七寶池上底鄉思 Homesickness by the Pool of Seven Treasures

Homesickness upon the Seven-Jeweled Pool

七宝池上底乡思

,『Amitabha said, "Upon the pool of the Land of Ultimate Bliss,

弥陀说,『极乐世界底池上,

whence comes this mournful sound of weeping?

何来凄切的泣声?

Kalavinka, go down and see

迦陵频迦,你下去看看

.』who dares be so unruly."

是谁这样猖狂.』

So the kalavinka beat its wings,

于是迦陵频迦鼓着翅膀,

and flew to a jeweled tree beside the pool,

飞到池边一棵宝树上,

and alighted there, craning its neck to look down:

还歇在那里,引颈下望:

"Eh, child of Buddha, have you forgotten this is paradise?

『咦,佛子,你岂忘了这里是天堂?

Do you not love these rows of jeweled groves,

你岂不爱这里底宝林成行:

the blossoms on the trees facing each other,

树上底花花相对,

leaf matching leaf?

叶叶相当?

Do you not hear how here wondrous music fills the ear;

你岂不闻这里有等等妙音充耳;

do you not see how here solemn, glorious forms abound?

岂不见这里有等等庄严宝相?

Dwelling in such a land of perfect bliss,

住这样具足的乐土,

?』why do you go on grieving so?"

为何尽自悲伤?』

The young woman seated on the jeweled dais still sobbed softly to herself, and pressing her palms together, answered:

坐在宝荙上底少妇还自啜泣,合掌囘答说:

"Great One, this is your native home,

『大士,这里是你底家乡,

to you, of course, it holds no trace of suffering.

在你,当然不觉得有何等苦况.

But my native land is in the world of men,

我底故土是在人间,

how can you make me not weep as I long for it?

怎能教我不哭着想?

"When I was about to come here,

『我要来底时候,

my whole body had already grown cold.

But my husband still held me close with his warm hands;

但我底夫君,还用他温煖的手将我搂抱;

he let his melting tears fall upon my forehead.

用他融溶的泪滴在我额头.

"When I was about to come here,

『我要来底时候,

my whole body had gone stiff and straight;

but my husband still bent and flexed my limbs, again and again.

但我底夫君,还把我底四肢来囘曲挠.

"When I was about to come here,

『我要来底时候,

the color of my whole body had turned to the grey of death;

我全身底颜色,已变得直如死灰;

but my husband still pressed my two cheeks with his fingers,

但我底夫君还用指头压我底两颊,

to see whether their former rosy color might yet return.

看看从前的粉红色能否复囘.

"Now I sit here the whole day long,

『现在我整天坐在这里,

and now and again I hear his grieving cries.

不时听见他底悲啼.

Ah, the trace of tears upon my forehead,

唉,我额上底泪痕,

the warmth upon my arms,

我臂上底煖气,

the color upon my face,

我脸上底颜色,

every joint of my whole body,

我全身底关节,

all because of my husband's voice,

都因着我夫君底声音,

are catching fire, are melting away!

烧起来,溶起来了!

I had hoped to come here and enjoy happiness,

我指望来这里享受快乐,

but now instead I have withered away!

现在反憔悴了!

"Ah, I want to go back,

I want to go back,

I want to go back and still his grieving cries.

.』I long to go back this very instant and still his grieving cries."

我巴不得现在就囘去止住他底悲啼.』

The kalavinka said:

迦陵频迦说:

"Be still a while,

『你且静一静,

I will play the heavenly pipes for you,

我为你吹起天笙,

to smooth away the knotted sorrow in your heart;

把你心中愁闷的垒块平一平;

and turn the grieving cries in your ears into sounds of joy.

且化你耳边底悲啼为欢声.

Be still a while,

你且静一静,

I will play this heavenly pipe for you.

我为你吹这天笙.

"Your music cannot be turned into a fountain of love,

『你底声不能变为爱底喷泉,

it cannot quench the fierce flame of every trace of love upon my body;

不能灭我身上一切爱痕底烈燄;

nor can it become an abyss of forgetting,

也不能变为忘底深渊,

使into which he might cast all his feeling,

使他将一切情愫投入里头,

and think of me no more.

不再将人惦念,

I must still go back and see him,

我还得囘去和他相见,

.』and release him from his longing."

去解他底眷恋.』

"Ah, you have such feeling,

『呵,你这样有情,

who could still counsel you,

谁还能对你劝说

or bar your way?

向你拦禁?

Go back then, but remember — this is the very seed of transmigration."

回去罢,须记得这就是轮回因.

:『Amitabha said, "Well spoken, Kalavinka!

弥陀说:『善哉,迦陵!

You have been able to speak to her of this great chain of causes!

你乃能为她说这大因缘!

Even were the world shattered into motes of dust,

纵然碎世界为微尘,

within those very motes would dwell sentient beings beyond number.

这微尘中也住着无量有情.

Therefore, so long as the world does not end, sentient beings do not end;

所以世界不尽,有情不尽;

so long as sentient beings do not end, transmigration does not end;

有情不尽,轮回不尽;

so long as transmigration does not end, salvation does not end;

轮回不尽,济度不尽;

so long as salvation does not end, the Land of Bliss can go on manifesting without end."

济度不尽,乐土乃能显现不尽.

When she had finished speaking, the lotus petals gradually wrapped the young woman up, folding once more into a single drooping lotus bud. A breath of wind blew, and it, so frail, could barely

话说完,莲瓣渐把少妇裹起来,再合成一朶菡萏低垂着.微风一吹,他荏弱得支

便sustain itself, and so it fell into the pool.

持不住,便堕入池里.

The kalavinka seemed to remember nothing of this, and in that grove where blossom faced blossom and leaf matched leaf, went on singing

迦陵频迦好像记不得这事,在那花花相对,叶叶相当底林中,向着别的有情歌

to other sentient beings.

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What it’s about

Amitabha hears sobbing beside the jeweled pool of his Pure Land and sends the kalavinka bird to investigate. A young wife seated on a lotus admits that paradise is beautiful, but it is the bird's homeland, not hers. She remembers dying in her husband's arms: his warm hands bent her stiff limbs and his tears tried to restore color to her face. Hearing his grief from heaven rekindles every bodily trace of their attachment.

The celestial bird offers music to turn sorrow into joy, but she says no tune can extinguish love's fire or become an abyss of forgetting. She wants to return and stop her husband's cries. The bird permits her, warning that attachment causes rebirth; Amitabha praises this as the great causal bond through which endless sentient beings make endless salvation necessary. Lotus petals close around her and fall into the pool, while the bird moves on, unsettling any easy opposition between earthly love and religious release.

When it was written 背景

The Seven-Treasure Pool, jeweled trees, lotus birth and kalavinka derive from descriptions of Amitabha's Western Pure Land. Xu recasts that devotional scenery as a dramatic lyric in which homesickness makes perfect paradise insufficient. The ending is deliberately double: attachment perpetuates samsara, yet the Buddha calls the bond good because compassion and deliverance exist only while feeling beings remain. Repetitions of 我要囘去 and chains ending in 不盡 give the poem its liturgical force. Readers can enter through the wife's concrete deathbed memories before approaching its paradoxical theology.

Words in this chapter 生词