登楼 Ascending the Tower
花近高楼伤客心，万方多难此登临。
huā jìn gāo lóu shāng kè xīn ， wàn fāng duō nán cǐ dēng lín 。
Nigh to the towering buildings, flowers wound the traveler's heart, Amidst myriad perils, I ascend this height.
锦江春色来天地，玉垒浮云变古今。
jǐn jiāng chūn sè lái tiān dì ， yù lěi fú yún biàn gǔ jīn 。
The scenic splendor of Jin River embraces the world, ushering in spring, Floating clouds above Jade Fortress echo the ancient and modern.
北极朝廷终不改，西山寇盗莫相侵。
běi jí zhāo tíng zhōng bù gǎi ， xī shān kòu dào mò xiāng qīn 。
Though the imperial court endures troubles, it shall remain unchanged, Let no invaders intrude upon the Western Mountains.
可怜后主还祠庙，日暮聊为《梁甫吟》。
kě lián hòu zhǔ huán cí miào ， rì mù liáo wéi 《 liáng fǔ yín 》。
Pity the fallen emperor's return to the temple, At dusk, I console myself with the chant of "Liangfu."
Background
This poem was composed by Du Fu in the spring of the year 764 AD, while he resided in Chengdu. By that time, the nation faced both internal and external challenges. Upon hearing the news of his dear friend Yan Wu's (严武) appointment as the Chengdu magistrate and the commander of the military in the region, the poet was filled with joy. During a late spring evening, Du Fu ascended a tower, and inspired by his emotions, he wrote this poem.
Overview
This poem combines scenic depictions with emotional expression, intertwining the turbulent state of the country, the poet's own sentiments, and the current landscape. The language is concise, the rhymes are well-structured, the tone is majestic, and the imagery is vast and profound, fully embodying the poet's melancholic and powerful poetic style.
This strict-form heptameter displays exceptional craftsmanship. The second and third couplets have a flowing water pattern, giving a sense of dynamic movement. The poet skillfully refines the fifth character in each line (except the last). The first line with "伤" sets a mournful atmosphere and creates a strong suspense. The third line's "来" enhances the majestic and imposing imagery of the Jinjiang River in spring, evoking a stirring experience. The fourth line's "变" has a double meaning, evoking endless associations and imaginations. The fifth line's "终" carries a sense of relief, blessing, and confidence, leading to the powerful "莫" in the sixth line, intimidating any enemies. The seventh line's "还" expresses disdain for ancient and modern foolish rulers. Only the last line, with "聊," conveys the poet's helplessness and sorrow, echoing with the second line's "此."
The "近" in the first line and "暮" in the last line play a prominent role in the poem's construction. The poem portrays a view from a tower, surveying the landscape and historical sites in both space and time. The juxtaposition of distant and nearby scenes enhances the three-dimensional quality of the poem's imagery, creating a vast and grand poetic realm.
Line Breakdown
花近高楼伤客心，万方多难此登临。
Nigh to the towering buildings, flowers wound the traveler's heart, Amidst myriad perils, I ascend this height.
The poem is guided by the theme of "countless difficulties in myriad directions," which serves as the starting point for depicting scenery and expressing emotions. In such a time of numerous hardships, the wandering poet is filled with sorrowful thoughts. Despite being surrounded by blooming flowers, the poet's heart is burdened by the nation's calamities, leading to even deeper melancholy. The juxtaposition of the joyful scene of flowers with the poet's mournful emotions. It is akin to the line from his other poem, Spring prospect, "tears splatter amid the joy of the season"
“感时花溅泪”《春望》
In terms of the structure, the poem first portrays the unusual phenomenon of the poet's saddened heart amidst the flowers, and then attributes it to the countless difficulties in myriad directions through a reversal of cause and effect, thus creating a sudden and powerful impact. The phrase "ascending the tower (登临)" acts as a pivotal point, lifting up the various feelings and perspectives below.
锦江春色来天地，玉垒浮云变古今。
The scenic splendor of Jin River embraces the world, ushering in spring, Floating clouds above Jade Fortress echo the ancient and modern.
The poet begins by depicting the magnificent landscape seen from the tower, painting a vivid picture of the majestic mountains and flowing river. The Jin River flows vigorously between the heavens and earth, imbuing the scene with the vitality of spring. Atop the Jade Rampart, the drifting clouds remind the poet of the turbulent state of the nation, symbolizing the ever-changing fortunes of history. The first line expands the scenery in space, while the second line extends it in time, thus creating a vast and profound artistic conception. Within this, the poet's profound love for the nation and reminiscence of its historical events are embedded. Moreover, as the poet stands atop the tower with a broad view, he intentionally gazes towards the northwest, signifying his heartfelt concern for the nation and people. In this moment, the poet's towering image of concern for the nation and its people comes alive on the paper.
北极朝廷终不改，西山寇盗莫相侵。
Though the imperial court endures troubles, it shall remain unchanged, Let no invaders intrude upon the Western Mountains.
The poet shifts his focus to the nation's warfare. While standing on the tower, his gaze extends beyond the drifting clouds to contemplate the current state of the country. Despite the tumultuous storms that have shaken the Tang court, Emperor Dezong has returned to Chang'an, symbolizing that the fundamental essence of the nation remains unaltered. This echoes the preceding line, "changes of ancient and modern times," (“终不改”) and reveals the poet's profound patriotism. The subsequent line, "invaders" (寇盗) and "encroach," (相侵) further elaborates on the "many hardships" (万方多难) mentioned earlier, serving as a stern warning to the Tibetan invaders: "Do not futilely attempt to invade and disturb our land again!"
“莫再徒劳无益地前来侵扰！”
The words are forthright and the meaning is clear, reflecting unwavering conviction amidst the burning anxiety.
可怜后主还祠庙，日暮聊为《梁甫吟》。
Pity the fallen emperor's return to the temple, At dusk, I console myself with the chant of "Liangfu."
The term "Last Emperor" refers to Liu Chan (刘禅) of Shu Han (蜀汉), who was misled and controlled by eunuchs, eventually leading to the downfall of the kingdom. In Chengdu, outside the Jin Guan Men, lie the temples of Liu Bei and Liu Chan, with the Wu Hou Shrine to the west and the Last Emperor Shrine to the east. "Liangfu Chant" 《梁甫吟》 is a lyric poem that Zhuge Liang enjoyed reciting when he was in the presence of Liu Bei, symbolizing the poet's admiration for Zhuge Liang.
Standing atop the tower, the poet ponders and contemplates, and soon the sun sets. In the vast twilight, the temples of the former and last emperors can faintly be seen to the south of the city. Reflecting on Liu Chan, the poet cannot help but sigh with sorrow: "How pitiable is that incompetent ruler who led the country to ruin, being associated with Zhuge Liang, and confined to the temples, only enjoying the incense and prayers from future generations!"
“可怜那亡国昏君，竟也配和诸葛武侯一样，专居祠庙，歆享后人香火！”
This comparison draws a parallel between Liu Chan and Emperor Daizong (唐代宗李豫) of the Tang dynasty. Emperor Dezong relied heavily on eunuchs such as Cheng Yuanzhen and Yu Chao'en, resulting in a precarious political situation and the invasion of Tubo, a situation remarkably similar to Liu Chan's reliance on Huang Hao. The poet, burdened with aspirations to serve the country, finds himself lacking a path to contribute and, in a distant land under a setting sun, filled with worries and concerns, can only console himself by composing verses.