Su Shi

Su Shi (1037 - 1101), better known as 蘇東坡 Su Dongpo, was one of the Song dynasty's most influential poets and essayists. His brother Su Che was also a poet.³ There is some discussion of Su Dongpo's connections to the qin in Xu Jian's Introductory History of the Qin, 6a2.

A collection of writings by Su Shi about the qin, under the title Miscellaneous Accounts of Qin Matters, was included in Folio 100 of the 14th century encyclopaedia called Shuo Fu. This volume still exists.⁴

Poems by Su Shi directly mention qin at least 61 times.⁵ Qinshu Daquan (QQJC Vol. V) includes at least 22 such poems and essays he wrote concerning qin. These poems and essays include (original texts are in a footnote below):⁶

Folio 16, #53 (V. 362/3; seven writings)
Folio 17, #56 (V. 384; 1 writing, including 1 poem)
Folio 17, #57 (V. 384; 1 letter)
Folio 18, #55 (V. 403; inscription [with comments])
Folio 19A, #31 (V. 418; [from an essay {repeated} that has 1 poem])
Folio 19A, #33 (V. 419; 1 poem)
Folio 19B, #91 - #93 (V. 431; 3 poems)
Folio 19B, #161 (V. 441; 1 poem)
Folio 20A, #53 - #55 (V. 447; 3 poems)
Folio 20B, #56 - #58 (V. 455/6; 3 poems)

Qinshu Daquan also has stories by other people that mention Su Dongpo and qin, sometimes quoting him. For example, see (original text below):⁷

Folio 17, #32 (includes a poem; V. 379)
Folio 17, #39 (mentions him with 武崇穆 Wu Chongmu; V. 380) The following poem was included together with one of the essays above:⁸

If you say music from the qin does rise,
Why in its case will the strings not sing?
If you say sound in the fingers lies,
Why from your fingers do we hear no ring?

Some handbooks say he wrote the melody He Wu Dongtian. And his lyrics set to qin melodies (by others) include the following,

Explanations for the melody Xiangsi Qu (Gu Qin Yin)¹⁰ have several different introductions, all concerning Su Dongpo and a female ghost who played the qin. In the version translated by Van Gulik,¹¹ Su Dongpo hears someone playing a sad song outside his window. When he goes to look he sees a young woman, who immediately disappears. In the morning when digging in that area he finds an old qin.

Footnotes (Shorthand references are explained on a separate page)

1. Su Shi 蘇軾 (蘇東坡 Su Dongpo, sometimes written Su Dongbo)
33250.234 眉山人，洵子，轍兄，字子瞻 from Meishan, son of Su Xun, brother of Su Che, style name Zizhan. Sources (see also Wiki) include:

Nienhauser, Indiana Companion to Traditional Chinese Literature, p.729.
Michael A. Fuller, The Road to East Slope, The Development of Shu Shi's Poetic Voice
Burton Watson, Selected Poems of Su Tung-p'o
Xu Yuanzhong, Su Dong-po - A New Translation
Lin Yutang, The Gay Genius, The Life and Times of Su Tungpo

The references quoted here come from various poetry collections and The Collected Writings of Su Dongpo (東坡文集 Dongpo Wenji).
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2. Japanese image: Zhong Kui with qin (Su Dongpo?)
This image for a standing screen was copied from a Japanese web page. The text there says (in part),

蘇東坡八僊畫衝立 Su Dongpo, from standing screen drawingss of the 8 Immortals (? See Wiki)
古裂會骨董品古美術品専門オークション Bone (?) valuable object and old beautiful object
寶曆元年 (1751: Houreki 1st year).... 僧泉寺（極書）天保元年（1830: Tenpo 1st year）
長泉寺　裏鐘馗抱琴畫（紙本　ヤケ　シミ　スレ）

The last line says "Chosenji Temple, Drawing of Zhong Kui embracing a qin". On the left side of the screen the writing says: 七十叟野某姚宋敬 .

I do not understand this inscription, or the relationship between Su Dongpo, the Eight Immortals, the inscription and the image, which is clearly Zhong Kui (Wiki), who was not one of the 8 Immortals.
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3. Su Che 蘇轍 (1039 - 1112)
Su Che, style name 子由 Ziyou, though overshadowed by his older brother Su Shi, was one of the "Eight Great Prose Masters of the Tang and Song". (Indiana Companion, p.727)
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4. Miscellaneous Accounts of Qin Matters (雜書琴事，十三則 Zashu Qinshi, 13 entries; 一卷 one folio)
Qinshu Cunmu entry 103 (4 lines) bases its discussion of this work attributed to Su Shi on the version in Folio 100 of 說郛本 Shuo Fu, where it is the fifth entry. There are 13 essays in the Shuo Fu edition, as follows：

家藏雷琴
余家有琴，其面皆作蛇腹紋，其上池銘云：「開元十年造，雅州靈關村。」其下池銘雲：「雷家記八日合。」不曉其「八日合」為何等語也？其嶽不容指，而弦不先攵，此最琴之妙，而雷琴獨然。求其法不可得，乃破其所藏雷琴求之。琴聲出於兩池間，其背微隆，若薤葉然，聲欲出而隘，徘回不去，乃有餘韻，此最不傳之妙。
歐陽公論琴詩
「昵昵兒女語，恩怨相爾汝。劃然變軒昂，勇士赴敵場。」此退之《聽穎師琴》詩也。歐陽文忠公嘗問仆：「琴詩何者最佳？」余以此答之。公言此詩固奇麗，然自是聽琵琶詩，非琴詩。余退而作《聽杭僧惟賢琴》詩雲：「大弦春溫和且平，小弦廉折亮以清。平生未識宮與角，但聞牛鳴盎中雉登木。門前剝啄誰扣門，山僧未閑君勿嗔。歸家且覓千斛水，凈洗從前箏笛耳。」詩成欲寄公，而公薨，至今以為恨。
琴非雅聲
世以琴為雅聲，過矣。琴正古之鄭、衛耳。今世所謂鄭、衛者，乃皆胡部，非復中華之聲。自天寶中坐立部與胡部合，自爾莫能辨者。或雲，今琵琶中有獨彈，往往有中華鄭、衛之聲，然亦莫能辨也。
琴貴桐孫
凡木，本實而末虛，惟桐反之。試取小枝削，皆堅實如蠟，而其本皆中虛空。故世所以貴孫枝者，貴其實也，實，故絲中有木聲。
戴安道不及阮千里
阮千里善彈琴，人聞其能，多往求聽。不問貴賤長幼，皆為彈之，神氣衝和，不知何人所在。內兄潘岳每命鼓琴，終日達夜無忤色，識者嘆其恬淡，不可榮辱。戴安道亦善鼓琴，武陵王晞使人召之。安道對使者破琴曰：“戴安道不為王門伶人。”余以謂安道之介，不如千里之達。
琴鶴之禍
衛懿公好鶴，以亡其國，房次律好琴，得罪至死。乃知燒煮之士，亦自有理。
天陰絃慢
或對一貴人彈琴者，天陰聲不發。貴人怪之，曰：「豈絃慢故？」或對曰：「弦也不慢。」
天陰絃慢
或對一貴人彈琴者，天陰聲不發。貴人怪之，曰：「豈弦慢故？」或對曰：「弦也不慢。」
書醉翁操後
二水同器，有不相入，二琴同手，有不相應。今沈君信手彈琴，而與泉合，居士縱筆作詩，而與琴會。此必有真同者矣。本覺法真禪師，沈君之子也，故書以寄之。願師宴坐靜室，自以為琴，而以學者為琴工，有能不謀而同三令無際者，願師取之。元祐七年四月二十四日。
書林道人論琴、棋
元祐五年十二月一日，游小靈隱，聽林道人論琴棋，極通妙理。余雖不通此二技，然以理度之，知其言之信也。杜子美論畫雲：「更覺良工心獨苦。」用意之妙，有舉世莫之知者。此其所以為獨苦歟？
書仲殊琴夢
元祐六年三月十八日五鼓，船泊吳江，夢長老仲殊彈一琴，十三弦頗壞損而有異聲。余問雲：「琴何為十三絃？」殊不答，但誦詩曰：
「度數形名豈偶然，破琴今有十三絃。
此生若遇邢和璞，方信秦箏是響泉。」
夢中瞭然諭其意，覺而識之。今晚到蘇州，殊或見過，即以示之。寫至此，筆未絕，而殊老叩舷來見，驚嘆不已，遂以贈之。時去州五里。
書王進叔所蓄琴
知琴者以謂前一指後一紙為妙，以蛇蚹紋為古。進叔所蓄琴，前幾不容指，而後劣容紙，然終無雜聲，可謂妙矣。蛇蚹紋已漸出，後日當益增，但吾輩及見其斑斑焉，則亦可謂難老者也。元符二年十月二十三日，與孫叔靜皆云。
文與可琴銘
文與可家有古琴，予為之銘曰：
「攫之幽然，如水赴谷。
醳之蕭然，如葉脫木。
按之噫然，應指而長言者似君。
置之枵然，遺形而不言者似僕。」
與可好作楚詞，故有「長言似君」之句。「醳」、「釋」同。鄒忌論琴雲：「攫之深，醳之愉。」此言為指法之妙爾。
元豐四年六月二十三日，陳季常處士自岐亭來訪予，攜精筆佳紙妙墨求予書。會客有善琴者，求予所蓄寶琴彈之，故所書皆琴事。

Some of these are quoted again below.
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5. Qin mentioned in Su Shi's poetry 61 times
See Stuart H. Sargent, Music in the World of Su Shi (1037-1101): Termiology, Journal of Sung-Yuan Studies 32, p. 46 (2002; online).
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6. Su Shi qin-related poems and essays in Qinshu Daquan
There are at least 22 such items in that 1590 compendium, as follows:

Folio 16, #53 (Selections from Dongpo Wenji arranged into seven paragraphs; V.362/3)
Subtitles: 桐貴孫枝、安道介不如千里達、琴偈燒煮琴鶴、伯倫淵明非達

Concerns Tang dynasty qin player 張華 Zhang Hua of Hangzhou (not the writer Zhang Hua)
尚書郎張華字子野，杭州人，善戲有風味，見杭妓有彈琴者，忽撫掌曰：異哉，此箏不見許時，乃爾黑瘦耶，世以琴為雅聲，過矣，正古之鄭衛耳。今世所謂鄭衛者，乃皆胡部，非復中華之聲，自天寶中，坐立部與胡部合，自爾莫能辨者。或云琵琶中有獨彈，往往有中華鄭衛之余聲，然亦莫能辨。凡木本實而末虛，惟桐反之，試取小枝削，皆堅實如蠟，而本皆中虛，故世所以貴孫枝者，其實也，實故絲中有木聲。
Concerns the qin player 阮千里 Ruan Qianli (i.e., Ruan Ji's grand-nephew 阮瞻 Ruan Zhan)
阮千里善彈琴，人聞其能，多往求聽，不問貴賤長幼皆為彈之，神氣衝和，不知向人所在。內兄潘岳每命鼓琴終日，達夜無忤色。識者嘆其恬澹，不可榮辱。戴安道亦善鼓琴，武陵王遣使人召之，對使者破琴曰：安道不為王門伶人。余以為安道之介不如千里之達。
蛇蚹文 Snake-scale cracks on a qin
知琴者以謂前一指後一紙為妙，以蛇腹文為古。晉叔所舊琴前幾不容指，後劣容紙，終無殺聲可為妙矣。蛇腹文已漸出，後日當益增。但吾輩及見其班班焉，則亦可謂難老者也。武昌主簿吳亮君採攜其故人沈君土琴之說與高齋先生之銘空同子之文文太平之頌以示余，余不識沈君而讀其書，反覆其義趣，如見其人，如聞土琴之聲。余昔從高齋先生游，常見其寶一琴，無名無識不知其何代物也，請以告二子使從先生求觀之，此土琴者，待是琴而後和。
About 荅沈疏書 A Letter Responding to Shen Shu (? Bio/xxx)
答沈竦書：軾再啓土琴當與響泉韻磬並為當代之寶，而鏗金瑟瑟遂蒙輟惠拜賜間赧汗不已，不敢逆來意，謹當傳示子孫，永以為好也。然軾素不解彈，適會峨眉紀老枉道，見過令其侍者快作數曲，拂歷鏗然，真如若之言也，戲以一偈問之：若言弦上有琴聲，放在匣中何不鳴，若言聲在指頭上，只合於君指上聽。錄呈以發千里一笑也。寄示佳紙筆名舛重煩厚意一一拜領訖，感作不可言，適有少冗書不周謹。
Duke Yi of Wei 衛懿公 (ca. 660 BCE; Bio/51) and his love of cranes
衛懿公好鶴以亡其國，房次律好琴得罪至死，乃知燒煮之士亦自有理，或對一貴人彈琴者天陰聲不發，貴人怪之曰：豈弦慢故耶？對曰：弦也不慢，琴弦舊則聲喑，以桑葉揩之輒復如新，但無如其青何耳。
An old qin in the home and a visit in 1081 from 陳季常 Chen Jichang (陳慥 Chen Zao; Bio/1353; Giles)
文與可家有古琴，予為之銘，攫之幽然，如水赴谷，釋之蕭然，如葉脫木，按之噫然，應指而長言者，似君之句釋，釋同鄒忌論琴雲，攫之深釋之愉，此言為指法之妙。元豐四年六月二十三日，陳季常處士自岐亭來訪予，攜以嘉紙妙墨求予書，會客有善琴者，予所蓄寶琴彈之，故所書皆琴事。
This paragraph has no subdivisions but seems to have three topics:
(Criticism of 劉伯倫 Liu Bolun [劉伶 Liu Ling])
劉伯倫常以鍤自隨，曰：「死即埋我。」蘇子曰：「伯倫非達者也，棺槨衣衾，不害為達。茍為不然，死則已矣，何必更埋！」
(Comment on Tao Yuanming for his stringless qin)
陶淵明作《無絃琴詩》，曰：「但得琴中趣，何勞絃上聲。」蘇子曰：「淵明非達者也，五音六律，不害為達，苟為不然，無琴可也，何獨絃乎！」
(Perhaps sometimes called《書林道人論琴棋》Daoist Lin discussing qin and chess)
元祐五年(1090)十二月一日遊小靈隱，聽林道人論琴棋，極有妙語(elsewhere：極通妙理)。予雖不通此二技，然以理度之，知其言之信也。杜子美論畫云：更覺良工心獨苦用意之妙，有舉世莫知之者，此其所以為獨苦歟。
(The original text in Dongpo Wenji seems to have continued with story of 13-string qin: 元祐六年(1091)三月十八日五鼓.... but this is not included in QSDQ [see below])

Folio 17, #56 (V. 384)

與彥正判官書 Yu Yan Zheng Pan'guan Shu: A Letter to Department Chief Yan Zheng (10209.15xxx; V.384)
古琴當與響泉韻磬，並為當世之寶，而鏗金瑟瑟，遂蒙輟惠，報賜之間，赧汗不已。又不敢遠逆來意，謹當傳示子孫，永以為好也。然某素不解彈，適紀老枉道見過，令其侍者快作數曲，拂歷鏗然，正如若人之語也。試以一偈問之：
「若言琴上有琴聲，放在匣中何不鳴？
若言聲在指頭上，何不於君指上聽？」
錄以奉呈，以發千裏一笑也。寄惠佳紙、名荈，重煩厚意，一一捧領訖，感怍不已。適有他冗，書不周謹。
(Poem is translated below)

Folio 17, #57 (V. 384)

聽賢師琴 Ting Xianshi Qin (V.384)
A letter, or part of a letter, by Dongpo, dated 1089 (see the end); it is quoted in part in the Qinshi Bu biography of Li Jingxian
與次公同聽賢師琴。賢求詩，倉卒無以應之。次公言古人賦詩，皆歌所學，何必己云。次公因誦歐陽公贈李師詩，囑予書之以贈焉。元祐四年九月二十一日，東坡居士記。

Folio 18, #55 (V. 403)

銘文與可琴 Inscription for the Qin of Wen Yuke (V.403)
與可 Yuke, style name of 文同 Wen Tong (1018 - 1079; Bio/299; 13766.140)
「攫之幽然，如水赴谷。
醳之蕭然，如葉脫木。
按之噫然，應指而長言者似君。
置之枵然，遺形而不言者似僕。」

Folio 19A, #31 (V. 418),

破琴 Broken Qin
(Seems to be a continuation from the quote above from Dongpo Wenji:)
元祐六年三月十八日五鼓，蘇東坡船泊吳江，夢見方外交僧人長老仲殊彈一琴，十三絃，頗壞損，而有異聲，蘇東坡問：「琴為何十三弦？」仲殊默而不答，但誦一詩云：
度數形名豈偶然，破琴今有十三絃。
此生若遇形和璞，方信秦箏是響泉。

Entry 31 from Folio 19 concerned the 3rd month, 18th day; for the 19th day see below

Folio 19A, #33 (V. 419)

破琴 Broken Qin
Introduction says, 序見雜錄即觀宋復古畫序㣲 (see below)
破琴雖未修，中有琴意足。
誰為十三絃，音聲如佩玉。
新琴空高張，絲聲不附木。
宛然七絃箏，動與世相遂。
陋矣房次律，因循堕流俗。
懸知董庭蘭，不識無絃曲。

Folio 19B, #91 - #93 (V. 431-2; 3 poems),

聽武道士彈賀若 Listening to Daoist Wu Play He Ruo (V.431)
37569.50/1 "qin name", with quote from Su Shi
清風終日自開簾，涼月今宵肯掛檐。
琴裡若能知賀若，詩中定合愛陶潛。
聽僧惟仙琴 Listening to a Qin of Monk Wei Xian (V.431)
See Sargent, p.52: Su writes that "he never could tell one note from another until he heard the monk Weixian 惟賢 play the qin, after which he must go home and wash out his ears, contaminated as they have been by the zheng and the transverse flute (di)."
大絃春溫和且平，小絃廉折亮以清。
平生未識宮與角，但聞牛鳴盎中聲。
雉登木門前剝啄，誰叩門山僧未聞，君勿嗔。
歸家且覓千斛水，淨洗從來箏笛耳。
聽僧昭素琴 Listening to the Unadorned Qin (su qin) of Monk Zhao (V.431/2)
至和無攫醳，至平無按抑。
不知微妙聲，究竟何從出。
散我不平氣，洗我不和心。
此心知有在，尚復此微吟。

Folio 19B, #161 (V. 441)

舟中聽大人彈琴 On a Boat Listening to a Great Man Play a Qin
彈琴江浦夜漏永，斂衽竊聽獨激昂。
風松瀑布已清絕，更愛玉珮聲琅璫。
自從鄭衛亂雅樂，古器殘缺世已忘。
千家寥落獨琴在，有如老僊不死閱興亡。
世人不容獨反古，強以新曲求鏗鏘。
微音淡弄忽變轉，數聲浮脆如笙簧。
無情枯木今尚爾，何況古意墮渺茫。
江空月出人响绝，夜阑更请弹「文王」。

Folio 20A, #53 - #55 (V. 447, 3 poems)

觀月彈琴 Observing the Moon and Playing Qin (V.447)
㣲露下眾草，碧空卷微雲。
月光為誰來，似為我與君。
水天浮四座，河漢落酒尊。
使我冰雪腸，不受麴糱醺。
尚恨琴有絃，出魚亂湖紋。（Sargent, p. 48, translates lines 5-8)
哀琴本舊曲，妙耳非昔聞。
良時失俯仰，此見寧朝昏。
懸知一生中，道眼無由渾。
西湖月下彈琴 On West Lake under a Moon Playing Qin (V.447)
謖謖松下風，藹藹壠上雲。
聊將竊比我，不堪持寄君。
半生寓軒冕，一笑當琴樽。
良辰飲文字，晤語無由醺。
我有鳳鳴枝，背作蛇蚹紋。
月明委靜照，心清缺奇聞。 (缺 is elsewhere 得)
當呼玉澗手。一洗羯鼓昏。
請歌南風曲，猶作虞書渾。
次韻子由彈琴 Following a Rhyme Sequence of Ziyou and Playing Qin (V.447)
Ziyou was the style name of 蘇轍 Su Che, Su Shi's younger brother; translated in Sargent, p. 49
琴上遺聲久不彈，琴中古意久長存。 (久 is elsewhere 本)
苦心欲記常迷舊，信指如歸自著痕。
意有仙人依樹聽，空教瘦鶴舞風寒。 (意 is elsewhere 應)
誰知千里溪堂夜，時引驚猿撼竹軒。

Folio 20B, #56 - #58 (V. 455/6, 3 poems)

晦夫惠接䍦琴枕作此詩謝之 Huifu (Ouyang Bi) Bestows on me (?) a Cap and Qin Pillows; I Wrote this Poem to Thank Him (V.455)
攜兒過嶺今七年，晚途更著黎衣冠。
白頭穿林要藤帽，赤腳渡水須花縵。
不愁故人驚絕倒，但使俚俗相恬安。
見君合浦如夢寐，挽須握手俱ォ瀾。
妻縫接䍦霧縠細，兒送琴枕冰徽寒。
無弦且寄陶令意，倒載猶作山公看。
我懷汝陰六一老，眉宇秀發如春巒。
羽衣鶴氅古仙伯，岌岌兩柱扶霜紈。
至今畫像作此服，凜如退之加渥丹。
爾來前輩皆鬼錄，我亦帶脫巾欹寬。
作詩頗似六一語，往往亦帶梅公酸。
又 (i.e., same title as #56; V.455/6)
中郎不眠仰看屋，得此古椽圍尺竹。
輪囷濩落非笛材，破作袖琴徽軫足。 (破 is elsewhere 剖)
流傳幾處到淵明，臥枕綸巾酒新漉。
孤鸞別鵠誰復聞，鼻息齁齁自成曲。
雪下琴 Qin under Snow (V.456)
寂寞王子猷，回舟剡溪路。 (舟 is elsewhere 船)
迢遙戴安道，雪夕誰與度。
倒披王恭氅，半掩袁安戶。
應調折弦琴，自和撚鬚句。 (琴弦 is elsewhere 弦琴; 鬚 is elsewhere 須)

More could be added.
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7. Stories by others concerning Su Dongpo and qin
These two stories were included in Qinshu Daquan (1590), Folio 17:

Folio 17, #32 (V. 379)
觀宋復古畫序 Preface to Looking at a Painting by Song Fugu (V.379)
Fugu was the style name of 宋迪 Song Di, a well-known painter from Loyang; he painted a version of 瀟湘八景 Eight Scenes of the Xiao and Xiang Rivers. Two subtitles are given:

東坡夢中琴詩 (Su) Dongpo's qin poem in a dream
破琴詩見詠琴 Broken qin poem sees singing qin (?)

However, there does not seem to be a clear division in the text. The entire text seems to concern Su Dongpo and a 13-string qin / zheng, so the second subtitle may simply refer to the included poem(s).

舊說房琯開元中嘗宰盧氏，與道士邢和璞過夏口村，入廢佛寺，坐古松下。和璞使人鑿池，得甕中所藏婁師德與永禪師畫，笑謂琯曰：「頗憶此耶？」因悵然悟前生之為永禪師也。故人柳子玉寶此畫，蓋唐本，宋復古所臨者。
Of old it was said that during 713 - 42 Fang Guan zaied (?) Mr. Lu and the Daoist Xing Hepu (8th c.; Bio/499) .....

元祐六年三月十九日，余自杭還朝，宿吳松江，夢長老仲殊挾琴過予，彈之有異聲，熟視琴頗損，而有十三弦。予嘆息不己。殊曰：「雖損尚可修。」曰：「柰十三絃何？」殊不答。
In the 6th year of Yuanruo, the 19th day of the 3rd month, I returned from Hangzhou to....

誦詩曰：
「度數形名豈偶然，破琴今有十三絃。
此生若遇邢和璞，方信秦箏是響泉。」
予夢中瞭然，識其所謂，既覺而忘之。明日晝臥，復夢珠來理前言，再誦其詩，方驚覺，而殊適至，意其非夢也。問之殊，蓋不知。是歲六月，見子玉之子子文於京師，求得其畫，乃作詩並書所夢其上。子玉名瑾，善作詩及行草書，復古名迪，畫山水草木蓋妙絕一時。仲殊本書生，棄家學佛，通脫無所著，皆奇士也。
In a dream I....

(The original Dongpo Ji text then continues: 詩曰：
「破琴雖未修....Broken qin...., see above).

Folio 17, #39 (V.380/1)
昭德樸齋錄 Zhaode Record of Puzhai
There is a 昭德文集 Zhaode Wenji by Zhao Gongwu (晁公武 14239.5: 12th c.), while 樸齋錄 Puzhai Lu is perhaps a work by 蒲瀛 Pu Ying called 蒲氏漫齋錄 Pushi Man Zhailu (32271.17 pushi: a type of fan), but I have not been able to find the connection between that and this text, which mentions Su Dongpo in connection with his friend 王晉卿 Wang Jinqing (王詵 Wang Shen Bio/108; Jin is written here with two 口 instead of two 厶) and two Daoist priests, 武崇穆 Wu Chongmu (Bio/xxx; 16623.xxx) and 費世隆 Fei Shilong (37565.xxx).

東坡觀人知琴 (Su) Dongpo sees people and understands them through qin

道士武崇穆善鼓琴，亦能攧竹騁。兹二伎頗結貴游然風貌不甚灑落。王晉卿賞其伎，與之往還。由此識蘇東坡。東坡因聽琴嘗以詩為贈。道士費世隆亦攻琴別無他業其不韻尤甚於武。武欲蔫之於二公令揮絃求詩共要虛譽。一日晉卿約東坡飯。上清宮時武、費與蔫飯起瀹（音藥）茗稍雍容間晉卿乃索琴求武、費各作一操。東坡據振衣索馬欲退。晉卿堅留聽琴。東坡曰：今日只求赴飯，意非聽琴。請俟他日，清集耳竟上馬去。翼日晉卿復見東坡，詰其所以。東坡謂晉卿曰：觀其人可以知其琴矣。何必更聽耶。
Daoist priest Wu Chongmu was a skilled qin player who was also fast at dianzhu (a game involving sketching bamboo?)....

There are probably also other references in Qinshu Daquan that I have not yet found.
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8. Poem on the source of qin sounds (see above)
The translation is based on that of Xu Yuanzhong, Song of the Immortals, p.212. The original (see p.423) is:

若言琴上有琴聲，放在匣中何不鳴？
若言聲在指頭上，何不於君指上聽？
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9. 水調歌頭 Shui Diao Ge Tou
This is the name of a cipai; the lyrics by Su Shi are the most famous (see in Wiki). There are several melodic settings for qin of this title (Zha Guide 32/244/470), the first being the one in Lixing Yuanya (1618; QQJC VIII/337) setting the Su Shi lyrics for 1-string qin. As indicated by the preface there, it is one of the poems written by Su Shi during Mid-Autumn (details). The lyrics are as follows:

明月幾時有，把酒問青天。
不知天上宮闕，今夕是何年。
我欲乘風歸去，又恐瓊樓玉宇，高處不勝寒。
起舞弄清影，何似在人間。
轉朱閣，低綺戶，照無眠。
不應有恨，何事長向別時圓。
人有悲歡離合，月有陰晴圓缺，此事古難全。
但願人長久，千里共嬋娟。

Zha also lists this title in handbooks dated 1677, 1682 (2) and 1802, but these latter have completely different lyrics. 1677 begins, "君山已不作，獻曲久無人...."; 1682 begins, "鐵篴老仙去，無復採花船...."; the others are same as those.
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10. Xiang Si Qu 相思曲
Also called 古琴吟 Gu Qin Yin. See details in the introduction to the 1585 version, including the original lyrics.
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11. Su Shi and Ghost
Translation in Lore, pp.159-160. See detais.
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