#heeeheeeee

Soleil - The Sun: Papyrus

Personality: He burns like the sun. His flames engulf everything in his path. His passion, like his love, is the most powerful aspect of his personality. His fury, however, has the power to burn the cities and kingdoms he built up down. Even so, he is the sun, and the sun is what makes the flowers blossom and the morning come, so he is very kind-hearted, but he can be just as cruel as the sun on a hot summer day. He may be cruel and obstinate, opposing his sibling at every turn because of his parents' mistakes. He is as opposed to his brother as the sun is to the moon, but their connection remains balanced.

Appearance: He is a skeleton monster. He has red eye lights that ombre into a gentle orange. He has a large scar on his eye that splints into three paths on the top of his skull and down to his chin. He has a large sun tattoo/birthmark on his ribs.

(With more red! The tie and undercoat color.)

Deimos - The Moon: Sans

Personality: He's as quiet and serene as the moon. His water can put out any flames that come his way. His tranquility, like his love, is a strong component of his character. Unlike his sibling, his rage is cool, like vengeance. Despite this, his rage can slowly but steadily cover huge areas of water. He, like his brother, guarantees that everything has the opportunity to survive; as such, he is exceedingly kind, yet during the cold winter days, he can be as cruel as a blizzard. He is cold and distant from his brother, and he frequently fights back against his brother's opposition. He is as diametrically opposed to his brother as the moon is to the sun, but their bond remains balanced.

Appearance: He is a skeleton monster. He has eye lights that ombre from a cool blue to a gentle white. He has a full moon tattoo on his back. He has a small scar on his eye that splinters into two.

Eridanus - The Eclipse: Gaster

Personality: He is the counterpoint to his brother's rage and calm. He stands as a mediator between the two, with fury as cold as the moon and a love for his brothers as intense as the sun. He adores his brothers and works hard to reconcile their competing viewpoints. He prevents their rage from transforming the planet into a realm of nothing but water. He is a kind man who appears to be quite serious. He maintains a balance of water and fire, is very down to earth, and harbors no ill will toward his siblings, whom he pities greatly due to the destruction their parents created. He is concerned that their bond is irreparable.

Appearance: He is a skeleton. One of his eye lights is an ombre of red to orange, while the other is an ombre of blue to white. He has two large scars on his face one splinters into three on the top of his skull, while the other splinters into two at the bottom. He has an eclipse tattoo on the side of his ribs.

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All the kudos to Joyce’s ‘Notes Made When Translating: Aging of a Beauty’ because her cultural notes and analysis are just so good!!!! She did it for the other two songs and also the NIF game theme too. Would strongly recommend checking those out as I learnt a lot and had a fantastic and rather educational time reading them \o/ rabbit holing in song translation is such a MOOD.

ORIGINS

Lyricist: 袁亮 Music & Arrangement: 赵佳霖

Originally released as 《忍别离》 Endure Separation, the third song of Cui Zige’s guofeng themed album 《小美人》 The Little Beauty in Dec 2013, 《红颜旧》 was later adopted as an insert song of the 2015 drama, Nirvana in Fire. I thought it was specially written as Mu Nihuang’s character song, but apparently not! But it’s really the beauty of music and credit to whoever picked it that it’s just so easily relatable to her.

The one difference I can spot between the two songs would be in the last line, likely as an improvement for better flow:

不变是此情悠悠 - 《忍别离》 bù biàn shì cǐ qíng yōu yōu 唯不变此情悠悠 - 《红颜旧》 wéi bù biàn cǐ qíng yōu yōu

TITLE

As both Joyce and Yvonne have noted, 红颜 | hóngyán is used here to refer to the lovely features of a beautiful woman. 

Although 红颜 is more often used to refer to a woman, sometimes in poetry it also evokes the image of a youth, young men or boys in the peak of health with fresh faces and pinkish-red cheeks. For example, this poem by Shen Yue of the Northern and Southern Dynasties and also this one by Du Fu of the Tang Dynasty. Before, I vaguely knew of the word 红颜 through the chengyu 红颜知己 | hóngyán zhījǐ, which one would call a close female friend and confidante. A relationship with a 红颜知己 is somewhere between platonic and romantic. Something like how we imagine Lin Shu and Nihuang’s relationship would have been like once upon a time.

Then comes 旧 | jiù, a word with many meanings! Yvonne covers most of them in her little preface; something worn out, something old, something from the past, perhaps an old lover.

Most of us seem to have gone with the ‘old’ or ‘growing old’ shade of meaning; choosing to use ‘beauty’ for 红颜, and rendering 旧 either as an ongoing process of aging/fading or as something of the past that is faded or bygone. There is something melancholy about this title I think, in the passing of a lady’s youth and beauty, but something strong in there too, in a young face that is aging with grace.

My first attempt at the title before making any attempt at translating the song was ‘Lady Love of Old’ and it was left as that for some time before I gave in to a nagging feeling and changed it to ‘fading beauty’, then eyed ‘bygone beauty’ for some time. I can still see it as all the options though. Especially when squinting (figuratively xD) and that’s why I prefer to call it hongyanjiu to this day. That way you don’t lose any shade of the meaning...

And oh! An interesting exception among us would be 墨白妈妈 who went with Changing Face, as a reference to the William Butler Yeats poem ‘When You Are Old’.

“But one man loved the pilgrim soul in you, And loved the sorrows of your changing face”

And you know what? This is so valid. I like it a lot as well!

OKAY, and now for the song! I’ve gone as literal as possible for all the interpretations. I’ll go over it line by line for interesting points in the original lyrics, plus across the various translations. Maybe a little bit afterwards on more feelings and/or why I chose to deviate a bit sometimes.

INTRO

西风夜渡寒山雨  A west wind blows past in the night; in the cold mountains, rain falls. 家国依稀残梦里  With home and country indistinct in fragmented dreams, 思君不见倍思君  thinking of him but not seeing him, my longing doubles. 别离难忍忍别离  Parting is hard to bear, but it is borne.

One of the things I’ve learnt since 2016, is that 西风 | xī fēng, a wind from the west is often associated with autumn wind, and with it a certain heaviness, sorrow, grief and loneliness. As an example, this poem (in English here) by Song Dynasty minister and poet, Ye Mengde, which I love for its imagery in the first two lines.

《水调歌头·霜降碧天静》 - Water tune prelude · after the snow falls // 霜降碧天静 秋事促西风 | after the snow falls, the azure sky is clear and all is quiet; autumn preparations are hurried by west winds. 寒声隐地初听 中夜入梧桐 | the whooshing of that chilling wind, indistinct in the beginning, rustles the parasol trees as we enter into the night

Photo source

渡 | dù, a word I’ve been thinking about lately, has multiple meanings. Crossing (a river), to cross, ferry or move pass. Here, because the location is in a 寒山 | hán shān cold mountain, the 渡 would be referring to the west wind blowing past. Both 墨白妈妈 and Kana used ‘sail’ in their first line as a nod to the word’s other meanings, which is very clever and a really nice touch because it calls the same associations to mind.

残 | cán, the word for fragmented of 残梦里 | cán mèng lǐ - within fragmented dreams - is the same as that of the word for cruel, 残忍 | cán rěn. When I first heard the song with the lyrics in front of me, I didn’t know 残梦 was a word by itself and understood it as ‘cruel dreams’. Home and country as you remember them being dangled in front of you, but barely in sight and out of reach. I still like that interpretation right now, and thus kept the line as is.

For the line 思君不见倍思君, the word 君 | jūn here refers to a man who could be her husband, could be a beau, could be a friend - Joyce covers it all already!

Special mention for 倍 | bèi, meaning many times over or double in this context of 倍思君: it was difficult to express that feeling (I gave up xD) of thoughts reaching out for someone, finding a void and only able to settle back - not subsiding but growing instead. It was so cool to see that someone did manage to capture it in the end! In Kana’s ‘Missing you but not seeing you, twice does the yearning grow’, that return of the yearning twofold is expressed so elegantly!

The fourth line of the intro along with some of the lines from the next verse calls one of Li Shangyin’s untitled poems to mind, so I’ll introduce it below.

VERSE 

狼烟烽火何时休  When will the beacons of war rest? 成王败寇尽东流  Victors become king, losers - outlaws; it all flows east (to the sea). 蜡炬已残泪难干 Although the candles have burnt till only reside is left, it is difficult for tears to dry. 江山未老红颜旧 Before the mountains and rivers grow old, the beauty ages.

For the first two lines, Joyce already covers them with a really detailed explanation and pictures. Do go check that out if you haven’t already! I especially enjoyed learning about 狼烟 | lángyān, beacon fire, or more literally, ‘wolf smoke’, possibly being named that because a component of it may or may not have been wolf dung. She also digs into the next line pretty thoroughly. I’d just like to add on something I found out about the origins of the chengyu! (It’s a bit of a rabbit hole, so feel free to skip!)

The exact phrasing of 成王败寇 | chéng wáng bài kòu, succeed - hailed king, defeated - condemned outlaw, originates (at least, this exact phrasing does) from one of six short poems by Liu Yazi (1887 - 1958), a Chinese poet and political activist, for his review of the book《太平天国战史》on the Taiping Rebellion by Sun Yat Sen.

Rough interpretation following as I’m not familiar with the context, and none of this information is available in English:

成王败寇漫相呼，直笔何人纵董狐 chéng wáng bài kòu màn xiāng hū, zhí bǐ hérén zòng dǒng hú Victors are hailed king, losers condemned as outlaws, on this, all are in accord. (But) when it comes to penning down history, is there anyone who will give Dong Hu free reign?

(Confucious praised Dong Hu as a good historiographer of the Spring and Autumn period. His rule for writing was not to never conceal the truth.)

Snapshot source

Alright, back to 《红颜旧》!

Special mention to the Chinese classical poem rendition, because I really love the rhythm of this line: 王兮寇兮，滚滚东流 wáng xī kòu xī, gǔngǔn dōng liú, which is like (you can ignore 兮 unless it amuses you to read it as HEY! it’s actually a slightly gentler dragged out sound, but I heard it sung once in hokkien and the heyyyyy stuck fast xD) king, outlaw & the river surging east. But the word for surging is 滚滚, which also reads as boiling/raging/surging. When pitted against overwhelmingly powerful forces of nature, like raging rivers, like time, titles and labels are just words that feel so insignificant.

For line 3, 蜡炬已残 | là jù yǐ cán, is like ‘of the candle, only remnants are left’ and the following photo is roughly the image that pops into mind.

Why candles? Because recall:

a west wind blows past in the night; in the cold mountains, rain falls.  with home and country indistinct in fragmented dreams, thinking of him (but) not seeing him, my longing doubles. parting is hard to bear, (but) it is borne.

It is still that cold Autumn night. 

The last line of this verse is, 江山未老红颜旧, literally ‘before the mountains and rivers grow old, the beauty ages’. And the beauty of this (if you’ll pardon the pun) is that both the kingdom and the mountains and rivers? They are ageless. The passage of time will only be apparent to and on her.  For this, I love love love how xjc396 puts it as ‘lands 'nd rivers are in bloom, but my beauty is past’, because of that wistful? mournful? feeling evoked by the contrast of placing something at its zenith and another in decline side by side.

And oooooo, so as mentioned before, there’s a little poem rabbit hole for the last two lines which extends also to the chorus. I’ll introduce it at the end of all this.

CHORUS Part 1

忍别离， Bear the parting, 不忍却要别离， even if you can’t, we still must part. 托鸿雁南去。 Entrusting the geese to go South, 不知此心何寄。 I do not know how to send this heart.

Again, Joyce has our backs with her Notes Made When Translating (thank you!!!!! haha I don’t know how you did it, and with such beautiful pictures too!).

It’s pretty obvious even at the first glance that we all have rather different styles. After all, in translation - at least, how I see it, the differences come from how we’re always balancing between these three things:

And of course, any personal associations we have with certain words in both the source and target language. Maybe there are more things? Idk hahaha. I’m just a hobbyist >.<. Back to the song!

So so so there are two versions that are similar which I like a lot, and then one which surprised me at first but then grew on me more and more. Starting with the two that I like:

Faded Beauty: I plead the birds to bring my message south. But how do I send my heart with them? 《红颜旧》: I entrust the swan-geese flying south with my heart, but I don’t know where to tell them to send it

The main difference being in their interpretation of 何 | hé in 不知此心何寄, which can mean both how and where. 

‘I may write my hopes and longing into a letter and send them to you, but that isn’t enough. It does not convey my heart - would that I may be by your side too!’ - That is my understanding for ‘how’.

‘I would send my letter and my heart to you, if only I knew where (because you are no longer here)’.  - This is my understanding for ‘where’.

I leaned toward the latter for my final version because 《红颜旧》, with its melancholy and resolve, feels like a ‘after Chiyan’ song. But really, I love both interpretations and regret that they must be split in English (but aha therein lies the awesomeness of multiple translations. It’d be weird if I post several versions of one song, but if a bunch of people do it together…)

The one that surprised me: 墨白妈妈: Letters may reach you. Envelopes fail to bear my heart

And just as as another example of a poem in which the poet sends his longing home with the returning geese (um metaphorically).

《次北固山下》- Stopping at the foot of Beigu Mountain // 乡书何处达 归雁洛阳边 | Where might my letter to home be delivered? With the returning geese to Luoyang.

CHORUS Part 2

红颜旧， The lady ages; 任凭斗转星移， Let the Big Dipper turn and the stars shift (and time fly), 唯不变此情悠悠。 with only these feelings remaining unchanged, unwavering.

THIS. This is the turning point of the song. Parting, war, home and country distant, pointless conflict, passing time wasted - keenly felt, lost bearings. But the bedrock of her resolve is love. And with that, though it is painful, even when she’s grieving, feeling unmoored, her love is unwavering. 

The fact that it’s the last line but sung without calling any attention to it just before the verse and chorus repeats... it’s like, blink and you’ll miss it. But after that when she repeats the chorus again and again, it really hits home - the vulnerability but also steadfastness that comes with that love. I’m just so in awe, and usually in tears. Tao-jie’s singing + these lyrics are so emotive.

I want to specially mention the Shijing version here because how this last portion was ‘rephrased’ there is exquisite. But first to break down the last (and most important) line: 唯不变 | wéi bù biàn, (the) only (thing) that does not change 此情    | cǐ qíng, (is) this love 悠悠    | yōu yōu, that goes on and on 

And then how it is said in Shijing version, starting from the line about the shifting stars (references not included...that would be a whooooole ‘nother post of its own): 浩浩河汉，无情之游。 The vast, boundless sea of stars, cold and unfeeling on their paths 我心匪石，永以弗休。 My heart will not be turned, forever shall it refuse to rest.

- and isn’t that just SO very much like Jingyan, Nihuang and Mei Changsu in spirit? 

Final Comments

Overall, I feel like both  Faded Beauty and  《红颜旧》 come the closest, in their own ways, to expressing the vibe of the song while very close to the original lyrics <3 all my kudos to them as a fellow translator. 

I really love xjc396′s version (Bygone Beauty) as a whole. They have somehow managed to preserve the meaning of the song while also being very poetic and beautiful.

墨白妈妈 took the phrase ‘artistic license’ and ran with it, in Changing Face, keeping the core but getting there in a slightly different way. I really enjoyed their creativity!!!

I’m honestly still very impressed and blown away by the shijing version?????? IT’S SO GOOD. 之梦轩主人 \o/ \o/ \o/

Also, hunxi’s answer about its use in episode 54? so insightful! Seriously, go look at it.

Oh and one my tags from 2016 was this: #loving how this shows her as a warrior/general/princess/lady. And yes !!!! YES I still would shout this from the rooftops. Usually, these - forgot the word for them, but there is like a genre (?) theme (?) of poetry written from the perspective of ladies longing for their men who are garrisoned far far away, worrying for their safety while in the war. But it’s a little bit of a play on that trope here, because framed from Mu Nihuang’s perspective, certain lines can take on very different meanings from how they would ‘traditionally’ go.

For example, 家国依稀残梦里 | with home and country indistinct in fragmented dreams, as a general leading her troops in the South, who is doing so while grieving her father and her betrothed - very likely dead, labelled a rebel and forever disgraced… All these identities and the responsibilities on her shoulders. And her home and Da Liang forever changed.

Another example: 狼烟烽火何时休 成王败寇尽东流 | When will the beacons of war rest? Victors become king, loser - outlaw; it all flows east (to the sea). Instead of a deeply worried wife, resenting the pointlessness of the war, Mu Nihuang gets the front and center seat for witnessing the clashing of vipers and conflict stemming from the Emperor's painstaking balancing of power. Which is another, probably even more infuriating and disheartening POV to be experiencing to be honest.

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Okay and the final rabbit hole is another Li Shangyin poem! 

Intro 别离难忍忍别离 // parting is hard to bear, (but) it is borne Verse 蜡炬已残泪难干 // although candles have melted, wax hardened, it is difficult for tears to dry. 江山未老红颜旧 //before the mountains and rivers age, beauty fades. Chorus Part 1 忍别离 不忍却要别离 // Bearing with parting is difficult, yet we must part Chorus Part 2 托鸿雁南去 // Entrusting the geese to go South,

《无题》- untitled 相见时难别亦难 | It is difficult to meet, difficult also to part; 东风无力百花残 | spring’s east wind weakens, its myriad flowers withered. 春蚕到死丝方尽 | Only unto death does the silkworm cease to spin its thread; 蜡炬成灰泪始干 | only when candles are burnt to the quick do tears begin to dry. 晓镜但愁云鬓改 | She sits before the mirror at dawn, distressed at the change in her hair; 夜吟应觉月光寒 | murmuring poems in the night, how chilling the moonlight must feel! 蓬山此去无多路 | Between here and the mythical Penglai mountain, there are few roads; 青鸟殷勤为探看 | may the blue bird often visit on her behalf.