南园十三首(其六) - 李贺
Thirteen Poems from the Southern Garden (No. 6) - Li He
南园十三首(其六) - 李贺
Thirteen Poems from the Southern Garden (No. 6) - Li He
In the sixth poem of his “Thirteen Poems from the Southern Garden,” Li He paints a fleeting vision of flowers and grasses, then swiftly shifts to a note of lament for a historical figure known as ‘Han Ling’ (韩令) or ‘Magistrate Han’—widely understood in some readings to be a minor official whose achievements went underappreciated. By interweaving delicate, natural imagery with a sense of unfinished human potential, Li He highlights the gap between beauty or promise and the reality of worldly success.
The poem opens in a gentle, almost pastoral scene: flowers of ‘little white and deep red’ evoke the cheeks of the ‘Yue maidens,’ referencing a region once known for its graceful women. This vivid yet subtle metaphor suggests both natural bloom and youthful loveliness, providing a contrast to the following lines that speak of unrealized glory.
The mention of Han Ling’s ‘thin’ or ‘slender’ fame moves the poem from floral serenity to a human sense of regret. The concluding image—of a great ‘roc’ (鹏) that once soared along a river but never returned—symbolizes lost opportunity or dashed ambition. Thus, in just four lines, Li He frames a delicate cycle of beauty, aspiration, and ephemeral fortune, reflecting the Tang Dynasty’s fascination with the tensions between nature’s bounty and the impermanence of renown.
Li He’s characteristic style fuses lush, sensuous imagery with sudden shifts to moral or emotional conclusions. While brevity itself makes the poem elusive, its potent symbolism lingers, inviting reflection on how easily life’s brightest moments may pass without fulfilling their original promise. The subtle heartbreak resonates beyond its immediate context, reminding us that mortal accomplishments, like blossoms in spring, may blossom vividly only to vanish all too soon.
• Natural beauty (flowers, vines) serves as a foil to human ambitions.
• The ‘roc’ metaphor underscores missed opportunities and impermanence.
• Li He’s style is concise, weaving pastoral imagery with a regretful undercurrent.
• The poem invites readers to reflect on how swiftly fortune—like spring blossoms—can fade.
I’m struck by Li He’s ability to meld a nocturnal hush with tender, unfulfilled longing. It’s a calm sadness rather than a stormy lament, letting the night’s silence gently cradle the poet’s unvoiced yearnings.
Quiet moonlit pathways and delicate blossoms shape an atmosphere of subdued wistfulness.
I love how every verse feels like a footstep in dewy grass—delicate, cautious, and very aware of the night’s mystery. The poem leaves me imagining the poet wandering in half-shadow, searching for something he can’t quite name.
Some lines land like a solitary tear under moonlight, capturing that bittersweet point where beauty collides with memory. The night air breathes an unvoiced ache, hinting that hidden thoughts might ripple beneath the surface calm.
A short reflection: there’s a hypnotic quality in how each line flows, as though the poet is half-dreaming, ensnared by the garden’s silent pull and the lingering echoes of days gone by.
Comparing it to Li Shangyin’s intricate love poems, Li He’s approach here is more straightforward but still brims with a haunting allure. Both employ subtle imagery to convey longing, yet Li Shangyin’s style often feels labyrinthine, while Li He’s remains quietly direct, though no less poignant.
Li He’s words carry a gentle sorrow, like a soft whisper in the depths of a twilight garden. Though nature appears serene, the poem’s subtle undercurrent hints at unspoken regrets hovering just out of reach. There’s a hush around the flower-strewn paths, suggesting that each unfolding petal mirrors a dream or memory slipping through the poet’s fingers. The tension is beautifully muted—no outcry, just a persistent, melancholic echo that resonates long after the final line.
When I see recent posts about people rediscovering smaller city gardens—quiet urban oases once overlooked—it reminds me of this poem’s reflective hush. Just as Li He captures the tranquil spaces that cradle hidden longings, modern city dwellers are finding that a stroll through a tucked-away garden can unlock unspoken emotions in a chaotic world.
It mirrors present-day sentiments where people seek solitude in nature to clear their heads—this poem captures that same impulse, but with a tinge of sorrow, reminding us that even the loveliest setting can stir old regrets.
In comparison to Li He’s more forceful verse in ‘雁门太守行,’ where frontier tension dominates, here he slows the tempo, letting the hush of night and the understated longing take center stage. Both poems reveal Li He’s talent for weaving deep emotional threads into vivid backdrops, yet the intensity differs: one crackles with martial fervor, while this one softly floats on hushed heartache.
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