A flick of flowing water and a flick of the moon;

Half into the river wind and half into the clouds.

——This couplet was composed by Dong Yunyan of the Qing Dynasty who collected poems from the Tang Dynasty. The first couplet is from Lu Tong's "The Qin in the Wind", and the second couplet is from Du Fu's "Giving Flowers to the Queen".

The lamp shadows are longing, and the dark wind blows and rains the night;

The flowers rustle, and the bright moon surrounds the boat.

——This couplet was written by Jin Anqing, the governor of Hubei Province during the Daoguang period of the Qing Dynasty (1821-1850).

The pines and chrysanthemums are deserted, and the wanderers have not returned. A sail passes by Pengze's former residence, and it is just like a painting of cloud mountains, with apes and birds shouting on the hilltops;

The maple trees are desolate, where is the beauty? Visit the ruins of Jiangting at sunset, listen to the autumn strings, and call Qingqing under the mausoleum.

——Written by Jiang Fengqing (1860-1931) in the late Qing Dynasty and the early Republic of China.

The general frontier for gathering and dispersing is most suitable for a boat under the bright moon and the breeze on both sides;

Several scholars from ancient and modern times sing a chorus of great rivers going eastward, and autumn wild geese coming south.

——This couplet was written by Wanxiang Zhou, a native of Jiujiang in the late Qing Dynasty and the early Republic of China, also known as Wancaimei. The couplet may be written as follows: "There are always fates in gathering and separation. It is most suitable for a boat in the bright moon and a breeze on both sides; for a few people to come and go Sir, I am going to the east of the Yangtze River, and the wild geese are coming to the south in autumn. "I am afraid of passing on and copying, so I need to test it soon."

I suddenly remembered my hometown and asked the tea buyer if he had gone there;

Only the wind and moon were left, and it was still the time when Sima Ke returned.

——This couplet was written by Wang Longguang, a native of Jingdezhen in the early Republic of China. Wang once worked in the Nanxun Railway Bureau and was a poet.

The four-stringed autumn maple leaves touch the horizon and move away with hatred;

Thousands of feet of water in Xunyang linger on the river's parting feelings.

——The original title of this couplet is the Bai Taifu Temple in Pipa Pavilion. The temple was first built in the 11th year of Qianlong’s reign (1746) in the Qing Dynasty and was destroyed in the 60th year of Qianlong’s reign (1795). It is said that the author of the couplet was Tang Ying (1682~1756), the then governor of Jiujiang Pass.

If Sima doesn't come, why should we meet before?

Where is the beauty? Silence is better than sound at this time.

——This couplet was written by Mr. Luo Yuanzhen (1906-1993), professor of the History Department of Shanxi University and consultant to Chinese couplet scholars.

On the boat in red sleeves at night, beside the toad mausoleum, the merchant woman shed tears of joy and sorrow in the past;

Outside Qiupu in Qingshan, at the pipa banquet, the heart of the relegated minister was touched for a moment.

——Qi Gong (1912-2005) inscribed Jiujiang Pipa Pavilion

It is not because of tears that the green shirt is wet;

There is love in leaving red beans.

——The original title of this couplet is Pipa Pavilion, which was built in the Qing Dynasty. The couplet was written by Jiang Tiaoyuan, a native of Jingkou (Zhenjiang, Jiangsu).

Dihua and maple leaves are immortal;

The red sleeves and blue shirt are of that time.

——An anonymous collection of Wang Wenzhi’s poems titled Jiujiang Pipa Pavilion

The black magpie flies south and the river goes east;

Wherever the beauty is, the good verses will remain forever.

——Lu Weilian inscribed Jiujiang Pipa Pavilion

The old ruins are vast, and where are the maple leaves and flowers?

The new pavilion is showing off, and there are several people in green shirts and red sleeves. .

——Lu Weilian’s inscription on Jiujiang Pipa Pavilion

When I come back from the pavilion, I still look for the red tears in my dream, the green shirt under my eyes, the place of sympathy for the traces of people in the world;

No one is seen at the end of the song, leaving only the flowers on the bank, the autumn moon in the middle of the river, and the mist on the water like the old days.

——Inscribed by Guan Chengyu on Jiujiang Pipa Pavilion