Yuan Dynasty
喜春来 · 春宴
元好问
春盘宜剪三生菜，
春燕斜簪七宝钗。
春风春酝透人怀。
春宴排，
齐唱喜春来。
梅残玉靥香犹在，
柳破金梢眼未开。
东风和气满楼台。
桃杏拆，
宜唱喜春来。
梅擎残雪芳心奈，
柳倚东风望眼开。
温柔樽俎小楼台。
红袖绕，
低唱喜春来。
携将玉友寻花寨，
看褪梅妆等杏腮。
休随刘阮到天台。
仙洞窄，
且唱喜春来。
Translation
For the spring platter, fresh young greens should be cut; a spring swallow hairpin of seven jewels is slanted in the hair. Spring wind and spring wine soak into the heart. The spring banquet is laid out; all together they sing "Spring Has Come." The plum blossoms are fading, yet fragrance remains on their jade-like faces; the willow has broken into golden tips, though its leaf-eyes have not yet opened. The gentle breath of the east wind fills the towers. Peach and apricot buds are beginning to split; it is fitting to sing "Spring Has Come." The plum holds up the last snow, its fragrant heart still waiting; the willow leans on the east wind, opening eyes of longing. On the small tower terrace, wine and dishes are tenderly set. Red sleeves circle around, softly singing "Spring Has Come." Bring fine wine and seek the flowered place; watch the plum's makeup fade and wait for the apricot's rosy cheeks. Do not follow Liu and Ruan all the way to Tiantai. The immortal cave is too narrow; for now, let us sing "Spring Has Come."
Analysis
"Spring Has Come · Spring Banquet" is a set of four short songs celebrating early spring, banquet pleasures, flowers, wine, and song. Compared with Yuan Haowen's more somber works of historical loss, this group is light, graceful, and festive. The first song presents the banquet itself. The spring platter of fresh greens evokes seasonal customs and the tasting of new growth. The swallow-shaped jeweled hairpin links women's adornment with the return of spring swallows. "Spring wind and spring wine" work together: the season enters from outside, while wine warms the heart from within. The collective singing of "Spring Has Come" closes the scene in shared festivity. The second song turns to flowers and trees in early spring. Plum blossoms are fading but still fragrant; willows have just broken into tender golden tips; peach and apricot buds are beginning to open. This is not high spring in full bloom. Its beauty lies in transition: old fragrance remains, new life is just emerging. The third song makes the spring scene more intimate. Plum branches hold the last snow; willows lean into the east wind. The flowers are personified as if they have feelings and expectant eyes. The setting then shifts to a small tower banquet, red sleeves, and a softer, lower song. The collective singing of the first song becomes private here. The fourth song expands into spring outing. "Jade friend" refers to fine wine, so the speaker goes seeking flowers with wine in hand. The fading of plum makeup and the coming redness of apricot cheeks turn seasonal change into feminine beauty. The allusion to Liu and Ruan, who entered Tiantai and met immortals, is used playfully: there is no need to chase a distant paradise when the present spring scene is already enough. The charm of the group lies in its concrete sensory world. Spring is not an abstract season; it is something eaten in young greens, worn in hairpins, breathed in wind, drunk in wine, seen in blossoms, and heard in song.
About the Author
Yuan Haowen, courtesy name Yuzhi and literary name Yishan, was a major writer and historian of the late Jin and early Yuan periods. Born in Xiurong, Taiyuan, he was one of the most important literary figures of the Jin dynasty, accomplished in poetry, ci, qu, and prose. After the fall of the Jin, he devoted himself to preserving Jin literary culture and compiled the influential anthology Zhongzhou ji. His works often express historical sorrow and memory of a fallen state, but he also wrote fresh and elegant pieces on landscape, banquets, and spring scenes.