On the third day of the Third-month in the freshening weather
Many beauties take the air by the Changan waterfront,
Receptive, aloof, sweet-mannered, sincere,
With soft fine skin and well-balanced bone.
Their embroidered silk robes in the spring sun are gleaming --
With a mass of golden peacocks and silver unicorns.
And hanging far down from their temples
Are blue leaves of delicate kingfisher feathers.
And following behind them
Is a pearl-laden train, rhythmic with bearers.
Some of them are kindred to the Royal House --
The titled Princesses Guo and Qin.
Red camel-humps are brought them from jade broilers,
And sweet fish is ordered them on crystal trays.
Though their food-sticks of unicorn-horn are lifted languidly
And the finely wrought phoenix carving-knife is very little used,
Fleet horses from the Yellow Gate, stirring no dust,
Bring precious dishes constantly from the imperial kitchen.
...While a solemn sound of flutes and drums invokes gods and spirits,
Guests and courtiers gather, all of high rank;
And finally, riding slow, a dignified horseman
Dismounts at the pavilion on an embroidered rug.
In a snow of flying willow-cotton whitening the duckweed,
Bluebirds find their way with vermilion handkerchiefs --
But power can be as hot as flame and burn people's fingers.
Be wary of the Premier, watch for his frown.
Original Poem:
「丽人行」
杜甫
三月三日天气新， 长安水边多丽人。
态浓意远淑且真， 肌理细腻骨肉匀。
绣罗衣裳照暮春， 蹙金孔雀银麒麟。
头上何所有？ 翠微盍叶垂鬓唇。
背后何所见？ 珠压腰衱稳称身。
就中云幕椒房亲， 赐名大国虢与秦。
紫驼之峰出翠釜， 水精之盘行素鳞。
犀箸餍饫久未下， 鸾刀缕切空纷纶。
黄门飞鞚不动尘， 御厨络绎送八珍。
箫鼓哀吟感鬼神， 宾从杂遝实要津。
后来鞍马何逡巡？ 当轩下马入锦茵。
杨花雪落覆白苹， 青鸟飞去衔红巾。
炙手可热势绝伦， 慎莫近前丞相嗔。
Interpretation:
"A song of fair women" was composed in the spring of the 13th year of the Tianbao era of Emperor Xuanzong of the Tang Dynasty (754 AD). At the time, the Tang Dynasty was increasingly plagued by political corruption, with Yang Guozhong wielding excessive power and the Yang family indulging in extravagance and reckless behavior. This poem uses the image of beautiful women enjoying a spring outing to satirize the lavish lifestyles of Yang Guozhong, Lady Guo, and others, expressing the poet's anxiety and indignation over the nation's crisis. Through elaborate descriptions and vivid imagery, Du Fu creates a surface of dazzling beauty while delivering a profound critique.
First Couplet: "三月三日天气新，长安水边多丽人。"
Sān yuè sān rì tiānqì xīn, Cháng'ān shuǐ biān duō lì rén.
On the third day of the third month, the weather is fresh, and by the waters of Chang'an, many beautiful women gather.
The poet begins by setting the time and place, depicting the bustling scene of spring outings in the capital.
Second Couplet: "态浓意远淑且真，肌理细腻骨肉匀。"
Tài nóng yì yuǎn shū qiě zhēn, jīlǐ xìnì gǔ ròu yún.
Their demeanor is elegant, their expressions profound, gentle yet genuine; their skin is smooth, their figures perfectly proportioned.
The poet lavishly describes the women's grace and beauty, seemingly full of praise but actually laying the groundwork for the satire to follow.
Third Couplet: "绣罗衣裳照暮春，蹙金孔雀银麒麟。"
Xiù luó yīshang zhào mù chūn, cù jīn kǒngquè yín qílín.
Their embroidered silk robes shine in the late spring light, adorned with golden peacocks and silver unicorns.
The poet further elaborates on the opulence of their attire, with "late spring" hinting at the fleeting nature of such splendor.
Fourth Couplet: "头上何所有？翠微盍叶垂鬓唇。"
Tóu shàng hé suǒ yǒu? Cuì wēi hé yè chuí bìn chún.
What do they wear on their heads? Delicate green jade ornaments dangle by their temples.
Using a question-and-answer format, the poet describes the women's luxurious headwear, hinting at their excessive adornment and pursuit of extravagance.
Fifth Couplet: "背后何所见？珠压腰衱稳称身。"
Bèi hòu hé suǒ jiàn? Zhū yā yāo jié wěn chèn shēn.
What can be seen from behind? Jewels weigh down their waistbands, fitting snugly against their figures.
The poet continues to depict the extravagance of their attire, emphasizing their excessive luxury.
Sixth Couplet: "就中云幕椒房亲，赐名大国虢与秦。"
Jiù zhōng yún mù jiāo fáng qīn, cì míng dà guó Guó yǔ Qín.
Among them are the favored relatives of the imperial court, granted the titles of Lady Guo and Lady Qin.
The poet identifies the women as the sisters of Consort Yang—Lady Guo and Lady Qin—shifting the focus to the satire.
Seventh Couplet: "紫驼之峰出翠釜，水精之盘行素鳞。"
Zǐ tuó zhī fēng chū cuì fǔ, shuǐ jīng zhī pán xíng sù lín.
From emerald cauldrons emerge camel humps; on crystal plates are served fresh fish.
The poet describes the extravagant banquet, highlighting their excessive indulgence.
Eighth Couplet: "犀箸餍饫久未下，鸾刀缕切空纷纶。"
Xī zhù yàn yù jiǔ wèi xià, luán dāo lǚ qiē kōng fēn lún.
Rhinoceros horn chopsticks remain untouched; phoenix-shaped knives slice meat into fine strands, left uneaten.
The poet portrays their gluttony and wastefulness, exposing the Yang sisters' decadent lifestyle.
Ninth Couplet: "黄门飞鞚不动尘，御厨络绎送八珍。"
Huáng mén fēi kòng bù dòng chén, yù chú luòyì sòng bā zhēn.
Palace messengers gallop without raising dust; imperial chefs continuously deliver rare delicacies.
The poet further emphasizes Yang Guozhong's immense power and the extravagance of his household.
Tenth Couplet: "箫鼓哀吟感鬼神，宾从杂遝实要津。"
Xiāo gǔ āi yín gǎn guǐshén, bīn cóng zátà shí yàojīn.
The mournful sounds of flutes and drums move even ghosts and spirits; the entourage crowds the thoroughfares.
The "mournful sounds" ironically contrast with the frivolity of the feast, while the "ghosts and spirits" deepen the satire, exposing the distorted values of the upper class.
Eleventh Couplet: "后来鞍马何逡巡？当轩下马入锦茵。"
Hòu lái ān mǎ hé qūnxún? Dāng xuān xià mǎ rù jǐn yīn.
Why do the later carriages hesitate? They dismount at the gate and step onto the embroidered carpets.
This couplet reveals Yang Guozhong's arrogance and disregard for propriety.
Twelfth Couplet: "杨花雪落覆白苹，青鸟飞去衔红巾。"
Yáng huā xuě luò fù bái píng, qīng niǎo fēi qù xián hóng jīn.
Willow catkins fall like snow, covering the duckweed; a bluebird flies away, carrying a red scarf.
This line subtly hints at the illicit relationship between Yang Guozhong and Lady Guo, using the image of the "bluebird carrying a scarf" to imply their scandalous affair.
Thirteenth Couplet: "炙手可热势绝伦，慎莫近前丞相嗔。"
Zhì shǒu kě rè shì juélún, shèn mò jìn qián chéngxiàng chēn.
Yang Guozhong's power is scorching hot, unrivaled in its intensity; be cautious not to approach, lest the prime minister grow angry.
The poem concludes with a mocking tone, warning others to stay away from Yang Guozhong, whose arrogance and extravagance are laid bare.
Overall Appreciation
On the surface, this poem depicts a lively spring outing, but it is filled with sharp satire. Through meticulous descriptions, Du Fu vividly portrays the decadent lives of the Yang sisters and the arrogance of Yang Guozhong. Using contrast, elaboration, and symbolism, the poem expresses Du Fu's dissatisfaction with the political corruption and the extravagance of the privileged class in the Tang Dynasty.
Writing Characteristics
- Elaborate Descriptions, Extreme Extravagance: The poet uses parallelism, antithesis, and repetition to describe the ornate clothing, luxurious utensils, and sumptuous feasts, intensifying the satirical effect.
- Contrast and Juxtaposition: The first half of the poem lavishly praises the women's beauty and attire, while the second half exposes the decadence of the Yang sisters, creating a stark contrast.
- Symbolism, Thought-Provoking: The final lines, "scorching hot" and "be cautious not to approach," cleverly hint at Yang Guozhong's arrogance and authoritarianism, delivering a powerful satirical punch.
Insights
"A song of fair women" is a profound satire that exposes the corruption of society. Through ornate language and dazzling imagery, the poet reveals the decadence and debauchery of the ruling class, criticizing their extravagance and disregard for order. The poem reminds us that societal corruption and excess often lead to greater crises, and that when power becomes "scorching hot," it is also a time of lurking danger.
Poem translator:
Kiang Kanghu
About the poet
Du Fu (杜甫), 712 - 770 AD, was a great poet of the Tang Dynasty, known as the "Sage of Poetry". Born into a declining bureaucratic family, Du Fu had a rough life, and his turbulent and dislocated life made him keenly aware of the plight of the masses. Therefore, his poems were always closely related to the current affairs, reflecting the social life of that era in a more comprehensive way, with profound thoughts and a broad realm. In his poetic art, he was able to combine many styles, forming a unique style of "profound and thick", and becoming a great realist poet in the history of China.
