이백의 ‘아미산 달 노래’ 시가의 역주와 해설 — <峨眉山月歌>과 <峨眉山月歌送蜀僧晏入中京>에 대하여

초록

This article compares and analyzes Li Bai’s representative poem ＜Song of the Moon over Mount Emei(峨眉山月歌)＞ with the later composition ＜Song of the Moon over Mount Emei, Sent to the Monk Yan as He Heads to the Capital (峨眉山月歌送蜀僧晏入中京)＞, focusing on their respective artistic values and contexts of creation. The former, composed during Li Bai’s youth, beautifully merges spontaneous inspiration with vivid experiences of nature. Its language is concise yet vibrant, and the structure flows freely and naturally, achieving the aesthetic ideal of “as lotus emerging from clear water, naturally unadorned(清水出芙蓉, 天然去雕饰)”. In contrast, the latter poem imitates the earlier work in structure and imagery (notably the repeated phrase “Emei Mountain Moon(峨眉山月)”) but lacks emotional authenticity and cohesion. Its excessive repetition and disjointed spatial logic undermine its poetic effectiveness. This study examines the background, period, and literary position of both poems, concluding that the youthful Song of the Moon over Mount Emei(峨眉山月歌)—with its improvisational vigor and imaginative freshness—possesses far superior artistic merit. Through this comparative analysis, the paper reaffirms the enduring literary significance of Li Bai’s poetry and his un-paralleled status in Chinese literary history.

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