Purple halls chill in autumn's breath,
Carved eaves drown in sunlight's death.
She cuts silk to a broken tune's sigh,
Weaves plain cloth for love left by.
Side chambers blush to change their art,
Longmen Gate spends gold without heart.
Favor shifts, grace turns thin and pale,
Affection fades, hatred starts its tale.
Incense dies in kingfisher's tent,
Phoenix lute strings snap, music spent.
Before the mirror, rouge rests unseen,
Green moss invades the steps, evergreen.
Who says she hides her song with fan?
She chants "White-Hair" in sorrow's span.
Original Poem
「相和歌辞 · 怨歌行」
虞世南
紫殿秋风冷，雕甍白日沉。
裁纨凄断曲，织素别离心。
掖庭羞改画，长门不惜金。
宠移恩稍薄，情疏恨转深。
香销翠羽帐，弦断凤凰琴。
镜前红粉歇，阶上绿苔侵。
谁言掩歌扇，翻作白头吟。
Interpretation
"Song of Resentment" draws from the traditional Yuefu theme, often used for palace-style laments. Yu Shinan, writing in the early Tang Dynasty, adopted this topic and depicted with delicate and vivid brushstrokes the emotional transition of a palace woman from favor to neglect. The poem employs numerous allusions and symbols, such as “Long Gate” (长门 Cháng mén) and “song fan” (歌扇 gē shàn), evoking the fates of historical figures like Empress Chen and Lady Ban, who fell out of imperial favor. Through scene-setting that enhances emotion and layered progression, the poem reveals the psychological state of women—resentful, lonely, and helpless—while also conveying the poet’s sympathy and reflection on female destiny.
First Couplet: "紫殿秋风冷，雕甍白日沉。"
Zǐ diàn qiūfēng lěng, diāo méng báirì chén.
In the Purple Hall, the autumn wind grows cold;
The carved roof sinks beneath the daylight’s glow.
This couplet uses the palace setting to create atmosphere. “Purple Hall” (紫殿 zǐ diàn) symbolizes the imperial dwelling, while “autumn wind grows cold” (秋风冷 qiūfēng lěng) implies abandonment and solitude. “The carved roof sinks” (雕甍沉 diāo méng chén) suggests the dimming of splendor under the setting sun, emblematic of faded favor. Beginning with the external scene, it establishes a desolate tone for the whole poem.
Second Couplet: "裁纨凄断曲，织素别离心。"
Cái wán qī duàn qǔ, zhī sù biélí xīn.
Cutting silk, she feels an aching air;
Weaving plain cloth, her thoughts of parting linger.
Here the focus shifts to the inner world of the palace woman. Activities like “cutting silk” (裁纨 cái wán) and “weaving plain cloth” (织素 zhī sù) become expressions of her solitude and sorrow. “Aching air” (凄断曲 qī duàn qǔ) and “thoughts of parting” (别离心 biélí xīn) convey hidden melancholy; even daily routines are tinged with loneliness.
Third Couplet: "掖庭羞改画，长门不惜金。"
Yè tíng xiū gǎi huà, Cháng mén bùxī jīn.
In the side court, she shuns renewing her looks;
At Long Gate, no gold can restore lost favor.
“Side court” (掖庭 yè tíng) refers to the living quarters of palace women. “Long Gate” (长门 Cháng mén) alludes to the story of Empress Chen of Han, who spent a fortune but failed to win back the emperor’s love. The poet uses this to express that once favor is lost, even wealth and cosmetics cannot reclaim it, highlighting the cruelty of shifting affections.
Fourth Couplet: "宠移恩稍薄，情疏恨转深。"
Chǒng yí ēn shāo bó, qíng shū hèn zhuǎn shēn.
Favor shifts, kindness fades away;
Affection distant, resentment grows deeper.
This couplet directly describes emotional change. The shift of the monarch’s favor leads to cooled passions. The distancing of affection and the deepening of resentment intensify the sense of anguish.
Fifth Couplet: "香销翠羽帐，弦断凤凰琴。"
Xiāng xiāo cuìyǔ zhàng, xián duàn fènghuáng qín.
Fragrance fades from the kingfisher-feather canopy;
The phoenix lute’s string snaps.
“Kingfisher-feather canopy” (翠羽帐 cuìyǔ zhàng) and “phoenix lute” (凤凰琴 fènghuáng qín) symbolize luxury and past joy, while “fragrance fades” (香销 xiāng xiāo) and “string snaps” (弦断 xián duàn) signify decline and desolation. The imagery of opulence decaying mirrors the woman’s deserted state.
Sixth Couplet: "镜前红粉歇，阶上绿苔侵。"
Jìng qián hóngfěn xiē, jiē shàng lǜ tái qīn.
Before the mirror, rouge and powder rest unused;
Upon the steps, green moss encroaches.
This couplet portrays both the character and her environment: the woman no longer adorns herself, indicating faded beauty; the moss-covered steps suggest neglect and desertion. Together, they convey a sense of abandonment.
Seventh Couplet: "谁言掩歌扇，翻作白头吟。"
Shéi yán yǎn gē shàn, fān zuò báitóu yín.
Who would have thought, behind the song fan,
She would chant the white-haired lament?
“Song fan” (歌扇 gē shàn) symbolizes her once-favored status, graceful and performing; “white-haired lament” (白头吟 báitóu yín) represents disappointment and aging. The contrast between past glamour and present despair is poignant and heartrending. The final couplet brings the lament to its peak: from the youthful songs and dances to the mournful chants of white-haired sorrow, evoking a deep and piercing grief.
Holistic Appreciation
The poem traces the inner journey of a palace woman from favor to abandonment, from splendor to desolation. The progression is clear and layered: it begins with setting the scene and creating a melancholy atmosphere; then it depicts the loneliness in daily actions; allusions are used to reflect destiny; direct expressions of resentment follow the fading of favor; finally, images of decay and personal lament conclude the poem. The language is elegant and sorrowful, the artistic conception deepening layer by layer, immersing the reader in the protagonist’s anguish.
Artistic Merits
- Emotion through scene: Autumn wind, setting sun, and mossy steps are used to progressively enhance the desolate atmosphere.
- Natural use of allusion: The “Long Gate” allusion highlights the helplessness of neglected women, reflecting their real situation.
- Character through objects: Canopies, lute strings, mirrors, and steps—all serve as symbols that convey the tragedy of fate.
- Vivid contrast: The shift from “song fan” to “white-haired lament,” splendor to decline, strengthens the sense of grief through stark contrast.
- Interwoven scene and emotion: The poet depicts palace objects while deeply revealing the inner world of the character, making the emotion genuine and moving.
Insights
This poem, through layered descriptions, reveals the fate of a palace woman from favor to neglect, glamour to solitude. It begins with the coldness of the Purple Hall and the dimming carved roof, then the sorrow in cutting silk and weaving cloth, followed by the echo of the “Long Gate” allusion and the direct expression of “favor shifting and kindness fading,” finally concluding with images of decay—faded fragrance, broken strings, unused rouge, and mossy steps—to emphasize the ultimate sorrow of the “white-haired lament.” The poet not only captures the personal grief of the palace woman but also reflects the tragic nature of fickle human feelings and fleeting wealth. It reminds us that favor and luxury are often transient; external beauty and opulence cannot withstand the changes of time and heart. True enduring value lies in genuine emotion and inner strength, not in superficial vanity or borrowed favor.
About the Poet
Yu Shinan (虞世南 558 - 638), a native of Yuyao in Zhejiang Province, was a prominent statesman, writer, calligrapher, and politician during the Zhenguan era of the early Tang dynasty. As one of the "Twenty-Four Meritorious Officials of Lingyan Pavilion," he rose to the position of Director of the Imperial Library. His calligraphy earned him a place among the "Four Great Calligraphers of the Early Tang," alongside Ouyang Xun, Chu Suiliang, and Xue Ji. In poetry, he inherited the tradition of Xu Ling and pioneered a refined, balanced, and harmonious courtly style. He also compiled the North Hall Book Excerpts, establishing a new genre of encyclopedic literature.
