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Facing the Moon: Poems of Li Bai and Du Fu
Poems of Li Bai and Du Fu is a bilingual collection of English and Chinese versions of poetry by Li Bai and Du Fu, the most renowned poets in all of Chinese literature. Translated by Keith Holyoak, this volume includes an introduction to the poets and their work, plus a bibliography. Holyoak's translations capture the essential beauty of the poets’ language, while retaining key elements of the structure of the original poems, including their metric form and rhyme scheme. The poems transport the reader back to the Tang dynasty of 8th-century China, while at the same time conveying timeless insights into the human condition that remain as relevant today as they were centuries ago.
135 pages, Kindle Edition
First published October 15, 2007
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About the author
Li Bai
164 books118 followersLi Bai (Chinese: 李白, 701–762), also known as Li Bo or Li Taibai, was one of the most celebrated poets of the Tang dynasty and remains one of the greatest poets in Chinese history. Renowned for his romanticism, vivid imagery, and effortless flow, his poetry has captivated readers for over a millennium. Alongside Du Fu, he is considered a towering figure of classical Chinese poetry. His works reflect a deep appreciation for nature, the joys and sorrows of life, and a fascination with Daoist philosophy, all infused with an unmistakable sense of personal freedom and spontaneity.
Born in 701 CE, likely in Suyab (modern-day Kyrgyzstan) or what is now Gansu province, China, Li Bai spent his early years in Sichuan, where his family relocated during his childhood. Growing up in an era of expansion and cultural flourishing, he received a broad education that included classical literature, Daoist philosophy, and swordsmanship. Unlike many of his contemporaries, he never sat for the imperial examinations, choosing instead a life of travel and poetic expression. From a young age, he embraced a wandering lifestyle, traveling extensively across China and seeking the company of scholars, recluses, and Daoist mystics. His poetry from this period often reflects themes of solitude, the beauty of the natural world, and a longing for spiritual transcendence.
As his reputation as a poet grew, he attracted the admiration of influential figures and was eventually invited to the imperial court of Emperor Xuanzong around 742 CE. There, he enjoyed a brief period of favor, composing poetry for the emperor and mingling with the elite. However, his free-spirited nature and disdain for courtly formalities led to conflicts with powerful officials, and he was soon dismissed from the court, resuming his wandering existence.
Li Bai’s poetry is characterized by its lyrical beauty, spontaneity, and emotional depth. He drew inspiration from nature, Daoist philosophy, and personal experiences, often reflecting on themes of longing, exile, and the fleeting nature of life. Wine and revelry frequently appear in his verses as symbols of transcendence. His mastery of poetic form, including fu (rhapsodic prose-poetry) and yuefu (folk-style poetry), set him apart as a poetic genius. Some of his most famous works include Drinking Alone Under the Moon, a meditation on solitude and the companionship of nature; Hard is the Road to Shu, a dramatic depiction of the perilous journey to Sichuan; and Quiet Night Thoughts, a simple yet profoundly evocative poem about homesickness.
During the An Lushan Rebellion, which erupted in 755 and plunged the Tang Dynasty into turmoil, Li Bai became entangled in the political conflict by aligning himself with Prince Yong, a rival claimant to the throne. When the prince’s rebellion failed, Li Bai was arrested and sentenced to exile in what is now Guizhou. He was later pardoned and continued his travels, but his final years were marked by declining health. He died in 762 CE, reportedly from illness, though legend has it that he drowned while trying to embrace the reflection of the moon in a river—a fitting myth for a poet so enraptured by the beauty of the world.
Li Bai’s poetry has endured for over a thousand years, influencing countless poets and remaining a cornerstone of Chinese literature. His works continue to be widely read and studied, celebrated for their unrestrained imagination, emotional resonance, and philosophical insight. His legacy as a poet of boundless spirit and artistic brilliance ensures that his verses still inspire generations of readers and writers across the world.
Born in 701 CE, likely in Suyab (modern-day Kyrgyzstan) or what is now Gansu province, China, Li Bai spent his early years in Sichuan, where his family relocated during his childhood. Growing up in an era of expansion and cultural flourishing, he received a broad education that included classical literature, Daoist philosophy, and swordsmanship. Unlike many of his contemporaries, he never sat for the imperial examinations, choosing instead a life of travel and poetic expression. From a young age, he embraced a wandering lifestyle, traveling extensively across China and seeking the company of scholars, recluses, and Daoist mystics. His poetry from this period often reflects themes of solitude, the beauty of the natural world, and a longing for spiritual transcendence.
As his reputation as a poet grew, he attracted the admiration of influential figures and was eventually invited to the imperial court of Emperor Xuanzong around 742 CE. There, he enjoyed a brief period of favor, composing poetry for the emperor and mingling with the elite. However, his free-spirited nature and disdain for courtly formalities led to conflicts with powerful officials, and he was soon dismissed from the court, resuming his wandering existence.
Li Bai’s poetry is characterized by its lyrical beauty, spontaneity, and emotional depth. He drew inspiration from nature, Daoist philosophy, and personal experiences, often reflecting on themes of longing, exile, and the fleeting nature of life. Wine and revelry frequently appear in his verses as symbols of transcendence. His mastery of poetic form, including fu (rhapsodic prose-poetry) and yuefu (folk-style poetry), set him apart as a poetic genius. Some of his most famous works include Drinking Alone Under the Moon, a meditation on solitude and the companionship of nature; Hard is the Road to Shu, a dramatic depiction of the perilous journey to Sichuan; and Quiet Night Thoughts, a simple yet profoundly evocative poem about homesickness.
During the An Lushan Rebellion, which erupted in 755 and plunged the Tang Dynasty into turmoil, Li Bai became entangled in the political conflict by aligning himself with Prince Yong, a rival claimant to the throne. When the prince’s rebellion failed, Li Bai was arrested and sentenced to exile in what is now Guizhou. He was later pardoned and continued his travels, but his final years were marked by declining health. He died in 762 CE, reportedly from illness, though legend has it that he drowned while trying to embrace the reflection of the moon in a river—a fitting myth for a poet so enraptured by the beauty of the world.
Li Bai’s poetry has endured for over a thousand years, influencing countless poets and remaining a cornerstone of Chinese literature. His works continue to be widely read and studied, celebrated for their unrestrained imagination, emotional resonance, and philosophical insight. His legacy as a poet of boundless spirit and artistic brilliance ensures that his verses still inspire generations of readers and writers across the world.
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Displaying 1 - 14 of 14 reviews
April 15, 2023
Idling Alone Drinking wine, night caught me unawares.
Fallen flowers fill the folds of my gown.
I stagger up and step on the moon in a stream.
Birds fly home, most everyone has gone.
(Idling LAone, Li Bai)
The world went upside down, hell froze over etc. Adina read a poetry book, even more surprisingly, liked it and is writing a review about it. Later edit: i’ve read more poetry since this one, with various degrees of succes.
Li Bai and Du Fu seem to be China’s most famous poets. Although I never heard of them, I do not read poetry so I have no authority on the subject. Since I had a choice, meaning since I finished high school, nobody made me touch anything resembling verse ( except 2 or 3 decent Poes). While going through The Literature book, I thought that I should give this genre another chance, without any pressure from school. The Iliad was a fail but I was surprised to see that this one wasn’t.
The introduction revealed some essential information about the time period when the poets were “active” and about their life. It helped immensely to have better reading experience so I am sharing some points here.
The two poets were born during the Tang dynasty, in 8th century. During the reign of Emperor Xuanzong the Chinese Empire was one of the most advanced civilisation. Like many long serving rulers, the Emperor started to govern in peace and prosperity but then became paranoid, killing any person that did not agree with him, corruption rose and ruin came to China. Both poets worked for the Court at some point time and narrowly escaped death for displeasing him.
The translator explains very well the differences between the two poets. “ Long ago these two poets became symbols. Chinese people see Li Bai and Du Fu as opposites, yin and yang. But like yin and yang they are opposites that complement rather than exclude one another. Li Bai is yin—mystic, escapist, braggart, student of Daoist magic. A famous sage of his time called him the “Banished Immortal,” and Li Bai believed it quite literally. It was thought that immortal beings in heaven who made mischief might be banished to spend a lifetime on earth. There were many banished immortals, but Li Bai was the one who brought the poetry of the gods down to earth with him. Du Fu is yang—poet of the people. Where Li Bai built his own legend and kept it shrouded in mystery, Du Fu’s poems reflect the history of his times. The good Confucian, he conveyed his despair at the turmoil that beset China and the suffering of its people. “
If Li Bai achieved success in his lifetime Du Fu struggled with poverty and anonymity, as he confesses in one of his poems: “My whole life is just a bitter song— I found no one who cared for my sad music”
I you care about, structure (I don’t), the poems are very metrical, are intended to be chanted aloud and memorized. Each line of the Chinese version has a fixed length of either 5 or 7 characters.
The collection includes mainly short poems and also two of the longer ones. The translator chose the most famous, the ones that are most representative for the authors. I have no idea what makes their poems valuable, I can only write about what I felt. They were pleasant, it filled me with melancholy and longing.
Spending the night at the temple here on the peak,
my hands could reach right up to the stars and grasp them.
I dare not raise my voice too loud for fear
of startling those who make their home in heaven.
( Li Bai, Inscribed at a Mountain-Top Temple)
The Sick Horse
These many years I’ve ridden you long and far, along the frontier and through the winter storm.
All your life you’ve toiled hard in this world— now that you’re sick, all I can do is mourn.
There’s nothing special in how you look or move, but gentle companion, you always brought me home.
A humble creature can still be a noble friend, worthy to hear a last, sorrowful poem.
(The Sick Horse , Du Fu)
Fallen flowers fill the folds of my gown.
I stagger up and step on the moon in a stream.
Birds fly home, most everyone has gone.
(Idling LAone, Li Bai)
The world went upside down, hell froze over etc. Adina read a poetry book, even more surprisingly, liked it and is writing a review about it. Later edit: i’ve read more poetry since this one, with various degrees of succes.
Li Bai and Du Fu seem to be China’s most famous poets. Although I never heard of them, I do not read poetry so I have no authority on the subject. Since I had a choice, meaning since I finished high school, nobody made me touch anything resembling verse ( except 2 or 3 decent Poes). While going through The Literature book, I thought that I should give this genre another chance, without any pressure from school. The Iliad was a fail but I was surprised to see that this one wasn’t.
The introduction revealed some essential information about the time period when the poets were “active” and about their life. It helped immensely to have better reading experience so I am sharing some points here.
The two poets were born during the Tang dynasty, in 8th century. During the reign of Emperor Xuanzong the Chinese Empire was one of the most advanced civilisation. Like many long serving rulers, the Emperor started to govern in peace and prosperity but then became paranoid, killing any person that did not agree with him, corruption rose and ruin came to China. Both poets worked for the Court at some point time and narrowly escaped death for displeasing him.
The translator explains very well the differences between the two poets. “ Long ago these two poets became symbols. Chinese people see Li Bai and Du Fu as opposites, yin and yang. But like yin and yang they are opposites that complement rather than exclude one another. Li Bai is yin—mystic, escapist, braggart, student of Daoist magic. A famous sage of his time called him the “Banished Immortal,” and Li Bai believed it quite literally. It was thought that immortal beings in heaven who made mischief might be banished to spend a lifetime on earth. There were many banished immortals, but Li Bai was the one who brought the poetry of the gods down to earth with him. Du Fu is yang—poet of the people. Where Li Bai built his own legend and kept it shrouded in mystery, Du Fu’s poems reflect the history of his times. The good Confucian, he conveyed his despair at the turmoil that beset China and the suffering of its people. “
If Li Bai achieved success in his lifetime Du Fu struggled with poverty and anonymity, as he confesses in one of his poems: “My whole life is just a bitter song— I found no one who cared for my sad music”
I you care about, structure (I don’t), the poems are very metrical, are intended to be chanted aloud and memorized. Each line of the Chinese version has a fixed length of either 5 or 7 characters.
The collection includes mainly short poems and also two of the longer ones. The translator chose the most famous, the ones that are most representative for the authors. I have no idea what makes their poems valuable, I can only write about what I felt. They were pleasant, it filled me with melancholy and longing.
Spending the night at the temple here on the peak,
my hands could reach right up to the stars and grasp them.
I dare not raise my voice too loud for fear
of startling those who make their home in heaven.
( Li Bai, Inscribed at a Mountain-Top Temple)
The Sick Horse
These many years I’ve ridden you long and far, along the frontier and through the winter storm.
All your life you’ve toiled hard in this world— now that you’re sick, all I can do is mourn.
There’s nothing special in how you look or move, but gentle companion, you always brought me home.
A humble creature can still be a noble friend, worthy to hear a last, sorrowful poem.
(The Sick Horse , Du Fu)
January 7, 2020
Everything about this collection is really well put together. The poems are prefaced by a very interesting and concise biography of these two Chinese poets, giving enough social, historical and literary context to help the reader understand the poem's purpose and significance. They are presented bilingually and Holyoak also clearly addresses the issue of translation of form and language, something which seems a Herculian task given the age of the poems, the huge differences in written forms and the strict rhyme structures he describes. All this makes for impressive reading, an ode to the near impossible job of the translator, but here Holyoak has done an amazing job of remoulding these fascinating little poems and capturing something of their original sense and atmosphere.
The character of the two poets come across well in the translation; Li Bai disolute and idling, Du Fu the more romantic of the two. What is immediately apparent is the ability both have to capture a scene or a landscape in very few words. Some of the poems are over before you have begun and yet they leave an impression. Of the two, Du Fu's poems are the most beautiful but Li Bai's work has a sense of cunning humour and wry personality that makes them quite unique. Certainly they don't have many parallels in European poetry. If they is a comparison it is perhaps in the wit and bawdiness of Shakespeare, albeit without the epic narratives. Nevertheless, these tiny poems sometimes hold a story in their small frames and together they create a great picture of these two men, their lives and times, their landscapes, the wars and politics of ancient China and of an affection and fleeting friendship between them.
Some favourites from Li Bai; "Idling Alone", a dizzy, drunken nighttime scene, "The Meaning of Life..." is an ode to idleness and revelry and to enjoying life, "Question and Answer on a Mountain" is peace and quiet encapulsated in eight lines, "Seeing Du Fu Off..." is one of their friendship poems, almost mundane or trivial but full of emotion, "Reproach at the Top of the Marble Staircase" is beautiful and mysterious, "Gazing at a Waterfall" is such a simple piece of landscape poetry, as instant as a photograph, "A Playful Gift for Du Fu" a good example of the every dayness of these poems, written almost as an aside, a little joke between friends, "Midnight Son of Wu" a despairing piece of wartorn romanticism, "Drinking Alone under the Moon" a toast to friendship.
And Du Fu; "Missing My Little Son" is the first poem and signals the delicate change in tone from Li Bai's more direct approach, "Moonlit Night" shows Du Fu's aesthetic so beautifully, his sense of family and love and missing them, "Where to Live" is a gorgeous eulogy to escaping the city and breathing in the beauty of the countryside, "Spring View" a subtly political, shadowy poem, "Dreaming of Li Bai" is a longer poem and it is very interesting to compare the way he writes about Li Bai compared to the more frivolous poems written in the opposite direction, "Thinking of my Brothers on a Moonlit Night" captures so many of Du Fu's characteristics, "Unbearable Heat..." is an amusing poem about working in uncomfortable office conditions which could equally apply to the modern world, "The Sick Horse" is a lovely, sad poem about the passing of a friend and "Grieving the Defeat at Green Slope" shows the historical interest and value of these poems, as mini documents of a time and place long gone from our consciousness.
Thoroughly enjoyable, Facing the Moon is a great example of how old, dusty poetry should be revamps and represented for the enjoyment of the modern reader, whichever culture he or she pertains to. The poems may be individually repetitive at times but the entire collection is so well constructed and balanced that the less interesting poems never drag the book down. The majority of Li Bai and Du Fu's work is really fascinating. Some of their work is a thing of simple beauty. 7
The character of the two poets come across well in the translation; Li Bai disolute and idling, Du Fu the more romantic of the two. What is immediately apparent is the ability both have to capture a scene or a landscape in very few words. Some of the poems are over before you have begun and yet they leave an impression. Of the two, Du Fu's poems are the most beautiful but Li Bai's work has a sense of cunning humour and wry personality that makes them quite unique. Certainly they don't have many parallels in European poetry. If they is a comparison it is perhaps in the wit and bawdiness of Shakespeare, albeit without the epic narratives. Nevertheless, these tiny poems sometimes hold a story in their small frames and together they create a great picture of these two men, their lives and times, their landscapes, the wars and politics of ancient China and of an affection and fleeting friendship between them.
Some favourites from Li Bai; "Idling Alone", a dizzy, drunken nighttime scene, "The Meaning of Life..." is an ode to idleness and revelry and to enjoying life, "Question and Answer on a Mountain" is peace and quiet encapulsated in eight lines, "Seeing Du Fu Off..." is one of their friendship poems, almost mundane or trivial but full of emotion, "Reproach at the Top of the Marble Staircase" is beautiful and mysterious, "Gazing at a Waterfall" is such a simple piece of landscape poetry, as instant as a photograph, "A Playful Gift for Du Fu" a good example of the every dayness of these poems, written almost as an aside, a little joke between friends, "Midnight Son of Wu" a despairing piece of wartorn romanticism, "Drinking Alone under the Moon" a toast to friendship.
And Du Fu; "Missing My Little Son" is the first poem and signals the delicate change in tone from Li Bai's more direct approach, "Moonlit Night" shows Du Fu's aesthetic so beautifully, his sense of family and love and missing them, "Where to Live" is a gorgeous eulogy to escaping the city and breathing in the beauty of the countryside, "Spring View" a subtly political, shadowy poem, "Dreaming of Li Bai" is a longer poem and it is very interesting to compare the way he writes about Li Bai compared to the more frivolous poems written in the opposite direction, "Thinking of my Brothers on a Moonlit Night" captures so many of Du Fu's characteristics, "Unbearable Heat..." is an amusing poem about working in uncomfortable office conditions which could equally apply to the modern world, "The Sick Horse" is a lovely, sad poem about the passing of a friend and "Grieving the Defeat at Green Slope" shows the historical interest and value of these poems, as mini documents of a time and place long gone from our consciousness.
Thoroughly enjoyable, Facing the Moon is a great example of how old, dusty poetry should be revamps and represented for the enjoyment of the modern reader, whichever culture he or she pertains to. The poems may be individually repetitive at times but the entire collection is so well constructed and balanced that the less interesting poems never drag the book down. The majority of Li Bai and Du Fu's work is really fascinating. Some of their work is a thing of simple beauty. 7
September 10, 2017
This brief book contains Keith Holyoak's translations of brief poems by two of China's most highly-regarded poets, who lived in the 8th century, during the Tang Dynasty. Holyoak's introduction and notes on translations both provide valuable context. The brevity and appeal of the poems drew me through them quickly. Too quickly, I think. They deserve re-reading on a later occasion, or on multiple occasions. They use the specific to evoke the universal: loneliness, love, loss, friendship. I note that the Chinese originals are shown alongside the English translations. While I do not read or speak Chinese, I found this fitting.
October 4, 2023
Love for the moon is a universal thing and it fills me with content.😌
February 10, 2024
I hope I keep finding more of these collections and translations so I can continue to “rediscover” and be amazed by the worlds contained in these deceptively small poems.
December 7, 2025
WITH 李白’S 静夜思 (C. 701-762 CE, TANG DYNASTY; QUAN TANG SHI, 1707, BEIJING)
FRIDAY,
JULY 25TH, 2025.
To fall, where others fail, is to lay in good company (1).
——
FRIDAY,
NOVEMBER 14TH, 2025.
There is where, grains, of rice, grew,
and a baby flew, away, from a tree called home.
Where home is sweet and skinned a bitter,
but home is home in a moonlight cover.
|| cf. 李白, Lǐ Bái. (II)
——
To a river bare, both blue and green,
do you see me, there?
Ripples of true, and a darkness gleam?
Reaching for a bitter tree?
|| cf. 李白, “静夜思, jìng yè sī.” (III)
——
From this hollow plea,
laying across, what was, once, another tree.
With ores and odes,
allow me, another plea?
A plea, of cutting grass and a lighting flee,
or, a hug by crescent and a blistering stream.
|| cf. 李白, “床前明月光, chuáng qián míng yuè guāng.” (IV)
——
Perhaps, I ought to do you a favour, free?
Maybe, once, or twice, as a neighbours fee?
Let us ride, side by side, down this blessed need,
above is truth, but truth is here, next to me.
Feel the cracks of the cool aired feed,
Isn’t this a delightful mead?
|| cf. 李白, “疑是地上霜, yí shì dì shàng shuāng.” (V)
——
Let us raise from this hollow tree,
and look, thereby, to that fellow tree.
With glintering eyes,
do you feel, our, mothers meer?
Awaiting our, flowby veer, arriving near,
for a truer, more crescent, cradle clear.
|| cf. 李白, “举头望明月, jǔ tóu wàng míng yuè.” (VI)
——
We flew once, let us fly again?
No, don’t, look to our tangled hands.
The tree is bitter, but my dear, we are neither.
|| cf. 李白, “低头思故乡, dī tóu sī gù xiāng.” (VII)
——
COMBINED, WITHOUT THE CF. INTERRUPTIONS.
There, is where, grains, of rice, grew,
and a baby flew, away, from a tree called home.
Where home is sweet and skinned a bitter,
but home is home in a moonlight cover.
To a river bare, both blue and green,
do you see me, there?
Ripples of true, and a darkness gleam?
Reaching for a bitter, tree?
From this hollow plea,
laying across, what was, once, another tree.
With ores and odes,
allow me, another plea?
A plea, of cutting grass and a lighting flee,
or, a hug by crescent and a blistering stream.
Perhaps, I ought to do you a favour, free?
Maybe, once, or twice, as a neighbours fee?
Let us ride, side by side, down this blessed need,
above is truth, but truth is here, next to me.
Feel the cracks of the cool aired feed,
Isn’t this a delightful mead?
Let us raise from this hollow tree,
and look, thereby, to that fellow tree.
With glintering eyes,
do you feel, our, mothers meer?
Awaiting our, flowby veer, arriving near,
for a truer, more crescent, cradle clear.
We flew once, let us fly again?
No, don’t, look to our tangled hands.
The tree is bitter, but my dear, we are neither.
|| cf. 李白, 静夜思, “床前明月光，/ 疑是地上霜。/ 举头望明月，/ 低头思故乡。”
———
REFERENCES.
0. B. Li, “Quiet Night Thought” (originally published in the Tang Dynasty, c.701-762 CE; later comp. Peng Dingqiu, et al., Quan Tang Shi, 1707, Beijing) Wikipedia, Wikimedia Foundation, en.wikipedia.org/wiki/Quiet_Night_Tho..., public domain.
1. I. Truong (@iristrgg), “Video 7530884776727776530.” TikTok, 2025, www.tiktok.com/@iristrgg/video/753088... (content © TikTok user, all rights reserved).
2. Trainchinese. “Trainchinese Dictionary and Flashcards.” Trainchinese, www.trainchinese.com, used for stroke order, translation, and etymological/contextual history, accessed 14 November 2025 (content © Trainchinese, all rights reserved).
3. DeepSeek. DeepSeek AI Model (latest version, knowledge cutoff July 2024). DeepSeek, deepseek.com. Conversation for etymological, historical, and contextual analysis, conducted 14 November 2025 (content © who the hell knows?).
———
INFLECTIONS.
I. THE STROKES.
THE FUNDAMENTAL STROKES:
- 横 (héng, ahorizontal stroke), drawn left to right.
- 竖 (shù, vertical stroke), drawn top to bottom.
- 撇 (piě, left-falling stroke), which is thick at top and thinning as it falls left.
- 捺 (nà, right-falling stroke), which often with a slight foot or "dorsal fin" shape.
- 点 (diǎn, dot), a short stroke, often teardrop-shaped, that can fall in various directions.
- 提 (tí, rising stroke), a short, upward-flicking stroke, from left to right.
COMPOUNDING STROKES, WITH 钩 (GŌU, HOOK):
- 竖钩 (shù gōu, vertical hook), a 竖 that ends with a sharp hook to the left. Eg., in the character 小, the first stroke is a 竖钩.
- 斜钩 (xié gōu, slanting hook), along, curved diagonal stroke that ends with a sharp upward hook. Eg., the main stroke in 我.
- 卧钩 (wò gōu, horizontal hook), a hook that lies flat, like a cradle. Eg., the second stroke in 心.
- 弯钩 (wān gōu, curved hook), a gently curved stroke that ends with a hook. Eg., the second stroke in 狗 (the 犭 radical).
COMPOUNDING STROKES, WITH 折 (ZHÉ, BREAK):
- 横折 (héng zhé, horizontal break), a 横 that turns sharply downward into a 竖. Eg., the second stroke in 口.
- 竖折 (shù zhé, vertical break), a 竖 that turns sharply right into a 横. Eg., the final stroke in 山.
- 撇折 (piě zhé, left-falling break), a 撇 that turns sharply, usually into a 提. Eg., The first stroke in 公 or 乡.
- 横折钩 (héng zhé gōu, horizontal break hook), a 横折 that ends with a hook. Eg., the outer frame of 月.
- 横撇 (héng piě, horizontal left-fall), a 横 that turns into a 撇. Eg., the second stroke in 水.
FRIDAY,
JULY 25TH, 2025.
To fall, where others fail, is to lay in good company (1).
——
FRIDAY,
NOVEMBER 14TH, 2025.
There is where, grains, of rice, grew,
and a baby flew, away, from a tree called home.
Where home is sweet and skinned a bitter,
but home is home in a moonlight cover.
|| cf. 李白, Lǐ Bái. (II)
——
To a river bare, both blue and green,
do you see me, there?
Ripples of true, and a darkness gleam?
Reaching for a bitter tree?
|| cf. 李白, “静夜思, jìng yè sī.” (III)
——
From this hollow plea,
laying across, what was, once, another tree.
With ores and odes,
allow me, another plea?
A plea, of cutting grass and a lighting flee,
or, a hug by crescent and a blistering stream.
|| cf. 李白, “床前明月光, chuáng qián míng yuè guāng.” (IV)
——
Perhaps, I ought to do you a favour, free?
Maybe, once, or twice, as a neighbours fee?
Let us ride, side by side, down this blessed need,
above is truth, but truth is here, next to me.
Feel the cracks of the cool aired feed,
Isn’t this a delightful mead?
|| cf. 李白, “疑是地上霜, yí shì dì shàng shuāng.” (V)
——
Let us raise from this hollow tree,
and look, thereby, to that fellow tree.
With glintering eyes,
do you feel, our, mothers meer?
Awaiting our, flowby veer, arriving near,
for a truer, more crescent, cradle clear.
|| cf. 李白, “举头望明月, jǔ tóu wàng míng yuè.” (VI)
——
We flew once, let us fly again?
No, don’t, look to our tangled hands.
The tree is bitter, but my dear, we are neither.
|| cf. 李白, “低头思故乡, dī tóu sī gù xiāng.” (VII)
——
COMBINED, WITHOUT THE CF. INTERRUPTIONS.
There, is where, grains, of rice, grew,
and a baby flew, away, from a tree called home.
Where home is sweet and skinned a bitter,
but home is home in a moonlight cover.
To a river bare, both blue and green,
do you see me, there?
Ripples of true, and a darkness gleam?
Reaching for a bitter, tree?
From this hollow plea,
laying across, what was, once, another tree.
With ores and odes,
allow me, another plea?
A plea, of cutting grass and a lighting flee,
or, a hug by crescent and a blistering stream.
Perhaps, I ought to do you a favour, free?
Maybe, once, or twice, as a neighbours fee?
Let us ride, side by side, down this blessed need,
above is truth, but truth is here, next to me.
Feel the cracks of the cool aired feed,
Isn’t this a delightful mead?
Let us raise from this hollow tree,
and look, thereby, to that fellow tree.
With glintering eyes,
do you feel, our, mothers meer?
Awaiting our, flowby veer, arriving near,
for a truer, more crescent, cradle clear.
We flew once, let us fly again?
No, don’t, look to our tangled hands.
The tree is bitter, but my dear, we are neither.
|| cf. 李白, 静夜思, “床前明月光，/ 疑是地上霜。/ 举头望明月，/ 低头思故乡。”
———
REFERENCES.
0. B. Li, “Quiet Night Thought” (originally published in the Tang Dynasty, c.701-762 CE; later comp. Peng Dingqiu, et al., Quan Tang Shi, 1707, Beijing) Wikipedia, Wikimedia Foundation, en.wikipedia.org/wiki/Quiet_Night_Tho..., public domain.
1. I. Truong (@iristrgg), “Video 7530884776727776530.” TikTok, 2025, www.tiktok.com/@iristrgg/video/753088... (content © TikTok user, all rights reserved).
2. Trainchinese. “Trainchinese Dictionary and Flashcards.” Trainchinese, www.trainchinese.com, used for stroke order, translation, and etymological/contextual history, accessed 14 November 2025 (content © Trainchinese, all rights reserved).
3. DeepSeek. DeepSeek AI Model (latest version, knowledge cutoff July 2024). DeepSeek, deepseek.com. Conversation for etymological, historical, and contextual analysis, conducted 14 November 2025 (content © who the hell knows?).
———
INFLECTIONS.
I. THE STROKES.
THE FUNDAMENTAL STROKES:
- 横 (héng, ahorizontal stroke), drawn left to right.
- 竖 (shù, vertical stroke), drawn top to bottom.
- 撇 (piě, left-falling stroke), which is thick at top and thinning as it falls left.
- 捺 (nà, right-falling stroke), which often with a slight foot or "dorsal fin" shape.
- 点 (diǎn, dot), a short stroke, often teardrop-shaped, that can fall in various directions.
- 提 (tí, rising stroke), a short, upward-flicking stroke, from left to right.
COMPOUNDING STROKES, WITH 钩 (GŌU, HOOK):
- 竖钩 (shù gōu, vertical hook), a 竖 that ends with a sharp hook to the left. Eg., in the character 小, the first stroke is a 竖钩.
- 斜钩 (xié gōu, slanting hook), along, curved diagonal stroke that ends with a sharp upward hook. Eg., the main stroke in 我.
- 卧钩 (wò gōu, horizontal hook), a hook that lies flat, like a cradle. Eg., the second stroke in 心.
- 弯钩 (wān gōu, curved hook), a gently curved stroke that ends with a hook. Eg., the second stroke in 狗 (the 犭 radical).
COMPOUNDING STROKES, WITH 折 (ZHÉ, BREAK):
- 横折 (héng zhé, horizontal break), a 横 that turns sharply downward into a 竖. Eg., the second stroke in 口.
- 竖折 (shù zhé, vertical break), a 竖 that turns sharply right into a 横. Eg., the final stroke in 山.
- 撇折 (piě zhé, left-falling break), a 撇 that turns sharply, usually into a 提. Eg., The first stroke in 公 or 乡.
- 横折钩 (héng zhé gōu, horizontal break hook), a 横折 that ends with a hook. Eg., the outer frame of 月.
- 横撇 (héng piě, horizontal left-fall), a 横 that turns into a 撇. Eg., the second stroke in 水.
January 8, 2026
Last week I read a book of poems by the famous Tang Dynasty poet Bai Juyi. I did not love it. I am sure that much of my reaction was due to the translation, but still there are elements of any poetry that should survive in translation. I wondered if the poetry of this era was just not my cup of tea, so I decided to explore the works of Li Bai and Du Fu, who are generally considered the greatest of the Tang poets. I was not disappointed.
Li Bai's imagery feels original even when he is dealing with commonplace poetic subjects. His poems delight and surprise in English translation in a way that Bai Juyi's do not. Du Fu is masterful in a different way. There is a charming simplicity in his work that is as great in its own way as Li Bai's higher style. And I loved the sly personal poems that these two great poets composed to each other that were included in this collection.
Li Bai's imagery feels original even when he is dealing with commonplace poetic subjects. His poems delight and surprise in English translation in a way that Bai Juyi's do not. Du Fu is masterful in a different way. There is a charming simplicity in his work that is as great in its own way as Li Bai's higher style. And I loved the sly personal poems that these two great poets composed to each other that were included in this collection.
August 18, 2019
I always enjoy reading the poems of the great Chinese poets Li Po and Tu Fu (aka Li Bai and Du Fu). I liked the translator's attempt at capturing a fairly literal translation of the Chinese characters and maintaining the cadence of syllables in the originals, all while keeping a poetic feel. They are good translations, but didn't leave me feeling quite as wistful and contemplative as other translations. By the way, he focuses on the poets' shorter poems and the book is not very long.
Grade: B
Grade: B
February 15, 2024
Rarely do I give a book 5 stars but this is the best Chinese poetry book I’ve read. It’s easy to understand with nice explanation. I’ve read poems I couldn’t find on the internet and it’s made Du Fu and Li Bai alive to me. It’s the first book that’s given me an appreciation for Du Fu and Chinese poets in general.
Unlike other poets, Chinese poets are honest. They don’t claim to know a mystical secret or have a way of life that can get them out of life’s misery. They just tell the truth. When they feel happy they say it, when there’re say they say it. No lies and inauthenticity.
Du Fu and Li Bai are fantastically honest in their poetry. It’s remarkable. On my poetry page on Instagram I’ve made a special post for each. Thanks to the book. It’s 5/5 well deserved!
Unlike other poets, Chinese poets are honest. They don’t claim to know a mystical secret or have a way of life that can get them out of life’s misery. They just tell the truth. When they feel happy they say it, when there’re say they say it. No lies and inauthenticity.
Du Fu and Li Bai are fantastically honest in their poetry. It’s remarkable. On my poetry page on Instagram I’ve made a special post for each. Thanks to the book. It’s 5/5 well deserved!
January 5, 2023
Four and a half stars
Good translations. Occasionally a rhyme is a bit forced. Good to have the Chinese too. Would have been nice to have had a few more poems
Good translations. Occasionally a rhyme is a bit forced. Good to have the Chinese too. Would have been nice to have had a few more poems
January 22, 2025
Rated based on how much I enjoyed this collection, not the quality of translation from the original. The poem lives in the moment as it is. We meet Li Bai and Du Fu, now. Peace, now!
December 30, 2025
peak as hell
highlights:
- farewell at a jinling tavern
- quiet night thoughts
- drinking alone under the moon
- struggling south
- thoughts written while traveling by night
4.25⭐
highlights:
- farewell at a jinling tavern
- quiet night thoughts
- drinking alone under the moon
- struggling south
- thoughts written while traveling by night
4.25⭐
February 2, 2019
I don't know how to rate this book. It's a translation, which is extremely difficult. I study Chinese and I can see how hard it would be to translate the poems; however, I also don't think the poems are really revealed in this book. I'm not sure that they can be translated, so I felt like it was a little bit cheap to read the English translations. Nothing at all against Holyoak; he had an extremely difficult task. I just didn't feel as much from the English versions.
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July 13, 2008[ poor translation; no stars ]
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