《人间词话》英译（一百二十四）

楼忠简谓（清真）先生妙解音律，惟王晦叔《碧鸡漫志》谓：“江南某氏者，解音律，时时度曲。周美成与有瓜葛。每得一解，即为制词。故周集中多新声。”则集中新曲，非尽自度。然“顾曲名堂，不能自已”，固非不知音者。故先生之词，文字之外，须兼味其音律。惟词中所注宫调，不出教坊十八调之外。则其音非大晟乐府之新声，而为隋、唐以来之燕乐，固可知也。今其声虽亡，读其词者，犹觉拗怒之中，自饶和婉。曼声促节，繁会相宣；清浊抑扬，辘轳交往。两宋之间，一人而已。<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Lou Yao said that Chou Pang-yen had a remarkable understanding of musical theory (yin-lu 音律). Wang Cho in his Pi-chi man-shih (2/3b-4a) stated: ‘A certain gentleman of Chiang-nan had a keen understanding of musical theory. From time to time he composed songs. Chou Pang-yen was related to him in some way. Each time he finished one of his pieces, Chou would create lyrics for it. Therefore in Chou’s collection there were many new tunes’. Thus, then, the new songs in his collection were not all his own original compositions. However, the fact that he could not keep himself from naming his hall the Ku-ch’u T’ang (Hall of the music connoisseur) shows that he was not someone who did not understand music. Therefore, aside from the languages, Mr. Chou’s tz’u must be appreciated for the musical theory that he employed in creating them. However, the mode keys in which he composed hi tz’u did not fall outside the eighteen modes of the Chiao fang (Music School). From this we can know that his music did not belong to the new tunes of the Ta-sheng Yueh-fu (Great Splendor Music Bureau) but rather to the popular banquet music of the Sui, T’ang, and later. His scores are all lost today, but in reading his tz’u we still feel a kind of self-indulgence and geniality within [the framework] of a controlled passion. Long notes, quick rhythms, intricately blended, in harmony displayed. Clear high pitch, full low pitch, now falling, now rising, repeatedly interplayed. Throughout the Northern and Southern Sung there was no one else quite like him.