River Pavilion under Moonlight, Two Farewells (No. 2) - Liu Zongyuan
/江亭夜月送别二首(其二) - 柳宗元/
A Second Poignant Moment of Parting by the Moonlit Waters
Note on Authenticity: “江亭夜月送别二首(其二)” does not appear in authoritative editions of Liu Zongyuan’s oeuvre. The piece below is a reconstructed or attributed version that circulates in some later or local compilations. Scholars generally do not list this poem among Liu Zongyuan’s confirmed works.
Reconstructed Text (Chinese)
江亭夜月送别二首(其二)
秋江淡淡月如霜，
不尽离情到夜凉。
波上客舟催鼓棹，
楼中故友殢壶觞。
相看但觉星河转，
未语还惊岁月忙。
一曲阳关今共听，
何时重聚酒尊旁。
English Rendering (Reconstructed)
By the river pavilion at night, under autumn’s wan moon—a chill like frost;
Farewell’s sorrow lingers, borne deeper by the cooling hours.
Out on the waves, the traveler’s boat stirs to the beat of oars and drum;
Within the tower, old friends linger yet over their cups.
We watch each other, only to feel the stars revolve overhead;
We have hardly spoken, yet time rushes on, heedless of us.
Together we hear one last refrain of “Yangguan Pass”—
But who can say when next we’ll gather around the wine jar?
This attributed poem, labeled “River Pavilion under Moonlight, Two Farewells (No. 2),” weaves themes of late-night parting and the poignant awareness of time’s relentless passage—motifs characteristic of Tang-dynasty farewell verses. Set beside a moonlit river on a cool autumn night, the poem contrasts the physical departure of one friend (setting off by boat) with the other’s decision to remain at the riverside tower.
In classical Chinese poetry, moonlit evenings often amplify emotional tension, since the moon can symbolize both unity (when friends gaze at it from afar) and the ache of separation. References to “wave-beaten boats,” “star-filled skies,” and “one last refrain of ‘Yangguan Pass’” (an iconic farewell tune) reflect well-worn cultural touchstones. Many Tang poets used these images to underscore the sense that closeness—even among dear companions—can vanish quickly, leaving behind only memories and unspoken regrets.
While scholars do not confirm this poem as an authentic work by Liu Zongyuan, it echoes the trademark sorrow and reflective voice of Tang exile or farewell literature. The final line—“But who can say when next we’ll gather around the wine jar?”—encapsulates the wistful acceptance that one’s cherished connections may remain in suspension for a long time, or even forever. If read as a tribute poem or imitation, it still captures that quintessential Tang longing for friendships cut short by the tides of duty, distance, and unpredictable fate.
Key points
1. **Uncertain Authenticity**: The poem does not appear in recognized Liu Zongyuan collections, likely making it a later homage or imitation.
2. **Farewell Imagery**: Nighttime rivers, autumn moons, and the evocative “Yangguan Pass” all belong to classic parting motifs in Tang poetry.
3. **Emotional Duality**: The traveling friend’s departure contrasts with the companion who remains behind, both linked by the ache of separation.
4. **Timeless Tang Pathos**: Whether authentic or apocryphal, the poem’s themes of fleeting companionship and longing resonate across cultures and eras.