Wen Tingyun and Wei Zhuang Ci Anthology

Author: Wen Tingyun (Tang Dynasty), Wei Zhuang (Five Dynasties), annotated and commented by Liu Zunming
Publisher:
Publishing Date: June 1, 2002
Features: Placing Wen Tingyun and Wei Zhuang together, the intention was likely that most of their poems could be categorized under "love for a woman." Upon closer reflection, however, they were quite different. The former's lyrics emphasized emotion over sensuality, featuring many complaints from women, sorrowful reflections, gold-step bells, teary-eyed women, and longing for each other. Wen Tingyun, with his eight arms and flowing thoughts, gazed at the distant boat from the Jiang Tower while his beloved was adorned in rich makeup. The latter appeared to write about longing for a loved one who was unaware, but the essence was already far apart, like clouds and mountains separated by tens of thousands of miles. The Le You in Jiangnan, the youthful spring robes, the lady Xie under the willows, and the beauty by the counter—all were but deep memories of youth after aging. The impermanence of life is the empty mountain in silence and the cold moon after the curtain falls. This Wei Zhuang was also the "scholar who wrote 'The Treasury Burns to Silk Ash, and the Street is Trampled with Noble Bones'" in "The Scholar's Lament."
Excerpt: Pusa Man
Now I recall Jiangnan's joy①,
Back then I was young, spring robes thin②.
Riding a horse by the leaning bridge,
The whole tower was filled with red sleeves③.
Emerald screens, golden rings④,
Drunk among the flowers, lodging there⑤.
This time seeing flower branches⑥,
I swear not to return when white-haired.
①Recall: to reminisce. ②Back then I was young: implying youth at the time. Spring robes thin: describing the light and flowing style of spring robes. ③Red sleeves: refers to red-sleeved women, here meaning courtesans. ④Emerald screens: screens inlaid with jade. Golden rings: door rings made of copper or iron, also known as "qu shu" or "qu xi." ⑤Flowers: refers to brothels. ⑥Flower branches: refers to beautiful women.
This lyric reflects on the past joy in Jiangnan, to some extent, revealing the hedonistic spirit of scholars and literati during the late Tang and Five Dynasties, as well as the prosperous and elegant urban scenery of Jiangnan. Imagining back then, with light spring robes, riding horses across the leaning bridge, red sleeves inviting, getting drunk among flowers, leaning close to warmth and fragrance—indeed carefree and joyful, yet after all, a guest in a foreign land, wasting years, so there still lingered an indescribable sorrow and melancholy. "This time seeing flower branches, I swear not to return when white-haired!" On the surface, it seems self-indulgent and decisive, but in reality, it still reveals an unavoidable "return," making one feel even sadder.
Excerpt: Pusa Man
Bamboo wind gently moves the courtyard cold①,
Pearl curtains under the moon cast delicate shadows.
Hidden on the mountain pillow②,
Green sandalwood, golden phoenix③.
Two brows of dark ink faint④,
Far away, the royal palace of Wu⑤.
Spring sorrow deeply touches the heart,
The sound of the hour near dawn⑥.
①Courtyard: steps. ②Mountain pillow: refers to a pillow. Ancient pillows were concave in the middle and convex at both ends, like a mountain shape. Rich makeup: lavish decoration. ③Green sandalwood: the pillow's base was as deep purple as sandalwood. Golden phoenix: a gold phoenix hairpin. Phoenix, meaning the phoenix. ④Two brows: refers to eyebrows. Eyebrows like silkworm moths are called "moth eyebrows." ⑤Royal palace: refers to the homeland. The palace of Wu in the Spring and Autumn period, here referring to Suzhou. ⑥Hour's sound: the sound of the fifth watch near dawn, meaning the night was almost over. In ancient times, water clocks were used to tell time, dividing the night into five watches, each watch into five points.
This lyric expresses spring sorrow and regret. Unlike Wen's lyrics, where the characters are often generalized women, the lyrical protagonist here is a woman secluded in a deep palace. The upper part of the lyric still begins with the description of the environment. It is a quiet and desolate moonlit night. The bamboo in the courtyard rustles softly under the gentle night breeze, making the courtyard even more secluded and cold. The bright moonlight shines through the pearl curtains, casting delicate and patchy shadows on the ground. Guided by the moonlight, the lyrical protagonist, lying on the mountain pillow, is revealed. Similar to another lyric in the same tune describing "deep incense smoke lingering, leaving light makeup when lying down," this woman, leaning on the pillow, still wears "rich makeup" and wears a golden phoenix hairpin, subtly revealing her faint hope. The lower part of the lyric continues to trace the woman's appearance, delving deeper into her inner world. A pair of eyebrows painted with dark ink have become faint after tossing restlessly, filled with sorrow. It turns out she longs for her homeland—the palace of Wu, which is now very far away. At this point, the lyrical protagonist reveals her true identity: she is a palace maid far from her homeland. This reminds us of Xi Shi, the beautiful woman from the State of Yue during the late Spring and Autumn period, who was given to the King of Wu as a political bait by the King of Yue. At the end of the lyric, the sound of the hour from the tower outside is used to express the lyrical protagonist's endless spring sorrow and melancholy.
Overall, the descriptions of the mountain pillow, rich makeup, green sandalwood, and golden phoenix hairpin related to the living environment and appearance are still filled with the charm of cosmetics, but the of bamboo wind, moonlight, and hour sounds creates a desolate and subtle artistic realm, used to express the lyrical protagonist's sorrow and melancholy. The emotion is deep and gentle, and the artistic conception is harmonious.
Qing Chen Tingdiao praised this lyric, saying: "The two lines 'Spring sorrow deeply touches the heart' are in two layers: speaking of spring sorrow deeply touching the heart, and yet hearing the sound of the hour in a painted tower while alone!" (Yunshao Ji, Volume 1). He also commented: "Endlessly lingering." (Ci Ze·Daya Ji, Volume 1). These words accurately capture the artistic features of this lyric—its skillful creation of scenes and deep, gentle expression of emotion.