Song Dynasty

长相思·花深深

Cháng Xiāng Sī · Huā Shēn Shēn

陈东甫

Chén Dōngfǔ

Huā shēn shēn.

花深深。

Liǔ yīn yīn.

柳阴阴。

Dù liǔ chuān huā mì xìn yīn.

度柳穿花觅信音。

Jūn xīn fù qiè xīn.

君心负妾心。

Yuàn míng qín.

怨鸣琴。

Hèn gū qīn.

恨孤衾。

Diàn shì chāi méng hé chù xún.

钿誓钗盟何处寻。

Dāng chū shéi liào jīn.

当初谁料今。


Translation

The flowers grow deep and dense; the willows cast heavy shade. I pass through willows and flowers, searching for news of you. Yet your heart has betrayed mine. I resent the grieving sound of the qin; I hate the lonely quilt. Where can I find the vows once made with jeweled ornaments and hairpins? Who could have imagined, at the beginning, that it would come to this?

Analysis

This is a compact but emotionally intense lyric of abandonment. The opening images—deep flowers and shaded willows—might suggest spring beauty, but the repeated words “deep” and “dim” create a sense of enclosure and confusion. The woman moves through flowers and willows not to enjoy the season but to seek news of the absent lover. The line “your heart has betrayed mine” abruptly strips away illusion and names the wound directly. The second stanza shifts from search to resentment and memory. The qin and the lonely quilt become objects of pain: what once belonged to love now testifies to abandonment. The phrase “vows of ornaments and hairpins” recalls a past promise, but that promise can no longer be found. The final line—“Who could have imagined this at the beginning?”—turns anger into bitter retrospect. The poem’s force lies in its brevity: short phrases, repetition, and emotional compression make the speaker’s grief feel immediate and sharp.

About the Author

Chen Dongfu was a Song dynasty lyricist about whom little biographical information survives. Although only a small number of works are attributed to him, “Flowers Deep, Willows Dim” became known through later anthologies of Song ci. The poem is notable for its compressed form, direct emotional force, and vivid expression of abandonment. Chen Dongfu may not be one of the major canonical figures of Song ci, but this lyric remains a memorable example of the boudoir-resentment tradition.