《最新香港指南》（1950）

 湯建勛：《最新香港指南》（香港：民華出版社，1950）。

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《宋皇臺紀念集》

簡又文主編： 《宋皇臺紀念集》（香港：香港趙族宗親總會刊行，中華民國四十年九三月）。于右任題。

Sung Wong Toi: A Commemorative Volume compiled and edited by Jen Yu-Wen (Kan Yau-Man), published by the Chiu Clansmen's Association of Hong Kong, 35 Connaught Road, West, Hong Kong. 

獻書辭

景炎祥興    文張與陸    衞我國家    保我民族    寸土猶存    正統紹續    耿耿貞忠   誓圖光復

人心未亡    一成已足    力戰不降    寧死不辱    宋臺千秋    正氣長肅    謹獻此書    以作馨祝

編者

官紳名流題字

文獻足徵    香港總督葛量洪題

氣實銜華    香港總督柏立基題

永誦先芬    香港布政司戴維德題

奉先思遠    香港華民政務局鶴堅士題

華贍詳明    香港華民政務司麥道軻題

景炎史蹟    周埈年

用垂永久    郭贊敬題

發揚潛德幽光    周錫年敬題

片石閱滄桑細掇遺聞傳舊史    名園依海嶠長留風景樂遊人    顏成坤

題宋皇臺紀念集    梁寒操

九龍千古傷心地，遺黎今更難忘記。宋皇臺已景全非，遺蹟猶思保千禩。

瓜廬老人故淵雅［陳伯陶］，曩集佚書研不捨；考詳顯赫故侯祠，藏寶班斕荒殿瓦。

卌年世變幾滄桑，九龍今又聚流亡；不堪回首家山破，忡忡來對此茫茫！

獨漉詩深故國思［陳恭允］，畏向蒼苔讀舊碑；白沙筆凜秋霜意［陳獻章］，減宋鐫功是漢兒。

七百年間朝幾易，句念前賢長太息！神州疾首復兒皇，大好山原陷羣賊！

立人仁義吾文化，大哀莫過亡天下；豈有陰霾敵太陽？何妨風露榰深夜。

荒臺新葺作公園，董事辛勤趙氏孫；更彙文詞付剞闕，國魂期與共長存！

簡子又文嗜稽古，抉閟搜潛不辭苦；千里來書告殺青，索我題詞義當取。

又文自是有心人，穩踞藜床不帝秦；此書輔國將無極，所南心史同千春！

宋王臺題詞集句

趙恒惖

附圖十五：英文紀念碑記（初拓本）    （趙聿修贈）

SUNG WONG TOI

SUNG WONG TOI, or Terrace of the Sung Emperor, was originally situated on the western shore of Kowloon Bay. The small mount there was known as the Sacred Hill, and on its summit there was a great rock. During the Yuan Dynasty the three characters "Sung Wong Toi" were engraved horizontally upon the western face of this rock. Later a further seven characters were added vertically, recording that repairs had been carried out in 1807 A.D., in the Ting Mau year of the Ching Emperor Ka Hing.

In 1915, Professor Lai Chai-hei (Better known as Lai Chi-hsi) of the University of Hong Kong appealed to the Hong Kong Government to reserve forever this area and this Terrace. Mr. Li Sui-kam, a leading Hong Kong citizen, lent his support and paid for the erection of an encircling stone balustrade. When the Japanese armed forces occupied Hong Kong in 1941-5 and enlarged the airport, they blasted the great rock which broke into three. One part retained the original inscription intact.

After the liberation in 1945, the Hong Kong Government held to its former desire to preserve this ancient monument. A park was created to the south-west of the airfield, about three hundred feet from the site of the original Sung Wong Toi, and the inscribed rock was dressed and placed within that park. This, too, fulfilled a public wish.

Research has shown that, during the Ming and Ching Dynasties, this area was a part of the San On District under the jurisdiction of the Prefecture of Kwong Chow. During the Sung Dynasty, this area was part of the Tung Kwun District of the same prefecture, and was known as Kwun Foo Cheung.

When the Sung Emperor Tuen Chung ascended to the throne in Foo Chow, the armies of the Mongols pressed upon him and he fled by sea to Chuen Chow, thence to Chiu Chow and Kap Tsz Mun in Wai Chow. At the beginning of the second year of his reign (1277), the Emperor entered Kwong Chow territory. Thence, in the second moon, he sailed to Mui Wai. In the fourth moon, he landed here at Kwun Foo Cheung and set up his temporary palace near the place now known as the Sung Wong Toi. Some say that the Emperor Tuen Chung from time to time took his rest in a space beneath the great rock, and this legend is given as the reason for the name "Sung Wong Toi".

In the sixth moon of the same year, the Emperor moved to Kwu Tap, and in the ninth moon, to Tsin Wan, which is now known as Tsuen Wan. In the eleventh moon, the Mongol armies attacked, and the Emperor sailed away to Sau Shan, thus having camped in Kowloon for about ten months.

Throughout the Sung Dynasty, foreign invasions frequently occurred in almost every year. There was war against not only the Tangut, but also in turn the invading Khitan, Nüchen, and Mongols. At the close of the Sung Dynasty, the Emperor himself had to flee and seek refuge by the shores of the sea, from where he endeavoured to secure the restoration of his Empire. But this mound and this spot commemorate one of the last portions of Sung territory on which the Emperor stood.

The character "Wong" on the great rock should be that for "Emperor" and not the character for "King". The mistake was first made in the Yuan (Mongol) official history of the Sung Dynasty, where it was recorded that there were two Kings. Now this park is called the "Garden of the Sung Emperor's Terrace" and the road before it is named the "Sung Emperor's Terrace Road". This use of the title "Emperor" is correct.

When the Emperor Tuen Chung fled to the South, many of his clansmen followed him. Later they scattered and settled in various districts. The ancestral records of the Chiu clan confirm this.

It is said that, to the south-west of the Sung Wong Toi, there was once a villaged called "The Two King's Palace", which was so named because of the Emperor Tuen Chung and his brother, Wai Wong Ping, who succeeded him, visited that village together. To the north, there was the tomb of the Lady Kam. It is recorded that the Princess of Chun, daughter of the Queen Mother Yeung, was drowned nearby and a golden image of her was buried in that tomb. To the north-west is the Temple of Hau Wong. A tablet erected by Mr. Chan Pak-to of Tung Kwun District puts forward the theory that Yeung Leung-chit, brother of the Queen Mother, was buried at this spot and that the local people built the temple in memory of his loyalty. There is also a stone called the "Armchair Stone" near Yau Sin Ngam on the White Crane Mountain. A story tells how the Emperor occasionally established his court there, using the stone as his temporary throne. All these legends connected with the history of the Sung Wong Toi, are recorded here to facilitate further research.

In 1957, during the winter of the Ting Mau year, Mr. Kan Yau-man of San Wui composed the original Chinese text of this record, which was inscribed by Mr. Chiu Chiu of Toi Shan for engraving. The Chiu Clansmen's Association of Hong Kong, besides publishing a special book in commemoration of this historic spot, assisted in selecting the stone and supervising the preparation of these memorial tablets.

Erected by the Government of Hong Kong, 1959

附圖十六：中文紀念碑記（初拓本）    （趙聿修贈）

九龍宋皇臺遺址碑記

宋皇臺遺址在九龍灣西岸，原有小阜名「聖山」者。巨石巍峨，矗峙其上，西面橫列元刻「宋王臺」牓書，旁綴「清嘉慶丁卯重修」七字。一九一五年，香港大學教授賴際熙籲請政府劃地數畝，永作斯臺遺址，港紳李瑞琴贊勷其事，捐建石垣繚焉。迨日軍陷港，擴築飛機場，爆石裂而為三，中一石摩崖諸字完整如故。香港光復後，有司仍本保存古蹟之旨，在機場之西南距原址可三百尺，闢地建公園，削其石為長方形，移寘園內，藉作標識，亦從眾意也。

考臺址明、清屬廣州府新安縣，宋時則屬廣州郡東莞縣，稱「官富場」。端宗正位福州，以元兵追迫，遂入海，由是而泉州而潮州而惠州之甲子門，以景炎二年春入廣州。治二月，舟次於梅蔚，四月進駐場地，嘗建行宮於此，世稱「宋皇臺」。或謂端宗每每憩於石下洞中，故名，非所知矣。其年六月，移蹕古塔。九月如淺灣，即今之荃灣也。十一月元兵來襲，乃復乘舟遷秀山。計駐於九龍者，凡十閱月焉。有宋一代，邊患迭興，西夏而外，抗遼、抗金、抗元，無寧歲。洎夫末葉，顛沛蒙塵，暫止於海澨一隅，圖匡復興。後此厓山，君臣所踐履者，同為九州南盡之一寸宋土，供後人憑弔而已。石刻宜稱「皇」，其作「王」，實沿元修《宋史》之謬，於本紀附二王，致誤今名。是園曰「宋皇臺公園」，園前大道曰「宋皇臺道」，皆作「皇」，正名也。方端宗之流離播越也，宗室隨而南者甚眾，後乃散居各邑，趙氏譜牒，彰彰可稽。

抑又聞之聖山之西南有二王殿村，以端宗偕弟衛王昺同次其地得名。其北有金夫人墓，相傳為楊太后女，晉國公主，先溺於水，至是鑄金身以葬者。西北之侯王廟，則東莞陳伯陶碑文疑為楊太后弟亮節道死葬此，土人立廟以祀昭忠也。至白鶴山之遊仙巖畔，有交椅石，據故老傳聞，端宗嘗設行朝以此為御座雲。是皆有關斯臺史蹟，因幷及之，以備考證。

一九五七年歲次丁酉冬月，新會簡又文撰文，台山趙超書丹。而選材監刻，力助建碑，復刊行專集，以長留紀念者，則香港趙族宗親總會也。

一九五九年香港政府立石

簡又文：編後記

跋

趙聿攸敬跋

陶淵明 Tao Yuanming

中文參考：

龔斌：《陶淵明集校箋》（上海：上海古籍出版社，1996）。

袁行霈：《陶淵明集箋注》（北京：中華書局，2018）。

English translations by ChatGPT

卷之一

詩四言

停雲并序

        停雲，思親友也。罇湛新醪，園列𥘉榮。願言不從，歎息彌𬓛。

The Clouds at Rest, Thinking of Family and Friends. The jar is filled with new brew, and the garden is adorned with freshly blooming flowers. I wish to speak but cannot, and my sighs deepen my longing.

靄靄停雲，濛濛時雨。八表同昏，平路伊阻。靜寄東軒，春醪獨撫。良朋悠邈，搔首延佇。

The clouds at rest hang low, and the drizzle continues to fall. The eight corners of the world are shrouded in darkness, and even the level roads are now obstructed. Quietly, I sit in the eastern pavilion, alone with my spring wine. My good friends are far away, and I scratch my head in prolonged waiting.

停雲靄靄，時雨濛濛。八表同昏，平陸成江。有酒有酒，閒飲東窗。願言懷人，舟車靡從。

The clouds at rest hang low, and the drizzle continues to fall. The eight corners of the world are shrouded in darkness, and the flat plains have turned into rivers. There is wine, there is wine; I drink leisurely by the eastern window. I long to meet my cherished ones, but neither boat nor carriage can reach them.

東園之樹，枝條載榮。競用新好，以怡余情。人亦有言，日月于征。安得促席，說彼平生？

The trees in the eastern garden are laden with flourishing branches. They compete in fresh beauty, delighting my heart. People often say that time passes quickly like the sun and the moon on their journey. How can we shorten our distance to share tales of our lives?

翩翩飛鳥，息我庭柯。歛翮閒止，好聲相和。豈無他人，念子寔多。願言不𫉬，抱恨如何！

The graceful birds flutter and rest on the boughs in my courtyard. Folding their wings, they pause at ease, their sweet songs harmonizing. Although others exist, my thoughts dwell heavily on you. How could I express my wish but fail to reach you, leaving me to harbor this sorrow?

時運

        時運，游暮既春也。春服成，景物斯和，偶影獨游，欣慨交心。

Fortune of the Times, Wandering at Dusk in Spring. The spring attire is ready, and the scenery is harmonious. Wandering alone, I reflect on the interplay of joy and sorrow.

邁邁時運，穆穆良朝。襲我春服，薄言東郊。山滌餘靄，宇曖微霄。有風自南，翼彼新苗。

The fortune of the times advances steadily; the morning is serene and auspicious. I don my spring garments and head out to the eastern suburbs. The mountains cleanse the lingering mists, and the sky brightens gently. A breeze blows from the south, nurturing the young sprouts.

洋洋平澤，乃漱乃濯。邈邈遐景，載欣載矚。稱心而言，人亦易足。揮兹一觴，陶然自樂。

The vast and level marshland glistens; I rinse my hands and feet in its waters. The distant scene is broad and expansive, bringing delight to my gaze. Speaking in harmony with my thoughts, it is easy to feel content. I lift my cup and, in this state of ease, find my own joy.

延目中流，悠悠清沂。童冠齊業，閑詠以歸。我愛其靜，寤寐交揮。但悵殊世，邈不可追。

My gaze stretches to the central stream, the clear waters of the Yi River flowing gently. Young boys and girls study and practice together, returning with carefree songs. I love the tranquility here, where waking and sleeping blend into one. Yet, I lament the different world we live in, a distant past that cannot be pursued.

斯晨斯夕，言息其廬。花藥分列，林竹翳如。清琴橫床，濁酒半壷。黃唐莫逮，慨獨在余。

Morning and evening, I rest in my humble dwelling. Flowers and herbs are arranged in orderly rows; the trees and bamboo create a shaded canopy. A clear zither lies across my bed, a half-full jug of wine beside me. The golden age of the past cannot be reached, and this reflection brings a deep sigh to my heart.

榮木

        榮木，念將老也。日月推遷。已復九夏。總角聞道。白首無成。

The Flourishing Trees, Reflecting on Aging The passage of days and months has brought nine summers. Since childhood, I've sought wisdom, yet in my gray-haired years, I have achieved nothing.

采采榮木，結根于茲。晨耀其華，夕已喪之。人生若寄，顦顇有時。靜言孔念，中心悵而。

The flourishing trees, how they thrive here. In the morning, they shine in glory, but by evening, they are lost. Life is transient, and frailty has its time. Quietly pondering, my heart is filled with deep sorrow.

采采榮木，于茲託根。繁華朝起，慨暮不存。貞脆由人，禍福無門。匪道曷依，匪善奚敦。

The flourishing trees, they take root here. In the morning, they bloom in splendor; by dusk, they are no more. Strength and fragility are within human hands, and fortune and misfortune have no definite path. Without the way, on what can we rely? Without goodness, what should we uphold?

嗟余小子，稟茲固陋。徂年既流，業不增舊。志彼不舍，安此日富。我之懷矣，怛焉內疚

Alas, I am but a humble man, endowed with inherent limitations. The years have flowed by, yet my achievements have not surpassed the past. While others strive without rest, how can I be content with mere daily abundance? My heart is weighed down, aching within.

先師遺訓，余豈之墜。四十無聞，斯不足畏。脂我名車，策我名驥。千里雖遙，孰敢不至。

The teachings of my master, how could I let them fade? At forty, I've achieved nothing notable, but this should not be a cause for fear. Grease my famed chariot, urge on my noble steed. Though the journey spans a thousand miles, who dares say it cannot be reached?

贈長沙公

        余於長沙公為族祖，同出大司馬。昭穆既遠，以為路人。經過潯陽，臨別贈此。

To My Ancestor of the Clan from Changsha My ancestor from the Changsha lineage is of the same clan as I, both descended from the Grand Marshal. Though our genealogical connection has grown distant, we have become like strangers. Passing through Xunyang, I composed this poem as a farewell gift.

同源分流，人易世疏。慨然寤歎，念茲厥初。禮服遂悠，歲月眇徂。感彼行路，眷然躊躇。

From the same source, we have diverged, and people change as the world grows distant. Moved, I awaken with a sigh, contemplating our shared beginnings. Rituals and customs have long faded, and the years have quietly passed. Feeling the plight of travelers, I linger with nostalgic hesitation.

於穆令族，允構斯堂。諧氣冬暄，映懷圭璋。爰采春花，載警秋霜。我曰欽哉，寔宗之光。

How grand is our noble lineage, which built this esteemed hall. Harmonious spirits warm even the winter's cold, reflecting the purity of jade in our hearts. Spring flowers are gathered here, and autumn frosts remind us of their warning. I revere it all, for it illuminates the glory of our ancestry.

伊余云遘，在長忘同。笑言未久，逝焉西東。遙遙三湘，滔滔九江。山川阻遠，行李時通。

I, on a journey, found myself in Changsha, where shared roots are easily forgotten. Our laughter and conversation were brief, and soon we parted, going east and west. The distant Three Xiangs stretch far, the vast Nine Rivers flow unceasingly. Mountains and rivers lie between us, but our letters can occasionally bridge the divide.

何以寫心？貽茲話言。進簣雖微，終焉為山。敬哉離人，臨路悽然。款襟或遼，音問其先。

How can I express my feelings? I leave these words as a token. Though a small contribution is like adding a basket of earth to a mountain, it builds over time. May you take heed, O traveler, as we part on this road with heavy hearts. Even though our hearts may be far apart, let our correspondence reach one another first.

酬丁柴桑

In Response to Ding of Chaisang

有客有客，爰來爰止。秉直司聰，于惠百里。飡勝如歸，聆善若始。

A guest has come, a guest indeed, coming and staying at my place. He holds firmly to justice and brings wisdom, spreading benevolence throughout the land he governs. Dining with him feels as comfortable as being at home, and listening to his insights always feels refreshing and new.

匪惟諧也，屢有良由。載言載眺，以寫我憂。放歡一遇，既醉還休。寔欣心期，方從我游。

Not only are our conversations harmonious, but they also have profound meaning. As we talk and gaze at the scenery, it eases my worries. We let go and enjoy this rare encounter, drinking until we are merry and then resting. I am truly delighted by this heartfelt meeting, and I look forward to him accompanying me on my journeys.

答龐參軍

龎為衛軍參軍。從江陵使上都。過潯陽見贈。

衡門之下，有琴有書。載彈載詠，爰得我娛。豈無他好？樂是幽居。朝為灌園，夕偃蓬廬。

人之所寶，尚或未珍。不有同愛，云胡以親？我求良友，實覯懷人。懽心孔洽，棟宇唯鄰。

伊余懷人，欣徳孜孜。我有旨酒，與汝樂之。乃陳好言，乃著新詩。一日不見，如何不思。

嘉遊未斁，誓將離分。送爾于路，銜觴無欣。依依舊楚，邈邈西雲。之子之遠，良話曷聞。

昔我云別，倉庚載鳴。今也遇之，霰雪飄零。大藩有命，作使上京。豈忘宴安？王事靡寧。

慘慘寒日，肅肅其風。翩彼方舟，容與江中。勖哉征人，在始思終。敬茲良辰，以保爾躬。

勸農

悠悠上古，厥初生民。傲然自足，抱朴含真。智巧既萌，資待靡因。誰其贍之？實賴哲人。

哲人伊何？時為后稷。贍之伊何，實曰播植。舜既躬耕，禹亦稼穡。遠若周典，八政始食。

熙熙令德，猗猗原陸。卉木繁榮，和風清穆。紛紛士女，趨時競逐。桑婦宵興，農夫野宿。

氣節易過，和澤難久。冀缺携儷，沮溺結耦。相彼賢達，猶勤隴畝。矧伊衆庶，曳裾拱手

民生在勤，勤則不匱。宴安自逸，歲暮奚冀。儋石不儲，飢寒交至。顧余儔列，能不懷愧？

孔耽道徳，樊須是鄙。董樂琴書，田園弗履。若能超然，投迹高軌。敢不歛衽，敬讚德美。

命子

悠悠我祖，爰自陶唐。邈為虞賓，世歷重光。御龍勤夏，豕韋翼商。穆穆司徒，厥族以昌。

紛紛戰國，漠漠衰周。鳳隱于林，幽人在丘。逸虬遶雲，奔鯨駭流。天集有漢，眷余愍侯。

於赫愍侯，運當攀龍。撫劍風邁，顯茲武功。書誓河山，啟土開封。亹亹丞相，允迪前蹤。

渾渾長源，鬱鬱洪柯。群川載導，衆條載羅。時有語黙，運因隆窊。在我中晉，業融長沙。

桓桓長沙，伊勲伊徳。天子疇我，專征南國。功遂辭歸，臨寵不忒。孰謂斯心，而近可得。

肅矣我祖，慎終如始。直方三臺，惠和千里。於穆仁考，淡焉虛止。寄迹風雲，寘茲愠喜。

嗟余寡陋，瞻望弗及。顧慚華鬢，負影隻立。三千之罪，無後為急。我誠念哉，呱聞爾泣。

卜云嘉日，占亦良時。名汝曰儼，字汝求思。温恭朝夕，念茲在茲。尚想孔伋，庶其企而。

厲夜生子，遽而求火。凡百有心，奚特于我。既見其生，實欲其可。人亦有言，斯情無假。

日居月諸，漸免於孩。福不虛至，禍亦易來。夙興夜寐，願爾斯才。爾之不才，亦已焉哉。

歸鳥

翼翼歸鳥。晨去于林。逺之八表。近憇雲岑。和風不洽。翻翮求心。顧儔相鳴。景庇清陰。翼翼歸鳥。載翔載飛。雖不懷游。見林情依。遇雲頡頏。相鳴而歸。遐路誠悠。性愛無遺。

翼翼歸鳥。馴林徘徊。豈思天路。欣及舊棲。雖無昔侶。衆聲毎諧。日夕氣清。悠然其懷。

翼翼歸鳥。戢羽寒條。游不曠林。宿則森標。晨風清興。好音時交。矰繳奚施。已巻安勞。

卷之二

詩五言

形影神

形影神三首貴賤賢愚，莫不營營以惜生，斯甚惑焉。故極陳形影之苦，言神辨自然，以釋之好事君子，共取其心焉

形贈影

天地長不沒。山川無改時。草木得常理。霜露榮悴之。謂人最靈智。獨復不如茲。適見在世中。奄去靡歸期。奚覺無一人。親識豈相思。但餘平生物。舉目情悽洏。我無騰化術。必爾不復疑。願君取吾言。得酒莫茍辭。影答形

存生不可言。衛生毎苦拙。誠願游崑華。邈然茲道絶。與子相遇來。未嘗異悲恱。憩蔭若暫乖。止日終不别。此同既難常。黯爾俱時滅。身沒名亦盡。念之五情熱。立善有遺愛。胡為不自竭。酒云能消憂。方此詎不劣。神釋

大鈞無私力。萬理自森著。人為三才中。豈不以我故。與君雖異物。生而相依附。結託善惡同。安得不相語。三皇大聖人。今復在何處。彭祖壽永年。欲留不得住。老少同一死。賢愚無復數。日醉或能忘。將非促齡具。立善常所欣。誰當為汝譽。甚念傷吾生。正宜委運去。縱浪大化中。不喜亦不懼。應盡便須盡。無復獨多慮。

九日閑居

余閒居，愛重九之名，秋菊盈園，而持醪靡由，空服九華，寄懷於言。

世短意常多。斯人樂久生。日月依辰至。舉俗愛其名。露凄暄風息。氣澈天象明。往鷰無遺影。來雁有餘聲。酒能祛百慮。菊為制頽齡。如何蓬廬士。空視時運傾。塵爵恥虛罍。寒華徒自榮。歛襟獨閒謠。緬焉起深情。棲遲固多娯。淹留豈無成。

歸園田居五首

其一

少無適俗韻。性本愛丘山。誤落塵網中。一去三十年。覊鳥戀舊林。池魚思故淵。開荒南野際。守拙歸園田。方宅十餘畝。草屋八九間。榆栁蔭後園。桃李羅堂前。曖曖逺人村。依依墟里烟。狗吠深巷中。雞鳴桑樹巔。户庭無塵雜。虛室有餘閒。久在樊籠裏。復得返自然。

其二

野外罕人事。窮巷寡輪鞅。白日掩荊扉。虛室絶塵想。時復墟曲中。披草共來往。相見無雜言。但道桑麻長。桑麻日已長。我土日已廣。常恐霜霰至。零落同草莽。

其三

種豆南山下。草盛豆苗稀。晨興理荒穢。帶月荷鋤歸。道狹草木長。夕露沾我衣。衣沾不足惜。但使願無違。

其四

久去山澤游。浪莽林野娯。試㩦子姪軰。披榛步荒墟。徘徊丘壠間。依依昔人居。井竈有遺處。桑竹殘朽株。借問採薪者。此人皆焉如。薪者向我言。死沒無復餘。一世異朝市。此語真不虛。人生似幻化。終當歸空無。

其五

悵恨獨策還。﨑嶇歴榛曲。山澗清且淺。遇以濯吾足。漉我新熟酒。隻雞招近局。日入室中闇。荊薪代明燭。歡來苦夕短。已復至天旭。

其六

種苗在東臯。苗生滿阡陌。雖有荷鋤倦。濁酒聊自適。日暮巾柴車。路暗光已夕。歸人望烟火。稚子候簷隙。問君亦何為。百年㑹有役。但願桑麻成。蠶月得紡績。素心正如此。開徑望三益。

遊斜川

示周續之、祖企、謝景夷三郎

乞食

諸人共游周家墓栢下

怨詩楚調示龐主簿鄧治中

簽龐參軍

五月旦作和戴主簿

連雨獨飲

移居二首

和劉柴桑

酬劉柴桑

和郭主簿二首

於王撫軍座送客

與殷晉安別

贈羊長史

歲暮和張常侍

卷之三

詩五言

始作鎮軍參軍經曲阿作

庚子歲五月中從都還阻風於規林二首

辛丑歲七月赴假還江陵夜行塗口

癸卯歲始春懷古田舍二首

癸卯歲十二月中作與從弟敬遠

乙巳歲三月為建威參軍使都經錢溪

還舊居

戊申歲六月中遇火

己酉歲九月九日

庚戌歲九月中於西田穫早稻

丙辰歲八月中於下潠田舍穫

飲酒二十首

止酒 述酒

貴子

有會而作

蜡日

卷之四

詩五言

擬古九首

雜詩十二首

詠貧士七首

詠二疏

詠三良

詠荊軻

讀山海經十三首

挽歌詩三首

聯句

卷之五

威士不遇賦

閑情賦

歸去來兮辭

卷之六

記傳贊述

桃花源記并詩

晉故征西大將軍長史孟府君傳

五柳先生傳

讀史述九章

扇上畫贊

尚長禽贊

卷之七

疏 祭文

與子儼等疏

祭程氏妹文

祭從弟敬遠文

自祭文

News clippings of Sam Hui 許冠傑

SCMP 19660103 Sam Hui Rediffusion Variety Show

The "Songs of Your Heart" variety show sponsored by Rediffustion (Hongkong) Ltd, entertained more than 1,000 teenagers at the City Hall Concert Hall yesterday. Picture shows the Three Plustwos' Combo singing a rolling song "Let's Go," with the Pussy Cats, wearing colourful slacks and pullovers performing the most popular A-Go-Go dance.

(from FB)

South China Morning Post 19660810 Samuel Hui cert exam

South China Morning Post 19680713 Samuel Hui AL exam

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South China Morning Post 19680519 3

Big crowd at pop-in dance

The second Urban Council-sponsored open-air pop-in dance took place at the Blake Pier roof garden last night when 2000 youths danced to music by two local pop groups.

It was more a concert than a dance as most people preferred standing on the L-shaped garden listening to Samuel Hui and the Lotus and Robert Lee and the Montanas.

It was estimated that less than 50 per cent of those attending danced, and most of them were under 17.

Most youths complained the bandstand was too low and suggested it be raised a few feet. They said this would encourage most people to dance as they wanted to watch while dancing.

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South China Sunday Post 19680714_35 Lotus Samuel Hui

Joe is too gentle for the U.S. But he's just great in Hongkong

James Jenner looks at the pop scene in Hongkong

Hongkong's best-selling pop star would not do very well in the American music business.

Joe's music is so old-fashioned in lyrics and melody that it would not have great appeal to U.S. teenagers.

Since the young adults of the U.S. are constantly looking for new rhythms and new techniques, the predictable and quiet music of Joe Jr would never make much of an impression on the U.S. charts.

This is not Joe's fault, it is the fault of the Amerian teenagers.

Music is an art form. It is a device by which a person expresses himself. The music Jimi Hendrix uses to express himself is wild and unusual, and perhaps one thinks of Hendrix as a rather wild person.

The quietly casual music which Joe enjoys performing depicts him as a sentimental and gentle human being. Few people with these personality traits have been able to survive in the American rock and roll field.

Why is it that Joe Jr is so popular in Hongkong? Very few of Hongkong's young people live fast-paced lives, with the result that a fashion that becomes popular will remain popular for some time.

There are few fads (something that is popular one week and not the next). In other words, the young people of Hongkong are not as concerned with thepresent as are their counterparts in the U.S. or U.K.

They are more sentimental, as a while, than most teenagers. For most of them it is enjoyment rather than current fashion which dictates their musical tastes. Consequently, performers like Joe Jr enjoy popularity.

To illustrate my point, let me review Joe's latest Diamond LP, Tribute, in two different styles.

The American Rock and Roll Reviewer:

"I have just listened to an unimpressive album by a group called Joe Jr and the Side-Effects. It really shouldn't be called a "group" since the only thing the musicans do is provide a quiet background for Joe's singing; not one of the musicians turns anythings that could be called a solo. The guitar is so harmless and quiet that it is difficult to make out what it is saying ... the bass player turns in a series of runs which are so simple that they bring across almost no rhythm ... the drummer uses his drum only to supply a quiet 4/4 beat. None of the musicians seem to be driven any form of musical expression, their performances are without error but little else can be said for them.

"The thing that bothered me most was Joe Jr's choice of material ... most updated oldies feature some major change from the original, either in beat or instrumentation. Joe Jr performs old and too familiar songs in almost exactly the same style in which tye were old and too familiar songs originally recorded. This makes Tribute little more than an LP through which one can hear Cliff Richard's past work."

My review of Tribute:

Although many of Hongkong's pop stars are not impressed with Joe Jr, I am. To appreciate Joe, it is necessary to realise what a great influence Cliff Richard has had on him. The music of Richard is simple and clean cut, Joe wants his music to be the same. With this in mid, it must be admitted that Joe has more than accomplished his purpose. His musicans provide him with a musical platform on which he can build his vocal performance, and his vocal performance is of more concern to him than any instrumental additions. He is extremely capable of handling his choice of material and his vocal work makes Tribute a well-performed album which expresses Joe's admiration for Cliff Richard.

Talent note used fully

Last week I criticised the Lotus for lack of originality. I wish to further explore this point. My criticism came from the frustration I felt when I saw such excellent musical talent do nothing but copy the style of other groups. The Lotus is perfectly capable of developing a style of its own which could rival almost any of the big pop groups of today. When a band is able to copy with absolute perfection the best that another has to offer, it is vocally and instrumentally as capable as the group it imitates.

As I said last week, the only thing which differentiates the two is originality and this is the only area in which the Lotus is deficient. It may be that the Lotus has originality but is not allowed to express it.

Either way it is essential that something be done to solve the problem. Although the group may be perfectly satisfied with its success in the Colony, it should at least attempt to explore the possibilities of the profitable overseas market.

It is difficult to make people understand how rare talent really is. Wallace Chow is one of the finest rock guitarists for his age of anyone I have heard here, in the U.S. or on record. If he was encouraged to develop his own style, rather than mimicking someone else, Hongkong would soon have a world-famous guitarist.

The voice of Samuel Hui is capable of singing songs which the pop world, rather than a small number of this TV show viewers, would enjoy and pay to hear. Even if Sam's voice is lacking in a few areas the harmonies which Danny So and Albert Li could easily produce would be more than sufficient to fill up any gaps.

What I am proposing is that Lotus should be allowed to determine its own musical path. If the fault is with the group, then it should admit the fact and see out people who are able to provide it with material which will help to establish an individual style.

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SCMP 19680811 Sam Hui Lotus pop-in maybe show cancelled No.3 Typhoon

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South China Morning Post 19681013_33

Nancy Hsu talks to Samuel Hui and learns...

Pop shows pay for university studies

On stage. Samuel Hui is dynamite. He belts out his songs, constantly shaking his fiery black mob and stamping his feet. His hands and body are perpetually in motion.

Off stage, he is a quiet, soft-spoken, friendly and a lanky 20-year-old.

The day I met Samuel Hui, lead singer of the pop group. The Lotus, he was wearing a pair of faded blue jeans, a dirty-green military shirt with its shirt tails hanging out, white socks and a pair of well-worn brown suede shoes.

His long, curley bang covered his eyebrows and when he smiled, there appeared white, baby-like teeth. All through the interview, his hands were busy breaking the toothpicks in a little container on the table.

Samuel, the youngest in a family of four children, is an arts student at the University of Hongkong. He is studying comparative and contemporary English literature, psychology and English language.

Although studying at the university, Samuel is not sure about his future. He said: "I am quite confused about my future. I would love to be an entertainer but I am not sure."

The money Smauel has earned so far singing at pop shows, appearing on television and cutting discs is, however, enough his family and pay his own way through university.

He loves gimmicks

What is it like being a pop star, with one of the largest fan clubs in Hongkong, having a membership of more than 3000 and the idol of hundreds of screaming young girls?

"I don't really regard myself as a pop star," he replied.

Selina Liang, a television assistant at the interview, said:

"Samuel considers himself a singer, a creative artist. By doing that, he has proved to many people what today's young people can do."

"He hates to be common and loves gimmicks. He wants to be unconventional and whenever they perform, the boys are always thinking of new gadgets.

"They have also accepted the fact that if they want to be unconventional, people are going to object. The boys also proved to some members of the older generation that boys can wear 'beat' clothes and having long hair, and not necessarily be teddy boys," she continued.

How did he get started in the pop music business?

"When I was very young, I liked singing Chinese opera. And when I was about 10 years old, my brother Michael started singing songs such as those of the Platters. I then began to like this kind of songs, and I started playing the drums and the guitar.

"The guitar of course wasn't mine. My brother had borrowed it from his friend and he was playing it at that time. At first, he refused to let me touch it, let alone play with it, but I played with it when he wasn't around.

"Then in the summer of 1967, I joined the pop group The Lotus comprising Wallace Chau, David Cheng, Danny So and Albert Li. We received a lot of publicity from the local press."

And at that time, Mr. P. C. Leung of HK-TVB, who is the executive producer of the Star show, was talent hunting. He saw us perform, and later signed us up. And that was how it all started."

'I like to experiment'

For the Star Show, which appears on television five nights weekly, the Lotus spend three days every week rehearsing. The series will run till the middle of 1969.

Samuel cannot read notes. He learns to play a song by listening to the record, picks out its pattern and the cords.

"One reason why I like the Beatles is because they have new cords for almost every song. I would like to experiment with cords sometime in the future," said Smauel.

"We like such groups as the Birds, the Kinks the Hollys and Simon and Garfunkel. We don't like commercial groups," he said.

Does he like girls screaming in idolation during his performances?

"It depends on the number. If it is a love song or a ballad, then not really. But if it is a swinging number, I sing better with them screaming out there. It is sort of stimulating," he replied.

Does he receive a lot of presents from his fans?

"I have a chest full of toys and hearts. I keep presents such as pens and ball-pens because I can use them," Samuel said.

His greatest wish is to travel round the world. Samuel spends his free time playing the guitar and listening records. He does not own a car nor can he drive and spends most of his money buying jeans, T-shirts and other 'way-out' gear.

His favourite colour is green and his lucky number is 13.

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South China Morning Post 19681101_10 Samuel Hui

Professionals scoop the pool in 'Battle of the Sounds' 

Professionalism once again stole the honours at the second elimination round of Levi's "Battle of the Sounds" at the City Hall last night.

Three professional and semi-professional groups - Danny Diaz and the Checkmates, The Wot's Happening and The Menace - qualified for the grand final at the Hongkong FOotball Club Stadium on November 10.

They will do "battle" with the winners of the first elimination contest, Teddy Robin and the Playboys, the Mystics and the G Clefs Five for the title of Hongkong's top pop group.

The first prize will include $10,000 in cash, a world trip and appearances in leading nightclubs and discotheques in Europe and the United States. They will also receive a European recording contract.

Last night's show got off to a good start. Special guests, Samuel Hui and the Lotus, were in their best swinging form.

...

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South China Morning Post 19690428_4 Samuel Hui

Charity show at City Hall

The Y's Men's Clubs of Kowloon and Peninsula will hold a charity show in the City Hall tomorrow.

The program will include singing and dancing by Miss Margaret Miller, Miss Fung Po-po and Miss Nancy Sit.

There will also be pop music by Sunny Wong, the Mini Dollies and their Group, folk songs by Samuel Hui of the Lotus and a magic and comedy show by Mr Lemon and his group.

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South China Sunday Post 19690914_3 Samuel Hui

Sam wows the audience

Pandemonium broke out at a "sew-in" and pop competition at the City Hall last night.

The high point of the contest came when Samuel Hui, popular lead singer of the Lotus group, leapt on to the stage in "wild" hippie gear and gave the screaming audience a high-powered demonstration of singing and dancing.

Other groups taking part included the Starlights, Teddy Robin and the Playboys, D'Topnotes and the Mike Remedios-Anders Nelson combination.

As the audience simmered in excitement the three winners of the competition were announced. They were Miss Janet Devereux, Miss Angela Yu and Miss Irene Legay.

The winner of the first prize, Miss Devereux, will fly to Honolulu by Pan American Airways to spend a holiday-for-two at the Kahala Hilton.

Mr Otto Ionker, general manager of the Singer Company, which sponsored the show, presented the prizes.

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South China Morning Post 19691215_10 Samuel Hui 2

Carnival at university

Thousands of young people were put to a brain, skill and ingenuity test during the weekend with puzzles developed by the Hongkong University Students' Union at its carnival at the Sir Lindsay Ride Sports Centre.

And inside the Union's gymnasium they were entertained to judo and karate demonstrations, fashion parades organised by Dorothy Buckley, pop shows with Samuel Hui, Tomorrow 7-1, Vivian Fung, RIckey Fung and Allan Lee.

Hundreds also packed the covered playground in the evening for an old-fashioned country barn dance which later turned into a swinging show.

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South China Morning Post 19700311_7 Samuel Hui

Rotaract to hold shows

The Rotaract Club of the University of Hongkong will hold a pop show and a fashion show in Loke Yew Hall, Pokfulam, on Saturday, at 3 pm.

The pop show will feature Samuel Hui, Teddy Robin and the Playboys, Joe Junior, Mike Remedios, the Menace, the Chopsticks and the Living Set.

The wardrobe for the fashion show will be provided by Turning 21 Shop and the make-up for the models sponsored by Revlon.

Proceeds of the shows will go to the club's community service funds. Among the many projects its plans to carry out this year is a survey, during the summer holidays, on juvenile delinquency.

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South China Morning Post 19700424_15 Samuel Hui

Indoor barbecues

You may have been to barbecues many times in and around Hongkong, but you may not have been to one that is held indoors.

Being indoors does not mean there will be a lack of that chirpy and lively air. In fact it is more cosy and romantic around the warmth of the Copper Chimney.

The Copper Chimney is located at 79 Pokfulam Road. It is easily reached by bus Nos 3, 4, 7 and 23; and of course by taxi.

The Copper Chimney, got its name from a large chimney-shapped oven, made of copper sheets in the basement of the premises.

And here is where the ritual of barbecuing or preparation of your favourite steak is done.

But if you fancy barbecuing your Beef Brochette yourself, by all means go ahead. However, an expert is always at hand to help you.

When your food is ready, relax in the soft cushioned charis and enjoy it amidst the dim candle-light.

Three times a week - Sunday, Tuesday, and Friday - Samuel Hui will add to your enjoyment with his renditions of country and western songs; and when he is not singing there's warm and mellow music to make your evening a most romantic and memorable one.

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South China Morning Post 19700923_9 Samuel Hui Urban Council

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星洲日報 19730221，第15版

花花公子  許冠傑

花花。長髮。吉他

第一眼見到許冠傑，他給我的印象是：這是一位新潮青年。

他喜歡穿花衣，留著一頭長髮，手裏抱著一支吉他，娶的是美國太太，唱的是英文歌，講得一口美國式英語。

許冠傑的洋名是「森美」（Samuel），今年廿四歲，是許氏四兄弟中的小弟弟，森美在港大唸心理學系，獲學士位。

他說：「我從小就對演戲有興趣，在十歲的那一年，每當我看過一部影片後，回到家裏，關上房門，幻想自己便是剛才影片中的男主角，對著錄子『做戲』。

派糖看許家班演戲

「小時候，吃飽飯後，我們『許家班』四兄弟，到處分糖果給鄰家孩子，『賄賂』他們來看我們做戲。」

「幾塊抹枱布紮在頭上，手持『地拖』，『掃把』，我們這批小影星大演北派功夫，出盡風頭。

許冠傑憶起童年趣事，說得口沫橫飛，天花亂墜。

「到我唸中學時，我的『戲癮』更重了，于是便與幾個朋友自組樂隊，胡亂創造瘋狂的台風，在電視台混了五年。」

許氏小弟弟說：「我現在已是嘉禾公司的演員，當上真正的影星了。」

兄弟合作電視節目

許冠傑的第一部戲為「馬路小英雄」，他說這是一部充滿了青春氣息的影片，與他合作的演員有上官靈鳳、茅瑛、黃家達與劉永等。

森美許個小高大，性格好動，從小喜歡音樂，玩得一手好吉他。他領導的「蓮花」樂隊，為香港與東南亞最受歡迎的樂隊之一。他曾簽約鑽石唱片公司與保麗多唱片公司。森美與大哥邁哥合作在電視台的「雙星報喜」節目，現已成為香港電視觀眾最愛看的節目之一。年前香港報章舉辦由讀者選出「最佳亞洲歌星」，森美壓倒羣雄，榮奪冠軍。

夠派頭？是怪物？

記者問：「你唱的是西洋歌曲，娶的是美國太太，你喜歡不喜歡華人文化呢？」

許冠傑說：「香港是一個中西文化交流之地，我自小在香港長大，可以算是個不折不扣的中西合璧文化的『港式文化』的時代產品。」

他微笑地說：「喜歡我的人說我夠『派頭』，很gentleman；罵我的人說我很play，是怪物、洋化。」

崇拜貓王想當牛郎

他說：「我唱英文歌，太太是美國人，外國朋友也一大把，自小崇拜的歌星是美國貓王皮禮士里與瘋狂的『阿飛舞』音樂。小時候的偶象是西部Cow boy影片明星加利谷巴、史提夫麥昆與尊榮等。」

「我夢想著有一天能到美國德薩斯州去做牛郎。」

哪一點不像華人？

他啜了口檸檬茶，繼續說：

「中學時代，我最喜歡的科目却是中文及歷史，我曾挑燈夜讀李煜亡國之詞，孔聖中庸之道，文天祥的浩然正氣，終日沉迷於粵劇『帝女花』、『胡不歸』、『臥薪嘗胆』，一天到晚哼個不停，我曾熟讀『小滸』，崇拜梁山一百○八條好漢，喜歡『舞獅』，愛唱中國茶，蝦餃燒賣，百雲豬手。」

「我最討厭的是吃西餐。」

在和記者說「拜拜」時，森美昂頭挺胸，對記者說：

「你看我那一點不像華人？」

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新明日報19740710 許冠傑 許氏兄弟撰粤語歌 灌錄唱片先行推廣 very important

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SCMP 19740903 6 pop folk festival stadium Lotus Sam Hui

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South China Morning Post 19740915_30 Samuel Hui 鬼馬雙星

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SCMP 19741006 Sam 半小時

Stranger in a Strange Land: On the new Sam Hui album, "Games Gamblers Play," are Cantonese versions of "Just a Little" (the old Beau Brummels hit) and Lobo's I'd Love You To Want Me." Whats even MORE weird is the fact that the songs sound vunderbar. Needless to say, the records should have Sam and those perceptive Polydor people guffawing all the way to ze bank. Music and money makes the world go round, you know. Who has time for love? And now back to our roving reporter with the roving eye, Ted Baxter. Uhhh, hello, fans. Just want to tell all you jolly people in tellyland that come October 18 is a television special featuring sensuous Sam doing his thing in Cantonese. 

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SCMP 19741018 Sam Hui special games gamblers play Sam半小時 雙星報喜

HK-TVB JADE

Samuel Hui Special: 9.00. Previow Room: 9.30

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South China Morning Post 19741013 26 Sam Hui 鬼馬雙星 top hit

South China Morning Post 19741218_17 Samuel Hui 鬼馬雙星

華僑日報 19741008 12  許冠文 許冠傑 世界 鬼馬雙星

SCMP 19741006 Sam Hui games gamblers play 18 Oct Sam 半小時

SCMP 19741018 Sam Hui special games gamblers play Sam半小時 雙星報喜

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新明日報 19741020 黃霑 「鬼馬雙星」妙

粵語流行曲能在Uncle Ray香港電台英文節目出現的，大概只有影片「鬼馬雙星」的主題曲了。

這首許冠傑的新作，現在即或在港及星馬未家傳戶曉，却也事實上在港九是街知巷聞。截稿時消息，是正版唱片，早已賣了二萬五千張。翻版嗎，數不勝數了。

這兩首歌許冠文看好「雙星情歌」，但此曲在下不喜歡，因為旋律、演唱雖然都好，歌詞欠妙，「心相允」「冷鴛枕」之類東西，只是我們祖母當飛女時候才可以領略的感情，在言「淚濕迷你裙」時代，大概難有共鳴吧？

但「鬼馬雙星」主題曲，却實在妙！前世「眼擎擎」一類字眼，才是活生生有血有肉有生命的廣東語言，方言歌曲，實應如此，方算活潑生動。

許冠傑唱這兩首歌，完全是歐西流行曲的唱法，自然有韻味，露字而不矯挺，黃霑無法不讚。預料這兩首歌，會在星馬熱起來的。

華橋日報 19741115 21 鬼馬雙星 大碟 燙畫

新明日報 19741203 許冠傑 鬼馬歌詞雖不通

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《金曲十年》（1988）

專訪香港樂壇先鋒（頁47）

倪秉郎 Vs 顧嘉煇（頁48-49）

倪秉郎 Vs 許冠傑（頁50-51）

倪：填上粵語歌詞的流行曲就由那時開始？

許：噢，時機未到。原因是，粵語歌詞在那時仍被認為是老套，難登大雅之堂的東西。我們在那時亦不敢貿然嘗試。後來，整個香港彷彿多了許多粵語的東西，例如電視、電影，尤其楚原導演的「七十二家房客」，就好像是粵語東西回潮一樣。那時，我和哥哥冠文正在搞「鬼馬雙星」這部電影，既然是粵語片，沒有理由用其他語言來寫主題曲及插曲的，只有選用粵語歌曲。那個時代既然面對香港觀眾，「雙星情歌」自然而然地成成為一首中國色彩，小調風格的歌曲，而主題曲「鬼馬雙星」則成為一首歐西歌曲節春的粵語歌。

倪：不担心這些歌曲不被接受嗎？

許：當然担心。那時候一想起粵語歌曲就想到大學生會喜歡嗎？唸英文課本長大的學生會歡喜嗎？當時的信心的確不大。但我在某次政府大球場的演唱中明白了，他們喜歡的是搖滾音樂，粵語的搖滾音樂他們同樣可以接受，當我宣佈唱《鬼馬雙星》的等候還不能肯定他們的反應，後來得到証實，給了我不少信心。

倪：有人覺得你的歌曲中，主要走大眾化路綫，討好中下階層的朋友，我却覺得不止這方面。

許：對。情愛歌曲是永恒的，我有寫。反映小市民或大心聲的東西我也有寫。高深一點的東西，例如比較哲學的東西我也有不少作品。或者和哥哥在電影中的合作，在研究電影主題曲插曲時，我們無形中交流了許多創作意念，所以在題材方面我們不致偏狹。

倪：你那些反影小市民心聲的歌曲傳誦一時，但如今看來又乎過了時吧！

許：這難免的。雖然現時看那些順應當時社會現象而寫的歌曲有點過時，但有懷舊價值。新的東西總會有一天成為舊的東西。

倪：你的歌曲中有沒有刻意探訴？

許：有人批評，我寫的歌曲只有諷刺、控訴而沒有結論，我覺得我們只是創作人，並非做結論的人，改良社會是社會改良者的責任，我並沒有要求自己成為一個社會改良者，我只是一位音樂工作者而已。

倪：七四年到七八年中，可以看到的就只是你和顧嘉煇先生在粵語歌曲樂壇中的努力，為什麼其他朋友的反應好像等於零。

許：並非每一樣新的東西一出現時即可以為人接受的，很多歌手並不知道可以走這一步，他（她）們所唱的歌曲仍然是國語時代曲及英文歌曲。直至整個樂壇的風氣轉變，他們才真正意識到不隨潮流而去不能生存的道理，於是他們也就一窩蜂而來。

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