The bright moon lifts from the Mountain of Heaven
In an infinite haze of cloud and sea,
And the wind, that has come a thousand miles,
Beats at the Jade Pass battlements...
China marches its men down Po-teng Road
While Tartar troops peer across blue waters of the bay...
And since not one battle famous in history
Sent all its fighters back ag ain,
The soldiers turn round, looking toward the border,
And think of home, with wistful eyes,
And of those tonight in the upper chambers
Who toss and sigh and cannot rest.
Original Poem
「关山月」
李白
明月出天山，苍茫云海间。
长风几万里，吹度玉门关。
汉下白登道，胡窥青海湾。
由来征战地，不见有人还。
戍客望边色，思归多苦颜。
高楼当此夜，叹息未应闲。
Interpretation
This poem was composed during the Tianbao era of Emperor Xuanzong of Tang, a time when the Tang Dynasty was embroiled in continuous warfare, leading to a gradual decline in national strength. The border wars not only brought suffering to the common people but also kept soldiers stationed far from home for long periods, intensifying their longing for home. Guan Shan Yue (Moon Over the Mountain Pass) is an old Han Dynasty yuefu (folk song) title, belonging to the "Drum and Horn Horizontal Flute Songs," which were often sung by border soldiers. Building on this tradition, Li Bai uses his unique style to depict the brutality of border warfare, critique the militarism of the time, and express deep sympathy for the soldiers and their families.
First Couplet: “明月出天山，苍茫云海间。”
Míng yuè chū tiān shān, cāng máng yún hǎi jiān.
The bright moon rises over the Tianshan Mountains, shining amidst the vast sea of clouds.
The poem begins with a moonlit scene, setting the tone. The "bright moon" symbolizes homesickness, while the "Tianshan Mountains" locate the setting in the borderlands. The "vast sea of clouds" creates a sense of boundless expanse, foreshadowing the soldiers' longing for home.
Second Couplet: “长风几万里，吹度玉门关。”
Cháng fēng jǐ wàn lǐ, chuī dù yù mén guān.
The long wind sweeps across thousands of miles, blowing past the distant Yumen Pass.
The "long wind" symbolizes the relentless passage of time and the harshness of war, while the "Yumen Pass" marks the soldiers' separation from their homeland. The wind blowing through the borderlands emphasizes the desolation of the environment and the unending nature of the conflict, enhancing the poem's tragic atmosphere.
Third Couplet: “汉下白登道，胡窥青海湾。”
Hàn xià bái dēng dào, hú kuī qīng hǎi wān.
The Han army marches down the Baideng Road, while the Hu tribes eye Qinghai Bay.
This couplet depicts the turbulent situation at the border, with continuous warfare. "The Han army marches" indicates an active campaign, while "the Hu tribes eye" suggests the enemy's watchfulness. In just two lines, the poem captures the confrontation between the central plains and the nomadic tribes, reflecting the reality of frequent border wars during the Tang Dynasty.
Fourth Couplet: “由来征战地，不见有人还。”
Yóu lái zhēng zhàn dì, bù jiàn yǒu rén huán.
Since ancient times, this has been a battlefield, yet few who go to war return.
This line directly expresses the poet's grief, revealing the cruelty and tragedy of war. Countless soldiers die on the battlefield, yet the wars continue unabated, evoking a deep sense of sorrow.
Fifth Couplet: “戍客望边色，思归多苦颜。”
Shù kè wàng biān sè, sī guī duō kǔ yán.
The garrison soldiers gaze at the border's bleak scenery, their faces filled with the pain of longing for home.
The "bleak scenery" of the borderlands triggers the soldiers' homesickness. Having been away from home for years, their faces are marked by the sorrow of longing, a poignant image that moves the reader.
Sixth Couplet: “高楼当此夜，叹息未应闲。”
Gāo lóu dāng cǐ yè, tàn xī wèi yīng xián.
Tonight, in the high towers, the sighs of longing will surely never cease.
The poet shifts the perspective from the borderlands to the central plains, focusing on the soldiers' wives. Their endless sighs in the long night, as they yearn for their distant husbands, create a spatial contrast that deepens the soldiers' suffering and amplifies the wives' sorrow.
Overall Appreciation
In this poem, Li Bai uses the vast borderland scenery as a backdrop to depict the hardships of soldiers and the cruelty of war. The first half describes the nighttime border landscape, creating a sense of desolation and tragedy. The middle section portrays the relentless and brutal nature of war, revealing the soldiers' fate. The latter part focuses on the soldiers' longing for home and the wives' endless lament. The poem progresses from grandeur to sorrow, blending grand war scenes with intimate personal emotions, showcasing Li Bai's expansive poetic vision and profound concern for reality.
Writing Characteristics
- Grand Imagery, Layered Structure: The poem begins with broad scenery and gradually delves into the soldiers' homesickness and the wives' sorrow, balancing a grand scope with细腻 (delicate) emotions.
- Scenery as Metaphor, Deep Symbolism: The "bright moon," "long wind," and "Yumen Pass" are not just descriptions of scenery but also symbols of the soldiers' homesickness, enhancing the emotional impact.
- Contrast to Heighten Emotion: The poem contrasts the soldiers' plight with the wives' sorrow and the harshness of the borderlands with the warmth of home, intensifying the personal suffering caused by war.
- Natural Use of Allusion, Historical Depth: References to "Baideng Road" and "Qinghai Bay" evoke the historical context of continuous border warfare, adding a sense of historical depth to the poem.
Insights
This poem not only portrays the hardships of border soldiers but also deeply reveals the cruelty and endless cycle of war. With a sorrowful tone, the poet expresses sympathy for the soldiers and their families and critiques the rulers' militarism. It reminds us that war is not the only solution to problems and that peace is the true well-being of the people and the nation.
Poem translator
Kiang Kanghu
About the poet
Li Bai (李白), 701 - 762 A.D., whose ancestral home was in Gansu, was preceded by Li Guang, a general of the Han Dynasty. Tang poetry is one of the brightest constellations in the history of Chinese literature, and one of the brightest stars is Li Bai.
