[Poem] SONG OF STEADY WIND (SINCE SPRING ARRIVED) - A Reflective Glimpse into Spring’s Subtle Sorrows

This ci poem, set to the tune pattern “Ding Feng Bo” (定风波), is one of Liu Yong’s more understated yet poignant works. Written during the Northern Song Dynasty, it encapsulates the gentle turmoil of spring: a season typically celebrated for renewal, but here suffused with a quieter strain of melancholy.

In classical Chinese poetry, spring can be a double-edged symbol. On one hand, it heralds growth and energy; on the other, it often illuminates deeper longings and regrets hidden beneath life’s outward bustle. The opening lines describe a contrast of colors—green that seems “bleak” and red blossoms tinged with sorrow. This color imagery highlights how changing seasons can exacerbate emotional unease rather than dispelling it.

As daylight lengthens, the poet situates himself by a small railing, gazing at the night sky and moon. These are classic motifs in Song poetry, where a moonlit setting suggests both solitude and cosmic wonder. The hush of the flower chamber, gently lit by flickering candles, further underscores the intimacy of the moment. Such surroundings mirror the poet’s introspective state, illustrating how external peace can heighten internal restlessness.

A key turning point comes in the final lines: the poet “unfastens an ornament” (symbolic of shedding a protective layer or a once-cherished token) and stands in the breeze, seeking someone or something to lean on. Yet companionship is elusive. That sense of displacement or emotional isolation is exacerbated by “fresh sorrows,” implying that each new moment of life brings a fresh wave of yearning. Wine, a common motif in Chinese verse as a means of release or refuge, does not fully quell the poet’s unrest—it merely gives him a momentary boost of courage.

Stylistically, this poem exemplifies Liu Yong’s gift for imbuing seemingly ordinary scenes with profound feeling. The gentle shift from day to night, the subtle interplay of color and candlelight, all invite readers to immerse themselves in a delicate emotional world. The sense of longing is not depicted as a grand tragedy but rather as a persistent, soft ache at the edge of awareness, suggesting that within the quiet of spring’s evenings, hidden desires often remain unsatisfied.

Within the broader context of Song ci poetry, “Ding Feng Bo (Since Spring Arrived)” stands out for its reflective subtlety. Rather than focusing on overt heartbreak or a dramatic farewell, Liu Yong sketches a realm of half-felt sorrow. The poet’s question—whom can he lean upon?—remains pointedly unanswered, leaving readers to recognize how human hearts crave understanding during times of subtle change. It is precisely this open-ended quality that lends the poem its lasting resonance.

For many who encounter these lines today, the poem evokes not just a historical period but a timeless emotional landscape. The combination of understated grief, the season’s ephemeral beauty, and a certain gentle acceptance of loneliness creates a surprisingly modern feel, reminding us that the heart’s stirrings transcend era and place. Ultimately, the poem invites a closer look at the delicate intersections between outer renewal and inner longing—a universal theme woven into the essence of spring itself.