One Hundred and Seventy Chinese Poems

Chinese Classics
Author: N.A
Publisher: Createspace Independent Publishing Platform
ISBN: 9781535351546
Page: 100
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Those who wish to assure themselves that they will lose nothing by ignoring Chinese literature, often ask the question: "Have the Chinese a Homer, an Aeschylus, a Shakespeare or Tolstoy?" The answer must be that China has literature of some importance. The novel exists and has merits, but never became the instrument of great writers. Her philosophic literature knows no mean between the traditionalism of Confucius and the nihilism of Chuang-tzu. In mind, as in body, the Chinese were for the most part mainlanders. Their thoughts set out on no strange quests and adventures, just as their ships discovered no new continents, yet their literature has a delicacy and refinement that is not found in the Western canon. Yet we must recognize that for thousands of years the Chinese maintained a level of rationality and tolerance that the West might well envy. They had no Index, no Inquisition, and no Holy Wars. Superstition has indeed played its part among them; but it has never, as in Europe, been perpetually dominant. It follows from the limitations of Chinese thought that the literature of the country should excel in reflection rather than in speculation. That this is particularly true of its poetry will be gauged from the present volume. In the poems of Po Chü-i no close reasoning or philosophic subtlety will be discovered; but a power of candid reflection and self-analysis which has not been rivalled in the West. Turning from thought to emotion, the most conspicuous feature of European poetry is its pre-occupation with love. This is apparent not only in actual "love-poems," but in all poetry where the personality of the writer is in any way obtruded. The poet tends to exhibit himself in a romantic light; in fact, to recommend himself as a lover. The Chinese poet has a tendency different but analogous. He recommends himself not as a lover, but as a friend. He poses as a person of infinite leisure (which is what we should most like our friends to possess) and free from worldly ambitions (which constitute the greatest bars to friendship). He would have us think of him as a boon companion, a great drinker of wine, who will not disgrace a social gathering by quitting it sober. To the European poet the relation between man and woman is a thing of supreme importance and mystery. To the Chinese, it is something commonplace, obvious-a need of the body, not a satisfaction of the emotions. These he reserves entirely for friendship. Accordingly we find that while our poets tend to lay stress on physical courage and other qualities which normal women admire, Po Chu-i is not ashamed to write such a poem as "Alarm at entering the Gorges." Our poets imagine themselves very much as Art has portrayed them-bare-headed and wild-eyed, with shirts unbuttoned at the neck as though they feared that a seizure of emotion might at any minute suffocate them. The Chinese poet introduces himself as a timid recluse, "Reading the Book of Changes at the Northern Window," playing chess with a Taoist priest, or practicing caligraphy with an occasional visitor. If "With a Portrait of the Author" had been the rule in the Chinese book-market, it is in such occupations as these that he would be shown; a neat and tranquil figure compared with our lurid frontispieces. The 'macho man' myth never took hold with the Chinese.

A Hundred And Seventy Chinese Poems

Author: Various
Page: 244
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A Hundred And Seventy Chinese Poems Certain elements are found, but in varying degree, in all human speech. It is difficult to conceive of a language in which rhyme, stress-accent, and tone-accent would not to some extent occur. In all languages some vowel-sounds are shorter than others and, in certain cases, two consecutive words begin with the same sound. Other such characteristics could be enumerated, but for the purposes of poetry it is these elements which man has principally exploited. English poetry has used chiefly rhyme, stress, and alliteration. It is doubtful if tone has ever played a part; a conscious use has sporadically been made of quantity. Poetry naturally utilizes the most marked and definite characteristics of the language in which it is written. Such characteristics are used consciously by the poet; but less important elements also play their part, often only in a negative way. Thus the Japanese actually avoid rhyme; the Greeks did not exploit it, but seem to have tolerated it when it occurred accidentally. The expedients consciously used by the Chinese before the sixth century were rhyme and length of line. A third element, inherent in the language, was not exploited before that date, but must always have been a factor in instinctive considerations of euphony. This element was “tone.” Chinese prosody distinguishes between two tones, a “flat” and a “deflected.” In the first the syllable is enunciated in a level manner: the voice neither rises nor sinks. In the second, it (1) rises, (2) sinks, (3) is abruptly arrested. These varieties make up the Four Tones of Classical Chinese. The “deflected” tones are distinctly more emphatic, and so have a faint analogy to our stressed syllables. They are also, in an even more remote way, analogous to the long vowels of Latin prosody. A line ending with a “level” has consequently to some extent the effect of a “feminine ending.” Certain causes, which I need not specify here, led to an increasing importance of “tone” in the Chinese language from the fifth century onwards. It was natural that this change should be reflected in Chinese prosody. A certain Shēn Yo (a.d. 441-513) first propounded the laws of tone-succession in poetry. From that time till the eighth century the Lü-shih or “strictly regulated poem” gradually evolved. But poets continued (and continue till to-day), side by side with their lü-shih, to write in the old metre which disregards tone, calling such poemsKu shih, “old poems.” Previous European statements about Chinese prosody should be accepted with great caution. Writers have attempted to define the lü-shih with far too great precision.

Five Hundred Years of Chinese Poetry, 1150-1650

The Chin, Yuan, and Ming Dynasties
Author: Kojiro Yoshikawa,John Timothy Wixted
Publisher: Princeton University Press
ISBN: 1400860466
Category: Poetry
Page: 236
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Five Hundred Years of Chinese Poetry offers the only historical survey, in any language, of this important span of Chinese poetry. Written by the foremost Japanese sinologist of this century, and translated here in a lucid analogue to his famous prose style, the work provides a brief but comprehensive review of the period's literary history, a sketch of its political and social history in relation to literature, and a rendering of more than one hundred and fifty poems. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Classical Chinese Literature

An Anthology of Translations
Author: John Minford,Joseph S. M. Lau
Publisher: Chinese University Press
ISBN: 9789629960483
Category: Chinese literature
Page: 1176
View: 6909

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A Hundred and Seventy Chinese Poems - Scholar's Choice Edition

Author: Juyi Bai
Publisher: N.A
ISBN: 9781293975046
Page: 250
View: 501

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.


A Historical and Cultural Dictionary
Author: Michael Dillon
Publisher: Psychology Press
ISBN: 9780700704392
Category: History
Page: 391
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Compiled by specialists from the University of Durham Department of East Asian Studies, this new reference work contains approximately 1500 entries covering Chinese civilisation from Peking Man to the present day. Subjects include history, politics, art, archaeology, literature, etc. The Dictionary is intended for students, teachers and researchers, and will also be of interest to the general reader. Entries provide factual information and contain suggestions for further reading. Chinese terms are in pinyin romanisation and characters are given for the subject headings. A name index and comprehensive cross-reference system make this an easy to use, multi-purpose guide to the student of Chinese in the broadest sense.

Gustav Mahler

Songs and Symphonies of Life and Death : Interpretations and Annotations
Author: Donald Mitchell
Publisher: Boydell Press
ISBN: 9780851159089
Category: Biography & Autobiography
Page: 659
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His enthusiasm, which lights up every page, is reinforced by an unsurpassed knowledge of his subject. MUSICAL TIMES

A Loose Canon

Essays on History, Modernity and Tradition
Author: Brian J. Coman
Publisher: Connor Court Publishing Pty Ltd
ISBN: 9780980293623
Category: Australian essays
Page: 172
View: 2002

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In this collection of essays, Coman ranges over a vast tapestry of experiences from ferreting rabbits, to the pleasures of reading the Odyssey and listening to church bells. Religion, philosophy, modern music, Freddie Ayer's 'amorous dalliances' and Chinese ghost stories - it's all here in this eclectic compilation. The essays will delight both the serious and the casual reader.

A L A Catalog, 1926

Author: Isabella Mitchell Cooper,Marion Louise Horton
Publisher: N.A
Category: Best books
Page: 1291
View: 5081

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