《烛影摇红·听梨园太监陈进朝弹琴》是清代女词人顾太清创作的一首词。此词上片开头两句点明听琴的时令，为琴师陈进朝的出场设置背景；三、四句写陈进朝的到来，表现他内心的凄怨苦楚；五、六句写陈进朝的弹奏，言其琴韵有风水之声；歇拍两句以对比的手法为陈进朝的遭际鸣哀。下片过拍四句间用白描，写陈进朝在乾隆时期“享尽神仙福”的情景；接着两句隐约表现他心中的凄凉悲思及郁勃不平之气；结拍三句归结到眼前，对陈进朝寄以无限的悲悯和同情。全词语言自然流畅，情感悲凄沉痛，把人世沧桑表现得淋漓尽致。
Candle Shadow Shaking Red: Listening to the Eunuch Chen Jinchao Playing the Piano in the Pear Garden “is a poem created by Gu Taiqing, a female poet in the Qing Dynasty. The first two sentences of this poem indicate the season for listening to the qin, setting the background for the appearance of qin player Chen Jinchao; 3、 Write four sentences about the arrival of Chen Jinchao, expressing his inner sadness and suffering; 5、 Write six sentences about Chen Jinchao’s playing, saying that his qin melody has the sound of feng shui; Take a break and use a comparative technique to mourn the suffering of Chen Jinchao. Using white lines between the four lines of the film, depict the scene of Chen Jin Dynasty enjoying the blessings of immortals during the Qianlong period; The following two sentences vaguely express the desolate and sorrowful thoughts, as well as the melancholic and indignant spirit in his heart; To summarize the three sentences in front of me, I express infinite sympathy and sympathy towards Chen Jinchao. The language of the whole word is natural and fluent, with emotions filled with sadness and sorrow, vividly portraying the vicissitudes of life.
顾太清·《烛影摇红·听梨园太监陈进朝弹琴》
雪意沈沈，
北风冷触庭前竹。
白头阿监抱琴来，
未语眉先蹙。
弹遍瑶池旧曲，
韵泠泠，
水流云瀑。
人间天上，
四十年来，
伤心惨目。
尚记当初，
梨园无数名花簇。
笙歌缥缈碧云间，
享尽神仙福。
叹息而今老仆。
受君恩，
沾些微禄。
不堪回首，
暮景萧条，
穷途哀哭。
Zhuying yao hong:
Hearing Eunuch Chen Jinchao of the Pear Garden [the Imperial Troupe] Play the Qin
Gu Taiqing
A sense of snow hangs heavy,
North winds coldly cuff a courtyard bamboo-clump1
A white-haired eunuch enters, bearing his zither;
Ere he speaks, his brows knit in fret.
He plays through all those old Jasper Pool2 tunes:
Tones purling, clear waters flow, clouds cascade.
Here on earth, up in heaven,
Well on forty years now
Hurts the heart, stabs the eye.3
I still recall, back at first
Pear Garden’s numberless bevy of famous blossoms.
Pipe and song drifting aloft among slate clouds:
We enjoyed all the luck of the sylphs.
Heave a sigh: and now this aging servant
Thanks to milord’s grace draws a scanty stipend.
I can’t bear to turn back
Dusky prospects dim and desolate
Crying a song at road’s dead-end.4
1. The first lines of this poem recall an allegorical ode to bamboos Su Shi (Su Dongpo) wrote while jailed by Censorate officials. His first six lines: “Today the wind comes from the south/And blows atumble courtyard bamboos. / Low and high, struck to tonal harmony: /Armor and blades cuffing in profusion. / Desolately sad, sense of wind and snow / That can snap but not disgrace them” (translated by David McCraw). Gu’s lyric shares Su’s rhyme category and his implicit comparison between noble bamboos and a singer out of luck.
2. Jasper Pool refers to the Heavenly Court; it introduces the Heaven/ imperial court vs. Earth/exile motif that organizes the eunuch’s lament.
3. Here and elsewhere in this poem Gu paraphrases lines from Li Yu’s laments in exile.
4. Out of favor at court, the high-minded but frustrated Ruan Ji, one of the Seven Worthies of the Bamboo Grove, would drive his cart through the wilds till he reached a dead end, then cry bitterly.
（David McCraw 译）
