丽人行 The Walk of the Beautiful
三月三日天气新，长安水边多丽人。
sān yuè sān rì tiān qì xīn ， cháng ān shuǐ biān duō lì rén 。
态浓意远淑且真，肌理细腻骨肉匀。
tài nóng yì yuǎn shū qiězhēn ， jīlǐ xì nì gǔ ròu yún 。
绣罗衣裳照暮春，蹙金孔雀银麒麟。
xiù luó yī cháng zhào mùchūn ， cùjīn kǒng què yín qí lín 。
头上何所有？翠微匎叶垂鬓唇。
tóu shàng hé suǒ yǒu ？ cuì wēi chú yè chuí bìn chún 。
背后何所见？珠压腰衱稳称身。
bèi hòu hé suǒ jiàn ？ zhū yā yāo guà wěn chēng shēn 。
就中云幕椒房亲，赐名大国虢与秦。
jiù zhōng yún mù jiāo fángqīn ， cìmíng dà guó guó yǔ qín 。
紫驼之峰出翠釜，水精之盘行素鳞。
zǐ tuó zhī fēng chū cuì fǔ ， shuǐ jīng zhī pán xíng sù lín 。
犀箸厌饫久未下，鸾刀缕切空纷纶。
xī zhù yàn yù jiǔ wèi xià ， luán dāo lǚ qiē kōng fēn lún 。
黄门飞鞚不动尘，御厨络绎送八珍。
huáng mén fēi yù bù dòng chén ， yù chú luò yì sòng bā zhēn 。
箫鼓哀吟感鬼神，宾从杂遝实要津。
xiāo gǔ āi yín gǎn guǐ shén， bīn cóng zá gi shí yào jīn 。
后来鞍马何逡巡，当轩下马入锦茵。
hòu lái ān mǎ hé qūn xún ， dāng xuān xià mǎ rù jǐn yīn 。
杨花雪落覆白苹，青鸟飞去衔红巾。
yáng huā xuě luò fù bái píng ， qīng niǎo fēi qù xián hóng jīn 。
炙手可热势绝伦，慎莫近前丞相嗔！
zhì shǒu kě rè shì jué lún ， shèn mò jìn qián chéng xiāng chēn ！
Background
Since Wu Zetian’s (武后) reign during the Tang Dynasty, the emperor’s relatives frequently dominated power within the ruling class. This formed a special interest group that incited strong discontent among the populace and was a primary cause of the subsequent An Lushan Rebellion (安史之乱) . Additionally, in November of the eleventh year of the Tianbao era (752AD), Yang Guozhong (杨国忠) was appointed as both right prime minister and minister of education. His power was immense in both the court and among the public. This poem was likely composed in the spring of the twelfth year of the Tianbao era (753AD).
Overview
The poem satirizes the Yang siblings’ indulgent and debauched lifestyle, indirectly reflecting the emperor’s incompetence and the government’s corruption, ultimately leading to the An Lushan Rebellion.
Literary works should reveal their tendencies naturally through scenes and plot rather than being explicitly stated by the author. “Li Ren Xing” is such a work. The poet describes short scenes and plot meticulously, with bright colors, without any slickness or caricature.
In this poem, the poet exposes decadence and is a condemnation to the evil being seen. The strength of which is stronger than ordinary light satire.
The whole poem can be seen as a painting, resplendent and gorgeous. With writing delicate and vivid, yet subtle and restrained. Without abruptness, allowing readers to perceive the implied meaning. The language is elaborately arranged, combining richness and elegance with a sense of clarity and strength. Although there is no explicit language of satire, the vivid depiction contains a sharp blade that cuts deep, conveying a mockery that hits true.
First Section
三月三日天气新，长安水边多丽人。
On the third day of March, the weather turns new, Chang'an's water's edge abounds with lovely ladies, too.
Du Fu first sets the stage for the poem describing the many beautiful women strolling by the River at Chang An (长安).
态浓意远淑且真，肌理细腻骨肉匀。
Graceful and sincere, both refined and true, Their flesh and bone alike, their skin smooth and fine.
绣罗衣裳照暮春，蹙金孔雀银麒麟。
Embroidered silks and fine brocades, as spring days fade, Tightly cinched with golden peacocks and silver kirin, displayed.
头上何所有？翠微匎叶垂鬓唇。
What lies upon their heads? Jade hairpins and tassels green, Falling upon their temples and delicate lips serene.
背后何所见？珠压腰衱稳称身。
What can be seen behind them? Pearl tassels at their waist, Adorning their figures, perfect in fit and taste.
The following eight lines are derived from the folk song expression technique of repetition and variation. Previous scholars have noted the satire of using the gongbi painting method to depict the ladies’ clothing in this poem. Hu Xiake (胡夏客) said, “Emperor Xuanzong of Tang once told his ministers, ‘During my reign, there were only two brocade jackets with golden sparrows in the imperial household, one for me and one for the empress. Now, every household of yours has one.’
“唐宣宗尝语大臣曰：‘玄宗时内府锦袄二，饰以金雀，一自御，一与贵妃；今则卿等家家有之矣。’
This poem is likely a reflection of Yang Guifei’s dress inspired by the imperial palace. In any case, the luxurious attire of the beautiful women is observed, and they are clearly not ordinary.
Several poems by Xin Yannian (辛延年) also describe the scene.
“Hu Ji was fifteen years old, standing alone on the platform in spring. She wore a long dress with a connected belt and a jacket with wide sleeves. A Blue Field Jade was on her head and a Great Qin Pearl behind her ears. Her two maids were so graceful and beautiful that the world had never seen their likes.”
“胡姬年十五，春日独当垆。长裾连理带，广袖合欢襦。头上蓝田玉，耳后大秦珠。两鬟何窈窕，一世良所无。”-《羽林郎》
“Her hair was styled in a Wa-style bun, and she wore a Bright Moon Pearl in her ears. Her lower skirt was made of yellow silk, and her upper jacket of purple silk.”
“头上倭堕髻，耳中明月珠。缃绮为下裙，紫绮为上襦。”
“I wore my embroidered jacket, with everything well-coordinated. My feet stepped delicately on silk shoes, and my head was adorned with a tortoiseshell hairpin. My waist was as slender as silk, and my ears were adorned with Bright Moon Pearls. My fingers were as slender as scallion roots, and my lips were as red as cinnabar. I walked gracefully, as if floating on air, with every step a work of art.”
《焦仲卿妻》：“着我绣夹裙，事事四五通。足下蹑丝履，头上玳瑁光。腰若流纨素，耳着明月珰。指如削葱根，口如含朱丹。纤纤作细步，精妙世无双。”-《陌上桑》
就中云幕椒房亲，赐名大国虢与秦。
Beneath the canopy, in imperial pavilions near, They are honored with names like Qin and Guo, held dear.
When the writing reaches its climax, the focus shifts to “Among them, the Qinfang Palace of the Clouds is given to the noble women of the Guo and Qin states,”
“就中云幕椒房亲，赐名大国虢与秦”
This shift serves to highlight the presence of the three concubines from the countries of Guo (虢国), Qin (秦国) and Han (韩国) within the group. While emphasizing the portrayal of numerous beautiful women, the focus is on the three concubines, revealing the decadent and extravagant lifestyle of the entire upper-class aristocracy.
Similarly, exquisite dishes emphasize color, fragrance, taste, and presentation.
Second Section
紫驼之峰出翠釜，水精之盘行素鳞。
The peak of Zituo (An ancient food), its emerald pot now shown, As the plate of the water spirit, with scales as white as bone.
The section begins with a description of the exquisite dishware, delicacies, fragrance, and flavor during a feast by the three ladies.
犀箸厌饫久未下，鸾刀缕切空纷纶。
The rhinoceros horn chopsticks lie untouched, While the phoenix-hilted knife, cuts in patterns rushed.
Though these precious and sumptuous delicacies are finely cut and arranged, they are not enjoyed due to their arrogance and waste.
黄门飞鞚不动尘，御厨络绎送八珍。
Yellow gates, fly whips, and dust is nowhere found, As delicacies arrive, endlessly delivered, all around.
As eunuchs arrive with haste and no trace of dust, their discipline and grandeur are evident. The reason for the dispatch of eunuchs with such urgency and abundance is to deliver delicious food and delicacies from the imperial kitchen. To add enjoyment for the Three Ladies.
This depiction is both breathtaking and horrifying.
Emperor Xuanzong’s attention to detail and thoughtfulness cannot be questioned, but his indulgence and recklessness cannot be ignored.
Third Section
箫鼓哀吟感鬼神，宾从杂遝实要津。
The sad sound of pipes and drums, can make one feel possessed, While the guests and servants enter, the hall becomes obsessed.
During the Tang Dynasty, historian Yue Shi (乐史) recorded in his work “The Biography of Yang Taizhen”《杨太真外传》 that a new female performer named Xie Aman (谢阿蛮), skilled in dancing, was introduced to the Emperor and imperial concubine Zhong Nian (钟念).
They were so impressed with her that they invited her to perform in the Qingyuan Palace. (清元小殿) The Prince (宁王) played the jade flute, the Emperor beat the Jia drum (羯鼓), the imperial concubine played the pipa, Ma Xianqi (马仙期) played the Fangxiang, Li Guinian (李龟年) played the dizi, Zhang Yehu (张野狐) played the konghou, and He Huaizhi (贺怀智) clapped his hands.
The lively atmosphere lasted from dawn till noon. Only the younger sister of the imperial concubine sat and watched. After the performance, the Emperor joked, “Aman has made us very happy today. Can she have a gift of one embroidered silk?”
"阿瞒乐籍，今日幸得供养夫人。请一缠头！"
Qin Guo responded, “How can the imperial aunt of the Great Tang not have money to spare?” and promptly offered three million coins for one piece of silk.
秦国曰：‘岂有大唐天子阿姨，无钱用邪？’
This event was witnessed by courtiers responsible for preparing food and performance and became a popular legend among people during the Song Dynasty. The combination of truth and falsehood, presence of cause and effect, and contrast between the refined Emperor’s demeanor and his vulgar behavior can be seen clearly.
This begining line is used to set the scene and create a theatrical atmosphere for the entrance of a new character.
后来鞍马何逡巡，当轩下马入锦茵。
Later, the horses trot, and they turn and weave around, To dismount and enter, the jade carpets surround.
The character approaches on horseback, hesitating and without announcing their arrival. It is clear that he intends to dismount and enter the company of Jin Yin and the three ladies, this scene and sentiment is an unmistakable reference to Yang Baihua. (杨白花)
In the Northern Wei dynasty, Empress Hu had coerced Yang Baihua into an illicit affair. Fearing punishment, Yang fled to the Liang dynasty, changing his name to Yang Hua. The empress, longing for him, composed the song “Yang Baihua,” 《杨白花歌》which contains the line “In autumn gone, returning in spring, a pair of swallows would I have bear Yang flowers to our nest.” “秋去春来双燕子，愿衔杨花入窠里”
“青鸟” or “Green Bird” is a mythical messenger of the Queen Mother of the West (西王母), often used in Tang poetry to refer to characters like “红娘” or “Red Mother”.
Furthermore, the temperature in the Guanzhong region (关中) was relatively high during the time, and Yang flowers (Catkins) would fall during the “Upper Gui” festival on the third day of the third lunar month.
杨花雪落覆白苹，青鸟飞去衔红巾。
The snow falls upon the willow blossoms, white as silk, A blue bird takes flight, with a red ribbon in its bill.
炙手可热势绝伦，慎莫近前丞相嗔！
Burning hot, with power unmatched, Beware, and never approach, or the Prime Minister will be angered, unmatched.
The following two lines appear to be a rhetorical analogy rather than a direct comparison and covertly allude to the lewd behavior of Yang Guozhong (杨国忠) and Lady Guo (虢国夫人).
According to the historian Yue Shi (乐史) in “The Biography of Yang Taizhen,” 《杨太真外传》:
“Lady Guo and Guo Zhong were also involved in indecent behavior. Without any sense of propriety, every time they entered the court to pay their respects, Guo Zhong would ride a horse side by side with Han and Guo, cracking whips and racing, all in the name of humor. More than a hundred officials and servants accompanied them. They held candles and dressed up in bright clothes, parading around as if it were daytime, without any disguise.”
“虢国又与国忠乱焉。略无仪检，每入朝谒，国忠与韩、虢连辔，挥鞭骤马，以为谐谑。从官监妪百余骑。秉烛如昼，鲜装袨服而行，亦无蒙蔽。”
They were so brazen that they dared to flaunt their lewd behavior in public, performing all sorts of vulgar antics for all to see. Nevertheless, even those who were open-minded would not want to reveal their secrets to others, especially when they were drunk and their behavior was out of control, as evidenced by the fact that “before the prime minister arrived, onlookers could still approach, but once he arrived, he scolded and banned them” “先时丞相未至，观者犹得近前，乃其既至，则呵禁赫然” （黄生语）
This was undoubtedly to demonstrate the influence of the prime minister, but beyond the revelry and clinking of glasses was a desire to keep their privacy from prying eyes, which was also an important reason. “Spring colors fill the garden and cannot be contained. A branch of red apricot blooms beyond the wall.”
“春色满园关不住，一枝红杏出墙来”
The red handkerchief held by the green bird as it departed inadvertently or deliberately exposing a portion of the scene.