English Rendering
Spring’s half is gone, the rest but borrowed light;
To drink with falling flowers is like wine of winter’s night.
I toast spring’s parting, sweep the blooms away —
Who can hold back the eastward stream and say “Stay!”
Spring’s half is gone, the rest but borrowed light;
To drink with falling flowers is like wine of winter’s night.
I toast spring’s parting, sweep the blooms away —
Who can hold back the eastward stream and say “Stay!”

春半年已除,其馀强为有。
即此醉残花,便同尝腊酒。
怅望送春杯,殷勤扫花帚。
谁为驻东流,年年长在手。
This poem was composed during a crucial period of transition in Du Mu's life and poetic career, roughly between the mid-to-late 840s and early 850s. By this time, the poet had served in various military-governor offices across the Jiangnan region and had returned to the imperial court, holding posts such as Investigating Censor and Left Rectifier of Omissions. Situated at the political heart of the Tang empire, he had developed a lucid, yet increasingly acute sense of futility regarding the dynasty's systemic decline and the inherent constraints of his own official career. During this stage, Du Mu's poetic style gradually shifted from the spirited confidence and lyrical elegance of his youth towards a more somber, resonant tone characterized by profound philosophical contemplation.
Classical Chinese poetry thrives on Concision and Ambiguity. Without tense or number, the words create a timeless space where the reader becomes the co-creator of the poem's meaning.
Look for Contrasts: light and shadow, movement and stillness. Don't just translate the words; feel the Yijing (artistic conception) that lingers long after the last character.
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