Analysis of "洛阳女儿行" - Classical Chinese Poetry

Introduction

The poem "洛阳女儿行" (Luòyáng Nǚ'ér Xíng) was written by Wang Wei (王维), one of the most celebrated poets of the Tang Dynasty (618-907 AD). Known for his mastery of both poetry and painting, Wang Wei often blended natural imagery with philosophical depth. This particular poem offers a vivid portrayal of a young woman's luxurious life in Luoyang, then the eastern capital of China, while subtly critiquing the extravagance of the elite. It holds significance as a social commentary wrapped in elegant classical verse.

The Poem: Full Text and Translation

洛阳女儿对门居
Luòyáng nǚ'ér duìmén jū
A Luoyang maiden lives across the way

才可容颜十五余
Cái kě róngyán shíwǔ yú
Her youthful beauty barely fifteen years

良人玉勒乘骢马
Liáng rén yù lè chéng cōng mǎ
Her husband rides a steed with jade-bit reins

侍女金盘脍鲤鱼
Shìnǚ jīn pán kuài lǐyú
Her maid serves carp sliced on golden plates

画阁朱楼尽相望
Huà gé zhū lóu jìn xiāng wàng
Painted towers and vermilion mansions stand in rows

红桃绿柳垂檐向
Hóng táo lǜ liǔ chuí yán xiàng
Red peaches, green willows drape the eaves

罗帏送上七香车
Luó wéi sòng shàng qī xiāng chē
Silk curtains escort her to a seven-spice carriage

宝扇迎归九华帐
Bǎo shàn yíng guī jiǔhuá zhàng
Jeweled fans welcome her to nine-flower tents

狂夫富贵在青春
Kuáng fū fùguì zài qīngchūn
Her proud lord revels in wealth and youth

意气骄奢剧季伦
Yìqì jiāoshē jù Jì Lún
His arrogance outshines even Ji Lun's extravagance

自怜碧玉亲教舞
Zì lián bìyù qīn jiào wǔ
He pampers her, teaching dances personally

不惜珊瑚持与人
Bùxī shānhú chí yǔ rén
Not sparing coral gifts to show his love

春窗曙灭九微火
Chūn chuāng shǔ miè jiǔ wēi huǒ
Dawn extinguishes nine-flame lamps by spring windows

九微片片飞花琐
Jiǔ wēi piànpiàn fēi huā suǒ
Lamp fragments flutter like flower petals

戏罢曾无理由时
Xì bà céng wú lǐyóu shí
After revels, no moment is left for reason

妆成只是熏香坐
Zhuāng chéng zhǐshì xūn xiāng zuò
Made up, she merely sits amid perfumed air

城中相识尽繁华
Chéng zhōng xiāngshí jìn fánhuá
All her city friends chase splendor

日夜经过赵李家
Rìyè jīngguò Zhào Lǐ jiā
Day and night visiting noble Zhao and Li houses

谁怜越女颜如玉
Shéi lián Yuè nǚ yán rú yù
Who pities the Yue girl fair as jade?

贫贱江头自浣纱
Pínjiàn jiāng tóu zì huànshā
Poor, washing silk by the river alone?

Line-by-Line Analysis

Lines 1-4: The poem opens with a portrait of a privileged Luoyang teenager married into luxury. The "jade-bit reins" and "golden plates" symbolize her husband's wealth, while the carp (a delicacy) represents indulgence.

Lines 5-8: Architectural grandeur dominates—towers, willows, and peach blossoms frame her world. The "seven-spice carriage" and "nine-flower tents" (both associated with imperial extravagance) emphasize excess.

Lines 9-12: The husband's arrogance surpasses Ji Lun, a historical figure notorious for wastefulness. The intimate act of teaching dance contrasts with the impersonal display of gifting coral (a precious commodity).

Lines 13-16: The "nine-flame lamps" burning till dawn hint at endless parties. Her life is reduced to dressing up and idling—a critique of empty rituals among the elite.

Closing Couplet (Lines 17-20): The abrupt shift to the impoverished Yue girl (a symbol of unrecognized talent) delivers Wang Wei's moral message: true worth is often overlooked in a materialistic society.

Themes and Symbolism

1. Vanity vs. Virtue: The Luoyang maiden's gilded existence contrasts with the Yue girl's humble labor, questioning societal values.
2. Transience of Beauty: Peach blossoms and willows (traditional symbols of fleeting youth) mirror the maiden's superficial life.
3. Social Inequality: Coral and golden plates versus the river-washed silk underscore class disparity.

Cultural Context

Written during the Tang Dynasty's golden age, the poem reflects both the period's prosperity and its moral decay. Luoyang was a cosmopolitan hub where aristocrats flaunted wealth, while talented commoners (like the Yue girl) struggled for recognition. Wang Wei—a Buddhist—often infused his poetry with subtle critiques of attachment to materialism, as seen here.

Conclusion

"洛阳女儿行" captivates with its vivid imagery and quiet irony. Beyond its critique of Tang Dynasty excess, it speaks universally about the blindness of privilege and the quiet dignity of the overlooked. In today's world of social media glamour and income inequality, Wang Wei's 8th-century poem remains strikingly relevant—a reminder to seek substance beyond surfaces.

"Who pities the Yue girl fair as jade?" Perhaps, through this poem, we all should.