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

Changgan Ballad: I

My hair hung freshly down my brow,
I played before the door with flowers.
You rode a bamboo horse to bow,
And tossed green plums through youthful hours.
We dwelt in Changgan side by side,
Two children, free of doubt and fear.
At fourteen I became your bride,
Too shy to lift my veil, my dear.
I hung my head toward the wall,
And would not turn for any call.
At fifteen I unbent my brow,
And vowed to be your dust and clay,
To hold the faith of ancient vow,
Nor scale the watcher's height astray.
At sixteen you set out afar,
Beyond the dangerous Qutang tide,
Where roaring reefs and waters are,
And weeping gibbons pierce the skies.
Before our door the prints you left
Are covered thick with emerald moss;
The autumn winds sweep through the cleft,
And fallen leaves declare our loss.
The deep green moss cannot be swept,
The butterflies in pairs appear;
I sit alone where vows were kept,
And watch my rosy youth grow sear.
Oh, when you sail the gorges down,
Send word ahead to reach our home;
I'll walk to greet you past the town,
To Changfeng Sands I'll gladly roam.
妾髮初覆額,折花門前劇。
郎騎竹馬來,遶牀弄青梅。
同居長幹裏,兩小無嫌猜。
十四爲君婦,羞顏尚不開。
低頭向暗壁,千喚不一迴。
十五始展眉,願同塵與灰。
常存抱柱信,豈上望夫臺。
十六君遠行,瞿塘灩預堆。
五月不可觸,猨鳴天上哀。
門前遲行跡,一一生綠苔。
苔深不能掃,落葉秋風早。
八月蝴蝶來,雙飛西園草。
感此傷妾心,坐愁紅顏老。
早晚下三巴,預將書報家。
相迎不道遠,直至長風沙。
qiè fà chū fù é,
zé huā mén qián jù.
lang qí zhú mǎ lái,
rào chuáng nòng qīng méi.
tóng jū cháng gàn lǐ,
liǎng xiǎo wú xián cāi.
sì shí wéi jūn fù,
xiū yán shàng bù kāi.
dī tóu xiàng àn bì,
qiān huàn bù yī huí.
shí wǔ shǐ zhǎn méi,
yuàn tóng chén yǔ huī.
cháng cún bào zhù xìn,
qǐ shàng wàng fū tái.
shí liù jūn yuǎn xíng,
qú táng yàn yù duī.
wǔ yuè bù kě chù,
yuán míng tiān shàng āi.
mén qián chí xíng jī,
yī yī shēng lǜ tái.
tái shēn bù néng sǎo,
luò yè qiū fēng zǎo.
bā yuè hú dié lái,
shuāng fēi xī yuán cǎo.
gǎn cǐ shāng qiè xīn,
zuò chóu hóng yán lǎo.
zǎo wǎn xià sān bā,
yù jiāng shū bào jiā.
xiāng yíng bù dào yuǎn,
zhí zhì cháng fēng shā.
My hair first covered the forehead,
Gathering flowers, at the door I played.
You came riding a bamboo horse,
Around the bed, playing with green plums.
Together we dwelt in Changgan lane,
Both young, without suspicion or doubt.
At fourteen I became your wife,
Bashful face still not unfolding.
Lowering my head toward the dark wall,
A thousand calls, not a single turn back.
At fifteen I began to smooth my brows,
Wishing to be dust and ashes with you.
Ever keeping the embrace-pillar faith,
How could I climb the husband-watching terrace?
At sixteen you journeyed far away,
Qutang Gorge and the Yanyu Stacks.
In the fifth month, impossible to touch,
Gibbons wail, in the heavens grief.
Before the gate, the lingering footsteps,
One by one, green moss grows.
Moss too deep to sweep away,
Fallen leaves, autumn wind comes early.
In the eighth month butterflies arrive,
Pair-flying in the western garden grass.
Moved by this, it wounds my heart,
Sitting and sorrowing, my rosy face ages.
Soon or late descending the Three Gorges,
Send ahead a letter to notify home.
Meeting each other, I will not call it far,
Right up to Changfeng Sands.

I. Formal Poetic Architecture & Meter

This masterpiece is composed in the classic Five-Character Old Style Verse format, which permits narrative fluidity and structural freedom unfettered by the strict tonal constraints of later regulated poetry. Li Bai employs a shifting temporal cadence, guiding the reader gracefully through chronological milestones from prepubescent innocence to mature wifely devotion. The poem relies on fluid couplets with shifting end-rhymes that modulate in pitch and acoustic resonance to match the psychological evolution of the speaker, shifting from lively dactyls of childhood play to the heavy, elegiac monosyllables of separation and longing.

II. Historical Chronology & Existential Impulse

Set against the bustling riverine backdrop of the Tang Dynasty commercial hub of Changgan near modern Nanjing, the poem captures the emotional reality of merchant wives in ancient China whose husbands regularly braved the treacherous inland river routes of the Upper Yangtze. Li Bai masterfuly adopts a female persona to dramatize the psychological topography of separation, loyalty, and fidelity. Rooted in the rich southern ballad traditions of the Yuefu style, the poem transforms an everyday domestic reality into an enduring archetype of enduring romantic devotion.

III. Line-by-Line Exegesis & Allusion Decoding

The poem unfolds as a sequential dramatic monologue, balancing intimate domestic vignettes with expansive geographical markers along the Yangtze waterway.

  • Lines 1-2 (Opening Couplet): Line 1 ("My hair first covered the forehead") and Line 2 ("Gathering flowers, at the door I played") establish the prepubescent innocence of the speaker through concrete, tactile imagery of childhood play.
  • Lines 3-4 (First Antithetical Turn): Line 3 ("You came riding a bamboo horse") and Line 4 ("Around the bed, playing with green plums") introduce the future husband via classic juvenile games, creating the iconic idiom for childhood sweethearts.
  • Lines 5-6 (Second Antithetical Turn / Climax): Line 11 ("Ever keeping the embrace-pillar faith") invokes the classical legend of the ancient man who waited faithfully for his lover beneath a bridge until rising floodwaters drowned him, establishing an absolute moral commitment that preempts any despairing climb up the husband-watching terrace.
  • Closing Lines (Resolving Couplet): Line 23 ("Meeting each other, I will not call it far") and Line 24 ("Right up to Changfeng Sands") resolve the poem with an expansive geographic gesture of utter devotion, willing to travel immense distances just to welcome her returning husband.

IV. Cultural Symbolism & Key Metaphors

The poem is densely layered with traditional cultural tokens that resonate deeply within classical Chinese aesthetics:

  • Green Plums and Bamboo Horses: These natural objects permanently enriched the Chinese lexicon, becoming the definitive metaphor for innocent childhood romance and pre-marital intimacy.
  • Moss and Fallen Leaves: The accumulation of deep green moss in Line 19 ("Moss too deep to sweep away") and early autumn leaves visually objectifies the passage of time, spatial abandonment, and the physical weight of loneliness.

V. Philosophical Core & Global Resonance

The philosophical heart of the ballad lies in the tension between the ephemeral nature of human commerce—symbolized by the dangerous river journeys through the gorges—and the absolute permanence of heartfelt loyalty. By fusing Daoist natural imagery with Confucian wifely duty, Li Bai elevates a common merchant's wife into a universal symbol of human fidelity. The poem resonates across global literary traditions because it captures the fundamental vulnerability of parting coupled with the courageous defiance of time through enduring love.

Link copied to clipboard!