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E915
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Hong Manjong on
Appended Corrections (Compendium of Remarks on Poetry)
Entry Text
詩家最忌剽竊。古人曰。文章當自出機杼。成一家風骨。何能共人生活耶。此言甚善。而先輩亦多犯之。李容齋詩。一身千里外殘夢五更頭。用唐顧況詩。一家千里外。百舌五更頭之句。林石川。江月圓還缺。庭梅落乂開。用金克己。多情塞月圓還缺。少格山花落乂開之句。蔡湖洲。荒林秋盡雨。窮店夜深燈。用唐司空圖詩。曲塘秋盡雨。方渚夜深船之句。三人皆沿襲前人詩。蔡又有贈僧詩云。法門有三乘。最下是輪回。去從何處去。來從何處來。盡用佛家語也。金河西麟厚詩。載續靑邱風雅。其詩云。來從何處來去從何處去。去來無定蹤。悠悠百年許。蔡下句。全用金上句。此李相國所謂拙盜易擒體歟。金息菴斯百。甞以接慰官。至東萊府登海雲臺。俯瞰滄溟浩浩漫漫。一碧萬里。賦詩一絕曰。錦帳出季倫。古人尙云侈。誰家碧綾羅。鋪盡千萬里。蓋出於麗朝崔拙翁瀣。咏雨荷詩。貯椒八百斛。千載笑其愚。如何碧玉斗。竟日量明珠。金乂於滄海中。見時有微波獨湧雪色亂洒。咏一絕曰。聞道海觀音。高拱蓮花座。怳有白玉童。擎出雙雙朶。蓋出於宋楊大年。咏白芙蓉詩。昨夜三更裡。姮娥墮玉簪。馮夷不敢受。捧出碧波心皆模倣古作。終無痕跡。眞得奪胎之法。為詩者。宜可戒可法
What poets loathe the most is plagiarism (p’yojŏl). An ancient man said, “A piece of writing must come from the expression of an idea and form one’s own vigor of style (p’unggol). How can it live when shared by another?” These are most excellent (sŏn) words, yet our predecessors also plagiarized much. Yi Haeng’s poem, 一身千里外殘夢五更頭 This body is a thousand li away,in a fading dream at the night’s fifth watch. Uses the lines in the Tang poet Gu Kuang’s 顧況 (ca. 725–814) poem, 一家千里外百舌五更頭 My whole family is thousand li away.A blackbird crows at the night’s fifth watch.Im Ŏngnyŏng’s lines, 江月圓還缺庭梅落又開 The river moon turns crescent and round.The courtyard plum blossoms fall and bloom. Use Kim Kŭkki’s lines, 多情塞月圓還缺少格山花落又開 The frontier moon, with much emotion,turns crescent and round.Mountain flowers, with little character,fall and bloom.Ch’ae Yuhu’s 荒林秋盡雨窮店夜深燈 Over the barren forest, late autumn rain falls.At a humble tavern, the night is deep by the lamp. use lines from Tang poet Sikong Tu’s 司空圖 (837–908) poem, 曲塘秋盡雨方渚夜深船 Over the winding pond, late autumn rain falls.At a four-sided islet, the night is deep in the boat. All three people reproduced earlier poets’ works. In his poem “Presented to a Monk” 贈僧, 法門有三乘最下是輪回去從何處去來從何處來 The Dharma has Three Vehicles.The lowest of them is Samsara.We go. From where do we go?We come. From where do we come? Ch’ae also used all Buddhist expressions. A poem by Kim Inhu recorded in the Sok Ch’ŏnggu p’unga (Sequel to Airs and Odes from the Blue Hills) reads, 來從何處來去從何處去去來無定蹤悠悠百年許 We come. From where do we come?We go. From where do we go?We come and go without a set course,far away with a promise of a hundred years.Ch’ae’s last two lines used Kim’s lines in entirety. This is what Yi Kyubo called “clumsy thieves can be caught easily.” When Kim Sŏkchu arrived at Tongnae county as a Reception Official (chŏbwigwan), ascending the Haeun Terrace and looking out over the vast and boundless ocean, an expanse of blue stretching out thousands of li, he wrote the following quatrain, 錦帳出季倫古人尚云侈誰家碧綾羅鋪盡千萬里 Shi Chong put on display embroidered canopies.Yet the ancients called them excessive. Whose blue damask gauze is itthat drapes over tens of thousands of li? It perhaps came from Koryŏ poet Ch’oe Hae’s poem “Lotus in the Rain” 詠雨荷, 貯椒八百斛千載笑其愚何如綠玉斗竟日量明珠 Storing eight hundred pails of pepperwas laughed at for a thousand years as a folly.Why not use a green jade flaskand count the shining pearls all day long? In the sea, Kim also saw the ebbing waves rising and breaking into snow-white bubbles and wrote the following quatrain, 聞道海觀音高拱蓮花座怳有白玉童擎出雙雙朶 I heard that in the sea, the Bodhisattva of Mercy sits high on the lotus dais.Suddenly, lads like white jadelift up the flowers in pairs. Perhaps the poem came from Song poet Yang Yi’s 楊億 (974–1020) poem “White Lotus” 詠白芙蓉, 昨夜三更里姮娥墜玉簪馮夷不敢受捧出碧波心 Last night, at midnight,Chang E dropped down her jade hairpins.Feng Yi did not dare to receive them,and offered them up from the heart of blue water. Both works imitated ancient works but without leaving the trace at the end. He truly attained the method of “shedding the embryo” (t’alt’ae), which poets should guard against and follow at the same time.
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