Departure:
To the Tune “Mu Lan Hua: Magnolia”

Zhang Xian
Translated from the Chinese by Shangyang Fang

After tonight, what’s left of you is youmoving into my dream. Outside, the horse hoovesstamping the ground, the dust moves.No sorrowful songs for me unless I am drunk.I am drunk. Forgive me that I couldn’t bearto see you off, vanishing with the sun.Alone with the west wind and the moon.Alone listening to the pipa sobbing, its pegboxcarved into a phoenix. Listen, crying bird:To live without this grief is to see the mountainwithout its weight, rivers without depth.  木兰花· 和孙公素别安陆张先相离徒有相逢梦。门外马蹄尘已动。怨歌留待醉时听,远目不堪空际送。今宵风月知谁共。声咽琵琶槽上凤。人生无物比多情,江水不深山不重。

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张先 Zhang Xian (990-1078), a poet and politician of the Northern Song dynasty, earned the epithet Zhang of Three Shadows for his notable use of the word “shadow.”

Headshot of Shanyang Fang

方商羊 Shangyang Fang grew up in Chengdu, China. He is the author of Burying the Mountain. His new book Study of Sorrow: Translations is forthcoming Oct 2025 (Copper Canyon Press).

In Study of Sorrows, Shangyang Fang breathes contemporary life into the poems of twenty-nine Song Dynasty Ci poets.
For many years, Song Dynasty Ci poetry has seemed eclipsed by the incandescence of Tang Poetry in the English-speaking world. In Study of Sorrows, Shangyang Fang aims to bridge this gap, translating the works of twenty-nine Song Dynasty poets, many of whom are introduced to an English-speaking audience for the first time. Collated into seven parts, these poems move through grief, love, and longing, exploring the tension and connection between the material and immaterial world. Unlike traditional scholarly translations, these renditions represent the translator’s endeavor to breathe contemporary life into ancient poems, including revisions of the original text, experimentations, and even rewrites. A beautiful conversation between these poets and their translator unfolds. Shangyang masterfully navigates the irregularity of the lines, the elusiveness of the descriptions, the indirect approach to subjects, the precise musicality, the twisting language, and the unspeakable tenderness. As investigated here, “sorrow” is transformed from a mere individual sadness to a collective experience that spans time, people, and place.

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