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[Yin Lin & He Tu] 银临 & 河图 - 是风动 | Is it the wind that's moving?


renn

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Yin Lin (银临) & He Tu (河图) -
| Is it the wind that's moving?
 
 
Lyrics: æ‹©è‡ (Ze Xing)
Composition: 银临 (Yin Lin)
Arrangement: ç°åŽŸç©· (Hui Yuan Qiong)
 

Lyrics translation by @renn at www.onehallyu.com

credits.png

 
 
 
è‹¥éžä¸‡ç§é£žçƒŸéƒ½è¿‡çœ¼
怎会迷æ‹å·«å±±çš„那一片
è‹¥éžæµ·æž¯çŸ³çƒ‚相看两相厌
怎åˆä¼šå¼±æ°´æ¶¨æ¡‘ç”°
 
ruò fÄ“i wàn zhÇ’ng fÄ“i yÄn dÅu guò yÇŽn
zÄ›n huì mí liàn wÅ« shÄn de nà yÄ« piàn
ruò fÄ“i hÇŽi kÅ« shí làn xiÄng kàn liÇŽng xiÄng yàn
zÄ›n yòu huì ruò shuÇ zhÇŽng sÄng tián
 
If not for [the fact that] tens of thousands of types of drifting mist have all passed before one's eyes,
Why would one be infatuated with that one [cloud] from the Wu Mountains[1]?
If not for [the fact that two people who have vowed to be together] till the seas run dry and the stones crumble [end up] being sick of looking at one another,
Why would weak water[2] rise [and flood] the mulberry fields[3]?
 
 
ä»¥ä¸ºè¡”æ³¥å½’æ¥æ—§å ‚å‰
是我似曾相识的那一é¢
以为积雪æˆå·æœ‰å­¤é¸¿ä¸çŸ¥ç–²å€¦
å°ä¸‹ä½ å²æœˆçš„足尖
 
yÇ wéi xián ní guÄ« lái jiù táng qián
shì wÇ’ sì céng xiÄng shí de nà yÄ« miàn
yÇ wéi jÄ« xuÄ› chéng chuÄn yÇ’u gÅ« hóng bù zhÄ« pí juàn
yìn xià nÇ suì yuè de zú jiÄn
 
had thought that [the sight of a pair of swallows] returning with mouthfuls of mud to the front of the old hall [to build themselves a nest][4.1]
Was a scene of déjà vu for me[4.2].
had thought that [despite] the accumulated snow [melting and] turning into a river, there would be a lone swan goose who knows no exhaustion,
Stamping the toe prints[5] of your years.
 
 
#
èšä¼¼é£žéœœä¸è‚¯èž 散如尘埃å„西东
ç—´äººè¯´ç€æ¢¦ éƒ½é“æƒ…之所钟
求ä¸å¾—å°±åå®  心猿æ„马就相拥
是风动还是幡动 轮回难é“å°±ä¸åŒ
 
jù shì fÄ“i shuÄng bù kÄ›n róng / sàn rú chén Äi gè xÄ« dÅng
chÄ« rén shuÅ zhe mèng / dÅu dào qíng zhÄ« suÇ’ zhÅng
qiú bù dé jiù piÄn chÇ’ng / xÄ«n yuán yì mÇŽ jiù xiÄng yÅng
shì fÄ“ng dòng hái shì fÄn dòng / lún huí nán dào jiù bù tóng
 
Coming together like flying frost, unwilling to melt; scattering like specks of dust, going their separate ways.
[When] lunatics rave about nonsense, [they] all say that infatuation is single-minded.
[if you] seek [to have a relationship with the other person] but fail to attain [such a love], then show favoritism [towards that person]. [if you're] restless and whimsical, then embrace one another.
Is it the wind that's moving or the flag that's moving[6]? Does reincarnation actually [make things] different?
 
 
##
你是我身外 化白云任去æ¥
推开孤城万里 广¸¡æ˜¥é£Žå‡ åƒè½½
我是你途中 有é’山撞入怀
ä¸åŠ¨å£°è‰² è§ä½ å¦‚是æ‰è‡ªåœ¨
 
nÇ shì wÇ’ shÄ“n wài / huà bái yún rèn qù lái
tuÄ« kÄi gÅ« chéng wàn lÇ / chuÄ« dù chÅ«n fÄ“ng jÇ qiÄn zÇŽi
wÇ’ shì nÇ tú zhÅng / yÇ’u qÄ«ng shÄn zhuàng rù huái
bù dòng shÄ“ng sè / jiàn nÇ rú shì cái zì zài
 
You are not an integral part of me[7]. [You] turn into a white cloud[8.1], coming and going at will.
Pushing open [the gates of] the lone city, miles and miles [away from anything else], the spring wind blows across how many millenia?
I am [someone you meet] on your way, a green mountain[8.2] that ends up in [your] arms by accident.
Not batting an eyelid—it is upon seeing you thus that [i am] at ease.
 
 
éš¾é“逆水行舟的执念
是你刻在船舷的那一剑
éš¾é“临渊而羡åˆçº·çº·å¾—鱼忘筌
也值我缘木求此愿
 
nán dào nì shuÇ xíng zhÅu de zhí niàn
shì nÇ kè zài chuán xián dì nà yÄ« jiàn
nán dào lín yuÄn ér xiàn yòu fÄ“nfÄ“n dé yú wàng quán
yÄ› zhí wÇ’ yuán mù qiú cÇ yuàn
 
Could it be that the obsession with sailing a ship against the current
Is that sword stroke you carved upon the side of the ship[9]?
Could it be that [even people who] stand by the water in desire of [fish][10.1] and then forget the bamboo trap once [they] obtain the fish[10.2]
Are worth me fruitless climbing a tree in hopes of [realizing] this wish[10.3]?
 
 
Repeat #
 
Repeat ##
 
 
你在我身畔 å¬ç«¹æž—正摇乱
侵如野ç«çº·ç‡ƒ 震如åƒå†›é›·å£°ç»½
我在你此岸 立风雨安如山
ä¸åŠ¨äºŽå¿ƒ è§ä½ å¦‚æ˜¯æ‰æ— æ†¾
 
nÇ zài wÇ’ shÄ“n pàn / tÄ«ng zhú lín zhèng yáo luàn
qÄ«n rú yÄ› huÇ’ fÄ“n rán / zhèn rú qiÄn jÅ«n léi shÄ“ng zhàn
wÇ’ zài nÇ cÇ Ã n lì / fÄ“ng yÇ” Än rú shÄn
bù dòng yú xÄ«n / jiàn nÇ rú shì cái wú hàn
 
You are by my side, listening to the bamboo forest[11.1] shaking in a disorderly manner,
Invading like wildfires[11.2] igniting all over the place, quaking like the bursting thunderous sound[11.3] of a large army.
I am on your shore, unmoving as a mountain[11.4] [even when] standing in the wind[11.5] and rain.
The heart does not move—it is upon seeing you thus that [i have] no regrets.
 
 
 
T/N:
 
A prominent theme in this song is something that moves vs something that does not. Many of these notes will relate to that.
 
[1] These first two lines are in reference to the fourth poem from 《离æ€äº”首》 by Tang Dynasty poet Yuan Zhen:
 
Original text:
æ›¾ç»æ²§æµ·éš¾ä¸ºæ°´ï¼Œé™¤å´å·«å±±ä¸æ˜¯äº‘。
å–æ¬¡èŠ±ä¸›æ‡’å›žé¡¾ï¼ŒåŠç¼˜ä¿®é“åŠç¼˜å›ã€‚
 
Roughly:
Having seen and appreciated the boundless sea, water elsewhere appear lacking; having seen and appreciated the clouds of the Wu Mountains, other clouds pale vastly in comparison.
Even though I'm passing through thickets of flowers, I'm too lazy to look back upon any; half of it is because I practice Daoism, the other half because of you.
 
He wrote this series of poems in remembrance of his deceased wife Wei Cong. The boundless sea and the clouds of Mount Wu are metaphors for his wife; the water elsewhere, the other clouds, and the thickets of flowers are metaphors for other women. In plain terms, after having met and known "the clouds of the Wu Mountains", other "clouds" aren't even clouds and he doesn't care to look at them.
 
The lyricist expresses a different opinion: it is because I have seen all kinds of other "clouds" that I know "the clouds of the Wu Mountains" are the most beautiful.
 
 
[2] 弱水 is literally "weak water". In the olden days, there were shallow but turbulent rivers that could not be crossed by boats. It was thought that this was due to the water being "weak" and unable to support boats. However, since then, 弱水 has been extended to mean the "waters of love" or, in other words, the pool of other potential love interests.
 
 
[3] æ¡‘ç”° is the "mulberry fields" of the idiom æ²§æµ·æ¡‘ç”°, which refers to the world's great changes, where even the blue sea will turn into mulberry fields. In this case, it would be "weak water" flooding the mulberry fields, changing them into a sea.
 
The lyricist likely means that great changes (particularly such great changes that occur in love) take place in the world because even supposedly eternally unchanging love leads two people to eventually hate the sight of each other.
 
 
[4] Ah, swallows.
 
[4.1] I think the first line of this verse borrows from 《忆江å—·衔泥燕》 by Tang Dynasty poet Niu Jiao.
 
Original text:
忆泥燕,飞到画堂å‰ã€‚å å¾—ææ¢å®‰ç¨³å¤„ï¼Œä½“è½»å”¯æœ‰ä¸»äººæ€œï¼Œå ªç¾¡å¥½å› ç¼˜ã€‚
 
Roughly:
A pair of swallows, holding mud in their mouths, fly to the front of the ornate hall, occupying a stable place up on the roof beam made of apricot wood. Only the owner of the house has tender affection for their litheness; how enviable is their beautiful relationship!
 
However, since the lyrics refer to the swallows "returning" to an "old" hall, perhaps the owner of the house who had at one point been envious of the relationship between the swallows is no longer there/does not feel the same anymore.
 
[4.2] And speaking of déjà vu, the connection between "swallows" and "似曾相识" gives me déjà vu. Song Dynasty poet Yan Shu's 《浣溪沙·一曲新è¯é…’一æ¯ã€‹ contains a line:
 
Original text:
æ— å¯å¥ˆä½•花è½åŽ»ï¼Œä¼¼æ›¾ç›¸è¯†ç‡•å½’æ¥ã€‚
 
Roughly:
There is no helping the flowers that wither and fall; swallows that seem familiar have returned.
 
 
[5] This part refers to the idiom 雪泥鸿爪, a metaphor for traces of the past. Of additional interest is the poem 《和å­ç”±æ¸‘池怀旧》 by Song Dynasty poet Su Shi.
 
Original text (first half only!):
人生到处知何似,应似飞鸿è¸é›ªæ³¥ã€‚
泥上å¶ç„¶ç•™æŒ‡çˆªï¼Œé¸¿é£žé‚£å¤è®¡ä¸œè¥¿ã€‚
 
Roughly:
In life, one comes here and goes there, leaving some traces. Do you know what those traces resemble? I think they look like footprints left by a swan goose flying around stepping on the snow.
The toe marks it leaves upon the snow are incidental, since it flies here and there, without a certain pattern.
 
Snow is requisite for such traces to be left behind, giving proof to one's existence, but in the lyrics, the snow melts. How does one leave footprints upon water?
 
 
[6] In "The Platform Sutra of the Sixth Patriarch", a book about Huineng's Buddhist teachings, there is a story:
 
Original text:
时有风å¹å¹¡åŠ¨ã€‚ä¸€åƒ§æ›°é£ŽåŠ¨ï¼Œä¸€åƒ§æ›°å¹¡åŠ¨ã€‚è®®è®ºä¸å·²ã€‚惠能进曰:'éžé£ŽåŠ¨ï¼Œéžå¹¡åŠ¨ï¼Œä»è€…心动。'
 
Roughly:
The wind was blowing and the streamer was moving. One monk said the wind was moving; another monk said the streamer was moving. They argued back and forth incessantly. Huineng then said: "It isn't the wind that moves or the streamer that moves; the heart is what moves."
 
 
[7] It literally says "you are outside of my body".
 
 
[8] Essayist Lin Ching-hsuan wrote: é’山元ä¸åŠ¨ï¼Œç™½äº‘è‡ªåŽ»æ¥. I won't get into the details but obviously the "green mountain" doesn't move whereas the "white cloud" comes and goes as it pleases. It ties back to the theme of moving vs unmoving.
 
 
[9] This refers to the idiom 刻舟求剑, which describes a person taking some sort of action without consideration for changing circumstances. The story goes that a man's sword fell overboard while he was in a moving ship. He marked the spot on the ship where the sword fell and said: "This is where my sword fell. Once the ship stops, I will enter the water from here in search of my sword."
 
 
[10] This is a series of (modified) fish idioms:
 
[10.1] 临渊而羡 comes from 临渊羡鱼. The full saying states that rather than standing by the water wishing for fish, it'd be better to return home and weave a net. As such, this refers to uselessly wishing for something without taking any action to make that wish come true.
 
[10.2] 得鱼忘筌 is translated literally above. It's a metaphor for forgetting the means by which you achieved success after achieving success.
 
[10.3] 缘木求此愿 comes from 缘木求鱼, which means climbing a tree in search of fish. The goal is impossible to achieve if you go about it using a completely wrong method.
 
 
[11] In the seventh chapter ("Military Maneuvers") of famed Spring and Autumn Period military strategist Sun Tzu's "The Art of War", it says:
 
Original text:
故其疾如风,其å¾å¦‚林,侵掠如ç«ï¼Œä¸åŠ¨å¦‚å±±ï¼Œéš¾çŸ¥å¦‚é˜´ï¼ŒåŠ¨å¦‚é›·éœ‡ã€‚
 
Roughly:
When an army is quick, it resembles [11.5] the wind. When an army is slow, it resembles [11.1] a forest. It invades like [11.2] a fire. It stays [11.4] unmoving like a mountain. Its intentions are difficult to know like the shade of clouds covering the sun. It moves like [11.3] quaking thunder.
 
Again, moving vs unmoving.
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