Echoes of Lost Glory: A Song of Sorrow and Longing

In the late spring season, as the fragrant blossoms fall, I ascend to a high place and gaze towards my homeland, feeling deep sorrow and anguish within. The misty rivers and blurry mountains only intensify my heartbreak. What I cannot bear even more is the impending arrival of the Qianlong Festival, a reminder of past glories now lost forever. Reflecting on the past and present, tears flow from my eyes like the blood of the cuckoo bird, amidst the mournful cries of the magpies echoing in the background, resonating with the broken lands and mountains of my homeland.

In the year 1127 AD, during the “Jingkang Incident,” Emperors Huizong and Qinzong were captured by the Jin invaders, and the Central Plains were lost. In such dire times, patriots across the nation clenched their fists in anger and despair, giving rise to a collection of poignant works that resonate with courage and dignity even centuries later. “Qinlou Moon,” composed by Xiang Ziyin, shares the same theme, albeit brief in length, its emotional depth is substantial. Moreover, this poem exhibits unique characteristics. Structured in two stanzas, the poem can be dissected into three layers of meaning. The opening phrase “fragrant flowers wither” depicts the disappearance of springtime, seeming both real and illusory. Because the poet is not extolling the seasons, but rather expressing the general emotions of sadness and loss, the description of scenery is not further elaborated upon. At this time of late spring and early summer, what is lingering in the poet’s heart? It is the “homeland’s sight broken, heartache deep.” In this line, “homeland” can be interpreted as his hometown, but Xiang Ziyin’s home was in Jiangxi Linjiang, not under the rule of the Jin Dynasty. Obviously, it refers to lost territory. The poet gazes towards the northern homeland from a high vantage point, but the homeland is nowhere to be seen. For a southern poet with patriotic sentiments, how could he not feel sadness and pain? This line straightforwardly expresses the poet’s inner feelings. However, if emotions were allowed to run rampant, writing in this manner would risk overpouring. Poetry is lethargic, but it is best to call for specific events. Here, the poet’s pen suddenly turns from direct to indirect, wanting to spit and take a rest, not talking about feelings but turning to scenery: “Boundless misty waters, infinite mountain colors.” What the poet sees with his own eyes is only misty water and hazy mountains. This scene, which enriches the meaning of “homeland’s sight broken” and expands the meaning of “heartache deep,” also subtly conveys the poet’s profound melancholy in this time and place. Therefore, to read this, the reader cannot simply distinguish whether the poet is describing scenery or expressing emotion. Scenery and emotions combine, emotions are born from scenery, emotions and scenery blend, and “sorrow and joy also reveal in things” (Wang Fuzhi’s words), is the wonderful place of “boundless misty waters, endless mountain colors.” The second stanza’s “endurable” is the meaning of “can’t bear”. This is the poet’s deliberately strong pen, which deepens the emotion of “homeland’s sight broken and heartache deep” in the preceding stanza. Why does the poet miss the northern homeland at the end of spring and the beginning of summer? Because it is “even closer to Qianlong Festival.” “Changes of nine when,” “flying,” based are, so, example, dynasty that.