后宫词 - 白居易
Palace Verse - Bai Juyi
后宫词 - 白居易
Palace Verse - Bai Juyi
泪湿罗巾梦不成
Tears dampen the silk handkerchief, no dream can come
夜深前殿按歌声
Late into the night, music from the front hall is still rehearsed
红颜未老恩先断
Though beauty is yet unwithering, favor has already ceased
斜倚熏笼坐到明
Leaning against the brazier, she sits awake until dawn
In this short yet poignant poem, Bai Juyi offers a window into the secluded and often sorrowful lives of women in the imperial harem. The speaker, presumably a palace lady, remains awake through the night, haunted by the sound of court musicians practicing and her own memories of better days. Her tears on the silk kerchief highlight both her emotional pain and her refined surroundings—luxuries that only heighten her loneliness.
Although she is still in her prime (“红颜未老”), the emperor’s favor has already shifted elsewhere, leaving her in a suspended state of neglect. The phrase “斜倚熏笼坐到明” (leaning against a brazier until dawn) underscores the stillness and emptiness of her vigil. Indeed, while the palace might dazzle with pomp and finery, it is also a place where relationships can be fleeting, governed by power dynamics rather than genuine companionship.
Bai Juyi’s spare, direct language lays bare the emotional weight of isolation, driving home the idea that even behind the richest screens and resplendent corridors, there can be profound sadness. His gentle, empathetic voice resonates across time, reminding readers that human longing and heartbreak are universal, regardless of the outward luxuries one may possess.
1. Palace life, while gilded, often conceals deep isolation and emotional upheaval.
2. Bai Juyi’s sympathetic portrayal highlights the fragility of courtly favor.
3. Nighttime imagery and solitary vigil convey how the most private sorrows can lie beyond public view.
4. The poem resonates with anyone who has felt left behind or forgotten despite seemingly comfortable surroundings.
The sense of suppressed emotion here is both haunting and gently rendered, drawing empathy for those whose stories remain in the shadows of power.
I love how Bai Juyi reveals emotional layers with such economy of words, casting light on a realm most people will never see.
It makes me think of how, even now, individuals in rigid systems—whether corporate environments or strict communities—can feel their personal identities quietly eroding.
The loneliness in these lines reminds me of social media influencers who seem to have everything but sometimes admit feeling trapped by their own curated perfection.
Even centuries later, the poem resonates with today’s debates on women’s agency. Behind gilded palace doors or behind trending hashtags, the struggle for self-expression can be stifling.
Short yet profound, each verse breathes life into an often hidden corner of imperial life.
I’m reminded of current discussions about mental health among those constantly in the public eye. The poem’s sense of confinement and unspoken sorrow echoes the pressure felt by many performers today, isolated by their own success and public persona.
It’s striking to compare ‘后宫词’ with Bai Juyi’s ‘长恨歌,’ since both deal with palace intrigues. Yet here, the focus feels more intimate, emphasizing the silent anxieties and the overlooked desires hidden behind ornate walls. Whereas ‘长恨歌’ sweeps across a grand tragic love, ‘后宫词’ zooms in on those caught in the system of the imperial harem—women whose stories unfold beneath the gilded surface, often ignored by the wider world.
Reading it now makes me think of how modern celebrities often appear glamorous while dealing with isolation and constant scrutiny—so different on the surface, yet the same longing for genuine connection lingers underneath.
This poem’s quiet depiction of harem life subtly highlights how power and isolation can coexist under the same lavish roof.
With just a few lines, Bai Juyi manages to capture the tension between luxury and longing—like a glittering veil that conceals real pain.