and 16, asserting that the earth also cherishes wine, evidenced by a stream named Wine Spring. The poem suggests that both heaven and earth participated in naming their features. This personification, akin to turning the moon into a drinking companion in Section I, enables Li Po’s poetry to bridge human experiences with the expansive marvels of nature.

Lines 19–20

This couplet introduces a sense of shame linked to drinking, a topic not previously discussed in the poem. The earlier points are reiterated with greater emphasis: heaven and earth not only appreciate wine, but have always cherished it. Line 20 suggests shame, but it applies only to heaven, implying that earth cannot feel shame for its love of wine. This distinction highlights two traditions. Firstly, wine's intimate connection with the earth is emphasized; it is crafted from the fermented juices of fruits, primarily grapes, making it a natural product akin to its original form. Secondly, heaven symbolizes perfection, a trait not typically associated with drunkenness, leading to the assumption that heaven would feel shame for its affection for wine. The poem reassures readers that this is not the case.

Lines 21–22

The poem refers to “clear wine,” which modern American society would recognize as “white wine”: visually translucent and lighter in flavor. “Murky wine” corresponds to red wine, often opaque, with a richer aroma and taste. Given these characteristics, it’s understandable why traditionalists might associate enlightenment with the lighter wine, while the darker wine would be linked to wisdom. This introduces another Taoist duality: enlightenment and wisdom, representing the two facets of human experience.

Lines 23–24

Here, the poet suggests that drinking wine carries nearly sacred significance. Similar to gods and immortals, wine offers enlightenment and wisdom to those who partake, rendering the pursuit of other religious experiences almost unnecessary.

Lines 25–26

This stanza explores varying degrees of intoxication. The poet mentions that at a certain level of wine consumption, he has “plumbed” the great Way, gaining insight into the universe's unity. He perceives and comprehends the infinite. However, after consuming an entire bottle, he transcends to a state where he can unite with the universe's singular spirit and experience it directly.

Lines 27–28

The poem's middle section concludes by explaining why drinking might lead to spiritual enlightenment. Wine complicates thought, allowing one to experience life more directly. It immerses the drinker in the present moment, free from mental distractions. Conversely, sober individuals must contend with the conflict between immediate experience and thought, distancing them from true life.

Lines 29–30

In the 740s, Ch’ang-an served as the capital of China and was a cultural hub akin to modern-day New York or Paris. During this time, Li Po composed his poem, beginning this section by depicting the capital city blossoming in April. The scene transitions from a moonlit night to a bright, sunny day. A “brocade” refers to a heavy, intricately woven fabric, similar to a tapestry. Interestingly, Li Po describes not the dense blossoms forming a brocade, but rather the sunlight filtering through them to create a rich pattern on the ground. This attention to sunlight filtering through the trees echoes the personification of the poet’s shadow in the poem's opening section.

Lines 31–32

Contrary to most nature poetry that portrays spring as a season for joy, “Drinking Alone Beneath the Moon” depicts it as a time of melancholy. Typically seen as a period of hope and renewal, when troubles are swept away and life starts afresh, spring here is described as a season of “lonely sorrow.” The poet turns to wine to battle this sadness, just as he uses it at night to connect directly and thoughtfully with nature.

Lines 33–34

Li Po delves into the source of the sorrow mentioned in the previous stanza, attributing it to a pervasive sense of futility. He explains that all humans are governed by God, referred to as “the Changemaker.” This suggests that all human actions are insignificant because destiny is predetermined. Spring exacerbates this feeling by cruelly offering false hope where none exists.

Lines 35–36

Having identified the philosophical cause of his distress, Li Po proposes a remedy in this stanza: by drinking wine, he levels out the miseries of consciousness, allowing himself to blissfully forget all worries, including profound concerns about life and death.

Lines 37–38

The poem previously highlighted how drinking can balance concerns about heaven and earth, and this concept is reiterated here. After consuming more wine, the notions of heaven and earth vanish entirely. As the poem, which has been a deep reflection on the problems caused by human awareness and how wine helps manage that awareness, approaches its conclusion, it slows down. The speaker, who began his philosophical journey at night under the moon and found himself needing more wine by morning, finally retires to bed. He is surprised to find himself there “suddenly,” illustrating how alcohol can cloud one’s memory.

Lines 39–40

The concluding lines express a fundamental aspect of Zen philosophy. The poet achieves genuine tranquility by letting go of self-awareness. Transcending the consciousness of one's existence is central to many spiritual experiences. In this context, Li Po claims that he can only attain this state through drinking. However, he is content because this act has brought him the greatest joy possible.