SINOPOEMS
BOOKMARK
To bookmark this poem:
Press Ctrl + D (Windows) or ⌘ + D (Mac).

Hidden Fragrance: Memories of Plum Blossoms by West Lake

The moonlight of bygone days,
how often it shone upon me, playing the flute beside the plum blossoms,
waking my jade-like companion who cared nothing for the biting chill or the snapping of the boughs.
Like He Xun, I am growing old now, having quite forgotten the lyric brush of the spring breeze.
Only I wonder at the sparse blossoms beyond the bamboo, their cold fragrance drifting onto the jade-adorned mat.
The river realms
lie utterly desolate.
I sigh that the road for sending messages is long, with night snow newly piled.
Over the emerald goblet, tears flow easily;
the red calyxes, speechless, gleam with our shared memories.
I forever recall the place where we once walked hand in hand,
when a thousand trees weighed heavy over the cold, emerald waters of West Lake.
Now, petal by petal, the wind blows them all away—
when shall I ever see them again?
舊時月色。
算幾番照我,梅邊吹笛。
喚起玉人,不管清寒與攀摘。
何遜而今漸老,都忘卻、春風詞筆。
但怪得、竹外疏花,香冷入瑤席。
江國。
正寂寂。
嘆寄與路遙,夜雪初積。
翠尊易泣。
紅萼無言耿相憶。
長記曾攜手處,千樹壓、西湖寒碧。
又片片、吹盡也,幾時見得。
jiù shí yuè sè.
suàn jī fān zhào wǒ, méi biān chuī dí.
huàn qǐ yù rén, bù guǎn qīng hán yǔ pān zhāi.
hé xùn ér jīn jiàn lǎo, dōu wàng què, chūn fēng cí bǐ.
dàn guài de, zhú wài shū huā, xiāng lěng rù yáo xí.
jiāng guó.
zhèng jì jì.
tàn jì yǔ lù yáo, yè xuě chū jī.
cuì zūn yì qì.
hóng è wú yán gěng xiāng yì.
zhǎng jì céng xié shǒu chù, qiān shù yā, xī hú hán bì.
yòu piàn piàn, chuī jìn yě, jǐ shí jiàn de.
Old times moon color.
Reckon how many times illuminate me, plum border playing flute.
Awaken jade person, not caring clear cold and breaking plucking.
He Xun now gradually old, all forgotten spring wind lyric brush.
Only wonder at, bamboo outside sparse flower, fragrance cold enters jade mat.
River country.
Just desolate.
Sighing sending to road distant, night snow newly accumulated.
Emerald goblet easy to weep.
Red calyx silent gleams mutual memory.
Long remembering once hand-held place, thousand trees press West Lake cold jade-green.
Again piece by piece, blown exhaust also, when time seeable.

I. Formal Poetic Architecture & Meter

This lyric, titled 'An Xiang' (Hidden Fragrance), is composed in the Ci poetic form to the designated tune 'An Xiang Man' (Slow Melody of Hidden Fragrance), invented by Jiang Baishi (Jiang Kui) himself. The piece is structured into a double-stave (shuangdiao) layout comprising 97 characters, characterized by uneven line lengths, frequent rhythmic shifts, and an intricate rhyming scheme that alternates between level (ping) and deflected (ze) tones to mirror the fluctuating emotional landscape of melancholy and remembrance. The architectural movement of the lyric proceeds inward from external natural imagery—the moonlit plum blossoms—to the intimate chamber, and finally expands outward to the vast, snow-bound landscape of the Jiangnan region, creating a cyclic journey of sorrow.

II. Historical Chronology & Existential Impulse

Written during the late Southern Song dynasty, likely in the winter of 1197 while Jiang Kui was sojourning near Hubei, the poem reflects the bittersweet life of an itinerant scholar-artist. Displaced by political turmoil and aging without securing a stable official post, Jiang Kui channels his nostalgia for past romantic encounters and lost youth into an elegy for the fading elegance of the Southern Song literati culture. The existential impulse of the poem arises from the acute awareness of time's passage, juxtaposing the enduring, indifferent beauty of nature with human mortality and separation.

III. Line-by-Line Exegesis & Allusion Decoding

  • Lines 1-3 (Opening Section): The lyric opens with the evocative memory of moonlight from former days, which witnessed the poet playing the flute beside the plum blossoms. The awakening of the jade-like beauty (yuren) to break off the blossoms despite the biting cold establishes a mood of refined yet poignant intimacy.
  • Lines 4-6 (Transition to Present): Invoking the Han dynasty poet He Xun, who was renowned for his verse on plum blossoms, Jiang Kui laments that he is now growing old and has entirely forgotten the spirited brushwork of his spring days. Yet, the subtle fragrance of sparse blossoms piercing through the bamboo screen into the jade mat startles him into renewed awareness.
  • Lines 7-10 (Middle Section): The setting shifts to the desolate Jiangnan countryside during a silent, lonely night. The poet sighs over the impossibility of sending a poetic token of remembrance across distant roads blocked by newly accumulated night snow.
  • Lines 11-13 (Culmination of Lament): The jade wine cup easily moves him to tears as the red petals silently gleam in mutual longing. He vividly recalls the past days of holding hands beneath the thousands of frost-laden plum trees reflecting upon the cold, emerald waters of West Lake.
  • Lines 14-15 (Closing Section): The poem concludes with the heartrending image of the petals being completely blown away by the wind, leaving the poet to ponder with profound desolation when they will ever meet again.

IV. Aesthetic Synthesis & Poetic Aftertaste

'An Xiang' stands as one of the supreme masterpieces of Southern Song Ci poetry, celebrated for its creation of 'empty and remote' (kongling) artistry. Jiang Kui avoids overt emotional outbursts, choosing instead to convey profound sorrow through understated symbolism, musical cadence, and delicate sensory details—the cold fragrance, the moonlight, and the falling snow. The lingering aftertaste is one of ethereal detachment mingled with incurable melancholy, securing the poem's canonical status in Chinese literary history.

Link copied to clipboard!