I mentioned earlier this spring, that master classical Chinese poet Du Fu wrote in a troubled era that also troubled his life. Both he and his contemporary poet Li Po were exiled or forced to flee at times, and while I know no details of this poem, I get an exile sense from it somehow.
Have I mistaken this poem? It’s possible. To say I’m no expert on Chinese history, culture, and literature, is to greatly understate the concern one should have. On one level it seems to be a nature poem, set in spring with tree blossoms and flowers. The poem’s speaker walks out among them one morning and notes how extravagant their splendor is.
American nature poetry, such as Emily Dickinson’s, is often suffused with Transcendentalism and a sense that the book of nature presents truths to a close observer. It’s in that sense that I read this poem. The speaker (I’ll just call him Du Fu for the rest of this) is letting the wind (nature, fate) carry him on a path. He notes that the peach trees are blossoming, though no one owns them. No boss, no lord, no slave master, has sent the requirements for this work. Du Fu observing them wonders if he should prefer one shade of blossoms to another, and decides choice is beside the point.
Nor is there any need for an accounting and report of the number of petals that cover his path. They are not losses to be put on a balance sheet, for the trees simply have “more blossoms than they can hold.”
The concluding two lines have my greatest leap of faith or invention from the literal English gloss that I worked with. If, as I sense, this may be the poem of someone fleeing trouble or in exile, this beautiful morning presents a bittersweet scene. Should he simply stay and revel like the butterflies? I sense the final line’s “free and unrestrained” oriole bird is a contrast to that. That bird has choice. It, like Du Fu, can leave. That freedom, to flee beauty, is not a simple thing.
Here’s the text for today’s performance that I adapted from Du Fu’s Chinese poem using a literal gloss in English. All I had were two portions (#5 and #6) of what is apparently a longer poem or series:
Here’s what that gloss had:
Huang abbot pagoda before river water east
Spring bright lazy sleepy rely on light wind
Peach blossom one clump open without owner
Lovely deep red love light red
Huangsi girl house flowers fill path
Thousand blossom ten thousand blossom press branch low
Reluctant to leave play butterfly constantly dance
Free and unrestrained lovely oriole cry
The music today features an acoustic guitar that doesn’t harmonically move much with a root note of D. While an actual D minor chord is sounded at times, much of the music stays on suspended chords without a major or minor defining 3rd. At one point I’m fretting an F and F# at the same time which somehow works to my ear in this song’s mood. You can hear the performance with a player that appears below for many of you. Don’t see a player? This highlighted link is an alternative way to hear it.