
A boat amidst blushing blooms—
I recall on arrival,
paired with mandarin ducks as companions.
Of thirty-six lotus ponds, untouched by men,
countless water-jeweled gowns sway in the breeze.
Jade-green leaves breathe coolness,
fair faces flushed from wine,
then a drizzle sprinkles the cattail reeds.
A coy sway, a graceful dance—
cold fragrance soars into my verse.
Dusk falls.
Like parasols of jade, they stand tall and serene.
But where is my love?
How could I bear to leave on rippling steps?
I fear their dancing skirts, chilled, may fall too soon,
as sorrow drifts on west winds over southern shores.
Tall willows cast shadows,
old fish stir the waves—
they beg me to linger among the flowers.
How many layered leaves remain?
How many times must I turn back on the sandy path?
Composed around 1189 during the Chunxi era of the Southern Song Dynasty, this ci poem was written when Jiang Kui was staying in Wuling (modern Changde, Hunan). During a midsummer boat ride through lotus ponds, the poet found spiritual communion with the blossoms, weaving memories of West Lake in Hangzhou and Wuxing (Huzhou) into a timeless meditation. Traditionally symbolizing purity rising from mud, lotuses here embody not only virtue but also the poet's solitary brilliance and unrecognized genius. Through scenes of companionship with the flowers, Jiang paints a self-portrait of an intellectual exile—refined, isolated, and brimming with stifled artistry.
闹红一舸,记来时,尝与鸳鸯为侣,
三十六陂人未到,水佩风裳无数。
翠叶吹凉,玉容消酒,更洒菇蒲雨。
嫣然摇动,冷香飞上诗句。
日暮,青盖亭亭,情人不见,争忍凌波去?
只恐舞衣寒易落,愁人西风南浦。
高柳垂阴,老鱼吹浪,留我花间住。
田田多少,几回沙际归路。
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