Pretext
大历二年十月十九日，夔府别驾元持宅，见临颍李十二娘 舞剑器，壮其蔚跂，问其所师，曰：“余公孙大娘弟子也。” 开元三载，余尚童稚，记于郾城观公孙氏，舞剑器浑脱， 浏漓顿挫，独出冠时，自高头宜春梨园二伎坊内人洎外供奉， 晓是舞者，圣文神武皇帝初，公孙一人而已。 玉貌锦衣，况余白首，今兹弟子，亦非盛颜。 既辨其由来，知波澜莫二，抚事慷慨，聊为《剑器行》。 昔者吴人张旭，善草书帖，数常于邺县见公孙大娘 舞西河剑器，自此草书长进，豪荡感激，即公孙可知矣。
On October 19th of the second year of Dali, at the residence of Yuan Chi, an imperial attendant of Kuifu, Li Shier Niang of Linying performed a magnificent sword dance. When asked about her teacher, she replied, "I am a disciple of Madam Gong Sun's younger sister." In the third year of Kaiyuan , when I was still a child, I remember watching the Gong Sun family perform at Yan Cheng, with their sword dance fluid and graceful, with twists and turns that were truly unique. They stood out even among other performers at the Yichun Liyuan theater, and were known to be skilled dancers.
During the reign of the Sage Emperor Shengwen and the Divine Warrior Emperor Shengwu, there was only one Gong Sun. With my white hair and aged appearance, I cannot compare to the beauty and grace of Gong Sun. However, now that I know the origin of this dance, I am moved by the stories behind it and feel inspired to write the "Way of the Sword" poem 《剑器行》. In the past, there was a man from Wu named Zhang Xu, who was known for his calligraphy skills. He was often in the company of Madam Gong Sun when she performed her Xiehe sword dance in Yexian County. It was said that after seeing her performance, his calligraphy skills improved significantly, and he was deeply moved by her artistry.
观公孙大娘弟子舞剑器行 Observing the Sword Dance of the Disciples of Lady Gong Sun
昔有佳人公孙氏，一舞剑器动四方。
xī yǒu jiā rén gōng sūn shì ， yī wǔ jiàn qì dòng sì fāng 。
观者如山色沮丧，天地为之久低昂。
guān zhě rú shān sè jǔ sāng ， tiān dì wéi zhī jiǔ dī áng 。
㸌如羿射九日落，矫如群帝骖龙翔。
huò rú yì shè jiǔ rì luò ， jiǎo rú qún dì cān lóng xiáng 。
来如雷霆收震怒，罢如江海凝清光。
lái rú léi tíng shōu zhèn nù ， bà rú jiāng hǎi níng qīng guāng 。
绛唇珠袖两寂寞，晚有弟子传芬芳。
jiàng chún zhū xiù liǎng jì mò ， wǎn yǒu dì zǐ chuán fēn fāng 。
临颍美人在白帝，妙舞此曲神扬扬。
lín yǐng měi rén zài bái dì ， miào wǔ cǐ qū shén yáng yáng 。
与余问答既有以，感时抚事增惋伤。
yǔ yú wèn dá jì yǒu yǐ ， gǎn shí fǔ shì zēng wǎn shāng 。
先帝侍女八千人，公孙剑器初第一。
xiān dì shì nǚ bā qiān rén ， gōng sūn jiàn qì chū dì yī 。
五十年间似反掌，风尘澒动昏王室。
wǔ shí nián jiān sì fǎn zhǎng ， fēng chén hòng dòng hūn wáng shì 。
梨园弟子散如烟，女乐余姿映寒日。
lí yuán dì zǐ sàn rú yān ， nǚ lè yú zī yìng hán rì 。
金粟堆前木已拱，瞿唐石城草萧瑟。
jīn sù duī qián mù yǐ gǒng ， qú táng shí chéng cǎo xiāo sè 。
玳筵急管曲复终，乐极哀来月东出。
dài yán jí guǎn qū fù zhōng ， lè jí āi lái yuè dōng chū 。
老夫不知其所往，足茧荒山转愁疾。
lǎo fū bù zhī qí suǒ wǎng ， zú jiǎn huāng shān zhuǎn chóu jí 。
Overview
The poem uses language and sentence structure with skill, and it is both exquisite and concise. Although short, it covers a wide range of topics. The contrast between the past and present of dancing and music, as well as the gloomy and striking tone of the poem, are crucial to its portrayal of the fifty years of prosperity and upheaval. Without the skillful application of language and rhythm, it would not have been possible to create such a work of literature.
The premise of the poem centers on Lady Gong Sun, her followers, and her celebrated sword dance. However, readers may get the impression that the poet was using the theme of dance and music to reflect the dynasty's fifty years of prosperity and decline in history from the majestic atmosphere of the poem and historical depictions like "五十年间似反掌，风尘澒洞昏王室" or "Fifty years gone, like a flick of a hand, The wind and dust toppled the dark royal land."
"This poetry reflects on the past by seeing the sword dance, which is an expression of intense emotion," according to Wang Sizong's (王嗣总) overall assessment of the poem. "As a result, when he praises Li Bai, he also thinks of Madame Gongsun, and vice versa for the late emperor and Madame Gongsun. The entire poem was designed to depict the affluence and collapse of the fifty-year Kaiyuan and Tianbao periods. Otherwise, how could a woman's dance performance get his pen to move that much? "
“此诗见剑器而伤往事，所谓抚事慷慨也。故咏李氏，却思公孙；咏公孙，却思先帝；全是为开元天宝五十年治乱兴衰而发。不然，一舞女耳，何足摇其笔端哉！” 《杜诗祥注》引《杜臆》
However, his statement, "how could a dance performance of a woman move his pen so much!" would have been refuted by Du Fu, as he highly valued all forms of the arts.
First Section
The language flows in the first eight lines, which is resplendent without being ostentatious. The poem traces the opening and closure of the poet's emotions, beginning with "her vermilion lips and jade-like sleeves," with vocabulary and rhythm altering in accordance.
昔有佳人公孙氏，一舞剑器动四方。
Once lived a beauty, Gong Sun Shi, Her sword dance could move all directions easily.
观者如山色沮丧，天地为之久低昂。
The viewers' faces fell with disappointment, And the heavens and earth were low and stagnant.
㸌如羿射九日落，矫如群帝骖龙翔。
As swift as Yi shooting nine suns down, Or powerful as a dragon carrying emperors around.
来如雷霆收震怒，罢如江海凝清光。
She came like thunder, calming all rage, And ceased like a clear light freezing a wave.
The opening eight lines of the poem depict the dance of Lady Gong Sun.
A long time ago, there was a Lady by the name of Gong Sun (公孙), who was well-known for dancing while wielding swords and other weapons. People flocked to see her dance as the world appeared to rise and fall in unison with the movement of her weapons, unable to settle back down.
The third line "㸌如羿射九日落，矫如群帝骖龙翔" or "As swift as Yi shooting nine suns down, Or powerful as a dragon carrying emperors around." compares her to the mythological archer Hou Yi, who took down nine suns, but they also talk about the lovely impact her dance had on the poet Du Fu.
Hou Yi shooting down nine suns could be a reference to Granny Gong Sun's spinning or somersaulting while brandishing a red flag, a torch, or a sword, creating the illusion that a number of fireballs were dropping from the ceiling and circling the chamber.
The dance's conclusion, when the effect of the performance gradually fades, is characterized by the prancing dragon in the sky's light and beautiful as she soars into the air.
The image of the river and sea turning into light captures the stunned hush that followed the dance, as if the water's surface had become serene and clear.
Second Section
绛唇珠袖两寂寞，晚有弟子传芬芳。
Her lips red, her sleeves with precious stones, But now her disciples alone keep her fragrance known.
临颍美人在白帝，妙舞此曲神扬扬。
A beauty in Lin Ying danced with divinity, Her dance this song, mesmerizing and heavenly.
与余问答既有以，感时抚事增惋伤。
Talking with me, we both feel saddened, Thinking of times past and things that happened.
The next six lines shift suddenly to the silence and obscurity of Lady Gong Sun's sword dance after her death, but thankfully her talent was inherited by her disciples in her later years.
The poem then goes on to describe Li Shier Niang (李十二娘), a disciple of Lady Gong Sun, who performed a sword dance in the White Emperor City (白帝城), embodying the spirit of her teacher's past glory. A conversation with Li Shier Niang reveals not only the source of her dance skills, but also evokes boundless nostalgia and sentimentality in Du Fu's heart.
Third Section
先帝侍女八千人，公孙剑器初第一。
The late emperor had eight thousand maids, But Gong Sun's sword dance was the first to be praised.
五十年间似反掌，风尘澒动昏王室。
Fifty years gone, like a flick of a hand, The wind and dust toppled the dark royal land.
梨园弟子散如烟，女乐余姿映寒日。
The students of the Pear Garden drifted like smoke, And the female musicians' grace in the cold day evokes.
The poem's focus shifts to a time fifty years earlier in this section. remembering Kaiyuan's early years, when the nation was powerful and politics was honest. Emperor Xuanzong of Tang (唐玄宗) himself formed the teaching and performance departments during his free time. He also personally taught musicians how to perform songs and dances, which helped the Tang Dynasty experience an unheard-of level of musical and artistic prosperity.
The sword dance performed by Lady Gongsun stood out among the other 8,000 female singers and dancers at the time as the best, earning her the distinction of being the first. But what sad transformations fifty years of history have since brought. Dust and gloom filled the sky as a result of the An Lushan Rebellion, which had wreaked havoc throughout the whole Tang Empire.
The many Pear Garden followers, musicians, and dancers who Emperor Xuanzong had personally chosen and educated during those years had also perished in this catastrophe. Only the dance of the last dancer Li Shier is now illuminated by the last of winter's setting sun, casting a lovely yet lonely shadow.
In his later years, this was such a rare spiritual comfort for the old poet Du Fu, who had experienced the wealthy literary and artistic heyday of Kaiyuan and the sword dance of Lady Gongsun, yet how it also made him feel lonely and dejected!
This paragraph serves as the poem's climax and exemplifies Du's ability to succinctly summarize significant historical developments and a wide range of societal issues in just a few short sentences. It also reflects the "melancholy" of his poetry.
Fourth Section
金粟堆前木已拱，瞿唐石城草萧瑟。
Before the golden and millet piles, the trees arch, While the grass withers and the Qutang rock falls apart.
玳筵急管曲复终，乐极哀来月东出。
The feast's music plays fast, then it ends, And as the joy fades, the moon on the east ascends.
老夫不知其所往，足茧荒山转愁疾。
As an old man, I am lost, My feet callused from wandering in the desolate mountain's woes.
Emperor Xuanzong had been deceased for six years when the poet continued the theme from the previous section of the poem and stated that the trees atop his tomb at Jinsu Mountain were already big enough to be hugged by two hands.
He was a minor officer during the reign of Emperor Xuanzong, and after the death of the emperor, was lost in the desolate White Emperor City. After another dance performance, the poem closes by writing about the lavish feast held at the palace.
Du Fu`s joy soon turned to grief as the declining moon rose in the east. He is bewildered and uncertain about the future, and could not help but stare around at the huge surroundings. Alone, walking through the chilly dark and barren mountains with calloused feet and an ailing and elderly body.
Without saying a word, his life's sorrow can be felt. With calloused feet, he thought he was moving slowly, but in moments of intense emotion, he discovered he was moving too quickly. This is what the expression "转愁疾" expresses.