“Memories of Jiangnan: The Enchanting Southern Landscape through the Eyes of Bai Juyi”

Jiangnan, the region south of the Yangtze River, is renowned for its breathtaking beauty, a fact well-known to those who have had the fortune of experiencing it firsthand. In the spring, as the sun rises over the river, the blossoms along the banks are lit up in a vivid red that outshines fire, while the verdant waters appear greener than the blue dye extracted from indigo plants. How can one not long for Jiangnan?

Bai Juyi, a prominent poet of the Tang Dynasty, served as the governor of Hangzhou for two years and later as the governor of Suzhou for over a year. During his youth, he traveled extensively through Jiangnan, residing in the scenic cities of Suzhou and Hangzhou. This intimate familiarity with the region left a lasting impression on him. Twelve years after retiring from his post in Suzhou and returning to Luoyang, he wrote the three poems of “Memories of Jiangnan” at the age of sixty-seven, vividly recalling the splendors of Jiangnan that remained etched in his heart.

Capturing the essence of Jiangnan’s spring in just a few words is no easy task, yet Bai Juyi masterfully achieved this with his concise and evocative descriptions. Rather than employing the conventional imagery of flowers and orioles, he chose to center his depiction around the river itself. Through the contrasting colors of “redder than fire” and “greener than indigo,” he painted a vibrant and striking picture of Jiangnan in spring. This technique of using contrasting colors to enhance the visual impact is also evident in the works of the great poet Du Fu, as seen in lines like “Two yellow orioles sing amidst the green willows, a row of white egrets ascend the blue sky,” and “The river is green, the birds are whiter; the mountains are blue, the flowers are red.” These different colors complement each other, creating a vivid and picturesque scene.

Bai Juyi followed a similar path, as can be seen in lines from his other works such as “The evening glow is redder than burning fire, the clear sky is greener than indigo,” “The spring grass is green, connecting to the misty lake, the evening waves are red, near the capital city,” and “The green waves stretch in all directions, the red railings encompass three hundred ninety bridges.” Thus, in Bai Juyi’s hands, the spring scenery of Jiangnan, with its morning sun, river blossoms, and river waters, comes to life in brilliant colors, forming a richly layered and dazzling image that requires little additional imagination. The spring scenery of Jiangnan is vividly present before our eyes.

The word “忆” (yi), meaning “recall,” in the title and the phrase “旧曾谙” (jiu ceng an), meaning “once familiar,” in the poem suggest another important layer: contrasting the spring scenery of Jiangnan with that of the northern region. The entire poem is imbued with a sense of nostalgia, depicting the familiar spring scenery of Jiangnan from the poet’s memory while he is physically in Luoyang. Compared to Jiangnan, spring arrives later in Luoyang. Bai Juyi’s quatrain “On Wei Wang Dike” written in Luoyang captures this contrast: “The flowers are reluctant to bloom, the birds are too lazy to sing; I ride leisurely until the sun sets. Where does spring come late? On Wei Wang Dike, the willow branches show a hint of spring.” While Jiangnan enjoys the season of “the sun rises, and the river blossoms are redder than fire,” in Luoyang, “the flowers are reluctant to bloom,” with only the willow branches on Wei Wang Dike hinting at the arrival of spring.

Moreover, the water in Luoyang differs from that in Jiangnan. Luoyang is near the Luo and Yi Rivers and not far from the Yellow River. However, even when spring arrives, these waters cannot match the emerald green of Jiangnan’s spring waters. Therefore, Bai Juyi earnestly reminisces about Jiangnan’s spring scenery, praising “Jiangnan is good” from the depths of his heart. After skillfully depicting the beautiful scenery of Jiangnan that he “once familiar” with, he concludes the poem with a poignant sense of longing: “How can one not recall Jiangnan?” This ending not only conveys the poet’s profound admiration and longing for the spring scenery of Jiangnan from his position in Luoyang but also creates a lingering and deep resonance. Though the poem concludes, the sentiment continues to ripple and soar, naturally leading into the second and third poems.

In summary, Bai Juyi’s “Memories of Jiangnan” is a masterful depiction of the region’s spring beauty, skillfully contrasting it with the delayed and less vibrant spring of the north. Through vivid imagery and emotional resonance, he captures the essence of Jiangnan’s charm, leaving readers with a lasting impression of its enchanting landscape and the poet’s deep-seated nostalgia. This timeless work not only celebrates the splendor of Jiangnan but also reflects the universal longing for the places and moments that leave an indelible mark on our hearts.