有一个精灵，漂泊如三春之水，清冷似冬夜之月；
There is a spirit, wandering like the water of spring, cold like the moon of winter night;
有一个精灵，惆怅如初夏细雨，幽怨似深秋桂子；
There is a spirit, melancholy as early summer drizzle, resentment as late autumn Guizi;
有一个精灵，它注定了永远都在流浪。
There is a spirit, it is doomed to be wandering forever.
它就是二胡，江南，流浪的二胡。
It is erhu, Jiangnan, wandering erhu.
蒙古包、轱轳车，风吹草低见牛羊的大草原注定了是马头琴的摇篮；
Mongolian yurts, wheel pulleys, the prairie where the wind blows the grass and the cattle and sheep are seen low are doomed to be the cradle of the horse head Qin;
红高粱、信天游，大风起兮云飞扬的黄土高坡天生就是唢呐的世界。
Red sorghum, Xintianyou, and the loess slope with strong wind and clouds are the world of Suona.
而杨柳岸、乌篷船，小桥流水绕人家的江南则永远是二胡生生不息的磁场。一方水土养一方人，一方风情孕育着一方乐器的生长，只是我们不知那当初的当初，是江南选择了二胡，还是二胡选择了江南。这样的选择费思量，难端详。
And yangliuan, wupeng boat, small bridge water around people's Jiangnan is always the endless magnetic field of erhu. On the one hand, water and soil nourish people, and on the other hand, customs breed the growth of musical instruments. However, we don't know whether it was the erhu or the erhu that chose the Jiangnan at the beginning. Such a choice is hard to contemplate.
二胡之于江南，恰如杏花春雨之于江南一般地诗意和绵长。虽然高山流水，我们只见过俞伯牙的那具焦尾琴；浔阳江边，我们也只闻见白居易的那把琵琶。虽然众多的唐诗、宋词、元曲、明剧之中，我们很难听得二胡的那一声低泣，触到二胡的那一脉无奈，但是谁能说，倘无焦尾琴和琵琶，二胡就不会在江南寂寞地流浪呢？
Erhu is as poetic and long as apricot blossom and spring rain in Jiangnan. Although there are mountains and rivers, we have only seen Yu Boya's Jiaowei Qin, and we have only heard Bai Juyi's Pipa by the Xunyang river. Although it's hard for us to hear erhu's low cry and feel its helpless in many Tang poetry, Song Ci, Yuan Opera and Ming opera, who can say that erhu would not be lonely in the south of the Yangtze River without jiaoweiqin and Pipa?
六朝金粉、王谢侯府的秦淮，有太多的声色犬马，那不是二胡弦线上开放的花；三秋桂子、十里荷花的钱塘，有太浓的绮丽繁华，那不是二胡琴弓中跳动的律。纤道、乌篷、台门、廊棚，雨巷、石桥、茶肆、谷场，这才注定了二胡流浪的行脚。本不属于墨客骚人、显贵官宦，流浪的二胡注定只是在百姓黎民、俗子凡夫中开放的花，流淌的画；流浪的二胡天生就是贩夫走卒、商贾戏子开心时的道具，潦倒间的支撑。
There are too many voices and horses in Qinhuai of Jinfen and wangxihoufu in the Six Dynasties, which are not the flowers on the erhu string; there are too many beautiful and prosperous Qiantang of Guizi and shilihua in the three autumn, which are not the beating rhythm in the erhu bow. The path, wupeng, taimen, langpeng, Yuxiang, Shiqiao, teahouse and Guchang are all destined for Erhu's wandering. The wandering erhu is destined to be a flower and a flowing painting among the common people and common people. The wandering erhu is born to be a prop for the peddler and the merchant actor when they are happy and a support for the poor.
我真的不知道从什么时候起二胡开始在江南流浪，我只知道当如水的月色浸淫深秋桂子，稠密的细雨婆娑河边芭蕉的时候；当多情的晚风掸拂台门石桥，散漫的炊烟缭绕乡野谷场的时候，二胡的流浪便开始了。当流浪的二胡宿命地遇上了那个人，它的流浪被无端地浓缩聚集了，被无限地扩散放大了。那个叫瞎子阿炳的人，象一个巫师，二胡遇上了他，从此便再也停不下流浪的步伐。
I really don't know when erhu began to roam in the south of the Yangtze River. I only know when the moonlight like water soaked in laurel in the late autumn and the dense drizzle swayed the banana beside the river; when the amorous evening wind brushed the stone bridge of taimen and the scattered cooking smoke shrouded the country Valley, the wandering of Erhu began. When the vagrant erhu fatally meets the man, its vagrancy is concentrated and gathered without any reason, and expanded infinitely. The man named a Bing, a blind man, was like a wizard. When erhu met him, he never stopped wandering.
《二泉映月》的音符如泉眼汩汩洇漫，我们知道那流浪着的该是一种无奈；《病中吟》的曲调如泪水缓缓流出，我们知道那流浪着的分明是一种悲凉；《良宵》的节拍如思念浓浓笼罩，我们知道那流浪着的更是一种彻骨的沧桑。不是二胡的流浪、音乐的流浪，那样的流浪是一个灵魂的流浪、一方土地的流浪，那样的流浪是一个时代的流浪、一个民族的流浪。
The notes of "two springs reflecting the moon" are like the spring eyes, gurgling and Yin diffuse, we know that the wandering is a kind of helplessness; the melody of "singing in sickness" is like tears flowing out slowly, we know that the wandering is clearly a kind of sadness; the beat of "good night" is like the thick cover of missing, we know that the wandering is a kind of deep vicissitudes. It's not the wandering of Erhu or music. It's the wandering of a soul and a land. It's the wandering of an era and a nation.
流浪的二胡总要催生众多流浪的心灵，催放众多流浪的花，瞎子阿炳便是一个极致。然而在江南，在青石小弄台门深、乌瓦粉檐廊棚长遍地市肆的江南，在春草池溏蛙鼓稠、莺雏声里碧禾浓处处乡野的江南，类似因了二胡而流浪的心灵和生命又何止阿炳呢？……
The wandering erhu always gives birth to many wandering souls and urges many wandering flowers. The blind ah Bing is an extreme. However, in the south of the Yangtze River, where the gate of Qingshi xiaonongtai is deep and the porch of Wuwa powder eaves is full of shops, in the south of the Yangtze River where the pond of spring grass is full of soft frogs and thick drums, and where the sound of Orioles and young warblers is full of green grasses, the soul and life like wandering due to erhu are more than abing
一方水土的精灵，一盈风情的血脉，器乐是一个时代一种文化的魂魄。而流浪，不只是一种悲苦和困顿、一种沧桑和无奈，更是一种忍耐和坚韧、一种奋进和抗争。它是生命另一种鲜活的姿态，这种鲜活的姿态永远都不能消解。
The spirit of water and soil, the blood of customs, and instrumental music are the soul of a culture of an era. And vagrancy is not only a kind of sorrow and hardship, a kind of vicissitudes and helplessness, but also a kind of patience and perseverance, a kind of endeavor and struggle. It is another fresh attitude of life, which can never be dispelled.