Chang handed me this tracing, from the stone drums,
Beseeching me to write a poem on the stone drums.
Tu Fu has gone. Li Po is dead.
What can my poor talent do for the stone drums ?
…When the Chou power waned and China was bubbling,
Emperor Hsiian, up in wrath, waved his holy spear
And opened his Great Audience, receiving all the tributes
Of kings and lords who came to him with a tune of clanging weapons.
They held a hunt in Ch'i-yang and proved their marksmanship:
Fallen birds and animals were strewn three thousand miles.
And the exploit was recorded, to inform new generations.
Cut out of jutting cliffs, these drums made o( stone -
On which poets and artisans, all of the first order,
Had indited and chiselled - were set in the deep mountains
To be washed by rain, baked by sun, burned by wildfire,
Eyed by evil spirits, and protected by the gods.
. . . Where can he have found the tracing on this paper ? -
True to the original, not altered by a hair,
The meaning deep, the phrases cryptic, difficult to read,
And the style of the characters neither square nor tadpole.
Time has not yet vanquished the beauty of these letters -
Looking like sharp daggers that pierce live crocodiles,
Like phcenix-mates dancing, like angels hovering down,
Like trees of jade and coral with interlocking branches,
Like golden cord and iron chain tied together tight,
Like incense-tripods flung in the sea, like dragons mounting heaven.
Historians, gathering ancient poems, forgot to gather these,
To make the two Books of Musical Song more colourful and striking;
Confucius journeyed in the west, but not to the Ch'in Kingdom,
He chose our planet and our stars but missed the sun and moon…
I who am fond of antiquity, was born too late
And, thinking of these wonderful things, cannot hold back my tears . . .
I remember, when I was awarded my highest degree,
During the first year of Yiian-ho,
How a friend of mine, then at the western camp,
Offered to assist me in removing these old relics.
I bathed and changed, then made my plea to the college president
And urged on him the rareness of these most precious things.
They could be wrapped in rugs, be packed and sent in boxes
And carried on only a few camels: ten stone drums
To grace the Imperial Temple like the Incense-Pot of Kao -
Or their lustre and their value would increase a hundredfold,
1f the monarch would present them to the university,
Where students could study them an<l doubtless decipher them,
And multitudes, attracted to the capital of culture
From all corners of the Empire, would be quick to gather.
We could scour the moss, pick out the dirt, restore the original surface,
And lodge them in a fitting and secure place for ever,
Covered by a massive building with wide eaves
Where nothing more might happen to them as it had before.
…But government officials grow fixed in their ways
And never will initiate beyond old precedent;
So herd-boys strike the drums for fire, cows polish horns on them,
With no one to handle them reverentially.
Still ageing and decaying, soon they may be effaced.
Six years I have sighed for them, chanting toward the west.
The familiar script of Wang Hsi-chih, beautiful though it was,
Could be had, several pages, just for a few white geese !
But now, eight dynasties after the Chou, and all the wars over,
Why should there be nobody caring for these drums ?
The Empire i s at peace, the government free.
Poets again are honoured and Confucians and Mencians.
Oh, how may this petition be carried to the throne ?
It needs indeed an eloquent flow, like a cataract -
But, alas, my voice has broken, in my song of the stone drums,
To a sound of supplication choked with its own tears.
Original Poem
「石鼓歌」
韩愈
张生手持石鼓文，劝我试作石鼓歌。
少陵无人谪仙死，才薄将奈石鼓何。
周纲凌迟四海沸，宣王愤起挥天戈。
大开明堂受朝贺，诸侯剑佩鸣相磨。
蒐于岐阳骋雄俊，万里禽兽皆遮罗。
镌功勒成告万世，凿石作鼓隳嵯峨。
从臣才艺咸第一，拣选撰刻留山阿。
雨淋日炙野火燎，鬼物守护烦撝呵。
公从何处得纸本，毫发尽备无差讹。
辞严义密读难晓，字体不类隶与蝌。
年深岂免有缺画，快剑斫断生蛟鼍。
鸾翔凤翥众仙下，珊瑚碧树交枝柯。
金绳铁索锁钮壮，古鼎跃水龙腾梭。
陋儒编诗不收入，二雅褊迫无委蛇。
孔子西行不到秦，掎摭星宿遗羲娥。
嗟余好古生苦晚，对此涕泪双滂沱。
忆昔初蒙博士征，其年始改称元和。
故人从军在右辅，为我度量掘臼科。
濯冠沐浴告祭酒，如此至宝存岂多。
毡包席裹可立致，十鼓只载数骆驼。
荐诸太庙比郜鼎，光价岂止百倍过。
圣恩若许留太学，诸生讲解得切磋。
观经鸿都尚填咽，坐见举国来奔波。
剜苔剔藓露节角，安置妥帖平不颇。
大厦深檐与盖覆，经历久远期无佗。
中朝大官老于事，讵肯感激徒媕婀。
牧童敲火牛砺角，谁复著手为摩挲。
日销月铄就埋没，六年西顾空吟哦。
羲之俗书趁姿媚，数纸尚可博白鹅。
继周八代争战罢，无人收拾理则那。
方今太平日无事，柄任儒术崇丘轲。
安能以此尚论列，愿借辩口如悬河。
石鼓之歌止于此，呜呼吾意其蹉跎。
Interpretation
This poem was composed in the 6th year of the Yuanhe era of Emperor Xianzong of Tang (811 AD), when Han Yu saw an early rubbing of the Stone Drum Inscriptions at Zhang Ji's place. Deeply moved by their value but pained by their long neglect, the poet wrote this poem to express his admiration for the inscriptions and to call for their preservation and study. The poem is filled with sorrow over the loss of cultural heritage and indignation toward the rulers.
First Couplet: “张生手持石鼓文 劝我试作石鼓歌。”
Zhāng shēng shǒu chí shí gǔ wén quàn wǒ shì zuò shí gǔ gē.
Zhang holds the Stone Drum Inscriptions and urges me to compose a song about them.
The opening couplet explains the reason for the poem's composition, setting the stage for what follows.
Second Couplet: “少陵无人谪仙死 才薄将奈石鼓何。”
Shǎo líng wú rén zhé xiān sǐ cái bó jiāng nài shí gǔ hé.
Du Fu is gone, Li Bai has passed; with my limited talent, how can I do justice to the Stone Drum Inscriptions?
The poet humbly acknowledges his inferiority to the great poets Du Fu and Li Bai, expressing his reverence for the inscriptions.
Third Couplet: “周纲凌迟四海沸 宣王愤起挥天戈。”
Zhōu gāng líng chí sì hǎi fèi xuān wáng fèn qǐ huī tiān gē.
The Zhou dynasty's order crumbled, and chaos swept the land; King Xuan rose in anger, wielding his celestial spear.
This couplet provides the historical context of the Stone Drum Inscriptions, highlighting their significance.
Fourth Couplet: “大开明堂受朝贺 诸侯剑佩鸣相磨。”
Dà kāi míng táng shòu cháo hè zhū hóu jiàn pèi míng xiāng mó.
He opened the grand hall to receive tributes, the clashing swords of the nobles ringing out.
The grand scene of King Xuan's achievements further emphasizes the historical value of the inscriptions.
Fifth Couplet: “蒐于岐阳骋雄俊 万里禽兽皆遮罗。”
Sōu yú qí yáng chěng xióng jùn wàn lǐ qín shòu jiē zhē luó.
He hunted at Qiyang, showcasing his might; beasts from far and wide were captured.
The depiction of King Xuan's hunting prowess underscores the extraordinary significance of the inscriptions.
Sixth Couplet: “镌功勒成告万世 凿石作鼓隳嵯峨。”
Juān gōng lè chéng gào wàn shì záo shí zuò gǔ huī cuó é.
His achievements were carved into stone, the drums standing tall and majestic.
This couplet describes the creation of the stone drums, highlighting their grandeur.
Seventh Couplet: “从臣才艺咸第一 拣选撰刻留山阿。”
Cóng chén cái yì xián dì yī jiǎn xuǎn zhuàn kè liú shān ā.
His ministers, all of exceptional talent, carefully inscribed the drums and left them in the mountains.
The emphasis on the ministers' skill further enhances the value of the inscriptions.
Eighth Couplet: “雨淋日炙野火燎 鬼物守护烦撝呵。”
Yǔ lín rì zhì yě huǒ liáo guǐ wù shǒu hù fán huī hē.
The drums endured rain, sun, and wildfires, as if guarded by spirits, astonishing all.
The survival of the drums through natural disasters adds to their mystique and preciousness.
Ninth Couplet: “公从何处得纸本 毫发尽备无差讹。”
Gōng cóng hé chù dé zhǐ běn háo fà jìn bèi wú chà é.
Where did you obtain this rubbing? Every stroke is precise, without error.
The poet marvels at the accuracy of the rubbing, further emphasizing its value.
Tenth Couplet: “辞严义密读难晓 字体不类隶与蝌。”
Cí yán yì mì dú nán xiǎo zì tǐ bù lèi lì yǔ kē.
The text is profound and difficult to decipher; its script resembles neither clerical nor tadpole script.
The poet praises the depth and uniqueness of the inscriptions, highlighting their cultural and scholarly value.
Eleventh Couplet: “年深岂免有缺画 快剑斫断生蛟鼍。”
Nián shēn qǐ miǎn yǒu quē huà kuài jiàn zhuó duàn shēng jiāo tuó.
Over time, some strokes have been lost, as if a swift sword cut through dragons and crocodiles.
The poet vividly compares the missing strokes to severed mythical creatures, creating a striking image.
Twelfth Couplet: “鸾翔凤翥众仙下 珊瑚碧树交枝柯。”
Luán xiáng fèng zhù zhòng xiān xià shān hú bì shù jiāo zhī kē.
The characters soar like phoenixes, as if immortals descend; they intertwine like coral branches.
The poet uses metaphors to depict the elegance and beauty of the inscriptions.
Thirteenth Couplet: “金绳铁索锁钮壮 古鼎跃水龙腾梭。”
Jīn shéng tiě suǒ suǒ niǔ zhuàng gǔ dǐng yuè shuǐ lóng téng suō.
The strokes are as strong as golden ropes and iron chains; they leap like dragons from ancient cauldrons, swift as shuttles.
This couplet further praises the vigor and grandeur of the inscriptions.
Fourteenth Couplet: “嗟余好古生苦晚 对此涕泪双滂沱。”
Jiē yú hào gǔ shēng kǔ wǎn duì cǐ tì lèi shuāng pāng tuó.
Alas, I was born too late to appreciate antiquity; facing this, my tears flow freely.
The poet expresses his sorrow and helplessness over the fate of the inscriptions.
Fifteenth Couplet: “荐诸太庙比郜鼎 光价岂止百倍过。”
Jiàn zhū tài miào bǐ gào dǐng guāng jià qǐ zhǐ bǎi bèi guò.
If offered in the imperial temple, they would rival the Gao Ding; their value would surpass it a hundredfold.
The poet elevates the inscriptions to the status of national treasures.
Sixteenth Couplet: “中朝大官老于事 讵肯感激徒媕婀。”
Zhōng cháo dà guān lǎo yú shì jù kěn gǎn jī tú ān ē.
The high officials, experienced in their ways, are unwilling to act, merely hesitating.
The poet criticizes the officials' indifference to cultural preservation.
Seventeenth Couplet: “日销月铄就埋没 六年西顾空吟哦。”
Rì xiāo yuè shuò jiù mái mò liù nián xī gù kōng yín é.
Day by day, the inscriptions fade into obscurity; for six years, I have gazed westward, sighing in vain.
The poet laments the passage of time and the neglect of the inscriptions.
Eighteenth Couplet: “方今太平日无事 柄任儒术崇丘轲。”
Fāng jīn tài píng rì wú shì bǐng rèn rú shù chóng qiū kē.
Now, in times of peace, Confucianism is revered; it is the perfect time to value the inscriptions.
The poet seizes the opportunity of Confucian revival to urge the rulers to act.
Nineteenth Couplet: “安能以此尚论列 愿借辩口如悬河。”
Ān néng yǐ cǐ shàng lùn liè yuàn jiè biàn kǒu rú xuán hé.
If only I could present this in court; I wish for an eloquent voice to plead its case.
The poet expresses his frustration at being unable to advocate for the inscriptions.
Twentieth Couplet: “石鼓之歌止于此 呜呼吾意其蹉跎。”
Shí gǔ zhī gē zhǐ yú cǐ wū hū wú yì qí cuō tuó.
The song of the stone drums ends here; alas, my hopes may come to naught.
The poet concludes with a sigh, echoing the opening and expressing his despair.
Overall Appreciation
The poem praises the historical, cultural, and artistic value of the Stone Drum Inscriptions while expressing the poet's indignation at the court's indifference and his sorrow over the loss of cultural heritage. The poet's passionate emotions reflect a strong sense of social responsibility and deep love for traditional culture.
Writing Characteristics
- Genuine Emotion, Profound Reflection: The poet's admiration for the inscriptions and his anger at the officials' indifference are deeply felt.
- Vivid Language, Rich Imagery: Metaphors like "severed dragons" and "soaring phoenixes" bring the inscriptions' beauty to life.
- Clear Structure, Logical Progression: The poem explores the inscriptions' historical, artistic, and scholarly value in a well-organized manner.
Insights
This poem demonstrates Han Yu's deep appreciation for and commitment to preserving cultural heritage. He reminds us that the value of historical artifacts must not be overlooked and that they must be protected and passed down. The poet's heartfelt plea for attention to cultural heritage reflects a strong sense of historical responsibility, a spirit that remains relevant and inspiring today.
