Farewell Poems
送別
Tang farewell poems before, during, and after departure: an offered cup, a song from shore, a vanishing sail, and the question of a friend’s return.
The verb 送 in a poem title often means to accompany someone part of the way or to see them off. A farewell poem can mark that social act without reporting every mile of the journey. The person who leaves and the person who watches do not have the same view.
These complete readings follow a farewell from an offered cup to the uncertainty after a friend has gone. Each offers the Chinese text, pinyin, a gloss, an original English translation, and notes.
Before departure: one more cup
In Sending Yuan Er to Anxi, Wang Wei begins with rain settling the road dust and fresh willow green beside an inn. The friend has not yet disappeared. The poet can still speak to him.
The third line offers another cup. The fourth explains why: beyond Yang Pass, the old circle of friends will be absent. The cup cannot cancel the journey, but it can hold the present moment for one more action.
Compare Bai Juyi’s question to Liu Nineteen, where a cup invites someone to arrive. The objects are similar; the direction of the social movement is reversed.
After departure: keep watching
Yellow Crane Tower Farewell has no direct speech to the departing friend. Li Bai names the season and destination, follows the sail, and ends with the Yangzi still flowing after the sail is gone.
The friend is Meng Haoran, himself a poet. “Lone sail” tells us what the watcher follows; it need not mean there is only one vessel on the river. Attention makes one boat stand out from the whole view.
Our text follows the reading with 碧山, blue-green mountains. The familiar 碧空, blue sky, is a recorded variant explained on the poem page. In either reading, disappearance leads the eye toward what remains.
A landscape becomes a farewell
Grass on the Ancient Plain, by Bai Juyi, saves the act of seeing someone off until its seventh line. The first half follows the grass through withering, fire, and renewed growth. The second half brings in a road, a deserted town, and the traveler.
The last line returns to the abundance of the opening. Now that abundance is filled with parting. Reading only the famous first four lines leaves out the farewell promised by the title.
This poem is an eight-line lüshi; the other farewells gathered here are four-line jueju. A shared subject does not imply the same formal work.
From the departing boat
In To Wang Lun, Li Bai is the traveler himself. A stamping song reaches him from shore before the boat leaves. He answers it by making the feeling of the farewell deeper than Peach Blossom Pool. Compare this audible interruption with the visual attention of Yellow Crane Tower Farewell: exchanging the positions of traveler and watcher changes the poem’s material.
After the gate closes
Farewell in the Mountains begins when the actual seeing-off is finished. Wang Wei closes a brushwood gate and asks whether his friend will return when next year’s grass is green. The grass’s return is certain; the person’s is a question. Read it beside Bai Juyi’s grass poem to hear an older plant-and-traveler association become two different endings.
Read the gesture, then the history
A cup, a long look, a song, and a closed gate are different ways to end a meeting. None needs an invented promise that the friends will never meet again. When a title identifies a mission or a destination, use that information; when it gives no date, leave the date open.
Homesickness often begins from the traveler’s side, after the separation has happened. Love and longing includes a different kind of reciprocal absence. Moving between those shelves is more useful than treating every departure as the same emotion.
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