The Confucian Tradition in Literature: Part Three Poetry of the Tang And
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Dù Fǔ 杜 甫 712–770 Ce Tang Dynasty Poet
◀ Dream of the Red Chamber Comprehensive index starts in volume 5, page 2667. DU Fu Dù Fǔ 杜 甫 712–770 ce Tang dynasty poet One of the most prominent and influential of its proper function within courtly life. So he took up liter- Chinese poets, Du Fu expanded the reach of ary pursuits, supported by family and friends. poetic expression to include morality and his- Evidence from his poems suggests that it was during tory, along with literary concerns. He is often this period that he met Li Bai, who was a renowned poet by this time. However, Li Bai appears not to have assisted referred to as the “Chinese Shakespeare.” Statue of Du Fu, an eminent poet who lived he “golden age” of China is often associated with through the decline of the Tang dynasty. He is of- the Tang dynasty (618– 907 ce), especially with ten called “China’s Shakespeare.” Photo by Paul the reign of Emperor Xuanzong and three emi- and Bernice Noll. nent poets: Wang Wei, Li Bai (also Li Bo, Li Po), and Du Fu. Whereas Wang Wei and Li Bai wrote during the apex of the Tang period, Du Fu lived through the eventual de- struction of this golden era. Du Fu was born in Luoyang, in Henan Province, to a family of scholar-officials. From his earliest days, as was typical for a young man of his class, his education involved the rigorous study of the works of Confucius, the honing of writing skills, and the perfecting of poetry composed in various formal meters. -
The Improbable Literary Friendship of Du Fu and Li Bai
The Mandarin Moralist and the Reckless Rebel: the Improbable Literary Friendship of Du Fu and Li Bai Bryce Christensen Southern Utah University Western readers know something about improbable literary friendships: Who, after all, would ever have paired the poetic revolutionary Emily Dickinson and her friend-by-correspondence, the prosy pedestrian Thomas Wentworth Higginson? With good reason, one critic has called this “one of the oddest literary friendships in American history” (Russell 149). But then who, on the other side of the Atlantic, would have anticipated a friendship between the fiercely devout Christian Gerard Manley Hopkins and the agnostic Robert Bridges? "One wonders," writes one baffled critic, "on what the friendship subsisted, so little were Hopkins's profoundest feelings appreciated by Bridges" (Nixon 265). These are certainly literary friendships so unlikely as to leave readers marveling. However, for sheer improbability no literary friendship in the West can match the astonishingly unlikely yet remarkably strong friendship between the poet Du Fu and his contemporary Li Bai. The contrasts between these two are both numerous and striking. Yet the strength and duration of their friendship despite these contrasts, lends new meaning to the marvelous poetry written by both. For only rare poetry and even rarer love for the making of such poetry can account for a literary friendship that seems so unlikely as to defy ordinary expectations of the nature of friendship. In his famous examination of the nature of friendship in the Nicomachean Ethics, Aristotle acknowledges that many see in friendship “a kind of likeness and [therefore] say that like people are friends” (VIII.1). -
An Explanation of Gexing
Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world. -
A Brief Analysis of Du Fu's Thought of Suffering and Artistic Expression
Advances in Social Science, Education and Humanities Research, volume 185 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017) A Brief Analysis of Du Fu's Thought of Suffering and Artistic Expression Xie Lina Weinan Normal University, College Humanism, Weinan, Shaanxi, 714000 Keywords: Du Fu, Anxiety, Artistic Expression Abstract: Du Fu is the most famous realistic poet of the Tang Dynasty in our country. His poetry reflects the tempo late to Dali Period of social reality, the outstanding performance of its attention to the fate of the motherland, the sufferings of people's sympathy and strong criticism of the wealthy elite of evil, embodies the profound patriotism and sympathy for the feelings of the people. Therefore, he was honored as the "Saint", known as "the epic poem". This paper tries to explore the thought and artistic expression of his misery poetry. 1. Du Fu's Life and Thought Du Fu (712-770) born in Henan Gongxian, sub word beauty and whose ancestral home was Jing Zhao Du Ling, My grandfather was a famous poet of the age of Wu Zetian s father, Du made official idle. Family "Shou Feng Ru Guan" tradition has certain influence on Du Fu's thoughts and creation, but the greatest impact is the era of Du Fu's life and his life experience [1]. His life can be divided into four periods: reading and grand period (AD 731 - 745 years): this period lasted for more than 10 years, before and after the three poets Wu Yue, Qi Zhao, Song Liang and other roaming, visited the beautiful magnificent mountains and scenery. -
An Analysis of the English Translation of Li Bai's Poems
International Journal of English, Literature and Social Science (IJELS) Vol-4, Issue-4, Jul – Aug 2019 https://dx.doi.org/10.22161/ijels.4437 ISSN: 2456-7620 An Analysis of the English Translation of Li Bai’s Poems Huang Shanshan1, Wang Feng2 1School of Foreign Studies, Yangtze University, Hubei, 434023 PRC China Email: [email protected] 2School of Foreign Studies, Yangtze University, Hubei, 434023 PRC China Email:[email protected] (correspondence) Abstract— For more than 300 years, Li Bai’s poems have been translated, introduced and disseminated in large quantities, which undoubtedly plays an important role in the out-going of Chinese culture. Based on the general historical context of the English translation of Li Bai’s poems and the collected data about his translations, this study analyses the characteristics of his English translation in different periods and sums up how Li Bai’s poems have claimed the world literary status. Keywords— Li Bai’s poems, English translation, characteristics, the world literary status. I. INTRODUCTION II. In recent years, scholars in China and other countries 2.1 Before the 20th Century: the Initial Stage have become more and more enthusiastic about the As early as the 18th century, there were sporadic records translation of Li Bai’s poems and have made some of the poet Li Bai in the West. Most of these records were achievements. However, the research field is relatively made by missionaries, diplomats or sinologists. It is based isolated, mainly focusing on the translation theory or on these early explorations that the translation and practice, lacking of comprehensive interdisciplinary introduction of Li Bai’s poems can be developed rapidly research. -
China Poet: Wang Wei Poem: Living in the Hills
Poetry 2012: The Written World Resources for Teachers Country: China Poet: Wang Wei Poem: Living in the Hills Contents 1. About this Resource 2. ‘Living in the Hills: Impromptu Verses’ 3. The Poet & His Work (and His Translator) 4. Reading the Poem 5. Discussion: Urban & Rural 6. Research Activity: Translations 7. Creative Activity: Imitations 8. Further Reading & Weblinks About this Resource Activities in this resource are aimed at pupils in upper secondary school (S4–S6). Developing global citizens within Curriculum for Excellence These resources, featuring poems from around the world, can help realise certain key principles within this document, including • enabling learners to appreciate the values and opinions of others with particular reference to environments and cultures • motivating learners to engage in local, national and global issues • promoting the concept of shared humanity • actively engaging [learners] in exploring a variety of traditions and cultures from around the world This resource • helps pupils to develop an understanding of the complexities of language through the study of a range of texts • provides learners with the opportunity to analyse and evaluate texts • provides learners with the opportunity to create and produce texts from SQA’s ‘Key points for English’ www.sqa.org.uk/sqa/45672.html (accessed 21 May 2012) The ‘Discussion’ topic below may also relevant to Geography, in the context of “[bringing] together the natural and social sciences”. Living in the Hills: Impromptu Verses I close my brushwood door in solitude And face the vast sky as late sunlight falls. The pine trees: cranes are nesting all around. My wicker gate: a visitor seldom calls. -
Aristocratic Culture
Part 3: Cosmopolitan Tang: Aristocratic Culture 12: The Unified Empire: Cosmopolitan Tang Historical Overview Year Event 589 Reunification The Sui defeat of the Southern Dynasties ended the north/south split and the split between the ethnically Han and non-Han dynasties. Like the Qin it its time, this period of reunification, into the first years of the seventh century, sowed the seeds for the cultural and socio-political trends that would come to fruition in the Tang: Strengthening of central control over civil and military authorities. Economic links between N and S that led to the building of the canal. Expansion of the empire into SE and NE Asia Flourishing of Sinisized state Buddhism 630 Tang begins Amid the military overextension and environmental pressures that fomented the Sui civil war, the NE military became a dominant force. By 630, if I understood the lecture correctly, this force had achieved hegemony. The first century-and-a-half saw a new centralized aristocratic empire. Taxes were reorganized around the equal-field system, centralizing control over land and taxes. Non-Chinese people were integrated into the empire. 755-763 An Lushan rebellion Expansion into new areas taxed the Tang militia, requiring professional armies to staff the frontier posts. The An Lushan rebellion of 755-763, a frontier military rebellion, wreaked havoc on the dynasty and ushered in the developments we associate with Later Tang (but not the Later Tang Dynasty of 923). 760-918 Later Tang In this period, the tax system broke down along with relationships with the frontier kingdoms. The government retreated from commerce, opening the way for private enterprise. -
Du Fu and Chinese Poetic Expression: How Politics, Nature, and Self Become One
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 10:30 AM - 11:45 AM Du Fu and Chinese Poetic Expression: How Politics, Nature, and Self Become One Binhnam Nguyen Grant High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Chinese Studies Commons, Intellectual History Commons, and the Poetry Commons Let us know how access to this document benefits ou.y Nguyen, Binhnam, "Du Fu and Chinese Poetic Expression: How Politics, Nature, and Self Become One" (2019). Young Historians Conference. 18. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/18 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Du Fu and Chinese Poetic Expression: How Politics, Nature, and Self Become One Nam Nguyen PSU HST 105 1 May 2019 Nguyen 1 Born in 712 C.E., Du Fu is regarded as one of the most influential classical Chinese poets. He was born into an aristocratic family during the Tang Dynasty (618 – 917), but after the An Lushan Rebellion (755 – 763) reached the capital of Chang’an in 756 where he was living, he was forced to flee from the city with his family. The Tang Dynasty started out strong, flourishing politically, economically, and within the arts and literature, but the second half of its rule was littered with conflicts, having failed to recover from the damages done by the Rebellion.1 It was not until the latter half of Du’s life, during that period of dynastic wars and instability, that he began writing poetry. -
Li Shangyin: the Poetry of Allusion
LI SHANGYIN: THE POETRY OF ALLUSION By TERESA YEE-WAH YU B.A., The University of Hong Kong, 1973 M.A., The University of British Columbia, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asicin Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1990 (o) Teresa Yee-wah Yu, 1990 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. 1 further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifi• cally, it is a linguistic device serving metaphorical functions. -
Readings from Between the Lines: a Functionalist Approach to the Translation of Classical Chinese Poetry
Readings From Between the Lines: A Functionalist Approach to the Translation of Classical Chinese Poetry Ann Kunish Thesis presented in partial fulfillment of the requirements for the degree Master of Arts, East Asian Linguistics (60 credits) Department of Culture Studies and Oriental Languages, Faculty of Humanities University of Oslo Autumn 2011 Abstract Can poetry be transmitted through translation? If so, how, and to what effect? In this thesis, I propose that the translation of poetry is best accomplished by a structured group of translation typologies that can be read alongside the source-language poem. When a poem is read in this manner, the reader has access to more of the layers of meaning present in the source-language poem than can be transmitted by one translation alone. My claim is based on a broad definition of translation, where translation is not simply the transference of a text from language A to language B, but rather the transmission of aspects and layers of meaning from a source text by means of a target language. Poetry is a neglected area in established translation theory, and theoretical discussions of translation tend to be text-oriented rather than reader-oriented. This thesis contributes a theoretical platform for the discussion of poetry translation from a reader-oriented perspective. I have chosen the translation into English of Classical Chinese poetry from the Tang Dynasty as my case. Classical Chinese provides a wealth of challenges for the translator, including a language structure vastly different from that of English, and a rich history of literary form, historical references, and imagery that stretches back over thousands of years. -
5P.Qian,Part 1,Spirit and Self
∫ SPIRIT AND SELF IN MEDIEVAL CHINA Published with the support of the School of Hawaiian, Asian, and Pacific Studies, University of Hawai‘i ∫ SPIRIT AND SELF IN MEDIEVAL CHINA The Shih-shuo hsin-yü and Its Legacy Nanxiu Qian university of hawai‘i press honolulu © 2001 University of Hawai‘i Press All rights reserved Printed in the United States of America 060504030201 654321 Library of Congress Cataloging-in-Publication Data Qian, Nanxiu. Spirit and self in medieval China: the Shih-shuo hsin-yü and its legacy / Nanxiu Qian. p. cm. Includes bibliographical references and index. ISBN 0-8248-2309-5 (alk. paper)—ISBN 0-8248-2397-4 (pbk. : alk. paper) 1. Liu, I-ch’ing, 403-444. Shih shuo hsin yè. I. Title: Shih-shuo hsin-yü and its legacy. II. Title. DS736.L5363 Q25 2001 895.1'8240208—dc21 00-062949 Chapter 8 first appeared in Nan Nuu: Men, Women, and Gender in Early and Imperial China, Kononklijke Brill N.V., Leiden, The Netherlands (1999). Chapter 9 first appeared in Early Medieval China 4 (1998): 49–82. Both appear here in revised form with the permission of the publishers. University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Deborah Hodgdon Printed by The Maple-Vail Book Manufacturing Group To Richard B. Mather ∫ Contents List of Figures ix Acknowledgments xi Chinese Dynasties xiii Japanese Periods Involved in the Japanese Shih-shuo Imitations xv Introduction 1 Part 1 From Character Appraisal to Character Writing: The Formation of the Shih-shuo Genre Chapter 1. -
Chinese Art 1. Ancient Times to the End of the Tang Dynasty
Chinese Art 1. Ancient times to the end of the Tang Dynasty Pinyin spelling mostly approximates to English pronunciation apart from, notably, Q = “ch” in cheap. X =”sh” in sham. Zh = “j” in jasmine. Z = “ds” hands. C = “ts” as in tsar. Names are given with surnames first Contents Shang (c 1600 – 1046 BC) and Western Zhou (c 1046 – 770 BC) Dynasties .......................................... 3 Warring States Period (400 – 221 BC) ............................................................................................................ 10 Qin (221-207 BC) and Han (206 BC – 220) Dynasties ................................................................................. 15 Period of Division: Three Kingdoms and Six Dynasties (220 – 589) ...................................................... 23 Calligraphy and Painting ................................................................................................................................... 23 Gu Kaizhi (also spelled Ku K’ai-chih, c 344-406) ...................................................................................... 29 Buddhist Art ........................................................................................................................................................ 32 Sui and Tang Dynasties (618-907) ................................................................................................................... 36 Wu Daozi (also spelled Wu Tao-tzu, 685-758) ......................................................................................... 37