宿建德江
Mooring on the Jiande River
Original
移舟泊烟渚，
日暮客愁新。
野旷天低树，
江清月近人。
Translation
I moor my boat where mist veils the islet,
At sunset new grief stirs in the wanderer's breast.
The broad wild makes the sky hang lower than the trees,
The clear river brings the moon close to my side.
Line by Line Analysis
About This Poem
Mooring on the Jiande River is a classic idyllic lyric by Meng Haoran, composed during his wandering journey through the Wu and Yue regions. The poem encapsulates the quiet melancholy of a traveler mooring at dusk on the Jiande River. As the sun dips below the horizon, the mist-shrouded islet and the vast, open wilderness amplify the wanderer's freshly kindled homesickness. Yet, the clarity of the river and the gentle proximity of the moon offer a subtle, comforting presence, softening the edge of his loneliness. Meng skillfully balances profound wanderer's sorrow with the soothing embrace of nature, crafting a serene, introspective mood that resonates with anyone who has felt the pangs of being far from home. The poem distills the essence of Tang idyllic poetry, using sparse, vivid imagery to convey complex emotions without overt sentimentality.
About the Poet
孟浩然
Mèng Hàorán
Meng Haoran (689–740), a distinguished poet of the High Tang Dynasty, is a foundational figure of the idyllic landscape poetry school. Alongside Wang Wei, he forms the celebrated 'Wang-Meng' duo. His works, centered on rural and natural scenery, are noted for their fresh, plain language and serene imagery, capturing the quiet beauty of nature and his contentment with a reclusive life, free from ornate literary flourishes.
Cultural & Historical Context
The historical backdrop of *Mooring on the Jiande River* is the High Tang Dynasty (7th–8th centuries), the golden age of Chinese poetry, where diverse genres flourished and the idyllic landscape school emerged as a beloved form for literati to express their deep connection to nature. Culturally, ancient Chinese scholars held a long-standing tradition of wandering to broaden their horizons and deepen self-reflection; travel poetry became a pivotal medium to articulate homesickness, reclusive yearnings, and philosophical insights, with nature acting not just as a setting but as a mirror for human emotions. Socially, while the High Tang era was marked by prosperity and cultural vibrancy, many talented literati faced barriers to official careers, leading figures like Meng Haoran to embrace wandering and reclusion as fulfilling alternative paths. Personally, this poem was written during Meng’s travels in the Wu-Yue region (modern Zhejiang Province) after repeated failed attempts to secure a government post, when he was a lonely wanderer far from his hometown, seeking solace in quiet natural scenery. Artistically, Meng employs a masterful blend of emotion and scenery: sparse, vivid imagery—such as the vast wilderness making the sky hang lower than trees, and the clear river bringing the moon close—amplifies the traveler’s fresh homesickness while offering subtle comfort. His plain, concise language and understated tone create a serene yet poignant mood, exemplifying the elegant restraint and immersive imagery that define his signature style.