This study presents the first systematic comparison of Wang Anshi (1021–1086), the great Song Dynasty statesman-poet, and Johann Wolfgang von Goethe (1749–1832), Germany's foremost poet and thinker. Both figures led lives of intense public engagement before turning, in their final decades, to contemplative nature poetry. Both used imagery of light—dawn, dusk, moonlight, reflected light—to explore fundamental questions of self, world, and meaning. Through close reading of canonical poems including Wang Anshi's "Impromptu at Zhongshan" (Zhongshan jishi), "Moored at Anchor at Guazhou" (Bo chuan Guazhou), "Written on the Wall of Hu Yin's Studio" (Shu Huyin xiansheng bi), and Goethe's "Wandrers Nachtlied," "Gefunden," and selections from the West-östlicher Divan, I identify striking structural affinities: the compression of language, the use of suggestion and implication, the integration of philosophical depth with perceptual precision. Yet significant differences emerge from their distinct cultural contexts—Chan Buddhism for Wang Anshi, Spinozan pantheism for Goethe—revealing two contrasting but equally profound modes of what I term "luminous lyricism." The study contributes to comparative poetics by opening a new dialogue between Chinese and German literary traditions, demonstrating that meaningful cross-cultural comparison is possible without recourse to influence or direct contact.
Bo Xia (Sat,) studied this question.