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I alone, drinking, without a companion. I lift the cup and invite the bright moon. My shadow opposite certainly makes us three. But the moon cannot drink, And my shadow follows the motions of my body in vain. For the briefest time are the moon and my shadow my companions. Oh, be joyful! One must make the most of Spring.
The poem is one of Li's shi poems, structured as a single quatrain in five-character regulated verse with a simple AABA rhyme scheme (at least in its original Middle Chinese dialect as well as the majority of contemporary Chinese dialects). It is short and direct in accordance with the guidelines for shi poetry, and cannot be conceived as ...
Stephen Owen 'Li Po: a new concept of genius," in Stephen Owen. The Great Age of Chinese Poetry : The High T'ang. (New Haven Conn.: Yale University Press, 1981). ISBN 978-0-300-02367-1. Varsano, Paula M. (2003). Tracking the Banished Immortal: The Poetry of Li Bo and its Critical Reception (University of Hawai'i Press, 2003). ISBN 978-0-8248 ...
This is of major significance within the Classical Chinese poetry tradition, finding such practitioners of the genre as Li Bai (also known as Li Bo or Li Po); [2] as well as importantly influencing world poetry through translations, such as by David Hinton. The Midnight Songs have been much used as inspiration for later poetry.
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Li Bai and Du Fu did meet and in fact Du Fu greatly admired Li Bai. In the introduction of Three Chinese Poets , Seth talks about the influence of translations on his life and work; that while sometimes he has been so moved by a translation that he learnt another language to read the original, he doubts that he would ever be able to do this as ...
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In the autumn of 744, he met Li Bai (Li Po) for the first time, and the two poets formed a friendship. David Young describes this as "the most significant formative element in Du Fu's artistic development" because it gave him a living example of the reclusive poet-scholar life to which he was attracted after his failure in the civil service ...