On “Jiangnan Song”

Translation of poetry challenges the limits of our linguistic and analytical capabilities. For, we must not only consider the literal translation of each word into English but also its nuances regarding historical context and writing style. In the wane of the Celestial Empire, these subtleties were pronounced. Specific to the 大清 (Great Qing), the majority of her leadership maintained a policy of sinocentrism, rendering the “Middle Kingdom” the epicenter of the world. Qing subjects felt pride for their country, leading to the rise of abstractly beautiful poetry. 張塤 / 张埙 (Zhang Xun), an Imperial Scholar of Emperor Kangxi’s court, shared such love, centralizing on the lush Yangtze plains as the inspiration for his poetry collection, Zhuye an wenji 竹葉庵文集 (Collected Poems of Bamboo Leaves Convent). In “Jiangnan Song” 江南曲, Zhang seemingly employs Jueju 绝句 (the Chinese quatrain) and frames them as double couplets. However, with either twenty or twenty-eight syllables per line (barring the last), the poem might have been conceived in a quadruple Wulü 五律 or Qilü 七律 (four pentasyllabic or heptasyllabic patterns per line) fashion instead, with the last line being a double Qilü. In support of this form, each syllabic pattern retains its unique principle but harmonizes gracefully with the previous line. Even the poem’s last diverging line maintains this ethos; the pomegranate skirt serves as a medium of measuring rainfall. Thus, this form represents Zhang’s observations of his time in Jiangxi Province with a paradox: this ethereal land of “colorful hibisci” cannot provide for the people. Dreaming of “being … ferried to Longxi Mountain,” Zhang cements himself as a part of Jiangnan, yearning to transcend the physical with his people. Only as he basks in the sunlight of Longxi Mountain can he realize that this is impossible.