The sky is steeped in autumn hue, so clear;
The Milky Way turns round the sun’s chariot.
The shade of jade trees just becomes upright here;
The shadow shortens from the ruler’s height.
A jade canopy sheds rings of light bright;
A mirror bright lets floral colors appear.
The sun at zenith is an auspicious sight;
We look up to its splendor without a peer.
Original Poem
「奉和咏日午」
虞世南
高天净秋色，长汉转曦车。
玉树阴初正，桐圭影未斜。
翠盖飞圆彩，明镜发轻花。
再中良表瑞，共仰璧晖赊。
Interpretation
This poem is a work composed for imperial court occasions during the early Tang Dynasty. Emperor Taizong of Tang often commanded his ministers to compose poetry at banquets, a practice known as "Fenghe" (responding in harmony with the emperor's poem). Set at noon on an autumn day, the poem depicts the natural scenery and auspicious atmosphere of the midday hour. It combines the clarity of landscape description with the ornate, celebratory tone characteristic of court poetry. The skillful use of allusions in portraying the clear sky and brilliant sunlight serves not only as an ode to nature but also carries connotations of praising the emperor, reflecting the distinctive features of early Tang court literature.
First Couplet: "高天净秋色，长汉转曦车。"
Gāo tiān jìng qiū sè, cháng hàn zhuǎn xī chē.
The lofty sky is purified, embodying the autumn hues;
The long River of Stars turns the sun's chariot.
Here, "lofty sky" and "long River of Stars" convey the vastness of the firmament, while "sun's chariot" is a mythological representation of the sun. The poet compares the movement of the midday sun to the turning of a chariot wheel, illustrating both the natural规律 of celestial motion and the magnificence of the heavens, creating a grand and imposing opening.
Second Couplet: "玉树阴初正，桐圭影未斜。"
Yù shù yīn chū zhèng, tóng guī yǐng wèi xié.
The jade tree's shadow is just turning straight;
The shadow of the jade sundial has not yet slanted.
This couplet describes the zenith of noon. The upright shadows, depicted through the elegant imagery of "jade tree" and "jade sundial," serve both as a representation of the scenery and as a metaphor for the uprightness of a well-governed era.
Third Couplet: "翠盖飞圆彩，明镜发轻花。"
Cuì gài fēi yuán cǎi, míng jìng fā qīng huā.
The emerald canopy flies, radiating circular hues;
The bright mirror emits light blossoms.
Luxurious metaphors are employed here: "emerald canopy" refers to the colorful clouds, while "bright mirror" denotes the sun. The interaction between sunlight and clouds is portrayed as scattering petals of light, evoking a scene of brilliance and harmony.
Fourth Couplet: "再中良表瑞，共仰璧晖赊。"
Zài zhōng liáng biǎo ruì, gòng yǎng bì huī shē.
The sun at the zenith again signifies a truly auspicious omen;
All gaze up together at its distant, jade-like radiance.
This couplet underscores the poem's occasional purpose, elevating the noon scene into an auspicious sign. It implies collective reverence for the emperor and celebrates the flourishing of the kingly way, fulfilling the poem's celebratory function.
Holistic Appreciation
The poem begins with natural description, unfolding progressively from the vast sky to the upright shadows at noon, then to the interplay of clouds and sunlight, and finally culminating in the celebration of an auspicious omen and praise for the sovereign. The language is ornate yet retains clarity and elegance; the imagery is expansive and permeated with harmony. The first half emphasizes the crisp autumn weather and the unbiased sun at its zenith, while the second half conveys deeper meaning, using the sun's uprightness and radiant light to symbolize the emperor's virtue and the correctness of the kingly way. As an occasional poem, it successfully fulfills its laudatory purpose while showcasing Yu Shinan's fresh and elegant artistic style.
Artistic Merits
- Clear Occasional Features: The structure is rigorous, progressing logically from natural imagery to the implication of auspicious signs and imperial praise.
- Ornate Diction and Allusion: The use of terms such as "sun's chariot," "emerald canopy," and "bright mirror" reflects the rich, allusive language typical of court literature.
- Progressive Structure: The poem moves sequentially from sky to earth, from scene to meaning, and from nature to human affairs.
- Clarity and Elegance: Despite being a poem of praise, the language remains clear and natural, avoiding excessive ornamentation and embodying Yu Shinan's unique refined elegance.
Insights
This poem depicts the clear and bright scene of an autumn noon: the pure, vast sky, the turning sun, the straight shadows, the radiant clouds, and the sparkling light, culminating in an expression of wishes for peace and prosperity through an auspicious sign. Through layered descriptions of natural scenery, the poet conveys the magnificence and harmony of the midday sun while implying praise for the flourishing age and gratitude for the enlightened ruler. It reminds us that the brightness and order of nature symbolize societal prosperity and stability. Within the vast cosmos, humanity should maintain reverence and gratitude. Just as sunlight shines impartially, we should treat others with integrity and openness, responding to the world's radiance with clarity and brightness of heart.
About the Poet
Yu Shinan (虞世南 558 - 638), a native of Yuyao in Zhejiang Province, was a prominent statesman, writer, calligrapher, and politician during the Zhenguan era of the early Tang dynasty. As one of the "Twenty-Four Meritorious Officials of Lingyan Pavilion," he rose to the position of Director of the Imperial Library. His calligraphy earned him a place among the "Four Great Calligraphers of the Early Tang," alongside Ouyang Xun, Chu Suiliang, and Xue Ji. In poetry, he inherited the tradition of Xu Ling and pioneered a refined, balanced, and harmonious courtly style. He also compiled the North Hall Book Excerpts, establishing a new genre of encyclopedic literature.
