竹枝词
Bamboo Branch Ballads
Original
杨柳青青江水平，
闻郎江上唱歌声。
东边日出西边雨，
道是无晴却有晴。
Translation
Willows green, the river’s smooth and wide,
I hear my love sing on the other side.
Sunshine in the east, rain in the west,
It’s not yet clear, yet it’s clear at best.
Line by Line Analysis
About This Poem
This beloved poem is a standout among Liu Yuxi’s Bamboo Branch Ballads, crafted during his exile in Kuizhou (modern Chongqing) in the early 820s. Set against a tranquil spring landscape—lush willows fringing the glassy Yangtze River—it captures the tender, ambiguous emotions of a young woman who hears her lover’s song drifting across the water. The striking natural contrast of sunshine in the east and rain in the west acts as a clever linguistic pun: the Chinese word 'qing' (meaning 'sunny') is a homophone for 'qing' (affection). This double entendre perfectly conveys the girl’s confusion and quiet hope—she wonders if her lover’s feelings are genuine, yet senses a subtle warmth beneath his ambiguity. Blending the raw charm of folk music with refined literary technique, the poem resonates with the universal experience of tentative romance.
About the Poet
刘禹锡
Liú Yǔxī
Liu Yuxi (772–842) was a distinguished statesman and litterateur of the Tang Dynasty. A core participant in the Ancient Prose Movement, he was known as 'Liu-Liu' alongside Liu Zongyuan and 'Liu-Bai' with Bai Juyi. Plagued by repeated political exiles due to his reformist stance, he channeled his frustrations and insights into writing. His works, spanning historical meditations to folk-inspired pieces, feature concise language, vivid imagery, and a profound connection to grassroots culture; his Bamboo Branch Ballads notably revitalized folk elements in classical Chinese poetry.
Cultural & Historical Context
The historical background of Bamboo Branch Ballads traces back to folk songs in the Bashu region (modern Sichuan and Chongqing) during the Han Dynasty, evolving into a respected classical poetic form in the Tang Dynasty as literati began to adapt it. Culturally, these ballads were integral to local life: Bashu residents sang them while working by rivers or in hills, using simple language to express daily joys and sorrows. Socially, the mid-Tang Dynasty witnessed a surge in folk culture’s influence, as literati sought to escape the constraints of rigid classical poetic conventions by drawing inspiration from grassroots art. For Liu Yuxi, this poem was born during his exile in Kuizhou after political setbacks; immersing himself in local traditions, he used the ballad form to both record folk customs and voice his own complex emotions. His creative purpose was to revitalize classical poetry with folk vitality, and artistically, the poem shines with its brilliant homophonic pun ('sunny' vs 'affection'), seamless blend of vivid natural imagery and subtle romantic sentiment, and colloquial rhythmic language that retains the authenticity of folk songs while bearing literary polish, making it a timeless masterpiece of integrating folk and classical literary traditions.