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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 ...
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.
Some four centuries later, during the Song dynasty, for example, just in the case of his poem that is sometimes translated "Drinking Alone Beneath the Moon", the poet Yang Wanli wrote a whole poem alluding to it (and to two other Li Bai poems), in the same gushi, or old-style poetry form.
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 ...
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.
The Eight Immortals of the Wine Cup depicted by Ming dynasty painter Du Jin Kozuka with Li Bai drinking a cup of wine while looking at a waterfall. The Eight Immortals of the Wine Cup or Eight Immortals Indulged in Wine (Chinese: 飲中八仙; pinyin: yǐnzhōng bāxiān) were a group of Tang dynasty scholars who are known for their love of alcoholic beverages.
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Li Bai (also known as Li Po and Li Bo) uses the term 猿猱 (yuán náo), in his famous poem "The Shu Road is Hard" (Stimson, 83). This line (14) is an example of the sophisticated use of simians in Chinese poetry, by a great poet. In this case the difficulty and sorrow of the situation extends even to the monkeys facing the journey on the Shu ...