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THƠ Hồ Xuân Hương ... (4)
Đèo Ba Dội
Một đèo, một đèo, lại một
đèo Động Hương Tích
Bày đặt ḱa ai khéo khéo
pḥm, Kẽm Trống
Hai bên th́ núi giữa th́
sông
Không Chồng Mà Chửa Nỗi niềm chàng có biết chăng chàng Duyên thiên chưa thấy nhô đầu dọc (1) Phận liễu sao đà nẩy nét ngang (2) Cái nghĩa trăm năm chàng nhớ chửa ? Mảnh t́nh một khối thiếp xin mang Quản bao miệng thế lời chênh lệch Không có, nhưng mà có, mới ngoan. oo00oo
Vịnh cảnh đánh đu
Bốn cột khen ai khéo khéo trồng Người th́ lên đánh, kẻ ngồi trông, Trai ôm gối hạt khom lưng cật. Gái uốn lưng ong ngửa ngửa ḷng,
Bốn mảnh quần hồng bay phất phới. Hai hàng chân ngọc duỗi song song. Chơi xuân đă biết xuân chăng tá. Cột nhổ đi rồi, lỗ bỏ không.
Swinging Praise whoever raised these poles For some to swing while others watch A boy pumps, then arcs his back The sharpely girl shoves up her hips
Four pink trousers flapping hard Two pairs of legs sterched side by side. Spring games who hasn’t known them ? Swingposts removed the holes lie empty.
Dịch bởi John Balaban trong tác phẩm Spring Essence do nhà xuất bản Copper Canyon Press, Washington.
Viewing Cacco-Cavern
Heaven and earth brought forth this rocky mass its face cut by a deep crevass. Crack’s dark mount shagged with moss pines rocking in wind rush Here aweet water spatters down and path into the cleft is dark. Praise whoever sculpted stone. Then left it bare for all to see.
Dịch bởi John Balaban trong tác phẩm Spring Essence do nhà xuất bản Copper Canyon Press, Washington.
Autumn Landscape Drop by drop rain slaps the banana leaves. Praise whoever sketched this desolate scene: the lush, dark canopies of the gnarled trees, the long river, sliding smooth and white. I lift my wine flask, drunk with rivers and hills. My backpack, breathing moonlight, sags with poems. Look, and love everyone. Whoever sees this landscape is stunned.
Note: The poem bag carried by wandering poets and young scholars usually held samples of their poetry and calligraphy.
Screw the fate that makes you share a man. One cuddles under cotton blankets; the other's cold. Every now and then, well, maybe or maybe not, once or twice a month, oh, it's like nothing. You try to stick to it like a fly on rice but the rice is rotten. You slave like the maid, but without pay. If I had known how it would go I think I would have lived alone. Note: Ho Xuan Huong, like her mother, was a vo le, a concubine, or wife of second rank. Traditionally, Vietnamese women wielded considerable economic and political power, but by 1800 the condition of women had deteriorated as the Vietnamese nation itself began a collapse under domestic and foreign pressures. Many women could choose only between struggling alone or becoming concubines, risking the indignities in this poem. Men, meanwhile, could have many wives. The king was permitted 126 wives iin six different categories, while even a student scholar could have "five concubines, seven wives." See Hoa Bang, Ho Xuan Huong, Nha Tho Cach Mang (Saigon: Gon Phuong, 1950), p. 106. Chem cha ("screw") is a curse, meaning "cut father." Nam thi muoi hoa ("five out of ten times") is a folk expression.
My body is like the jackfruit on the branch: my skin is coarse, my meat is thick. Kind sir, if you love me, pierce me with your stick. Caress me and sap will slicken your hands. Note: The large, smelly jackfruit can be prematurely ripened by piercing it.
A cliff face. Another. And still a third. Who was so skilled to carve this craggy scene: the cavern's red door, the ridge's narrow cleft, the black knoll bearded with little mosses? A twisting pine bough plunges in the wind, showering a willow's leaves with glistening drops. Gentlemen, lords, who could refuse, though weary and shaky in his knees, to mount once more? Note: Maurice Durand notes that this range is almost certainly the Deo Tam Diep in central North Vietnam where the mountains are calcareous and of a blackish color but, he adds innocently, "I'on n'a pas de grotte avec une grande ouventure." While an actual landscape may have suggested this poem to Ho Xuan Huong, the particular contours--the active pine and willows--comprise a sexual landscape as well. Pines traditionally stand for men; willows, for women.
Lampwick turned up, the room glows white. The looms moves easily all night long as feet work and push below. Nimbly the shuttle flies in and out, wide or narrow, big or small, sliding in snug. Long or short, it glides out smoothly. Girls who do it right, let it soak
Thiếu nữ ngủ ngày Mùa hè hây hẩy gió nồm đông
Summer breeze is sporadically blowing,
Dệt cửi
Thắp ngọn đèn lên thấy trắng phau Nightime Weaving
Light turned on, it is found such a white,
Vịnh cái quạt Mười bảy hay là mười tám đây The Fan Are you seventeen or eighteen?(1)Let me cherish you by all means. Thin or thick you display a triangle, and Large or small I hold you with one hand. The more it is hot the fresher you will submit, Not enough love at night, daytime will make it. Your cheeks are rose pink and give you grace, Lords and kings love you because of your face. (1): Seventeen or nineteen branches of the fan could be understood as seventeen or eighteen.Extracted from the book entitled"Egrets on the river " de Mr Lê Thành Khôi.
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