Four hundred moon-bred steeds with dragon's grace,
Proudly prance to golden drums with light-foot pace.
As the music ends, they seem to seek king's affection,
Yet dare not neigh when gazing at the crimson mansion.
Original Poem
「开元杂题七首 · 舞马」
陆龟蒙
月窟龙孙四百蹄，骄骧轻步应金鞞。
曲终似要君王宠，回望红楼不敢嘶。
Interpretation
This poem is part of the Seven Miscellaneous Poems of the Kaiyuan Era, drawing on the Tang Dynasty tradition of "dancing horse" performances. During the Kaiyuan heyday, Emperor Xuanzong indulged in music, women, and luxury, with hundreds of expertly trained "dancing horses" in the court that could dance to musical rhythms to entertain the ruler. Zhang Yue once wrote "Dancing Horse Music of a Thousand Autumns," praising the Kaiyuan dancing horses, but Lu Guimeng, writing in the late Tang, repurposes the theme for critique and satire. In the late Tang, with regional warlords fragmenting the land, eunuchs monopolizing power, and political corruption, literati often adopted a critical stance. In this poem, Lu uses dancing horses as a metaphor for flattering courtiers, exposing the rulers’ extravagance and the subordinates’ servile sycophancy.
First Couplet: "月窟龙孙四百蹄，骄骧轻步应金鞞。"
Yuè kū lóng sūn sì bǎi tí, jiāo xiāng qīng bù yīng jīn bǐ.
Like descendants of moon-cave dragons, four hundred hooves,
Proud and lofty, yet light-stepping to the golden drums’ beat.
This couplet depicts the grandeur and agile movements of the dancing horses. "Descendants of moon-cave dragons" (月窟龙孙 yuè kū lóng sūn) portrays their divine and mythical quality; "to the golden drums’ beat" (应金鞞 yīng jīn bǐ) highlights their forced dance to music. Surface praise of the horses’ beauty subtly satirizes the absurdity of the ruler’s entertainment.
Second Couplet: "曲终似要君王宠，回望红楼不敢嘶。"
Qū zhōng sì yào jūnwáng chǒng, huí wàng hóng lóu bù gǎn sī.
As the music ends, they seem to seek the monarch’s favor,
Yet, glancing back at the scarlet tower, they dare not neigh.
Shifting from scene to emotion, this couplet captures the horses’ servile posture after performance. "Seem to seek the monarch’s favor" (似要君王宠 sì yào jūnwáng chǒng) reveals a craving for power; "dare not neigh" (不敢嘶 bù gǎn sī) reflects extreme restraint and suppression, alluding to flattering courtiers’ obsequiousness and silenced voices. The dancing horses become symbolic, satirizing the ruler’s decadence and his courtiers’ fawning.
Holistic Appreciation
On the surface, this poem describes dancing horses, but it actually uses them as a metaphor for people. The opening portrays the horses’ magnificence, agility, and spectacle, building a grand scene; the ending, however, reveals their servility—"dare not neigh" out of fear of power, creating a stark contrast. This structure exposes the absurdity within power dynamics: naturally free and vocal steeds must lower their heads and obey merely to gain momentary favor. Unlike Zhang Yue’s celebration of dancing horses as a sign of prosperous times, Lu Guimeng adopts a critical stance, turning them into symbols of sycophantic courtiers. His approach is subtle yet sharp, blending vivid imagery with deep satirical meaning.
Artistic Merits
- Satire through object praise: The poet does not merely describe the horses but uses their servility to imply critique of fawning courtiers and extravagant rulers, reflecting the late Tang literati’s typical technique of "using objects to convey satire."
- Vivid contrast, stark incongruity: The first couplet emphasizes the horses’ divine vigor; the second shifts to "seeking favor" and "dare not neigh," transitioning from grandeur to servility, creating powerful irony.
- Elegant allusions, blending reality and symbolism: "Descendants of moon-cave dragons" adds romantic flair; "golden drums" (金鞞 jīn bǐ) and "scarlet tower" (红楼 hóng lóu) are court realities—this blend of real and symbolic enriches the scene’s meaning.
- Concise language, sharp satire: In just 28 characters, the poem encompasses both the grandeur of the High Tang court and the critique of late Tang literati, its condensed language carrying strong satirical force.
Insights
This work reminds us that poetry’s value lies not only in depicting beauty or spectacle but also in revealing the social reality behind it. Dancing horses were a luxurious product of the Kaiyuan heyday, yet Lu Guimeng uses them to reflect fawning courtiers and decadent rulers, showcasing late Tang literati’s clarity and criticism. It inspires us to look beyond surface appearances in power structures, maintain independent thinking, and uphold a critical spirit.
About the poet
Lu Guimeng (陆龟蒙 ？– c. 881 CE), a native of Suzhou, Jiangsu, was a Late Tang dynasty writer and agronomist. After failing the imperial examinations, he retreated to a reclusive life in Puli, Songjiang. He formed a famous literary partnership with the poet Pi Rixiu, and the pair are often referred to collectively as "Pi-Lu." His poetry is known for its social satire and a style that is incisive yet subtly restrained. His inclusion in the Biographies of Talents of the Tangunderscores his significance. The modern writer Lu Xun famously praised his essays, noting that they provided "a sharp radiance piercing through a world of muddle". Lu Guimeng is regarded as a uniquely distinctive voice in the literary scene of the late Tang.
