中国经典古诗英文翻译

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篇一：名家古诗英译
《水调歌头》名家英译版两首
昔胡仔曾说：―中秋词，自东坡《水调歌头》一出，余词尽废。‖认为 这是写中秋最好的
一首词，此说是一点也不过分的。这首词仿佛是与明月的对话，在对话中探讨着人生的 意义。
既有理性，又有情趣，很是耐人寻味。或许，早在我们从课本上学到《水调歌头》之前，就
已经在王菲的歌声中，在各类影视剧中接触到这首词了吧。
今天，跟着小编一起，来看看这首词的 两个英译版吧。分别是许渊冲先生以及林语堂先生
的译作，大家更喜欢哪一个版本呢？《水调歌头》：
明月几时有？把酒问青天。不知天上宫阙、今夕是何年？我欲乘风归去，惟恐琼楼玉宇，
高处 不胜寒。起舞弄清影，何似在人间？ 转朱阁，低绮户，照无眠。不应有恨、何事长向
别时圆？人有悲 欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共蝉娟。许渊冲先
生译作：
How long will the full moon appear?Wine cup in hand, I ask the sky。I do not know what time of
the year
‘Would be tonight in the palace on high。Riding the wind, there I would fly,
Yet I‘m afraid the crystalline palace would beToo high and cold for me。
I rise and dance, with my shadow I play。 On high as on earth, would it be as gay? The moon
goes round the mansions red Through gauze-draped window soft to shed Her light upon the
sleepless bed。
Why then when people part, is the oft full and bright? Men have sorrow and joy; they part or
meet again;
The moon is bright or dim and she may wax or wane。There has been nothing perfect since the
olden days。So let us wish that manWill live long as he can!
Though miles apart, we‘ll share the beauty she displays。 林语堂先生译作：
How rare the moon, so round and clear! With cup in hand, I ask of the blue sky, "I do not
know in the celestial sphere What name this festive night goes by?" I want to fly home,
riding the air, But fear the ethereal cold up there,
The jade and crystal mansions are so high! Dancing to my shadow,
I feel no longer the mortal tie。She rounds the vermilion tower,Stoops to silk-pad doors,
Shines on those who sleepless lie。 Why does she, bearing us no grudge, Shine upon our parting,
reunion deny? But rare is perfect happiness--
The moon does wax, the moon does wane, And so men meet and say goodbye。 I only pray our
life be long,
And our souls together heavenward fly!
诗歌汉译英经典：李白两首名诗英译赏析
李白的七言绝句颇富浪漫主义情怀，豪迈奔放，率性而为 。许渊冲先生的译作再现了诗作
的―意美‖、―音美‖和―形美‖。
一 《望庐山瀑布》
日照香炉生紫烟，遥望瀑布挂前川。 飞流直下三千尺，疑是银河落九天。 CATARACT ON
MOUNT LU

The sunlit Censer perk exhales a wreath of cloud; like an upended stream the cataract sounds
loud.
Its torrent dashes down three thousand feet from high; As if the Silver River fell from azure sky.
赏析：原诗的第一 句中一个―生‖字把静止的香炉峰写得富有了灵性。许先生同样一个
"exhales&qu ot;（―散发出‖或―呼出‖）也将香炉峰人格化了。"a wreath of
clo ud"形容―紫烟‖，其中名词"wreath"（―花环‖），有―缭绕‖以 及―色
彩绚丽‖的生动意向。
原诗第二句一个―挂‖字，化动为静，呼应上文。而许先生使 用动词"upended"
（―被倒置‖）来形容远望中的瀑布像―倒挂‖的飞流 ，译出了诗词的弦外之音和意境之美。
第三句中，―飞‖和―直下‖描绘出瀑布飞散而降的气势。许先生译文中以"dashes
down"作谓语，既合乎主语―倒挂的飞流‖飞下的走向，又传达出瀑布凌空而落的气
势。
最后一句，许先生用动词"fell"，但为虚拟语气，把现实瀑布和想象中的 银河自
然地联系起来。
四行诗的韵脚比较多，许先生按原诗的节奏，择用aabb尾韵。为 了压好韵脚，在诗句的语
序方面做了必要的调整。总之，许先生保留了原作的―形美‖和―音美‖，译品 接近原诗的
自然节奏。 二《黄鹤楼送孟浩然之广陵》
故人西辞黄鹤楼，烟花三月下扬州。 孤帆远影碧空尽，唯见长江天际流。
SEEING MENG HAO-RAN OFF AT YELLOW CRANE TOWER My friend has left the west
where the Yellow Crane towers; For River Town green with willows and red with flowers. His
lessening sail is lost in the boundless blue sky; Where I see but the endless River rolling by. 赏
析：
许先生总体构思上采用译气不译字的译作手法，灵活增减词语，变换句式，使得译作画意
浓厚。 细节的处理上许先生更是功力深厚。第一句"My old friend has left the west where
the Yellow Crane towers"，既 交代了友人东行，又道出了黄鹤楼美景，句式上颇为押韵。
第二句许先生创造性地运用对称整齐的句式， "green with willows"和"red
with flowers"译出了满目的春色。许先生在三、四句的表达方式上做了大胆调整，把―
尽 ‖字前移，使之更符合英语的表达习惯，同时还添加了几个不影响深层意义且注有韵脚的
词语，如&qu ot;his"，"where I see"，勾画除了诗人目送行舟，江边怅惘的
心情。"His lessening sail is lost in the boundless blue sky"表现出诗人看着小船渐渐
消失在远方时心中的感伤之情。
唐宋词中词牌名的英语翻译
词是韵文文体之一，又称―曲子词‖，即歌词。它本来是为配乐歌唱而写 的诗。由于它是
配乐歌唱的，所以每首词都有或至少曾经有过一个乐谱。每个乐谱都必定属于某种宫调( 类
似今天的C调、G调之类)，有一定的旋律、节奏，这些东西的总和就是词调。每种词调都
有 一个名称(如《西江月》、《清平乐》)，这个名称就叫―词牌‖。 词始于唐，盛于宋，是
一种脍炙人 口的文学表达形式，历来为人们所钟爱。为把中华文化中这一绮丽的瑰宝译介到
国外，不少译者已进行了 大量开拓性的艰辛劳动，其中不乏精美传神叹为观止之作。然而，
词的翻译比之散文小说确似更难，尤其 是词牌名的翻译。
尽管就大多数词作来说，词牌与音乐或词中的内容关系不大，作者填词时，只视哪 种词调
形式更符合自己的需要，完全可以不去考虑词牌名称的原有含义和原来词曲的内容。因此词
牌在一般意义上不过是标明作者依哪一种现成的曲谱进行填词而已。然而将词牌名译成英文
时就不能不 在传达词牌的神韵和美感的同时考虑它的历史来源和反映在其中的格律了。
下面试就词牌的几种常见的英译方法略抒浅见。 一、一般性词牌名的译法

一般性词牌 名没有什么历史典故，或有，但已无从考证，或取自前人的某个词句，或只是一
个风雅的名词而已。在这 种情况下，按字面意思直译成英文，即可较好地保留原文的风格，
传达原文的神韵和美感形象。例如： 鹧鸪天 Partridge Sky
踏莎行 Treading On Grass 相见欢 Joy At Meeting 点绦唇 Rouged Lips
满江红 The River All Red 模鱼儿 Groping For Fish 最高楼 The Highest Tower 疏影 Space
Shadows
玉楼春 Spring In Jade Pavilion 昼夜乐 Joy Of Day And Night
西江月 The Moon Over The West River 风入松 Wind Through Pines 双双燕 A Pair Of
Sparrows
二、"歌"、&q uot;词"、"歌头"、"吟"等词牌名的译
法
1．常带"歌"、"词"、"子&quo t;的词牌，不妨直译成
"Song"，既简单明了，又贴切自然。例如： 子夜歌 Midnight Song
洞仙歌 Song Of A Fairy In The Cave 柳枝词 Willow Branch Song 算子 Song Of Divination
天仙子 Song Of Immortal
更漏子 Song Of Water Clock At Night 南歌子 A Southern Song
2．词牌子带&quo t;吟"一类的较"歌"、"词"更为典雅，是一种便< br>于吟诵、格调高雅、节奏舒缓的诗体，译成"Chant"，可以显得庄重端方，因 为
英语中的"Chant"多指宗教中的赞美诗或圣歌，意思与"吟& quot;很相近。例
如： 水龙吟 Water Dragon Chant
瑞龙吟 Auspicious Dragon Chant
3．"歌头"意即前奏或序曲，可译成"Prelude"。例如： 水调歌头 Prelude
To Water Melody
三、"令&qu ot;、"引"、"近"、"慢"等词牌名的 译法
有一些词牌末带有"令"、"引"、" 近"、"慢"等
术语。"令"与酒令有关，是一 种比较接近民歌的抒情小曲；"引"集歌
体与诗体于一身，也是这类诗歌诗曲调的 演化；"慢"有篇幅较长、语言节奏舒缓、
韵脚间隔较大等特点；"近 "有亲昵、浅显的意思，可能与令、引等一样与曲调有
关，指一种篇幅较"令&q uot;长而又不如"慢"曲那么典雅庄重的曲调。从字
数上讲，大体上说，&q uot;令"多半属于"小令"范围，"引"、&quo t;
近"多半属于"中调"范围，"慢"则绝大 多数是"长调"。
所以译成英文时可视具体情况译成"Song&qu ot;；"Slow Song"；"Slow
Tune"或"Slow，Slow Song"。例如； 调笑令 Song Of Flirtation 唐多令 Tang
Duo Song

祝英台令 Slow Song Of Zhu Ying Tai 扬州慢 Slow Tune Of Yangzhou 声声慢 Slow, Slow
Song
四、"摊破&q uot;、"促拍"、"减字"、"偷声"等 词牌
名的译法
"摊破"(又名"摊声"、&q uot;添字")和"促拍"这两个术
语都表示在原调基础上加了字、 句。而"减字"、"偷声"则是在原调基
础上减少了字句， 而另成新调。"摊破"和"减字"是就字数而言，而"< br>促拍"和"偷声"是就调而言。所以"摊破"可译 成"Lengthened
Form"，"促拍"可译成"Quickened Tu ne"，"减字"则可

译成"Shorte ned Form，"，"偷声"则可译成"Slowed Tune"。
例如：
减字木兰花 Shortened Form Of Lily Magnolia Flowers 摊破浣溪沙 Lengthened Form Of
Silk-Washing Stream 五、根源于历史掌故的词牌名的译法
据考证， 词调有五种来源：1．边疆民族曲调或域外音乐传入内地的；2．内地民歌曲调；3．乐
工歌妓们创制或 改制的曲调；4．宫廷音乐机构或词曲家根据古曲、大曲改制的；5．文人创
作的曲子。正因为词调来源 广泛，所以词牌的意思也很复杂。因此，有些词牌是不能根据字
面直译的，而应在考释它的来历后再行动 笔。 例如：《苏幕遮》原本是指从今天新疆吐鲁番
(古高昌)传来的"浑脱"舞 曲。"浑脱"是"囊袋"的意思。
据说，舞时舞者用油囊 装水，互相泼洒，所以唐人又称之为"泼寒胡戏"。表演者
为了不使冷水浇到头面 ，就戴上一种涂了油的帽子，高昌语叫"苏幕遮"，因而乐
曲和后来依曲填出的词 就被称为《苏幕遮》了。有人将它译成"Screened By Southern
Cu rtain"，就是没考虑到它的来源而望文生义译出来的，尤其是"Southern& quot;
一词不知从何而来。据此，我以为直译成"Oiled Hat"未免太俗，不如译成
"Water-bag Dance"。这样既点明了是舞曲，又可使读者领略到舞蹈的内容和形象。
《菩萨蛮》 据考证原是今缅甸境内古代罗摩国的乐曲，后经汉族乐工改制而来的。唐苏鹗
从《杜阳杂编》说：&qu ot;大中(唐宣宗年号)初，女蛮国贡双龙犀……其国．人危髻金冠，
缨珞被体，故谓之菩萨蛮。当时 倡优遂制菩萨蛮曲；文人亦往往声其词。"可见《菩萨
蛮》中的菩萨与我们的佛祖菩萨(Bu ddha或Buddhist Idol)并无关系，词牌的意思是"象
菩萨似的蛮国人&q uot;。有人将其译成"Buddhist Dancers"，真是差之毫厘失之千< br>里!因为形容词"Buddhist"是"佛的，佛教的"意 思，译回成中文就是
"佛的舞者"，佛教中有没有舞者尚且不论，光意思就南辕北 辙。如译成
"Dancers Like Buddha"或"Buddha-like Dancer 还勉强过得去，或干脆译为
"Song Of The Country Norm"，既简单又明了，只是失去了菩萨这个形象。
又如《念奴娇》，念奴为唐玄宗 天宝年间一著名歌妓，玄宗时常诏见命歌，曲名本此。如果
不知此曲底里，将它译成"Dre aming Of Her Charm"那就令人捧腹了。 有人将它
译成"Charm Of A Maiden Singer，"歌手& quot;和"娇"都译出来了，可
我认为Maiden一词用得不恰当。&qu ot;Maiden"一词在英文中是"处女"或
"未婚女 子"的意思，把它用在古时的歌妓身上未免太圣洁了，不如去掉
"Malden& quot;，译成"Charm Of A Singer"。"Charm& quot;多指女子的
妩媚，所以大可不必担心读者会弄错。"Singer"的 性别。从这个意义上讲，
"Maiden"也可删去，当然若将其换译成&quo t;Woman"也未尝不可。这里还
牵涉到专有名词的译法，"念奴" ;这个名字对于大多数中国人尚且陌生，更不用说
外国人了，译出来也不一定知道，反而妨碍意思的理解 ，故此处可撇下不管，用"A
Singer"代替即可。类似的情况都可如此处 理：如《昭君怨》就可译成"Lament Of
A Fair Lady"。也可用加注的办法，如《虞美人》就可译成"The Beautiful Lady
Yu"，这样外国人就知道是一个姓虞的美人了。
《葬花吟》中英对照赏析及曹雪芹英文简介
葬花吟
(清) 曹雪芹
花谢花飞飞满天，红绡香断有谁怜？ 游丝软系飘春榭，落絮轻沾扑绣帘。 闺中女儿惜春
暮，愁绪满怀无处诉。 手把花锄出绣帘，忍踏落花来复去。 柳丝榆荚自芳菲，不管桃飘与
李飞。 桃李明年能再发，明岁闺中知是谁？ 三月香巢初垒成，梁间燕子太无情！
明年花发虽可啄，却不道人去梁空巢也倾！ 一年三百六十日，风刀霜剑严相逼。 明媚鲜

妍能几时，一朝飘泊难寻觅。 花开易见落难寻，阶前愁杀葬花人。 独把花锄偷洒泪，洒上
空枝见血痕。 Song of the Burial of Flowers Cao Xueqin [Qing Dynasty]
Flowers fade and fall and fly about up in the sky,
But who pities the loss of your fragrance when you die? Like gossamer you float and land on
pavilions, With your fallen petals clung soft to fine curtains. In my boudoir I sigh over the close of
spring,
But there‘s no way to express my sorrowful feeling. Spade in hand, I go out from under my fine
curtain, To and fro on fallen petals, how can I bear treading?
Willow twigs and elm buds send sweet scents as they may, Who cares when peach and plum
petals are in decay? Next year peach and plum trees will be in bloom again, But who will be the
master of my boudoir then?
杜鹃无语正黄昏，荷锄归去掩重门。 青灯照壁人初睡，冷雨敲窗被未温。 怪侬底事倍伤
神，半为怜春半恼春。 怜春忽至恼忽去，至又无语去不闻。 昨宵庭外悲歌奏，知是花魂与
鸟魂？ 花魂鸟魂总难留，鸟自无语花自羞。 愿侬此日生双翼，随花飞到天尽头。 天尽头！
何处有香丘？
未若锦囊收艳骨，一杯净土掩风流。 质本洁来还洁去，强于污淖陷渠沟。 尔今死去侬收
葬，未卜侬身何日丧？ 侬今葬花人笑痴，他年葬侬知是谁？ 试看春残花渐落，便是红颜老
死时。 一朝春尽红颜老，花落人亡两不知！
In March lunar swallows have got their nests ready, They on the beam seem to be those without
mercy.
Next year in their flight, fresh flowers they may peck, though, All that they and I have will be
lost, they never know. There are three hundred and sixty days in one year, With you the elements
of nature are severe.
Time is not long for you to be bright and charming, Your trace and track are hard to find in your
drifting. You are easy to see when open but hard when fallen,
Before the stairs I am worried where to find your remains. Against the spade I lean and in secret
weep sudden,
Splashed on your bare branches are my tears like bloodstains. The cuckoo ceases its warbling at
twilight,
With my spade I return and shut the doors tight. I go to bed with a lone oil lamp still shining, My
quilt is not warm when a cold rain is falling. I feel at heart it is a matter quite nerve- racking, For I
like spring or I feel sad over its leaving. Spring I love and my sorrow repair at a fast pace, They
come silent and go without leaving a trace. Last night beyond pavilions sad song seemed rising,
Was it the souls of flowers or birds that were singing? It is always hard to ask their souls to stay
behind, That birds are silent and flowers feel ashamed, I find. I wish to have two wings under my
arms to fly, After you unto the farthest end of the sky. At the farthest end of the sky,
Where can I find the grave of your fragrance lie? Better in silk to shroud your petals fair, With a
handful of clean earth as your attire. For pure you have come and pure you repair, Lest you fall
into some foul ditch or mire. I hold a burial when you die today,
But there‘s no telling when I pass away. Others laugh at me that have buried thee, Who will be
the one that shall bury me? At the farthest end of the sky,
Where can I find the grave of my fragrance lie? The end of spring makes flowers fall one by one,
It‘s also the time when beauty meets its doom. Once beauty is carried to its very tomb,
Both beauty and flowers perish known to none.

The poet and the background note: Cao Xueqin (? ~1764) was one of the most famous novelists
and poets in the history of Chinese literature. Born in an influential Manchurian bureaucratic
family, he had high cultural
accomplishments and outstanding competence for art. During the reign of the Qing Emperor
Yongzheng, his father was involved in a political struggle within the ruling class, defeated, so his
family suffered a heavy blow both politically and financially. Thereafter, his family circumstances
deteriorated. However, adversity brought talent in return. It was when he was plunged in such an
embarrassing circumstance that he had the chance to contact himself with the underprivileged of
the then society, thus giving him specific, intense experience, and enabling himself to see better of
life. He spent as was recorded, at least ten years busying himself with the production of the novel
The Dream of the Red Chamber, in which, through a detailed description of the rise and fall of an
influential noble family of that time, he created a great number of typical characters, conducted
in-depth analyses and criticisms of the then evil society and, at the same time, sang ebullient
praises of both the male and female youths who were considered heretical in pursuit of love. The
Dream of the Red Chamber is seen as a great realistic masterpiece among the Chinese classic
novels. But the novel reveals a kind of pessimism and sentimentalism past cure. With the tone of
Lin Daiyu, one of the heroines in The Dream of the Red Chamber, the author Cao Xueqin blended
human feelings with nature in this novel as if in confirmation of man‘s helplessness in the
presence of the change of nature and the flight of time. As is known to all that have read it, Lin is a
sentimentalist who, taking as part of her life the enjoyment of flowers and moonlight, tends to
shed tears at the sight of flowers falling, and feel sad when finding the moon waning. In fact,
Flowers bloom and then flowers die, There‘s no need for her to give a sigh. It is the very law of
nature, she ought not to take pains to bother. Relentless away time flies,
篇二：经典中国诗两首英文翻译
I Compare You to Lovely April Days
林徽因
我说你是人间的四月天,
I compare you, my beloved, to lovely April days.
笑音点亮了四面风，轻灵
When your giggling charm enlightens the breezes astray.
在春的光艳中交舞着变。
Rising lightness be your dancing shapes,
tiptoeing the gorgeous spring rays.
你是四月早天里的云烟，
You are my early April cloud;
黄昏吹着风的软，星子在
Eventide softness where winds linger in steps proud.
无意中闪，细雨点洒在花前。
Starry sparkles, a careless note,
Modest raindrops over the blooms in a whisper silently loud. 那轻，那娉婷，你是，鲜妍
Lightness, fairness, and freshness are your floral crest,
百花的冠冕你戴着，你是
Naive grandness is the embrace of your chest
天真，庄严，你是夜夜的月圆。

You, every touch of a round moon holding my breath.
雪化后那片鹅黄，你像；新鲜
Yellowish green is your budding blade,
初放芽的绿，你是；柔嫩喜悦
When the wintry snow fades;
水光浮动着你梦期待中白莲。
Tender rejoicing be your dreamy lilies in the rippling parade. 你是一树一树的花开，是燕
Your are trees heavy with flowers merry and gay;
在梁间呢喃，——你是爱，是暖
Like keen swallows, under every roof, you gently chatter away，是希望，你是人间的四月天！
In thy name of love and warm hopes, you are a lovely April day!
你不懂我，我不怪你
余秋雨
每个人都有一个死角，
自己走不出来，别人也闯不进去。
我把最深沉的秘密放在那里。
你不懂我，我不怪你。
I don't blame on you that you don't understand me.
Every one has a death angle in himself,
I put the deepest secret there.
I cannot go outside while no one can go inside.
每个人都有一道伤口，
或深或浅，盖上布，以为不存在。
我把最殷红的鲜血涂在那里。
你不懂我，我不怪你。
Every one has a wound,
I bury the red blood there.
Sometimes deep and sometimes shallow,
Feel like no existence when covered cloth.
每个人都有一场爱恋，
用心、用情、用力，感动也感伤。
我把最炙热的心情藏在那里。
你不懂我，我不怪你。
Every one has an experience of love,
I hide my hottest mood there.
Use power and heart,
Moved and sad.
每个人都有一行眼泪，
喝下的冰冷的水，酝酿成的热泪。
我把最心酸的委屈汇在那里。
你不懂我，我不怪你。
Every one has a line of tears,
I collect the sad humiliation there.
Drink cold water and turn out to be the hot tears.

每个人都有一段告白，
忐忑、不安，却饱含真心和勇气。
我把最抒情的语言用在那里。
你不懂我，我不怪你。
Every one has a word of love,
I use the most wonderful language there.
Nervous, upset while full of sincere and courage.
你永远也看不见我最爱你的时候，
因为我只有在看不见你的时候，才最爱你。
同样， 你永远也看不见我最寂寞的时候，
因为我只有在你看不见我的时候，我才最寂寞。
也许，我太会隐藏自己的悲伤。
也许，我太会安慰自己的伤痕。
也许，你眼中的我，太会照顾自己，
所以，你从不考虑我的感受。
你以为，我可以很迅速的恢复过来，有些自私的以为。 从阴雨走到艳阳，我路过泥泞、路
过风。
一路走来，你不曾懂我，我亦不曾怪你。
我不是为了显示自己的大度， 也不是为了体现自己的大方。 只想让你知道，感情不在，
责备也不存在。
You never see the moment I love you the most.
Because I love you the most when I cannot see you.
You never see the moment I am lonely.
Because I am lonely only when you cannot see me.
Maybe I am too able to hide myself.
Maybe I comfort myself too much.
Maybe in your eyes I can take care of myself a lot.
You think selfishly that I can recover soon.
No love,no blame.
You cannot understand me,
I will not blame you.
篇三：古诗经典翻译
古诗经典翻译
花非花
唐 白居易
花非花，
雾非雾。
夜半来，
天明去。
来如春梦不多时，
去似朝云无觅处。
Hua Fei Hua
by Tang Bo Ju Yi
Call it flower – it’s not a flower;

Call it foggy mist – it’s none such either.
It comes in the dead of the night
And takes flight the moment dawn alights;
It stays no longer than a dream in spring,
Departs like the fleeting early morning clouds -
And is seen no more.
（1） 王维
渭川田家
斜光照墟落， 穷巷牛羊归。
野老念牧童， 倚杖候荆扉。
雉雊麦苗秀， 蚕眠桑叶稀。
田夫荷锄立， 相见语依依。
即此羡闲逸， 怅然吟式微。
Wang Wei
A FARM-HOUSE ON THE WEI RIVER
In the slant of the sun on the country-side,
Cattle and sheep trail home along the lane;
And a rugged old man in a thatch door
Leans on a staff and thinks of his son, the herdboy.
There are whirring pheasants? full wheat-ears,
Silk-worms asleep, pared mulberry-leaves.
And the farmers, returning with hoes on their shoulders,
Hail one another familiarly.
...No wonder I long for the simple life
And am sighing the old song, Oh, to go Back Again!
（2）孟浩然
夏日南亭怀辛大
山光忽西落， 池月渐东上。
散发乘夜凉， 开轩卧闲敞。
荷风送香气， 竹露滴清响。
欲取鸣琴弹， 恨无知音赏。
感此怀故人， 中宵劳梦想。
IN SUMMER AT THE SOUTH PAVILION
THINKING OF XING
The mountain-light suddenly fails in the west,
In the east from the lake the slow moon rises.
I loosen my hair to enjoy the evening coolness
And open my window and lie down in peace.
The wind brings me odours of lotuses,
And bamboo- leaves drip with a music of d