The Bamboo-Sheltered Moon: A Night of Anticipation and Beauty

The moon had not yet reached my study but had already bathed the Wanhua Valley in its glow. My study was not devoid of moonlight, but it was shielded by a tall bamboo forest. It was the night of the thirteenth day of the lunar month, and the moon was already as pure as white jade. The autumn moon had not yet reached its peak beauty; for that, you should wait until the fifteenth or sixteenth night.

This poem, titled “Hao Shi Jin,” or “Close to Happiness,” is a reflection on the beauty of the moonlight and the anticipation of its full splendor. The poet Yang Wanli uses vivid imagery and a serene setting to convey a sense of tranquility and the promise of future beauty.

A Bamboo-Covered Study

“The moon had not yet reached my study but had already bathed the Wanhua Valley in its glow.” These opening lines are straightforward yet intriguing, highlighting the poet’s observation of the moonlight’s reach. By using “had not yet” and “had already,” Yang Wanli creates a sense of suspense, prompting readers to wonder why the moonlight has not touched his study.

The subsequent lines provide the answer: “My study was not devoid of moonlight, but it was shielded by a tall bamboo forest.” This explanation resolves the mystery and reveals why the poet had to leave his study and venture to the Wanhua Valley to enjoy the moonlight. The use of “shielded” and “tall” adds depth to the description, emphasizing the lush and towering bamboo that blocks the moonlight. In just eleven characters, Yang Wanli conveys not only the absence of moonlight in his study but also the serene and secluded environment created by the dense bamboo forest.

Anticipating the Perfect Moonlight

The first part of the poem contrasts the study, still shrouded in shadow, with the moonlit Wanhua Valley. The poet’s attention then shifts to describing the moonlight in the valley: “It is only the thirteenth night, and the moonlight is already like jade.” These lines use the metaphor of jade to vividly depict the clarity and purity of the moonlight, creating an image of a crystal-clear, jade-like moonlit night.

The words “only” and “already” suggest the poet’s pleasant surprise at witnessing such beautiful moonlight on the thirteenth night. This observation leads naturally to the poet’s anticipation of even more splendid moonlight: “But the thirteenth night is not the best time to admire the moonlight. The fifteenth and sixteenth nights are when the moon is at its fullest and most beautiful.”

The Beauty of Anticipation

The poem concludes with a sense of looking forward to the future: “The autumn moon is not at its most beautiful yet; wait for the fifteenth or sixteenth night.” These closing lines shift the focus from the present beauty of the moonlight to the promise of even greater beauty to come. The use of “not yet” suggests that the current moonlight, though enchanting, is only a prelude to the full splendor that awaits.

The poet’s anticipation of the fifteenth and sixteenth nights, traditionally known as the best time to admire the full moon, reflects a deeper appreciation for the changing phases of the moon and the cycles of nature. This sense of anticipation adds a layer of depth to the poem, highlighting the poet’s keen awareness of the passage of time and the beauty it brings.

A Study of Serenity and Reflection

Yang Wanli’s study, named “Cheng Zhai,” or “Sincere Studio,” is not just a physical space but also a reflection of his scholarly pursuits and personal philosophy. The name “Cheng Zhai” is derived from Yang Wanli’s dedication to the teachings of Zhang Jun, a prominent scholar who emphasized the importance of sincerity and integrity in one’s studies and actions. This background adds another layer of meaning to the poem, as the poet’s contemplation of the moonlight is also a reflection of his inner thoughts and aspirations.

The secluded and serene environment of “Cheng Zhai,” surrounded by a tall bamboo forest, creates an ideal setting for introspection and appreciation of nature’s beauty. The contrast between the shadowed study and the moonlit valley mirrors the poet’s inner journey from contemplation to anticipation, from the present to the future.

The Moonlight’s Journey

The moon’s journey from the Wanhua Valley to the poet’s study is not just a physical movement but also a metaphorical one. The moonlight’s path symbolizes the passage of time and the ever-changing nature of beauty. The poet’s decision to leave his study and seek the moonlight in the valley reflects a desire to embrace change and appreciate the transient moments of beauty that life offers.

The poem’s structure, with its clear division between the present and the future, mirrors the cyclical nature of the moon’s phases. The poet’s anticipation of the full moon on the fifteenth and sixteenth nights highlights the recurring cycles of nature and the importance of savoring each moment, even as we look forward to what lies ahead.

“” captures the essence of Yang Wanli’s poetic style, blending simplicity with profound reflection. The poem’s vivid imagery, serene setting, and sense of anticipation create a captivating narrative that resonates with readers on multiple levels. By focusing on the beauty of the present and the promise of the future, Yang Wanli reminds us to appreciate the fleeting moments of life and find joy in the anticipation of what is yet to come.