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Song of the Peach Blossom Spring

A fisher boat pursues the stream, adoring vernal hills,
where peach blooms line both river banks as the waters glide and spill.
He sits and watches crimson woods, unheeding how far he strays,
till the green creek ends in solitude where no man tracks his ways.

He threads the narrow mountain mouth, winding dark and deep,
until the cliffs break suddenly where level plains outleap.
Far off, a cluster of cloud-swept trees; and as he draws more near,
a thousand homes amidst the flowers and bamboos bright appear.

The woodsman tells his Han-dynasty name to villagers amazed,
whose Qin-era garments linger still in times by time erased.
Together in Wuling they dwell, far from the mortal bound,
where rustic farms and quiet fields in isolation found.

Beneath bright moon and pine-shaded eaves, the chambers lie in rest;
at dawn through drifting clouds arise the sounds of hound and crest.
Astonished that a worldly guest has ventured to their shore,
they lead him to their homes and ask of cities as of yore.

At break of day the alleys sweep where fallen petals blow;
at dusk the fishers and woodcutters through the waters go.
Fleeing old turmoil long ago, their sires forsook the land,
and turning to immortals, stayed upon this hidden strand.

Who in the river gorges knows of mortal grief and pain,
while worldly eyes from distant peaks view only clouds in vain?
Yet even in this sacred realm, where peace is hard to feign,
his dusty heart unquenched still yearns for his native plain.

He leaves the cave, regardless now of waters left behind,
resolved to seek this fairyland with more than fleeting mind.
He thought his former path was clear, and none could lead astray,
yet mountain peaks and hollows change and shift along the way.

He only marked how deep he plunged within the mountain shade,
how many turns of winding creek through cloudy forests led.
Now spring has come, and everywhere the peach-bloom waters flow—
which stream conceals the immortal source? There's none left who can know.
漁舟逐水愛山春,兩岸桃花夾去津。
坐看紅樹不知遠,行盡青溪不見人。
山口潛行始隈隩,山開曠望旋平陸。
遙看一處攢雲樹,近入千家散花竹。
樵客初傳漢姓名,居人未改秦衣服。
居人共住武陵源,還從物外起田園。
月明松下房櫳靜,日出雲中雞犬喧。
驚聞俗客爭來集,競引還家問都邑。
平明閭巷埽花開,薄暮漁樵乘水入。
初因避地去人間,及至成仙遂不還。
峽裏誰知有人事,世中遙望空雲山。
不疑靈境難聞見,塵心未盡思鄉縣。
出洞無論隔山水,辭家終擬長遊衍。
自謂經過舊不迷,安知峯壑今來變。
當時只記入山深,青溪幾曲到雲林。
春來遍是桃花水,不辨仙源何處尋。
yú zhōu zhú shuǐ ài shān chūn, liǎng àn táo huā jiā qù jīn.
zuò kàn hóng shù bù zhī yuǎn, xíng jǐn qīng xī bú jiàn rén.
shān kǒu qián xíng shǐ wēi ào, shān kāi kuàng wàng xuán píng lù.
yáo kàn yì chù cuǎn yún shù, jìn rù qiān jiā sàn huā zhú.
qiáo kè chū chuán hàn xìng míng, jū rén wèi gǎi qín yī fú.
jū rén gòng zhù wǔ líng yuán, hái cóng wù wài qǐ tián yuán.
yuè míng sōng xià fáng lóng jìng, rì chū yún zhōng jī quǎn xuān.
jīng wén sú kè zhēng lái jí, jìng yǐn hái jiā wèn dū yì.
píng míng lǘ xiàng sào huā kāi, bó mù yú qiáo chéng shuǐ rù.
chū yīn bì dì qù rén jiān, jí zhì chéng xiān suì bù hái.
xiá lǐ shuí zhī yǒu rén shì, shì zhōng yáo wàng kōng yún shān.
bù yí líng jìng nán wén jiàn, chén xīn wèi jìn sī xiāng xiàn.
chū dòng wú lùn gé shān shuǐ, cí jiā zhōng nǐ cháng yóu yǎn.
zì wèi jīng guò jiù bù mí, ān zhī fēng hè jīn lái biàn.
dāng shí zhǐ jì rù shān shēn, qīng xī jǐ qū dào yún lín.
chūn lái biàn shì táo huā shuǐ, bù biàn xiān yuán hé chù xún.
Fishing boat chasing water loving mountain spring, two banks peach blossoms flank departure ferry.
Sitting watching red trees not knowing distance, traveling ending green stream not seeing person.
Mountain mouth stealthily walking beginning winding deep, mountain opening wide gazing soon level land.
Far looking one place clustering cloud trees, near entering thousand families scattering flower bamboo.
Woodcutter first transmitting Han surnames, dwelling people not changing Qin clothing.
Dwelling people together living Wuling source, still from things outside raising fields gardens.
Moon shining pine under chambers windows quiet, sun rising cloud amid chickens dogs clamoring.
Startled hearing vulgar guest competing coming gather, eagerly guiding returning home asking capital city.
Dawn clear alleys sweeping flowers open, dusk woodcutter riding water enter.
Early because avoiding land leaving human world, reaching becoming immortal then not returning.
Gorge within who knows existence human affairs, world within distant gazing empty cloud mountains.
Not doubting spiritual realm difficult hear see, dust heart not exhausted thinking hometown county.
Exiting cave no matter separating mountain water, leaving family finally planning long wander.
Self saying passing old not lost, how knowing peaks ravines now come changed.
At that time only recording entering mountain deep, green stream how many turns arriving cloud forest.
Spring coming everywhere is peach blossom water, not distinguishing immortal source what place seeking.

I. Formal Poetic Architecture & Meter

This work belongs to the traditional Seven-Character Ancient Style verse, known as Qi yan gu shi. Unlike regulated verse with its strict tonal constraints and mandatory medial parallelism, ancient-style poetry permits a flexible rhyme scheme, enjambment, and shifting narrative paces. Wang Wei employs running rhymes that transition subtly to mirror the psychological and physical journey of the protagonist. The poem unfolds in a continuous narrative motion, balancing landscape description with philosophical reflection through shifting couplets.

II. Historical Chronology & Existential Impulse

Composed during the high Tang Dynasty, this poem reflects Wang Wei's lifelong engagement with Buddhist detachment and Daoist yearning for reclusion. While holding official court positions amidst the bureaucratic intrigues of the capital, the poet frequently retreated to his estate at Wangchuan. The Peach Blossom Spring fable, originally established by Tao Yuanming, serves here as an existential meditation on the impossibility of permanently bridging the mundane world of political duty with the transcendent realm of spiritual freedom.

III. Line-by-Line Exegesis & Allusion Decoding

The poem traces a circular narrative arc from initial curiosity to transcendent discovery, followed by nostalgic alienation and final tragic loss.

  • Lines 1-2 (Opening Couplet): Line 1 ("Fishing boat chasing water loving mountain spring") establishes the spontaneous, uncalculated impulse that initiates the journey into the vernal landscape.
  • Lines 3-4 (First Antithetical Turn): Line 3 ("Sitting watching red trees not knowing distance") conveys the total absorption of the traveler into natural beauty, obliterating temporal and spatial awareness.
  • Lines 5-6 (Second Antithetical Turn / Climax): Line 5 ("Mountain mouth stealthily walking beginning winding deep") invokes a sense of liminal transition, moving from claustrophobic darkness into an expansive utopian clearing.
  • Closing Lines (Resolving Couplet): Line 32 ("Not distinguishing immortal source what place seeking") delivers the ultimate elegiac realization that the utopian realm cannot be recaptured through mere volition.

IV. Cultural Symbolism & Key Metaphors

The imagery of this poem is deeply anchored in classical Chinese aesthetic vocabulary.

  • Peach Blossoms: Symbolize both the vernal renewal of the cosmos and the illusory, transient beauty of a pristine realm untouched by human corruption.
  • Cloud-Covered Mountains: Represent the insurmountable barrier between mundane political existence and transcendental spiritual liberation.

V. Philosophical Core & Global Resonance

Wang Wei masterfully synthesizes Buddhist themes of illusion with Daoist quests for transcendence. The inability to refind the sacred source underscores the tragic human condition: moments of profound spiritual clarity are fleeting, and the "dusty heart" of mortal attachment inevitably pulls the traveler back into the labyrinth of time and memory.

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