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King of Lanling: Remembering Bianjing

Rolled up are the red pearl blinds,
the morning rain and lingering gloom now clear.
Beyond the balustrade, misty willows flirt with returning sun,
while fragrant grasses edge the steps to meet the glowing peonies.
The bitter eastern wind, jealous of petals,
strikes them down—
the tender buds upon the bough.
Behind the folding screen, the aloeswood incense burns low,
a wine-heavy heart now shuns the wine-cup's reach.
I search back to the old northern capital,
when youth was wild and free in reckless song and drunken mirth.
The lacquered carriage hurried our morning toilette.
We rode together down the imperial avenues,
wandered hand in hand through Shanglin Park,
making early vows just as the Lantern Festival passed.
Who could have dreamed of this adrift in exile?
So desolate,
recounting vanished joys.
Now cosmetic powder fades upon my lapel,
the zither strings are snapped and silent.
Jade branches and jasper moon, spring is just as it was before.
I grieve that since our parting, upon the tomb-post pillars,
when shall the twin cranes ever return?
Such yearning can be eased only here:
in depths of wine, to temporarily forget.
卷朱箔。
朝雨輕陰乍閣。
闌干外,煙柳弄晴,芳草侵階映紅藥。
東風妒花惡。
吹落。
梢頭嫩萼。
屏山掩,瀋水倦燻,中酒心情怕杯勺。
尋思舊京洛。
正年少疏狂,歌笑迷著。
障泥油壁催梳掠。
曾馳道同載,上林攜手,燈夜初過早共約。
又爭信漂泊。
寂寞。
念行樂。
甚粉淡衣襟,音斷絃索。
瓊枝璧月春如昨。
悵別後華表,那回雙鶴。
相思除是,向醉裏、暫忘卻。
juǎn zhū bó.
zhāo yǔ qīng yīn zhà gé.
lán gān wài, yān liǔ nòng qíng, fāng cǎo qīn jiē yìng hóng yào.
dōng fēng dù huā è.
chuī luò.
shāo tóu nèn è.
píng shān yǎn, shěn shuǐ juàn xūn, zhòng jiǔ xīn qíng pà bēi sháo.
xún sī jiù jīng luò.
zhèng nián shào shū kuáng, gē xiào mí zhe.
zhàng ní yóu bì cuī shū lüè.
céng chí dào tóng zài, shàng lín xié shǒu, dēng yè chū guò zǎo gòng yuē.
yòu zhēng xìn piāo bó.
jì mò.
niàn xíng lè.
shèn fěn dàn yī jīn, yīn duàn xián suǒ.
qióng zhī bì yuè chūn rú zuò.
chàng bié hòu huá biǎo, nà huí shuāng hè.
xiāng sī chú shì, xiàng zuì lǐ, zàn wàng què.
Rolling up the red pearl-blinds.
Morning rain and light gloom suddenly cease.
Outside the balustrade, misty willows dally with the clear weather, fragrant grasses encroach upon the steps, reflecting red peonies.
East wind envies flowers maliciously.
Blown down.
Tender buds at the twig-tips.
Screen-mountain is masked, aloeswood incense is weary of burning, suffering from wine-hangover, the heart fears cups and ladles.
Recalling the old capital of Luoyang.
Just when young and wildly free, song and laughter were bewitching.
Mud-shield oil-carriages urged combing and sweeping.
Once on the imperial way we rode together, at Shanglin we walked hand in hand, the lantern festival having just passed, early we made our pacts.
Who could believe we would drift in exile.
Desolate.
Thinking of former joys.
Why is face powder faint upon lapels, strings of the zither broken?
Jade branches and jasper moon, spring is just like yesterday.
Lamenting that since parting, at the Huaruo pillars, when do the twin cranes return?
Mutual longing, save for this, is to seek in drunkenness a temporary forgetting.

I. Formal Poetic Architecture & Meter

This ci lyric is composed to the tune of "King of Lanling" (Lanling Wang), a famously long, complex double-stanza meter attributed to Zhou Bangyan. The entire piece unfolds across twin movements, utilizing shifting rhyme schemes and alternating line lengths to mimic a meandering, hesitant psychological flow. The meter shifts fluidly from brisk, staccato four-character phrases in the opening to expansive, flowing lines that mirror the emotional heaviness of retrospection. Tones are meticulously regulated according to Southern Song standard ci prosody, creating internal musical cadences that build toward the poignant emotional peaks in the concluding lines.

II. Historical Chronology & Existential Impulse

Zhang Yuanan (1091-c. 1361) lived through the cataclysmic transition of the Northern to the Southern Song dynasty—the loss of Bianjing (Kaifeng) to the Jurchen Jin forces and the humiliating flight south of the imperial court. This lyric is a masterpiece of late-life lamentation, looking back from a displaced southern vantage point to the vanished glory days of his youth in the northern capital. The existential impulse is driven by survivor's guilt, intense nostalgia, and the unbearable contrast between carefree youthful romanticism in the imperial capital and the dreary, isolated reality of wartime exile.

III. Line-by-Line Exegesis & Allusion Decoding

  • Lines 1-6 (Opening Couplet & Movement): Rolling up the vermilion blinds (Juan zhu bo), the speaker observes the morning rain clearing briefly into a light overcast (Chao yu qing yin zha ge). Outside the balustrade, misty willows play in the returning sunlight while fragrant grasses creep up the steps, contrasting with blooming red peonies (Lan gan wai, yan liu nong qing, fang cao qin jie ying hong yao). Suddenly, the east wind reveals its malicious jealousy of the blossoms (Dong feng du hua e), blowing down the tender flower buds from the branch tips (Chui luo, shao tou nen e).
  • Lines 7-12 (Interior Transition): Screens are folded shut (Ping shan yan), and the agarwood in the incense burner grows cold and weary from burning (Shen shui juan xun), mirroring the speaker's hangover and deep dread at the sight of wine cups (Zhong jiu xin qing pa bei shao). He begins to ponder and search his memories of the old capital of Luoyang (Xun si jiu Jingluo). Back then, he was young, wild, and unrestrained (Zheng nian shao shu kuang), utterly infatuated with song, laughter, and merrymaking (Ge xiao mi zhe).
  • Lines 13-20 (Reminiscence of Capital Splendor): Elaborate carriages with oiled-leather mudguards urged hasty grooming and dressing (Zhang ni you bi cui shu lue). On the grand imperial avenues, they once rode side by side; in the Shanglin Park, they walked hand in hand (Zeng chi dao tong zai, Shang lin xie shou). They made early pacts for the festival lantern nights just passed (Deng ye chu guo zao gong yue). Yet who could ever believe things would come to this bitter displacement (You zheng xin piao bo)? Loneliness prevails (Ji mo), and the memory of past pleasures only deepens the pain (Nian xing le).
  • Lines 21-26 (Closing Couplet & Resolution): Even now, powdered cosmetics fade on garments, and strings snap on zithers, cutting off all communication (Shen fen dan yi jin, yin duan xian suo). Spring remains as jade branches and jasper moons, just as it was before (Qiong zhi bi yue chun ru zuo). Yet he grieves that since their parting, it is like the return of the two cranes to the Huabo Column (Chang bie hou hua bua, na hui shuang he). For such overwhelming mutual longing, the only remedy is to plunge into intoxication and briefly forget (Xiang si chu shi, xiang zui li, zan wang que).

IV. Aesthetic Synthesis & Poetic Aftertaste

Zhang Yuanan's setting of "King of Lanling" achieves a poignant synthesis of personal grief and national trauma. By wedding the conventions of elite courtesan-quarter nostalgia with the devastating historical reality of the Song dynasty's collapse, the poem transcends conventional lament. The shift from vibrant spring imagery to oppressive indoor gloom, and finally to the bittersweet haze of alcohol-induced forgetfulness, leaves a lingering aesthetic aftertaste of profound melancholy. It stands as a pinnacle of Southern Song ci writing, capturing the tragic psychological landscape of an entire displaced literati generation.

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