有出场，这显然是说不通的。原“湘君”篇中“驾飞 龙兮北征，邅吾道兮洞庭”中的“吾”以及“捐余玦兮江中，遗余佩兮醴浦”中的 “余”便是湘君的自称。 “筑室兮水中，葺之兮荷盖。 ……九嶷缤兮并迎，灵之来兮如云”一 节是湘夫人述说为了与湘君约会所做的准备工作和对约会的期盼与憧憬， 并非湘夫人“召了巫去，在水里筑了一个富丽的行宫”。由于并没有相遇， 也就不存在湘君与湘夫人“偕逝升天而去”的情形。 出演《湘君与湘夫人》的，不仅有扮演湘君的男巫和扮演湘夫人的女 巫，还应有扮演“远者”和“下女”的男巫、女巫。各版本中原有的“湘 君”是湘君的唱词，“湘夫人”则是湘夫人的唱词。 2）关于“山鬼”和“国殇” 林庚先生说：“《山鬼》、《国殇》均为单纯一人之辞，而其余七篇 则错杂变化，类如戏剧的表演，它们所以原是两个类型的作品。”这种说 法也值得商榷。 文本分析表明，从形制看，“山鬼”、“国殇”也都是为多角色演出 而创作的歌舞剧唱词，其中不同角色的化妆、道具与唱词都不相同。“山 鬼”篇中扮演山鬼的巫“被薜荔兮带女罗”，而迎神、娱神的灵巫则“被 石兰兮带杜衡”；其中的“子慕予兮善窈窕”一句又可进一步说明，表演 者中既有“子”（“你”，指迎神、娱神的巫），又有“予”（“我”， 即山鬼）。 就“国殇”而言，前四句写两军交战时“士争先”的场面，应 是众将士齐唱共舞；后续六行以特写手法刻画一位驾驭战车的武士在“左 骖殪兮右刃伤，霾两轮兮絷四马”的情况下顽强奋战的情形及战后惨烈的 结局，应是独唱独舞：不可能所有将士都驾车作战且拉车的马都左死右伤， 也不可能所有将士都跑去击鼓（“援玉枹兮击鸣鼓”）。接下来四句写战 士们“身首离兮心不惩”的豪气，参加歌舞的应是众将士；最后四句的“诚既勇兮 又以武，终刚强兮不可凌！身既死兮神以灵，子魂魄兮为鬼雄”以 及“礼魂”是祝颂之辞，用以歌颂、抚慰为国死难将士的英灵，歌舞者应 分别是代表民众的群巫（包括迎神、领祭的巫）。 由此可知，“山鬼”、“国殇”和其他各篇一样，决非“单纯一人之 辞”。 3）“九歌”英译的形制设定 一般说来，中国的典籍，包括奏折、条陈、诗赋、楹联、文告、请柬、 碑文等，都各有形制，翻译的时候有必要加以审度。辨明源文本的形制之 后，译者就可以根据目的语文化在审美、行文习惯、语篇建构等方面的特 征和取向，预设出适当的目的语文本的形制。 根据以上辨析、研究，复原版“九歌”的篇目编排可预设为：“东皇 太一”、“云中君”、“湘君与湘夫人”、“大司命”、“少司命”、“东君”、“河伯”、 “山鬼” 、“国殇”（含“礼魂”）。 考虑到英译的逻辑性及可接受性问题，“九歌”的文本形式可预设为： 划分出不同角色的唱词，并参照歌舞剧本的提示（instructions），在每段唱 词前用括号内的斜体文字加以说明、交代。 “湘君”、“湘夫人”合并之后应 根据内容，划分诗节，令原先两篇的唱词一一对应。 文本中对于迎神的巫该如何称谓？《楚辞·九歌》王逸注曰:“灵，巫也， 楚人名巫为灵”，连言之则可称为灵巫，故本书采用灵巫这一称谓。其中男 性、女性的灵巫分别英译为 usher（s）和 usherette(s)。 “九歌”是早期歌舞剧的唱词，若将其当成单口相声，就贬低了《楚辞》 的文学价值。复原版超越 11 篇的窠臼，令其名正而言顺，恢复了“九歌” 的歌舞剧形制从而恢复了《楚辞》在文艺发展史上应有的地位。在舞台表 演中，各篇除了主角（神灵和灵巫），“山鬼”中的赤豹、文狸，“湘君与湘 夫人”中的从女、远者，等等，也都应该作为配角出场，以渲染气氛，增添 情趣，更好地表现主题。至于场景、表演套路以及角色的化装和打扮等等 的构思与设计，还是应该留待编剧等专业人员去谋划。 三.其它行文等方面的修改举隅（下文中的黑体本文加上是的，表示修 改后的文字）： 1.语法和语言逻辑上的瑕疵（下文的黑体为本文作者所加） 例 1）“路漫漫其修远兮，吾将上下而求索。”（“离骚”） 原译： Long, long is th’ way, but nothing’ll my efforts arrest; Up hill and down dale for the beauty I will quest! 其不足之处是：a. 译文结构不合理，谓语 will arrest 被宾语 my efforts 所分隔, 容易引起误读；b.因 beauty 隐喻诗人的政治理想，具有特殊含义， 但因其首字母没有大写而难以得到较好的呈现；c. will 的表达力不够强。 应该根据接近原则，令主语接近谓语 will arrest；屈原所求索的是用以 指代政治理想的 “美人” ，其英译 Beauty 的首字母宜大写；将 will 改为语 势比较强的 shall (顺便一提，英文歌词“ We shall not be moved”若改为 “We will not be moved”，必定黯然失色)。 据此译文修改为： Long, long is th’ way, but my efforts nothing’ll arrest; Up hill and down dale for the Beauty I shall quest! 例 2） “驷玉虬以桀鹥兮，溘埃风余上征。”（“离骚”） 原译为： Towards the sky, riding on a dust-raising gale, My carriage and four draught dragons does sail. 诗人所御（乘坐）的鹥车有四龙拉动。风可助力，但若说车驾御风而 行就不符合原义和逻辑；再者，以 sail 隐喻车辆在空中的行驶也不甚贴切。 宜修改为： My gorgeous phoenix carriage four dragons do draw, Which, speeded by a helpful gale, does skyward soar. 例 3） “若有人兮山之阿，被薜荔兮带女萝。”（“山鬼”） 原译： A soul lingers beyond the mountain crest, In ivy and angelica she’s dressed. 若山鬼 “beyond the mountain crest”，灵巫怎么能看得见她，而且还看 清了她的穿着？改译为： A soul seems to be coming down the mountain crest, In fig-leave cloak and usnea skirt she’s comely dressed. 例 4）“秋兰兮麋芜，罗生兮堂下。” （“少司命”） 原译为： Rosemary and autumn orchids bright Grow side by side beneath the hall. 堂下指堂前诸如天井、院子的地面。“beneath the hall” 既不合逻辑又不 合原义；即便 hall 下方存在地下室之类的建筑物，也应该使用介词 below 或 under 而非 beneath（不过这样一来那些花卉就很难看得到）。 宜修改为： Rosemary and autumn orchids bright Grow lushly side by side ’fore th’ hall. 例 5） “驾青虬兮骖白螭，吾与重华游兮瑶之圃。登昆仑兮食玉英，与 天地兮同寿，与日月兮同光。”（“涉江”） 原译（略）采用了陈述语气。然而，该节所表述的并非诗人的实际行 为，而是他的愿望，下文“哀南夷之莫吾知兮，旦吾将济乎江湘” 这两句就 可以说明诗人在地而不在天。应该使用 may, could, would ( -ed)等助动词， 将表述从陈述语气改为虚拟语气： May th’ dragons green and white send me to Kunlun, where With Chonghua I could tour the Jade Garden. We’d dine On th’ ruby bloom, and eternity we’d share With Earth and Heaven, and like the stars we’d shine! 2.章节和不同角色唱词划分上的瑕疵 例 6） “跪敷衽以陈辞兮，耿吾既得此中正。”（“离骚”）其英译如下： I kneel on th’ hem of my gown and myself reveal, Sublimated to find Truth I cling to so real. 英译第六诗章把上面两行作为开头，这一点值得商榷。Canto V 叙述诗 人受女媭批评后“就重华而陈词”， 这两行表达了诗人对舜的谢意和保持中 正的决心，而 Canto VI 述说诗人为追寻“美人” 而上下求索的情景。该二行 的内容与 Canto V 关联密切，而作为 Canto VI 的开头则比较突兀，理应将 其调整为 Canto V 的结尾。由于第二行负载着主信息，故修改为： Kneeling on th’ hem of my gown my mind I reveal, Sublimated to find Truth I cling to so real. 例 7） “浴兰汤兮沐芳，华采衣兮若英。”（“云中君”） 其原译是： In orchid water he has bathed and been perfumed, Brilliantly the Lord Incarnate is now plumed. 照此看来似乎沐浴之后身着华彩衣的便是云中君，其实不然。不同角 色的服饰不同，既然该诗节的下文中身着帝服的是云中君，在这一诗节中 穿华彩衣的就不是神而是灵巫。这与中国民俗相符：尘俗之人在迎神、拜 神之前必须沐浴或净手以示虔敬。该二行应该是灵巫的唱词。修改后的译 文是： To usher in the Lord I am now brilliantly plumed; In orchid water I have bathed and myself perfumed. 3.语篇衔接上的瑕疵 例 8）“夫人兮自有美子，荪何以兮愁苦?秋兰兮青青，绿叶兮紫茎。 满堂兮美人，忽独与余兮目成。”（“少司命”） 为了节省篇幅，原译不予以引述。 此中一、二两句是灵巫的发问：“男女匹配任其自然，您就甭为此操心 了吧？”三、四句是少司命的回答，意思姻缘总该有人掌握：“你看那秋兰， 总要为绿叶配上紫茎才美妙啊！”五六句是灵巫的调侃：“难怪了，面对满 堂美女，您只对我眉目传情啊！”这种处理和解读令娱神歌舞的诙谐多趣跃 然于纸上，晓然于耳目。就我们所见过的今文版本和楚辞学论著而言，似 乎只有灵巫之问而无少司命之答，尚未发现有类似的解读。 美中不足的是，语篇衔接欠紧凑。宜加上具有语篇标记功能的 Well 及 Lo 以分别引导灵巫提出的问题及少司命的答词，使行文更加流畅自然；三、 四行原译 The answer 若改为 My answer，可使它们作为少司命的答词这一 层意义更加明晰。以上六句的英译修改为： (Sing the Usherette:) Well, men may anyhow have their own pairs, Why shouldn’t you free yourself from th’ cares? (Sing Fate the Minor:) Lo, my answer the autumn orchids now tells: Green leaves match the stems of a purple hue. (Sing the Usherette:) No wonder that among a hall of belles, I alone come into Your Honor’s view! 4. 提示语方面的瑕疵 例 9）（Sing Witch as Usherette），（Sing Fate the Great Incarnate） (“大 司命”) 九歌各篇的英文提示语中的 Witch as ┄，Incarnate 纯属蛇足，建议一 律删除。 不言而喻，诸神灵及迎神者都是由巫来扮演的。各篇的英文提示语中 的 Witch、Wizard、纯属蛇足，建议删除。 《楚辞·九歌》王逸注曰：“灵，巫也，楚人名巫为灵”，连言之则可称 为灵巫。据此，宜采用灵巫这一称谓，将其中男性、女性的灵巫分别译为 usher（s）和 usherette(s)。例如上面的提示语可改为(Sing the Usherette:)。 5．词语上的瑕疵 中国诗学中“炼词”的理念具有启迪意义。汉诗英译“必须词斟句酌，相 应地在译文语言的词句上反复锤炼、推敲，以求保持和再现原诗的意象、 意境、音韵和节奏等诗歌美学价值，再创造出形神兼备的译品。”（卓振英， 1998：28）文库版存在火候不足的情形。 例 10) “厥利维何，而顾菟在腹？”（“天问”） 原译为： What’s the use to have a tiger In th’ belly for it to sustain? 传说中的月神是女神。“顾菟” 与月神都是文化负载词，其文化语义必 须予以特别的关注、保留。建议大写 tiger 的首字母 、将指称月神的 it 修 改为 her，修改后的译文是： What’s the use to have the Tiger In th’ belly for her to sustain? 例 11）“吾令丰隆乘云兮，求宓妃之所在。”（“离骚”） I ask Fenglong to ride on th’ clouds without delay, And to find out where Mifei the Nymph does stay. 人名翻译有误：“宓妃” 应译为 Fufei the Nymph。 例 12）“女萝”英译为 Angelica（“山鬼”） 这里的女萝又称松萝，其对应的英文名称是 usnea 而非 Angelica。再者， 女萝在此仅是编织服装的材料，并无特殊的文化语义，该英文单词的首字 母不必大写。 6．体例方面的瑕疵 例 14）“吉日兮辰良，穆将愉兮上皇。抚长剑兮玉珥，璆锵鸣兮琳琅。” （“东皇太一” ） Lucky is the hour, and auspicious th’ day; Now homage to th’ Sovereign of th’ East we pay. We lay hold of our swords, which are inlaid With jadeite, clanking the pendants of jade. 不同角色唱词的区分是一项创新，但在“东皇太一”中并未得到呈现， 因而造成体例不一。前两行交代择日娱神，是灵巫的唱词；灵巫不太可能 佩剑迎神，故后两行是东皇太一对自己着装的介绍。必须对全篇重新予以 审视、辨析，进行角色及其唱词的划分，并补充提示语。上述四行的译文 修改如下： (Sing the Usherette:) Lucky is the hour, and auspicious th’ day; Now homage to th’ Sovereign of th’ East we’ll pay. (Sing Sovereign of the East) I lay hold of my long sword, which is inlaid With emerald, clanking my pendants of jade. 除了诸如以上各例的检视、思考和自我批评，十余年来我也写过“楚 辞新考五十例”、“楚辞英译若干问题的商榷”、“典籍英译中的形制研 究－以‘九歌’为例” 等相关的文章，可供《楚辞》的重构（复原）、复译参 考。 4.结束语 复原版除了文内阐释（例如宓妃译为 Fufei the Nymph）之外，不加脚 注、尾注，以显示元典的庄严和译者对先贤的虔敬，使译文便于引用。人 名英译遵循国家标准，其中“鲧”翻译为 Gune，而非 Gun, 这是特例。其 初衷是：1.避免与英文单词 gun 的本义或联想义交叠；2.避免走音，使该词 的英语读音与汉语拼音趋同；3.英文常用单词中并无 gune，不会产生歧义。 细心的读者可能已经发现，在理解与阐释方面，文库版《楚辞》的今 文与英译之间是存在差异的。迄今为止尚无与我的解读完全吻合的其它今 文版本，随便撮合又彼此龃龉，因此复原版决定舍弃今译。 近二十年来虽然呕心沥血、殚精竭虑，但还算有所收获，这是令我引 以为慰的。愿借《楚辞》的丰姿异彩，反映中国文化的博大精深，折射东 方文明的璀璨宏远，在为读者提供文艺审美愉悦的同时促进世界各民族的 相互理解，向各国人民传递永久和平的福音！ 复原版基本上保留了文库版序言的内容，我在这里补充一些信息，以 就教于方家和读者，并向对本版作出学术贡献的同仁和本书编辑 Mihaela Melnic 女士致以诚挚的谢意。 卓振英 2024 年 4 月 20 日 Afterword (synopsis) The Afterword covers four parts. Part 1 tells of how the author was motivated to engage in a 18-year research program; Part 2 narrates the process of and the reasons for the reconstruction of The Nine Praises ; Part 3 relates the how the revisions and corrections were conducted during the long years; and Part 4 introduces the formative, linguistic and stylistic distinctions of the book, and in addition it expresses the author’s acknowledgement to the peers and experts for their academic contributions. 主要参考资料 [1]卓振英．《楚辞》新考五十例［C］. 新国学研究，北京：人民文学出版 社，2006（4）：104-134. [2]金开诚． 屈原辞研究［Ｍ］． 南京：江苏古籍出版社，２０００． [3]高亨． 上古乐曲的探索［Ｊ］． 文史哲，１９６１（２）：３９－４ ７． [4]王冰，王丽娟． 齐国《韶》乐追根溯源［Ｊ］． 管子学刊，２０１２ （４）：５２－５５． [5]黄凤显． 屈辞体研究［Ｍ］． 长沙：湖南人民出版社，２００２． [6]汪瑗． 楚辞集解［Ｍ］． 北京古籍出版社，１９９４． [7]林庚． 诗人屈原及其作品研究［Ｍ］． 上海：上海古籍出版社，１９ ８１． [8]朱熹． 楚辞集注［Ｍ］． 扬州：江苏广陵古籍刻印社，１９９０：４ ５． [9]卓振英． 汉诗英译论纲［Ｍ］． 杭州：浙江大学出版社，２０１１． [10]卓振英．典籍英译中的形制研究－以九歌为例［Ｊ］．浙江外国语学院 学报，2015（4）. [11]富 强(译注).山海经［Ｍ］．北京：作家出版社，2016，347. [12]卓振英,来伟婷,江庆.楚辞英译若干问题的商榷，[J].云梦学 刊,2011,(05):139-141. [13]卓振英.典籍英译中的决策与审度—以《楚辞》为例，[A].清华大 学翻译与跨学科研究中心、江西财经大学.中国英汉语比较研究会第八 次全国学术研讨会论文摘要汇编[C].清华大学翻译与跨学科研究中 心、江西财经大学:,2008:1. [14]卓振英（英译）大中华文库･楚辞［Ｍ］．湖南人民出版社，2006. 作者简介：卓振英，广东汕头大学教授，现兼任浙江师范大学典籍翻 译与海外汉学研究中心首席教授，曾连续三届兼任全国典籍翻译研究会副 会长、中国英汉语比较研究会常务理事兼典籍翻译学科委员会副会长。他 开辟了典籍翻译研究这一新的学科方向，建立了诗学范式诗歌翻译理论， 已出版著作十余部。 About the author： Zhuo Zhenying, professor from Shantou University, is now the chief professor of the Research Centre for the Studies on Classics Translation at Home and Abroad, Zhejiang Normal University. As a leading figure in the field of studies on the translation of classics, he has pioneered the disciplinary orientation of classics translation, initiated the establishment of the National Association of Classics Translation Studies, developed the theory of the poetic paradigm governing the related area, and in addition published some books and research papers. Positions he had / has held include Director of Research Centre for the Translation of Classics, Shantou University(STU), member of the STU Academic Committee, Vice-chairman of the National Association of Studies on Classics Translation, member of the Standing Council of China Association for the Comparative Studies of English and Chinese(CACSEC), Co-chairman of CACSEC Disciplinary Committee of Classics Translation, Honorary Member of CACSEC Executive Council, and Adviser to the CACSEC Sub-committee of Classics Translation. References 1.王逸,《楚辞章句》，上海古籍出版社，2017 。 2.2.洪兴祖,《楚辞补注》，中华书局，1983。 3.朱熹,《楚辞集注》，上海古籍出版社，1979。 4.王夫之,《楚辞通释》，上海古籍出版社，2021。 5.蒋骥,《山带阁注楚辞》，中华书局上海编辑所，1958。 6.汪瑗，《楚辞集解》，北京古籍出版社版，1994。 7.汤炳正，《屈赋新探》，齐鲁书社，1984。 8.马茂元，《楚辞选》人民文学出版社版，2002。 9.黄凤显． 屈辞体研究［Ｍ］． 长沙：湖南人民出版社，2002。 10.林庚． 诗人屈原及其作品研究［Ｍ］． 上海：上海古籍出版社，1981。 11.陈子展, 《楚辞直解》，江苏古籍出版社，1988。 12. 卓振英，楚辞新考五十例，《新国学研究》，人民文学出版社，2006（4）：104-134. 13. 卓振英，典籍英语中的形制研究，－以九歌为例，浙江外国语学院学报，2015（4） 14. 卓振英，来伟婷，江庆，楚辞英语若干问题的商榷，《云梦学刊》，2011（5）：139-141. 15. 卓振英，《大中华文库楚辞》（英译），湖南人民出版社，2006. 16. 卓振英，研究型翻译：理念与实践，中华文艺网（http://www.zhwyw.net/portal.php?mod=view&aid=5921） 17. 跋233-255 18. 指瑕，82-86 o Major References 1.Wang, Yi . The Verse of Chu: Discourse Analyses And Exegeses. Shanghai Classics Publishing House, 2017. 2. Hong, Xingzu. The Verse of Chu with Supplementary Notes and Commentary . Zhonghua Book Company,1983. 3. Zhu, Xi, Variorum Edition of The Verse of Chu. Shanghai Classics Publishing House, 1979. 4.Wang, Fuzhi. The Verse of Chu with General Interpretations. Shanghai Classics Publishing House, 2021. 5. Jiang, Ji, The Shandai Pavillion Edition of The Verse of Chu. Editorial Institute under Zhonghua Book Company，1958. 6. Wang, Yuan. The Verse of Chu with Comparative Exegeses. Beijing Classics Publishing House,1994. 7.Tang, Bingzheng. Inquiries into The Verse of Chu. Qi-Lu Books, 1984. 8. Ma, Maoyuan. Selected Pieces from The Verse of Chu. People's Literature Publishing House, 2002. 9.Zhang, Jianhui & Zhuo Zhenying. “A Critique of The verse of Chu of the Chinese Library Edition.” Foreign Language Research in China, 2024(1), 82-86. 10.Lin, Geng. On the Poet Qu Yuan and His Works． Shanghai:Shanghai Classics Publishing House,１９８１． 11.Chen, Zizhan. The Verse of Chu: Straightforward Exegeses. Jiangsu Classics Publishing House,1988. 12.Lin, Geng. On the Poet Qu Yuan and His Works． Shanghai:Shanghai Classics Publishing House,１９８１． 13. Zhuo, Zhenying. “Fifty New Findings in the Studies of The Verse of Chu.” Neo-Sinological Studies. People's Literature Publishing House, 2006（4）：104-134. 14.Zhuo, Zhenying. “ The Significance of Research on the Architectonics in Translating Classics: A Case Study of The Nine Songs.” Journal of Zhejiang International Studies College , 2015（02）:62-68. 15.Zhuo, Zhenying et al. “Discussions on Certain Issues about the Translation of The Verse of Chu.” Journal of Yunmeng, 2011（5）：139-141. 16.Zhuo, Zhenying. “On the Research-type Translation: Theory and Practice.” Renowned Experts’ Critiques in Chinese Literature and Art Net. April 14,2025（http://www.zhwyw.net/portal.php?mod=view&aid=5921） 17.Zhuo, Zhenying. “ Afterword to The Glorious Verse of Chu－Restored with New Findings and Translated into English. Moldova: Golden Light Publishing, 2024: 233-255 18. Huang, Fengxian. Research on the Genre of The Verse of Chu, Changsha:Hunan People’s Publishing House, 2002. Appendix I A Discussion on Several Issues in the English Translation of The Verse of Chu (Originally published in Journal of Yunmeng, with评论对象 replaced by 某某某、某某 in this book. Authors: Zhuo Zhenying, Lai Weiting, Jiang Qing) I. Introduction In the book Studies on the Communication of The Verse of Chu and the English Context, the authors Mr.Y and Ms. Z comment on various English editions of The Verse of Chu translated by Chinese translators. Criticisms should be based on the goodwill of seeking truth from facts, and persuasion must be conducted through reasoning. However, many conclusions in the book are rather rash, and numerous views are quite biased, deviating from the norms of academic criticism. As the book is printed in black and white and has been circulated widely, it becomes necessary to distinguish right from wrong, clarify the truth, and set the things straight. To save space, this article will only discuss several issues concerning the English translation of The Verse of Chu presented in the book. II. Discussion on Several Issues The English translation of classics, as a pathway for Chinese culture to "go global," helps counteract cultural colonialism, enhance national cultural vitality, and strengthen cultural ties between China and the other parts of the world. Offering constructive criticism aimed at errors and shortcomings in English translations should be encouraged and welcomed. However, the approach of the two authors, so-and-so and so-and-so, is not as such. They either impose conjectures upon others and then refute them, or attack a single point without considering the whole, or resort to sarcasm and mechanical analogies; such instances are many. The following sections will cite several examples, present facts, and reason them out one by one. (I) On the English Translation of the Title "离骚" (Li Sao) The book's authors state: "Zhuo Zhenying, in The Verse of Chu in Library of Chinese Classics , translates the title '离骚' as Tales of Woe, treating this piece, long considered a long lyrical poem, as a long narrative poem. Although 'Li Sao' contains narrative elements, such as the words of Nü Xu, the three flights, seeking a lady, and Ling Fen's divination, the overall characteristic of the poem is lyrical. Therefore, using 'tales' seems highly inappropriate" (某某某, 某某, 2008:100). Firstly, the author of this article believes that "Li Sao" contains both narrative and lyrical elements; it is improper to absolutistically regard it solely as a lyrical or narrative poem. The claim that the translator "viewed it as a long narrative poem" is unfounded. Such conjecture by the book's authors violates the norm that critics "should not distort the author's original intent, and certainly are not permitted to impose upon the author views or statements they never held" (Ministry of Education Social Science Committee, Academic Atmosphere Construction Committee, 2009:40). Secondly, the authors' view that Tales of Woecan only be a title for a narrative poem lacks sufficient justification. 'Tales' suggests narrative, while 'Woe' conveys lyricism; how could this be "highly inappropriate"? Thirdly, the authors later state "therefore using 'tales' seems highly inappropriate." They deliberately omit "of Woe" from Zhuo's full title, which is clearly shifting the concept. (II) On the English Translation of the Title "涉江" (She Jiang) The title "涉江" has been translated variously as The Voyage, Crossing the River, and Crossing the Rivers. The authors assert that Zhuo's translation of "涉江" as The Voyage"reflects a certain lack of understanding and cognitive bias," and then raise several queries According to scholarly research, the poem "涉江" describes Qu Yuan's journey entering the Yangtze River, tracing the Yuan River, and proceeding to Xu Pu. The text clearly states, "旦余将济乎江湘" (At dawn I shall cross the Jiang and Xiang), where "江湘" refers to the Yangtze River and the Xiang River (including Dongting Lake). Why do the two authors ignore this? Furthermore, the authors' claim that "voyage means sailing/navigation" is arguably arbitrary. Dictionary definitions show that "voyage," from its etymology (Old French voiage, Latin viaticum'provisions for a journey'), can denote a journey and historically could mean to sail along a sea or river. Qu Yuan traveled by boat along the rivers and on the lake surface, not merely "crossing" a river. Crossingcan imply fording a river, whereas voyagecan encompass travel by water (sea or river). Using voyageto describe Qu Yuan's journey is arguably more suitable than Crossing the River/Rivers . (III) On the Translation of Certain Stanzas in "Li Sao" Regarding the translation of the lines "昔三后之纯粹兮...", the authors criticize Zhuo's use of "blue" to rhyme with "true" as compromising meaning for rhyme ("以韵害义") and his substitution of verbs to achieve rhyme as "unfaithful to the original." The author of this article contends that Qu Yuan used fragrant flowers to symbolize gentlemen, praising the ancient kings for gathering diverse talents. "Flowers Red and Blue" uses colors to represent diversity of flowers while considering phonological aesthetics. The translation does not "discard" the original meaning, and labeling it as forced rhyming and unfaithful without sufficient reason is unwarranted. Zhuo translated the lines "重仁袭义兮..." as To enrich myself I rise at five...The authors sharply criticize the addition of "I rise at five" for rhyming with "survive," calling it "groundless" and "rather滑稽." The author of this article argues that "rise at five" alludes to the English proverb "He that will thrive must rise at five," similar to the Chinese "闻鸡起舞" (hearing the crow and rising to practice swordplay), both using concrete images (rising early) to convey the abstract idea of diligence. This utilizes intertextuality. Interpreting it literally as simply "getting up at five o'clock" reflects a misunderstanding of this literary device . (IV) On the Translation of Certain Lines in "天问" (Tian Wen) For the lines about Nü Wa, Zhuo's translation explicitly describes her form as "a serpent with a human face." The authors criticize this for being too literal and "leaving no room for interpretation." The author of this article believes that making the implicit description (Nü Wa's form) explicit helps foreigners understand Chinese culture, which is better from a cultural communication perspective than leaving them to guess . (V) Overall Evaluation of the Library of Chinese Classics: The Verse of Chuand Discussion on Acceptability Based on such criticisms, the authors completely negate Zhuo's translation in their conclusion, citing its use of modern English (lacking archaic terms like 'thou'/'doth') and lack of conciseness compared to other translations. However, the author of this article points out inconsistencies in the critics' own earlier acknowledgments of Zhuo's improvements and positive attempts. The rebuttal questions the necessity of using archaic language for modern readers and the evidence for claims of wordiness . III. Concluding Remarks Translation criticism is vital in translation studies. However, criticism is a double-edged sword. Its nature—constructive or destructive—depends crucially on the critic's stance and attitude. We should "seek truth from facts and persuade through reasoning," advocate comprehensive, fair, and realistic attitudes, and foster a healthy academic environment . |
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