The poppy beauty·The spring beauty in the boudoir troubles the mind [Five Dynasties] Gu Kui
The spring beauty in the boudoir troubles the mind, and I hate the growth of flowers in the spring. The orioles are chirping delicately in the fragrant mud, and the apricot branches are picturesque leaning against the light smoke and in front of the trivial window. There are two slender eaves standing on the lantern, and the willow shadows are swaying obliquely. Yulang still won't return home? Teach people to chase poplar flowers and circle the ends of the earth in their dreams. Translation and annotations
Translation The spring scenery in the garden opens my boudoir and stirs up the worries of the people in my boudoir. The endless resentment in my heart grows day by day with the fragrant grass. Orioles were chirping delicately in the flowers, and a thin spring mist floated on the red apricot branches; I felt infinitely melancholy in front of the small window. In my sorrow, I leaned on the railing and looked far away. I saw a pair of eyebrows that were thin and long. Yulang still didn't come home, only the willow shadows were seen swaying in the corridor. In the swaying willows, my dream soul is transforming, and my thoughts are chasing the flying poplar flowers, searching and wandering in the end of the world.
Note Purdah: the inner room where a woman lives. Lao Si Si: that is, thinking diligently. "The Book of Songs·Yan Yan": "Looking far beyond my reach, it really works my heart." Chunwu: weeds in spring. Wu, one means "nothing" and the other means "light". Ni Fangyan: lingering among the flowers. Mud, retention, has the meaning of lingering. Fangyan: refers to flowers. Suo: one is "lock". Shuang'e is fine: her eyebrows are furrowed. E, one is "moth". Build: steps. Yulang: a pet name for an ancient woman to her husband. Yanghua: catkins. Appreciation
This poem is about missing your wife. The first two sentences, which capture the whole poem, point out that the spring scenery causes spring hatred. The first film is mainly about the beauty of spring, and the second film is mainly about the hatred of spring. The upper and lower films seem to be two connected pictures, and the whole word and scene blend together.
The first two sentences contain twelve characters, which are rich in connotation. "Purdah" implies that the lyrical protagonist is a woman, who can't help but feel full of emotions when faced with the annoying spring scenery. The word "lao" reveals her secret pain of "languishing for you until all the flowers are gone". The deepness of his love can be seen from the fact that he is exhausted from "work" and resents "hate". "Hate ***Chunwu grows", the good thing is that the double meaning of the word "Chunwu" makes the whole sentence meaningful. It is a tradition in Chinese classical poetry to use spring grass as a metaphor for farewell. It is far like "The kings and grandsons have traveled far away and never come back, and the spring grass grows here and is luxuriant" ("Chu Ci: Recruiting Hermits"), and it is also like "leaving hatred is just like the spring grass, traveling farther and returning to life" (Li Yu's "Qing Ping Le").