The Heartbreaking Elegy of an Abandoned Songstress: A Reflection on Social Injustice in Feudal China
In my younger days, I lived in the western region of Qin. My modest skills in singing and performing were initially just enough to sustain me. Over time, I developed a unique style, constantly innovating my repertoire. By chance, I mastered the singing technique of the famed Tang dynasty songstress, Nian Nu. My voice would sometimes soar so high that it seemed to halt the clouds in their tracks. My talents earned me countless riches, justifying my tireless efforts.
For several years, I traveled frequently along the Xianjing Road. Despite my hard work, the rewards I received were often just leftover wine and cold food. My heart is heavy with unspoken sorrows, but to whom can I confide? If only I could find a true connoisseur who appreciates my talents, I would gladly sing the most sophisticated and elegant songs for them. After performing a song, I often find myself shedding tears at the banquet, again picking up my handkerchief to hide my grief-stricken face.
This song captures the shared lament of many songstresses and courtesans in feudal society, who were often exploited and discarded as they aged. The first half of the poem highlights the singer’s youthful splendor, contrasting sharply with her current despair. The line “I lived in the western region of Qin, gambling with my arts” reflects the singer’s confident and proud tone. “I lived in the western region of Qin” is a literal statement, as evidenced by the later reference to the Xianjing Road, indicating the singer resided near Shaanxi.
“Gambling” in this context means competing. The singer recounts her origins, boasting of her diverse artistic skills and her willingness to compete with others. The phrase “with skills fresh as blossoms” metaphorically represents all her artistic talents. “Compete” again signifies the spirit of competition, and “fresh” indicates her innovative and unique talents, which set her apart from others. The singer proudly claims her abilities are superior and not commonplace.
The line “I learned Nian Nu’s singing style, my voice soaring high enough to stop the clouds” vividly illustrates her exceptional talent. “Casually,” she boasts, “I could sing a song once performed by the famous Tang dynasty songstress Nian Nu, so beautifully that the clouds would pause to listen.” The phrase “voice soaring high enough to stop the clouds” is derived from the ancient text “Liezi,” which tells of a singer whose voice could resonate through the forest and halt the clouds. These statements reflect her pride and are imbued with a sense of melancholic irony, as her boastful recollections are undercut by her current misfortune.
“Sichuan brocade as headbands in abundance, not a wasted effort” describes her past glory when her singing captivated many, earning her numerous rewards, which justified her hard work. “Sichuan brocade,” a luxurious silk fabric, was often used to reward songstresses. Here, it symbolizes the wealth she once received.
The latter part of the poem portrays the singer’s cold reception as she aged and expresses the poet’s deep sympathy for her. “For several years, traveling along the Xianjing Road, cold leftovers only add to my sorrow” reflects her desolate and lonely situation. Given the poem’s geographical references, it is likely written by Yan Shu during his demotion, reflecting his own discontent with his circumstances.
The phrase “who can I confide in?” underscores the songstress’s plight, as women in feudal society lacked independence and sought someone to rely on for their well-being. The line “If I find a true connoisseur, I will sing the most elegant songs without hesitation” continues in the singer’s voice, expressing her willingness to dedicate herself to someone who appreciates her talents. This reflects not only the songstress’s longing for recognition but also the sentiments of a traditional Chinese scholar-official, who sought to serve the country.
The poet uses the songstress’s plight to convey his own frustrations, drawing a parallel between her situation and his own. “One song, tears falling at the banquet, covering my face again” vividly portrays the singer’s sorrow, reminiscing her past glory amidst her current desolation. The poet empathizes with the songstress, as he too experienced demotion and exile.
Yan Shu’s poem, distinct in its content, departs from his usual themes of indulgence in wine and song, love and separation, and the beauty of nature, to reflect the unfortunate fate of an exploited songstress, carrying a profound social message. The poem’s style, shifting from his usual elegance to a more intense and melancholic tone, mirrors the poet’s own adverse circumstances. Though it lacks the explicit personal suffering found in Bai Juyi’s “The Song of the Pipa Player,” readers can still perceive the poet’s intention to express his own grief through the songstress’s story.