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

Spring in the Han Palace: On the Arrival of Spring

Spring has returned at last to deck the hair
Of courtly maids with fluttering silk and spring-wrought gear.
Yet sudden gales and driving rains still dare
To harbor winter's lingering chill and fear.
The swallows of last year, I well surmise,
Dream back tonight to walk the western lawn,
Unready yet with yellow citrus prize
Or green spring leeks upon the banquet dawn.
The eastern wind is now a restless sprite,
That dyes the willows and imbues the plum,
Denying earth a moment's respite light,
As busy seasons to the mirror come.
It turns the youthful crimson cheek to gray,
While quiet sorrow weaves its endless chain;
Who knows the art to untie grief away?
I dread to watch the petals wax and wane,
When morning brings the wild geese home again.
春已歸來,看美人頭上,嫋嫋春幡。
無端風雨,未肯收盡餘寒。
年時燕子,料今宵、夢到西園。
渾未辦、黃柑薦酒,更傳青韭堆盤。
卻笑東風從此,便薰梅染柳,更沒些閒。
閒時又來鏡裏,轉變朱顏。
清愁不斷,問何人、會解連環。
生怕見、花開花落,朝來塞雁先還。
chūn yǐ guī lái, kàn měi rén tóu shàng, niǎo niǎo chūn fān.
wú duān fēng yǔ, wèi kěn shōu jǐn yú hán.
nián shí yàn zi, liào jīn xiāo mèng dào xī yuán.
hún wèi bàn huáng gān jiàn jiǔ, gèng chuán qīng jiǔ duī pán.
què xiào dōng fēng cóng cǐ, biàn xūn méi rǎn liǔ, gèng méi xiē xián.
xíán shí yòu lái jìng lǐ, zhuǎn biàn zhū yán.
qīng chóu bù duàn, wèn hé rén huì jiě lián huán.
sēng pà jiàn huā kāi huā luò, zhāo lái sāi yàn xiān hán.
Spring already has returned, look beauties' on heads, fluttering spring banners.
Groundless wind rain, not yet willing to withdraw all remaining chill.
Year's time swallows, reckon this evening dreams arrive at west garden.
Altogether not prepared yellow citrus to recommend wine, further passing green leeks piled on plate.
Yet laugh east wind from henceforth, then scenting plums dyeing willows, no more any leisure.
Leisure time again comes into mirror, transforming vermilion face.
Clear sorrow unceasing, ask what person can understand interlocking rings.
Extreme fear to see flowers open flowers fall, morning coming border geese first return.

I. Formal Poetic Architecture & Meter

This lyric is composed to the ci tune title Spring in the Han Palace (Han gong chun), classified as a double-stanza (shuangdiao) long ci format. The prosody follows strict Song-dynasty tonal meters and rhythmic caesuras, balancing rapid narrative movement with elegiac pauses. The rhyme scheme shifts dynamically across stanzas, utilizing level and oblique rhymes that mirror the shifting emotional landscape from external vernal observations to interior melancholic introspection. The architectural movement begins outward with public signs of spring, moves inward to domestic preparations, shifts to philosophical reflections on aging, and concludes on a poignant note of migratory sorrow.

II. Historical Chronology & Existential Impulse

Written during Xin Qiji's politically enforced retirement in the rural Jiangxi countryside, this piece encapsulates the mature Southern Song literatus's existential weariness. Barred from military service and government restoration efforts, Xin projects his acute frustration with the corrupt court and the relentless passage of time onto the changing seasons. The vernal return does not bring political renewal or national recovery, but merely emphasizes personal aging, unmet ambitions, and the tragic state of a divided dynasty.

III. Line-by-Line Exegesis & Allusion Decoding

  • Lines 1-2 (Opening Couplet): Spring has already returned, observed through the delicate fluttering of spring banners on women's hair. Yet, without reason, wind and rain linger, unwilling to dispel the residual winter chill.
  • Lines 3-4 (Couplet): The swallows of yesteryear surely dream tonight of the western garden. There has been no time to prepare yellow citrus fruits for wine or pile fresh green leeks on platters.
  • Lines 5-8 (Internal Transition): One mocks the east wind for never resting, constantly scenting plums and dyeing willows without a moment of leisure. Yet when it is idle, it returns to the mirror to alter rosy youthful faces into age.
  • Lines 9-12 (Closing Couplet): Pure sorrows are endless; who is there that can untie the interlocking ring? Above all, one dreads witnessing flowers bloom and fall, while the northern wild geese return early with the morning frost.

IV. Aesthetic Synthesis & Poetic Aftertaste

The poem achieves a masterful synthesis of delicate sensory observation and profound geopolitical lament. By intertwining the trivial markers of seasonal custom with the heavy burden of unfulfilled patriotism, Xin Qiji transforms a standard spring lament into a poignant meditation on time, loss, and state decay. The lingering aftertaste is one of poignant solitude, where the beauty of nature serves only to accentuate the irrevocable decline of both man and empire.

Link copied to clipboard!