Tuesday, March 7, 2017

長亭怨慢 A man on discontentment at the Tall Pavilion

 

姜夔自度“中呂宮”曲。其小序云:“予頗喜自製曲,初率意為長短句,然後協以律,故前後闋多不同。桓大司馬(溫)云‘昔年種柳,依依漢南。今看搖落,悽愴江潭。樹猶如此,人何以堪!’此語予深愛之。”

Preface: translated by Mr. Laurence Picken


"I much enjoy making songs myself. First, following the ideas, I make the long and short phrases. Afterwards I unite them with the pitches. In consequence, first and last sections (stanzas) are very different. 


Prefect Huan (312-373) said: "The willows planted in former years at Han-nan were fresh and green. Now I see they are tossed and scattered, sorrowing, in river and lake. If even trees are like this, how shall man bear such a burden?" I very much like these words."




詞牌:長亭怨慢 一名"長亭怨"      
姜夔自度中宮曲 Chung-lu Kung mode
漸吹盡、枝頭香絮。是處人家,綠深門戶。遠浦縈回,暮帆零亂向何許。
閱人多矣,誰得似、長亭樹。樹若有情時,不會得、青青如此。  
日暮。望高城不見,只見亂山無數。韋郎去也,怎忘得、玉環分付。
第一是、早早歸來,怕紅萼、無人為主。算空有并刀,難剪離愁千縷。


Lyrics: translated by Mr. Laurence Picken

Little by little the fragrant fleece of the branches is blown away.
In every place, green shades the doors of people's houses.
Going round and round the distant creeks,
At sunset the sails scatter towards what places?
I have had much experience of the world.
What others could compare with the trees at the Tall ?
If trees were sentient,
They could not flourish like this.
The sun sets. Looking towards the high city wall, I cannot see it.
I see only scattered mountains without number.
Mr. Wei has departed.
How can I forget Jade-ring's commands?
The first is: to return very soon,
Least Red-calyx have no one to be her master.
Truly, even with sharp shears
It is difficult to cut the thousand threads of sadness at separation.


百科百度解說

讀古詩網解說

My practicing https://youtu.be/23iW9ktngAw (with recitation)

https://www.youtube.com/watch?v=YbTkcn3yn-s  (原曲出版.香港浸會大學中文系

dbadagna's post (with singing)

角招 jué sháo (Melody in Jue) by Jiang Kui 姜夔

Please click here to listen to my arrangement on the guqin <-- 請點擊聽我彈的古琴

甲寅春,予與俞商卿燕遊西湖,觀梅於孤山之西村,玉雪照映,吹香薄人。已而商卿歸吳興,予獨來,則山橫春煙,新柳被水,遊人容與飛花中,悵然有懷,作此寄人。商卿善歌聲,稍以儒雅緣飾;予每自度曲,吟洞簫,商卿輒歌而和之,極有山林縹渺之思。今予離憂,商卿一行作吏,殆無復此樂矣。

Preface of the poetry: (my translation)

In the spring of year Jiǎ yín (1194)
I accompanied with Shāngqīng Yú (a friend of Jiang Kui who used lived at the town where West Lake is located) to travel to West Lake
to look at plum blossoms at the west village of Gu mountain
Jade-like snow was reflecting
Wind blew out the thin fragrance
Now Shāngqīng has returned to Wuxin,
I came here alone
Mountain covered with spring fog
Fresh willow dipped into water
Tourists blend in with flying flowers
I feel disappointed with the sense of loss.
Therefore composing this to convey my missing of friend
Shāngqīng is good at singing with refined ornamentation
I like to compose songs and to play with bamboo flute
Shāngqīng then sings along,  that was full of the atmosphere of misty forest
However, Shāngqīng left for taking an official job
No more fun like this anymore.

Laurence Picken's translation:
"In the spring of 1194, I travelled with Yu Shang-ch'ing in leisurely fashion to the West Lake. We gazed on the plum-blossom in the western hamlet on Ku-shan: jade-plum and snow illuminating each other, the wafted fragrance all-pervasive. Shang-ch'ing returned to Wu-hsing. I followed after alone. Across the mountains hung spring mist. Fresh willows swept the water. The carefree traveler flew through the flowers.
In a mood of depression I composed this and sent it. Shang-ch'ing was a good singer. His singing was not professional. It is my practice to play all the songs I compose myself on the tung-hsiao (bamboo notched vertical flute). Shang-ch'ing, singing on the spur of the moment, joined in. It really had the feeling of mountain and forest swathed in mist. Now I know the grief of separation; Shang-ch'ing has gone to be an official. I fear this pleasure will not come again."


為春瘦,何堪更、繞西湖盡是垂柳。自看煙外岫,記得與君,湖上攜手。君歸未久,早亂落香紅千畝。一葉凌波縹緲,過三十六離宮,遣遊人回首。猶有,畫船障袖,青樓倚扇,相映人爭秀。翠翹光欲溜,愛著宮黃,而今時候。傷春似舊,盪一點、春心如酒。寫入吳絲自奏。問誰識、曲中心,花前友。

Lyrics: translated by Mr. Laurence Picken
(resource http://www.silkqin.com/05poet/jkrefmat/jkci13jstt.jpg)

Because of the spring I am worn thin.
How can I bear again to go round the West Lake where everywhere are weeping willows?
From gazing at the peak beyond the mist.
You went back not long ago.
A thousand acres of fragrant red have fallen early.
A leaf-life boat crosses wavy mistiness,
Traversing the Thirty-six Imperial Lodges, causing the traveller to turn his head.
Still there are on pleasure-boats those who screen themselves behind sleeves,
Green towers where, with fans athwart, each shines on the other, striving in loveliness.
Bright kingfisher-tail diadems gleam.
With care they apply the Palace Yellow paint. But at the present season,
Wounding spring is like the past.
My unsettled spring-heart is like wine.
Writing for the silk of Wu, I play to myself,
Asking: Who can explain the intention of this song? The friend with me in the presence of the flowers?

3/7/2017
-------------------------------------------------------------------------------------------------------
文章來源 http://sou-yun.com/Query.aspx?type=poem&id=178864

此詞前有小序云:“甲寅春,予與俞商卿燕遊西湖,觀梅於孤山之西村,玉雪照映,吹香薄人。已而商卿歸吳興,予獨來,則山橫春煙,新柳被水,遊人容與飛花中,悵然有懷,作此寄人。商卿善歌聲,稍以儒雅緣飾;予每自度曲,吟洞簫,商卿輒歌而和之,極有山林縹渺之思。今予離憂,商卿一行作吏,殆無復此樂矣。”甲寅是宋光宗紹熙五年(1194)。俞商卿,俞灝字商卿,姜夔的朋友,世居杭州。紹熙五年春天,作者至杭州,曾與俞灝共賞孤山西村(又名西泠橋)的梅花,不久俞灝歸吳興(今浙江湖州),作者獨遊孤山,對景懷人,寫了這首詞,對景抒懷顯示出深刻的友誼。
開端點明地點與時節,在敘事中藉景抒情。美好的春光能給人帶來歡樂 ,但也容易觸動離人的愁思,縈損柔腸,使人消瘦,但作者是寫離愁,因而在取景時,著眼點是西湖垂柳。古代有折柳贈別的習俗,看到垂柳,很快牽動詩人的聯想與感慨。開端擒題,“何堪”一詞,用在“春瘦”與“垂柳”之間,使意思遞進一層。為什麼西湖垂柳能這樣撩撥人的愁思?因為那是與友人“湖上攜手”之處。煙外峰巒,雖別具風姿,然而如今“ 自看 ”獨遊,就不能不緬懷昔日的“湖上攜手”。借傷春以懷友 ,因懷友而傷春;二者交融,不分際涯。由“湖上攜手”接著想到對方“歸後”的蕭瑟風情,於是集中筆力來加以烘染刻畫。 “早亂落香紅千畝”,是寫花兼點時序 。香紅是突出梅花之紅之香兩個特點,所以代指梅花。商卿離去,獨來西湖,時已暮春,那“玉雪照映,吹香薄人”的千畝紅梅,如今早已凋敗零落 ,怎能不令人低迴傷神呢?
既然紅梅已不復存在,那舊遊的踪跡又在何處? “一葉凌波縹緲 ,過三十六離宮,遣遊人回首。”是寫遊船兼寫情思 。獨自登船賞春遊湖,蕩漾於菸波之中,那鱗次櫛比的離宮別殿又怎能不讓人頻頻地回首眺望不止呢?離宮,皇帝臨時住的行宮,此指南宋都城臨安(今杭州)的宮殿。南宋偏安江左,故稱臨安為行都,臨安之宮殿為離宮 。三十六離宮,言宮殿之多。以上敘事,寫作者獨遊西湖,即景生情,引起對友人的深切思念。
下片拓展思路,緊接西湖景物,以婉媚密麗之筆,寫他人之樂 ,進行反襯。 “猶有”緊承上片,詞意粘連相續。青樓,歌妓的住處。古代顯貴之家亦稱青樓,梁劉邈《萬山見采桑人》詩 :“倡女不勝愁,結束下青樓” ,後專指妓院 。翠翹,翡翠鳥尾上的長毛曰“翹”,美人把它當作首飾來裝飾,故曰翠翹。宮黃,古代宮女用來塗額的黃粉,民間婦女亦多效之,又稱額黃,是唐宋時一種很時髦的化妝。詞人駕一葉扁舟,於落花繽紛中從水上縹緲而過,閃現在眼前的,是那精美的畫船上,美女舉袖障面;兩岸的歌館裡,佳人持扇佇立。她們面容上塗著時興的宮黃,時髦華麗的頭飾閃爍著光彩。這些美女歌娃爭艷比美,嬉遊如故。而自己呢?友人已經遠去 ,無人可與共賞良辰佳景,彷彿歡樂只是屬於他人!難說處設以比較、對照,在這種曲折中詞人心情的惆悵在華美快樂的背景下更顯悵惆無狀,意醇而味永。如今,充溢著詞人整個心靈的,只有解脫不盡的無限的春愁,而這傷春的意緒猶如酒一般的濃烈,在詞人心懷中蕩漾起伏。要把它譜入絲弦自己聆聽欣賞吧,可又有誰能夠理解這傷春懷友的情思呢?更顯示出兩人友情的真摯與相知。據詞序中所言,俞灝風度儒雅,善音樂,常常有山林隱居之想,堪稱江湖文人白石的知音 。 “今予離憂,商卿一行作吏,殆無復此樂矣。”語極沉痛。 “一行作吏”,即“一經作吏”,指俞灝出仕做了小官 。嵇康《與山巨源絕交書》:“遊山澤,觀魚鳥,心甚樂之。一行作吏,此事便廢 。”姜夔語意本此。因而,此詞煞拍幾句所表達的感情,就不僅是一般的懷友之情,它實在是說,知音已入仕途,相伴共享山林、琴曲之樂恐不可複得,似乎也表露出詞人對友人及至世界的失望。
陳郁《藏一話腴》謂白石“襟懷灑落,如晉、宋間人。意到語工,不期於高遠而自高遠。”於此可見。本篇詞緊緊扣住西湖景物,即地興感,借落花烘染,用青樓反襯,然後歸結到“吳絲自奏”,同上文“湖上攜手”在照應中進行對比,尾句以“問誰識”提醒全篇,餘韻悠然。在思路上,上片觸景生思興發離愁,再折轉到當今;下片由旁寫轉入正寫,由外景收束到內在心靈。全詞幾經轉折,逐步遞進地寫出了對友人的真摯懷念,姜白石一生性情孤高,未嘗仕宦,襟期灑官,“似晉宋人”,此詞就借對友人的思念以自己的襟懷,意境深遠於抑鬱中隱隱透露出詞人那清超瀟散的情懷。

------------------------------------------------------------------------------------------------------
文章來源: http://epaper.gmw.cn/gmrb/html/2013-01/24/nw.D110000gmrb_20130124_7-12.htm

《角招》:懷想友人的春心如酒
溫天語 《 光明日報 》( 2013年01月24日 12 版)
  【角招】



  為春瘦,何堪更、繞西湖盡是垂柳。自看煙外岫,記得與君,湖上攜手。君歸未久,早亂落香紅千畝。一葉凌波縹緲,過三十六離宮,遣遊人回首。猶有,畫船障袖,青樓倚扇,相映人爭秀。翠翹光欲溜,愛著宮黃,而今時候。傷春似舊,盪一點、春心如酒。寫入吳絲自奏。問誰識、曲中心,花前友。



  我有時會將白石的戀情詞與他寫給友人的詞作相混淆。

像這首《角招》雖小序寫到“商卿”,但未看小序之時,詞中“自看煙外岫,記得與君,湖上攜手。君歸未久,早亂落、香紅千畝”的句子,讓我第一個想到的是曾共同遊湖的情人,然而這兩句卻開闊明確,沒有別的戀情詞中大量用典、語焉不詳、百轉千迴的特點,於是才恍然,原來是寫給朋友的思念之詞。

  姜夔的詞有個特點,總是一闋較按套路,另一闕卻橫空出世。 “傷春似舊,盪一點,春心如酒”,這一句太驚心動魄了。我很少看到以酒喻心的詞句,這里奇峰突起,“盪一點”又以小處著筆,雖只是一點但如酒的心還是複雜而難以捉摸。我想這種心情大概白石自己也無法清晰地解釋,因此“寫入吳絲”,希望能藉他最擅長的音樂表達,然而一旦如此做了又會惆悵於“問誰識,曲中心,花前友”,無論是做什麼都會觸動思念朋友的愁思,這就是一顆音樂家的、如酒一般的心才會如此醇厚啊!

  姜夔一生最重視的感情,要推友情。其中最突出的,是和張鎡(平甫)的知遇之情。

  姜夔之所以能夠生存,可說是全靠他的朋友。在《姜堯章自敘》中,他寫道:“嗟乎!四海之內,知己者不為少,而未有能振之於窶困無聊之地者。舊所依倚,惟張兄平甫,其人甚賢。十年相處,情甚骨肉。而某亦竭誠盡力,憂樂同念。平甫念其困躓場屋,至於輸資以拜爵,某辭謝不願,又欲割錫山之膏腴以養其山林無用之身。惜乎平甫下世,今惘惘然若有所失。人生百年有幾,賓主如某與平甫者復有幾?撫世感慨,不能為懷。”他先結識蕭德藻,後經蕭德藻結識楊萬里,又經楊萬里而認識了范成大。張鎡、張鑑是大將張俊的孫子,因此家產頗豐,常常接濟朋友,所接濟的友人中最著名的就是姜夔。

  白石自敘中自己也提到“賓主如某與平甫者復有幾”,對於姜夔來說,四處尋找能夠款待自己的主人實在是無奈。但窘迫如此,我也並沒有在他的詞中看出強烈的出仕願望,偶爾有一些豪壯詞語也往往是激勵他人(如《石湖仙》),或次韻友人(如《永遇樂·次稼軒北固亭詞韻》),並未表現出他對於穩定官職的嚮往,但同時他又痛苦於飄零亂落的生活,這也是他一生的矛盾所在。

  白石經常直接描述飄零給自己帶來的鬱悶與惆悵。如《探春慢》:“誰念飄零久,漫贏得、幽懷難寫。”《玲瓏四犯》:“文章信美知何用,漫贏得、天涯羈旅。”《徴招》:“客途今倦矣,漫贏得、一襟詩思。”三句都用一模一樣的“漫贏得”,贏得的有“幽懷難寫”、“天涯羈旅”、“一襟詩思”。

或許這樣的漂泊也助長了姜夔思想的自由,他在《長亭怨慢》的小序中寫道:“予頗喜自製曲,初率意為長短句,然後協以律,故前後闋多不同。”不願意被既定格式束縛,喜歡“率意為長短句”,應該也是他如此熱愛自度曲的原因之一。姜夔如果沒有了“天涯羈旅”,其實也不能算是姜夔了,因為他沒有了難寫的幽懷,沒有了滿腔的詩思,或許只能是一個小小官吏直至去世。
---------------------------------------------------------------------------------------
My inspiration was from this youtube video:




 請點擊聽我彈的古琴