哀江头 The lament of the River
少陵野老吞声哭，春日潜行曲江曲。
shǎo líng yě lǎo tūn shēng kū ， chūn rì qián xíng qū jiāng qū 。
江头宫殿锁千门，细柳新蒲为谁绿？
jiāng tóu gōng diàn suǒ qiān mén ， xì liǔ xīn pú wéi shuí lǜ ？
忆昔霓旌下南苑，苑中万物生颜色。
yì xī ní jīng xià nán yuàn ， yuàn zhōng wàn wù shēng yán sè 。
昭阳殿里第一人，同辇随君侍君侧。
zhāo yáng diàn lǐ dì yī rén ， tóng niǎn suí jūn shì jūn cè 。
辇前才人带弓箭，白马嚼啮黄金勒。
niǎn qián cái rén dài gōng jiàn ， bái mǎ jiáo niè huáng jīn lè 。
翻身向天仰射云，一笑正坠双飞翼。
fān shēn xiàng tiān yǎng shè yún ， yī xiào zhèng zhuì shuāng fēi yì 。
明眸皓齿今何在？血污游魂归不得。
míng móu hào chǐ jīn hé zài ？ xuè wū yóu hún guī bù dé 。
清渭东流剑阁深，去住彼此无消息。
qīng wèi dōng liú jiàn gé shēn ， qù zhù bǐ cǐ wú xiāo xī 。
人生有情泪沾臆，江水江花岂终极！
rén shēng yǒu qíng lèi zhān yì ， jiāng shuǐ jiāng huā qǐ zhōng jí ！
黄昏胡骑尘满城，欲往城南望城北。
huáng hūn hú qí chén mǎn chéng ， yù wǎng chéng nán wàng chéng běi 。
Background
In the autumn of 756 AD, during the first year of Tang Suzong’s reign (唐肃宗), Du Fu left Fuzhou (鄜州) and sought refuge with the newly ascended emperor. Unfortunately, he was captured by the rebel forces of An Lushan (安史叛军) and taken to the fallen city of Chang’an (长安). Upon seeing familiar places again, he was filled with sorrow and grief. The following spring, he walked along the Qu River (曲江) in the southeast of Chang’an, feeling overwhelmed with emotion and sorrow. “The Lament for the River” is a record of this experience.
Overview
The structure of poetry can be described as a journey through time, moving from the present moment to memories, and then returning to the present. Emotionally, the poet often begins with sadness, evoking feelings of melancholy in the reader. No matter the subject, there is always a tinge of sorrow. As the poem progresses, the emotion shifts from grief to joy, with the poet recalling the decadent and extravagant lifestyle of Tang Xuanzong and Yang Guifei. But just as joy reaches its peak, it is quickly replaced by sorrow, as the poet focuses on the tragic loss of their country.
This not only demonstrates the cause-and-effect relationship between joy and sorrow but also creates a powerful contrast, juxtaposing happiness and sadness, past and present, highlighting the poet’s uncontrollable melancholy. This creates a structure that is full of twists and turns, winding and curving while the writing itself is full of fluctuations, expressing a wide range of emotions.
"It is as if the words themselves are like a fleet-footed warhorse, galloping up and down hills and valleys or treading on even ground, carrying on the legacy of the poet’s artistry"
- Wei Qingzhi’s “Poet’s Jade Scraps”, Volume Fourteen).
“其词气如百金战马，注坡蓦涧，如履平地，得诗人之遗法” - 魏庆之《诗人玉屑》卷十四
Du Fu's thoughts in this poem are profound and nuanced. When he exhibits genuine patriotism, he also communicates his sorrow for the unhappy emperor. It is a lament for the Tang Dynasty's flourishing and the country's collapse. The entire poem expresses tremendous anguish and sorrow for the country's demise.
The essence of this poetry is the word "哀" or lament. The first phrase "The old man of Shao Ling swallows his tears and weeps silently" establishes a great artistic atmosphere. Later, when the poet writes of his spring walk, it is a somber meditation on the current devastation in comparison to earlier wealth. The poet then recalls the spectacular events of Yang Guifei's visit to the Qu River, contrasting former delights with present grief.
The poet then describes the awful scenario of Yang Guifei's death, Emperor Xuanzong's retreat to Sichuan, and their heartbreaking separation in a beautiful statement of sorrow. Finally, the poem concludes with a reference to not being able to differentiate north and south, which is a chinese expression of grief.
First Section
The poem is broken into three sections. The first two lines of the first section describe the scene at the Qu River after Chang'an's fall. With its pavilions, towers, and exotic flora and plants contending for beauty, the river was a popular tourist attraction in Chang'an. In the spring, colorful canopies and green curtains adorned the riverbanks, while opulent carriages and lively horses competed, creating an incomparable vision of riches and beauty. This, however, is no longer the case. The few passersbys in Qujiang have been reduced to a grieving old guy roaming in a Qujiang corner.
少陵野老吞声哭，春日潜行曲江曲。
The old man of Shao Ling sobs silently, Spring sneaks along the curves of Qu River.
The first phrase has several meanings: 1. A passersby. 2. passersby is sobbing. 3. The crying is not loud but swallowed.
The second phrase establishes the time and place, as well as the poet's mood: unable to freely stroll around the tourist attraction on a spring day, he is compelled to "sneak around". The repeating of the same character 曲 "Qu" creates a twisting and turning sensation in the heart, which is full of anguish and despair. These two sentences represent the poet's melancholy and oppression, as well as the desolation and terror of the location.
江头宫殿锁千门，细柳新蒲为谁绿？
Palace doors on the riverbank all locked, Willow and reed grow green for whom?
The second line of the poem is a description of the scene at the river. The phrase "a thousand doors" exaggerates the number of palaces and reflects bygone grandeur. However, by using the word "locked," past prosperity is contrasted with current desolation, creating a comparison of the past and present. "New willows and rushes" make for lovely scenery. Slender willow branches line the coast, and young rushes bloom in the water. The three words "for whom do they grow green?" abruptly change the mood from delight to sadness.
It means two things: first, that the country has changed hands, and second, that there is no life in the city. These scenes break the poet's heart.
Second Section
忆昔霓旌下南苑，苑中万物生颜色。
Recalling the emperor's splendid parade in southern park, All living things there adorned with vibrant hues.
The second part of the poem, from “忆昔霓旌下南苑” to “一笑正坠双飞翼”, describes the bustling scenes of spring in Qujiang before the An Shi Rebellion. The phrase “忆昔” (remembering the past) sets the tone for this section, which portrays a vivid and lively atmosphere.
The first line, “忆昔霓旌下南苑” (remembering the past when the rainbow banners were under the Southern Garden), refers to Furong Garden, located south of the river. In 732 AD, during the reign of Tang Xuanzong (712-756), a corridor was built from Daming Palace (大明宫) to the river, passing through Furong Garden (芙蓉苑). The emperor and his princesses often traveled through this corridor to visit the river.
The following line, “苑中万物生颜色” (the garden was filled with vibrant colors), highlights the luxurious and extravagant lifestyle of the imperial family during their visits to the garden. The jewels and treasures shone brilliantly against the lush greenery, creating a dazzling and breathtaking spectacle.
昭阳殿里第一人，同辇随君侍君侧。
The first beauty in Zhao Yang Hall rode alongside, Attending the emperor as he traveled in his carriage.
Following this, a depiction of the scene in which Emperor Ming Huang and his beloved Yang Guifei went to the park can be seen. The phrase “同辇随君” comes from a story in the book of Han. Emperor Cheng of Han (汉成帝) went to the harem and wanted to ride in the same carriage as Ban Jieyu (班婕妤). Ban Jieyu refused, saying, “Looking at ancient paintings, the wise and virtuous emperors all had famous ministers by their side. Only the last emperors of the three dynasties had favorite concubines. Now, you want to ride in the same carriage, isn’t that too similar?”
“观古图画，圣贤之君，皆有名臣在侧，三代末主，乃有嬖女。今欲同辇，得无近似之乎？”汉成帝想做而没有做的事，唐玄宗做出来了；被班婕妤拒绝了的事，杨贵妃正干得自鸣得意。这就清楚地说明，唐玄宗不是“贤君” - 《汉书·外戚传》
What Emperor Cheng of Han wanted to but did not do, Tang Xuanzong did. What was rejected by Ban Jieyu, Yang Guifei does proudly. This clearly shows that Tang Xuanzong is not a “wise ruler” but the “last emperor”.
辇前才人带弓箭，白马嚼啮黄金勒。
Maids with bows and arrows went before, White horses with golden bits and reins.
翻身向天仰射云，一笑正坠双飞翼。
Aiming at clouds with a turn of her body, A smile sent two birds falling from the sky.
Yang Guifei is then depicted through the description of the "talented women." "Talented women" are female palace officials who serve as military guards, riding white horses with gold bits and bridles and shooting and hunting birds and creatures. Even the attendants are lavish, so the "number one person in the Zhao Yang Palace" and the emperor who ruled over the enormous Tang Dynasty would be even more so. The skilled women shoot higher and collide with the birds flying side by side. Unfortunately, this exquisite skill is only used to win Yang Guifei's brilliant smile, rather than to maintain peace and national unity. These empresses had no idea that their extravagant lifestyle was the main cause of their own demise.
Third Section
明眸皓齿今何在？血污游魂归不得。
Where are the bright eyes and white teeth of Yang Guifei? Her wandering spirit forever stained with blood, unable to return!
These eight lines comprise the third part of the poem, which expresses the poet’s emotions as he stands at the Qu River. The first section directly follows the second and laments the tragedy of Emperor Xuanzong and Yang Guifei. “Bright eyes and white teeth” corresponds to the characters “smile” in “a smile just as two wings take flight,” completing the mood of Yang Guifei’s smile vividly and naturally.
The three words “where are they now” correspond to the line “for whom do the slender willows and new cattails remain green” in the first part, making “for whom” more specific and expressing a very painful emotion. “Blood-stained wandering souls” indicates Yang Guifei’s tragic death.
清渭东流剑阁深，去住彼此无消息。
Clear Wei River flows to the east, Jian Ge deep and remote, Departing and staying, no news between us.
As Chang’an fell, they could not return and had to face the consequences they brought upon themselves, leading to a very tragic end. Yang Guifei was buried on the banks of the Wei River at Mawei, while Emperor Xuanzong traveled via Jiange to the rugged mountainous Sichuan road, with their lives taking different paths and their images and sounds now distant and obscure. The poet employs this vivid and clever contrast between the shooting of paired birds in the past and their separation at Mawei to point out the cause-and-effect relationship between their excessive indulgence and the ensuing calamity, writing in a heartrending manner.
人生有情泪沾臆，江水江花岂终极！
Emotions in life bring tears to the heart, How can the flow of river and blooming flowers ever end?
The second section summarizes the poem and expresses the poet's sentiments about life's vicissitudes ("In life, emotions bring tears to the heart" to "Wishing to look to the north when heading south"). The first two sentences imply that individuals have feelings and cry when they are touched by something, however nature is cold. Flowers blossom and die, and water runs on indefinitely with no end in sight. The contrast between feeling and coldness emphasizes the complexities of emotions.
黄昏胡骑尘满城，欲往城南望城北。
At dusk, the dust raised by Hu riders fills the city, Intending to look south, but ending up facing north.
The poet's deep emotions as well as his confused and tormented ideas are expressed in the final two lines through physical acts. The line "At dusk, the city is full of dust from barbarian horses" heightens the tension and horror, putting the preceding "sobbing quietly" and "sneaking around" into context.
As dusk approaches, the rebel army mobilizes to prevent people from rebelling, resulting in a cloud of dust that engulfs Chang'an. Du Fu, who is already worried and tortured, wishes to return to his home in the city's south but instead walks north. He is so distressed that he has lost his direction, showing the pain in his heart.