[Poem] EARLY SPRING PRESENTED TO OFFICIAL ZHANG EIGHTEEN OF THE WATER DEPARTMENT (NO. 2) - A Brief Reflection on Early Spring’s Delicate Wonder

Han Yu’s poem, though brief, artfully captures the elusive charm of spring’s earliest days. It opens by painting a scene of light rain drifting over the main streets of the imperial city—an image that evokes both freshness and soft transformation. The rain, described as being as gentle as melted butter, underscores the understated yet nourishing quality of spring moisture.

Next, the poem turns to the grass, whose subtle green is visible only from afar. When you approach, it seems to vanish, implying that spring’s changes are often best perceived in passing moments of fleeting observation. This paradox—green in the distance yet indistinct up close—speaks to the season’s gradual awakening: nature’s transformations can feel simultaneously vivid and intangible.

Han Yu then declares that this period of early spring is the finest of the entire year, suggesting that there is an unparalleled vitality in these transitional days. Rather than praising the full-blown grandeur of a later spring, with trees in full leaf, the poet focuses on the gentle dawning of the season, when every hint of change feels magical.

Finally, the poem concludes by stating that this subtle beauty surpasses even the sight of willows, famously associated with springtime, throughout the grand capital. Such a statement elevates the poem’s message: the most extraordinary splendor lies in the soft, almost imperceptible shifts that herald the season’s arrival, rather than in the more conspicuous displays of lush foliage.

In four concise lines, Han Yu challenges us to notice and appreciate the fleeting nuances of spring. The poem is often interpreted as an invitation to enjoy life’s smaller, quieter wonders—and a reminder that nature’s profound elegance can be found in the delicate transitions that might otherwise slip by unnoticed.