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E044 + (Im Ch’un’s 林椿 (ca. 1180; sobriquet Sŏha [W … Im Ch’un’s 林椿 (ca. 1180; sobriquet Sŏha [West River]) poem “Listening to Orioles” 聞鶯 reads, </br><div class="poetry-text">[[M088|<span class="fa fa-plus-circle poetry-link-btn"></span>]]In the farm, mulberries are ripe and barley grows thick.</br>From green trees, I hear the sound of yellow orioles.</br>You seem to recognize Luoyang’s traveler passing by the flowers!</br>For you warble on with passion without rest.</div></br>Ch’oe Cha’s 崔滋 (1188–1260; sobriquet Munch’ŏng [Literary Clarity]) poem “During an Overnight Duty Listening to a Crane Cry on Ch’aejin Peak” 夜直聞採眞峯鶴唳 reads, </br><div class="poetry-text">[[M089|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Clouds have cleared away in the sky. Now the moon shines on.</br>The crane resting in its pine nest cannot contain this pure sight.</br>In the mountain full of gibbons and birds, few understand your sound. </br>Fanning the fluttering feathers, you alone cry in midnight.</div></br><div class="critique-text">[[C055|<span class="fa fa-plus-circle critique-link-btn"></span>]]Both poems express the sorrow of not having met their opportune time. However, Im’s does not measure up to the spirited integrity of Ch’oe’s.</div>-btn"></span>]]Both poems express the sorrow of not having met their opportune time. However, Im’s does not measure up to the spirited integrity of Ch’oe’s.</div>)
E045 + (In Fourth Censor (chŏng’ŏn) Chin Hwa’s 陳澕 … In Fourth Censor (chŏng’ŏn) Chin Hwa’s 陳澕 (ca. 1215) “Singing the Willow” 詠柳, </br><div class="poetry-text">[[M090|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Myriad golden reeds along the west side of Fengcheng<br>stir up my spring blues, casting a gloomy shade.<br>The boundless breeze blows without end,<br>bringing mist and rain into deep autumn.<br></div></br><div class="critique-text">[[C056|<span class="fa fa-plus-circle critique-link-btn"></span>]]The poem possesses a sentimental charm (''chŏngch’i'') and flows beautifully (''yuryŏ'').</div></br>In contrast, the Tang poet Li Shangyin’s 李商隱 (813–858) poem “Willow” 柳 reads, </br><div class="poetry-text">[[M091|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Together with the spring breeze we once swayed on the dancing mats.<br>With joy, we wandered in a sundrenched garden, only to part ways with a broken heart in the sky.<br>How can I wait until the clear Autumn Festival?<br>The setting sun has already arrived, accompanied by cicadas.<br></div></br><div class="critique-text">[[C057|<span class="fa fa-plus-circle critique-link-btn"></span>]]Chin likely drew inspiration from this poem to write his own.</div></br>Huang Tingjian 黃庭堅 (1045–1105; sobriquet Shangu [Mountain Valley]) has a saying, “<div class="poetry-text">[[M092|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The one who makes plans by following others will eventually be a follower. <br>By developing one’s style, one will attain realism (''p’ipchin'').</div>” How true!link-btn"></span>]]The one who makes plans by following others will eventually be a follower. <br>By developing one’s style, one will attain realism (''p’ipchin'').</div>” How true!)
E041 + (In his long poem “Munsu Monastery at Mt. S … In his long poem “Munsu Monastery at Mt. Samgak” 三角山文殊寺, Yi Changyong wrote, </br><div class="poetry-text">[[M081|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Words become sparse when a crescent moon enters deep into the brambly gate.</br>sit for long in a gentle breeze that makes the tall cedar trees sing.</div></br><div class="critique-text">[[C050|<span class="fa fa-plus-circle critique-link-btn"></span>]]He must have found a delight (ch’wi) in being deep in the mountain.</div></br>Another line reads,</br><div class="poetry-text">[[M082|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Amidst the sound of bells and prayers, a lantern burns bright red.</div></br><div class="critique-text">[[C051|<span class="fa fa-plus-circle critique-link-btn"></span>]]Luo Bi’s 羅泌 (1131–1189) Lu shi 路史 (Grand History) records, “There was a person who never changed the fire in the furnace for five generations. The color of that fire was said to be as red as blood.” Yi used this story to refer to the long-burning lantern.</div> generations. The color of that fire was said to be as red as blood.” Yi used this story to refer to the long-burning lantern.</div>)
E036 + (In his poem “Han Gan’s Painting of Fourtee … In his poem “Han Gan’s Painting of Fourteen Horses” 題韓干十四馬圖, Su Shi wrote,</br><div class="poetry-text">[[M067|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Scholar Han painted horses, real horses.<br>Master Su writes a poem just like a painting.<br>When Bo Le is no more, nor is there Han. <br>To whom shall I show this poem and this painting?<br></div></br>In his poem on the painting of egrets and cormorants, Yi Kyubo wrote, <div class="poetry-text">[[M068|<span class="fa fa-plus-circle poetry-link-btn"></span>]]A painting cannot be owned by everyone.</br>A poem can reach everywhere.</br>If a poem reads like a painting,</br>it befits to be known for ten thousand years.</div></br><div class="critique-text">[[C042|<span class="fa fa-plus-circle critique-link-btn"></span>]]Although the two poems differ in words, their meaning (yongŭi) is the same.</div>s="fa fa-plus-circle critique-link-btn"></span>]]Although the two poems differ in words, their meaning (yongŭi) is the same.</div>)
E098 + (Kang Hŭian displayed talent from a young a … Kang Hŭian displayed talent from a young age. In his later years, he climbed a tower in a courtyard at Yangju and composed three short poems. The first poem reads, 有山何處不爲廬坐對靑山試一噓簪笏十年成老大莫敎霜鬢賦歸歟 As long as there is a mountain, anywhere can be Mt. Lu. Sitting and facing the blue hills, I let out a slow sigh.After ten years of hatpins and badges, I have become an old man.Don’t ask a white-haired man to chant “Let me return!”When Prince of Yŏngch’ŏn, Yi Chŏng 李定 (b. 1422; styled Anji), saw the poem, he admired it and wrote the following comment: “The poem’s realistic (p’ipchin) qualities are superb. If it is not the work of Sŏ, then it must be the work of Yi.” At the time, Sŏ Kŏjŏng and Yi Sŭngso dominated poetic fame, whom the prince esteemed highly. Later, when Yi Chŏng passed the tower for a second time, he read again the comment he had written previously and saw someone had written the following response underneath: “The poem possesses an elegant charm (ach’wi) of rivers and mountains and has not a speck of earthly dust. It is not something that a scholar trapped in mundane concerns can write. Heaven and Earth are vast, and rivers and mountains deep. Are there no talented individuals that one must suppose it is either by Sŏ or Yi? Must they be the sole talented writers? Your bias is extreme.” After reading this, Yi Chŏng deeply regretted and erased his previous comments. The three poems were not included in the Chinsan sego 晉山世稿 (Collected Works of the Three Generations of Chinsan). Alas! Kang Hŭimaeng’s 姜希孟 (1424–1483; styled Kyŏngsun) compilation was not extensive.d Kyŏngsun) compilation was not extensive.)
E033 + (Kim Sinyun 金莘尹 (ca. 1171) wrote in his “Th … Kim Sinyun 金莘尹 (ca. 1171) wrote in his “The Double Ninth Festival in the Year of kyŏngin during the Reign of King Ŭijong (1170)” <div class="poetry-text">[[M058|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Under the carriage, dusty winds swirl. </br></br>People are slain like tangled knots of hemp. </br></br>Good times must not be wasted.</br></br>Yellow chrysanthemums float on my white wine.</div><div class="critique-text">[[C036|<span class="fa fa-plus-circle critique-link-btn"></span>]]In the poem, we can perceive the dire circumstances of that time and the unwavering spirit of an old man.</div>e the dire circumstances of that time and the unwavering spirit of an old man.</div>)
E082 + (Kim Suon’s writings were robust and simple … Kim Suon’s writings were robust and simple (unghon). Unharnessed, he roamed freely. Modeled after Sima Qian’s works, his writing had no equal in the world. His poetry was also bold and robust (hogŏn), and profound (sim) in essence (kolsu). But by nature, he was nonconformist, and his rhymes were uneven. As a result, it is often said that his poetry was not as good as his prose. But the truth is that he excelled in both poetry and prose. His poem “The Painting of Sima Guang Breaking an Urn” 擊瓮圖 reads, 瓮中天地忽開豁山川品物同昭蘇 The Heaven and Earth inside the urn suddenly opened up.Mountains, rivers, and all thingssprang to life together. His poem “Deep Inside a Mountain Village” 沈中樞山村 reads, 柴門不整臨溪岸山雨朝朝看水生 My lopsided bramble gateoverlooks the stream bank.Mountain rains fall morning after morning,and I watch the waters rise. In addition, his poem “A Poem on the Dragon Palace Terrace” 龍宮軒題詩 reads, 痛飮百杯樓上臥捲簾南北是靑山 I gulp down a hundred gobletsand recline upstairs.Rolling up the blind, to the north and south, all are blue mountains. Also, his poem “Mountain Monastery” 題山寺 reads, 窓虛僧結衲塔靜客題詩 Behind the window lattice, a monk ties his robe.By the tranquil pagoda, a guest writes a poem. All these poems possess a charm (ch’wi) beyond meaning (ŭioe), which is something that ordinary humans cannot achieve.thing that ordinary humans cannot achieve.)
E051 + (Later, Qi Shun 祈順 (15th century), Supervis … Later, Qi Shun 祈順 (15th century), Supervisor at the Ministry of Census (Hubu langzhong), and Zhang Jin 張瑾 (15th century), the envoy, came together. Qi was sincere and gentle. He excelled in poetry and rhapsodies. The king treated him with great generosity. Qi admired the king’s elegant demeanor and called him “a truly heavenly man.” Prince of Sŏnsŏng, No Sasin 盧思愼 (1427–1498), and Prince of Talsŏng, Sŏ Kŏjŏng escorted Qi, and Hong Kwidal 洪貴達 (1438–1504; styled Kyŏmsŏn兼善), Yi Sukkam 李淑瑊 (15th century; styled Ch’agong 次公), and I were appointed temporary officials on standby. Sŏ Kŏjŏng said, “Although Supervisor Qi is good at writing poems, all are preconceived works. If I first write a poem and ask him to match mine with challenging rhymes, he will surely be embarrassed.” On the day of the Han River cruise, we ascended Chech’ŏn Pavilion. Sŏ first composed a few poems and said, “I had been unable to match your excellent rhymes. I hope you can respond to my humble poems.” With a smile, Supervisor Qi glanced at the poems, held a brush, and started writing. His writing needed no corrections. He wrote a couplet like, 百濟地形臨水盡五臺泉脉自天來 Paekche’s terrain overlooks the river.Odae’s fountainhead flows from Heaven. And he also wrote, 倚罷高樓不盡情又携春色泛空明人從竹葉盃中醉舟向楊花渡口橫 Leaning from the tower, the sentiments linger on. Again, I hold in my hand spring colors, letting them waft in the luminous sky.From the Bamboo Leaf Wine,people are getting drunk. Towards the Willow Catkin Ferrythe boat drifts on.He also composed a lyric poem, “River Current” 江之水. From the moment we boarded the boat, throughout the ride, and until we reached Chamdu Peak, he did not stop writing poems. Stunned and disheartened, Prince of Talsŏng put a hat over his head and let out long sighs. Agape and astonished, Kim Suon said, “I did not have [[T044|<span class="keyword topic">acupuncture</span>]] lately. My poetic thoughts (sisa) have dried up (kogal), and that’s why I am having a rough time.” So saying, he could not compose a single line (sa). Everyone had a laugh about it.saying, he could not compose a single line (sa). Everyone had a laugh about it.)
E298 + (Luo Wanhu at the Chinese court became reno … Luo Wanhu at the Chinese court became renowned throughout the world for his poetry. In the imo year of the Wanli reign (1582; Sŏnjo 15), he was appointed to deliver the decree to our country announcing the birth of the crown prince. However, due to his advanced age, Huang Hongxian 黃洪憲 (1541–1600) was sent instead.Luo’s poem on watching people hunting at the Ji Gate reads, 滿目邱墟百戰餘旅情衰草共悽如寒山古堠逢秋獵遠水孤燈見夜漁家在瀟湘多暮雨鴈來湓浦少鄕書故人一別三千里惆悵東西未定居 An expanse of wilderness that fills the eye is what remains of a hundred battles.Traveler’s mood and withered grass share the same sorrow.At the ancient battlement in the cold mountain, I encounter autumn hunting.A lone light flickering in the distant water reveals night fishing. My home is by the Xiao and Xiang Rivers,where there is often evening rain.Wild geese arriving at the Pen River deliver but a few letters from home.One farewell with an old friend, separated by three thousand li.Ah! Drifting between east and west, I have yet to find a place to settle. The composition method (kuppŏp) of this poem is smooth-running and vigorous (wŏnhwal). This is a case of balls rolling down the slope. I heard this poem from others. It is unfortunate that I did not come across more of his works.t I did not come across more of his works.)
E390 + (My eldest brother Ch’a Ŭllo車殷輅 (1540–1556) … My eldest brother Ch’a Ŭllo車殷輅 (1540–1556) could write composition at age five and was known as a child prodigy. Minister Han Tu 韓㞳 (1501–1558) was Governor (yusu) of Kaesŏng, and at the time my father had returned home after being relieved from the position as a Lecturer at the National Academy (chikkang). My eldest brother, who was just nine years old, by chance threw a roof tile and it mistakenly dropped on a neighbor’s urn. Not knowing who my brother was, the neighbor said inappropriate words. When my brother heard them, he narrated the detailed account in writing to present to the governor. When the governor saw a handsome boy entering the court and upon learning that he was a son of a Lecturer at the National Academy, he allowed my brother to come forward. “Can you write poems?,” the governor asked. “I can only arrange rhymes,” my brother replied. It was a time of severe drought, so the governor commanded him to write a poem on “Worrying over the Drought” 悶旱 and chose “sky” 天 as a rhyme word. My brother responded in a loud voice, 雲霓空蔽天 There is no rainbow in the sheltering sky. Then the governor chose “field” 田 as a rhyme word. My brother replied, 龜背拆乾田 Tortoise shells crack open in the sun-scorched field. Again, the governor chose “year” as a rhyme word, and immediately he responded, 魯國焚巫日成湯剪爪年 This is the day the State of Lu burned their shaman.This is the year King Tang of Shang clipped his nails. The governor applauded and praised my brother. At first, he wanted to have my brother compose with four rhymes, then he stopped, probably not wishing to make him reveal his talent. The governor offered my brother sweets and food as well as paper, brush, and ink, then flogged the neighbor. Later, Governor Han told my father, “Your son has exceptionally rare talent. You must hide it. Please don’t ask him to write poems and show them to everyone. I shall give my granddaughter in marriage to him.”give my granddaughter in marriage to him.”)
E034 + (Orator (<i>taech’uk</i>) O Sej … Orator (<i>taech’uk</i>) O Sejae satirized King Ŭijong’s travel incognito in a poem, reading, </br><div class="poetry-text">[[M059|<span class="fa fa-plus-circle poetry-link-btn"></span>]]How come, on this clear day,<br>dark clouds cover the ground? <br>Citizens of the capital, Don’t come near!<br>For the dragon is moving among us!</div></br>His poem “Halberd Rocks” 戟巖 written to someone’s rhyme reads, </br><div class="poetry-text">[[M060|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The jagged rocks of North Mountain,<br>people call you Halberd Rocks. <br>Towering, you strike the crane riding Prince Jin. <br>Soaring, you pierce the shaman in the sky.<br>Lightning’s fire forged your handles.<br>Frost-like salt whetted your blades. <br>Shall I wield you as a weapon to conquer Chu and save Fan!</div> </br>His poem “Ailing Eyes” 病目 reads, </br><div class="poetry-text">[[M061|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Old age and illness arrive together.<br>All my life, I’ve lived as an unwaged scholar. <br>Blurring vision has dimmed my eyesight.<br>My pupils have lost their glow. <br>I’m frightful of reading under a lamp<br>and scared of seeing snow’s glare.<br>I will check the exam results in a while, <br>then close my eyes and learn to forget all motive.</div> </br>Yi Kyubo (sobriquet Munsun [Literary Flow]) said that <div class="critique-text">[[C037|<span class="fa fa-plus-circle critique-link-btn"></span>]]O learned poetic styles of Han Yu 韓愈 (768–824) and Du Fu 杜甫 (712–770), but his poems are few in number.</div> </br>The <i>Kim kŏsa chip</i> 金居士集 (Collected Works of Recluse Kim) has one poem by O which reads, </br><div class="poetry-text">[[M062|<span class="fa fa-plus-circle poetry-link-btn"></span>]]A hundred-span round timber, is useful because it’s useless. <br>A three-foot long beak speaks without speaking.</div> </br><div class="critique-text">[[C038|<span class="fa fa-plus-circle critique-link-btn"></span>]]His seasoned robustness (<i>nogŏn</i>) is worthy of admiration.</div>tn"></span>]]His seasoned robustness (<i>nogŏn</i>) is worthy of admiration.</div>)
E042 + (Pak Hang’s 朴恒 (1227–1281; sobriquet Munŭi … Pak Hang’s 朴恒 (1227–1281; sobriquet Munŭi [Literary Finesse]), </br><div class="poetry-text">[[M083|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Even on a low hill beat with a white sun, a rain can pour down. </br>Over an old fortress covered in yellow sand, a rainbow suddenly appears.</div> </br>An Hyang’s 安珦 (1243–1306; sobriquet Munsŏng [Literary Completion]),</br><div class="poetry-text">[[M084|<span class="fa fa-plus-circle poetry-link-btn"></span>]]A pigeon wings through a morning rain in the field of wild grass.</br>A horse gallops through a spring breeze in a city brimming with flowers.</div> </br>Assistant Royal Secretary (milchik pusa) Kim I’s 金怡 (d. 1317), </br><div class="poetry-text">[[M085|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Where a wisp of dark cloud hovers, on which mountain does it rain?</br>When the fragrant plants are lush, there is a breeze all day long.</div> </br><div class="critique-text">[[C052|<span class="fa fa-plus-circle critique-link-btn"></span>]]All of these phrases are excellent (ka). It is regrettable that I cannot see the complete poems of these poets.</div>a fa-plus-circle critique-link-btn"></span>]]All of these phrases are excellent (ka). It is regrettable that I cannot see the complete poems of these poets.</div>)
E002 + (Queen Chindŏk 眞德 (r. 647–654) of Silla is … Queen Chindŏk 眞德 (r. 647–654) of Silla is found in the ''Tangsi yugi'' 唐詩類記 (Classified Records of Tang Poetry). </br><div class="critique-text">[[C002|<span class="fa fa-plus-circle critique-link-btn"></span>]]Lofty and ancient (''kogo''), robust and simple (''unghon''), her poem rivals the poems from the early Tang dynasty. At that time, the literary culture of the East had not yet flourished. Besides Ŭlchi Mundŏk’s quatrain, I had heard nothing else. That she achieved this as a female sovereign is truly remarkable.</div> </br>The poem reads, </br><div class="poetry-text">[[M002|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The great [[Tang]] has begun its grand mission.<br></br>Majestic are the great merits of the emperor!<br></br>The battles ceased, and the armor was put away.<br></br>Civilization was restored, succeeding hundreds of kings.<br></br>Commanding the heaven, the [[Tang]] showered down favor.<br></br>Managing all things, it embodies beauty.<br></br>Its benevolence was profound, keeping with the sun and the moon.<br></br>Conforming to a timely fortune, a generation of great peace followed.<br></br>How brilliant are your streaming banners!<br></br>How dazzling your gongs and drums!<br></br>Barbarians outside the realm who disobey your commands<br></br>shall be overthrown by a calamity from heaven.<br></br>Harmonious air gathers throughout the world.<br></br>Far and near, all vie for auspicious signs.<br></br>Four seasons regulate favorable weather.<br></br>[[Seven Stars]] illuminate myriad places.<br></br>High mountains bring forth great ministers.<br></br>The emperor employs the loyal and the good.<br></br>Becoming one in virtue with [[Five Emperors and Three Kings]]<br></br>is the radiant imperial house of Tang.<br></div></br>According to an annotation: In the first year of the Yonghui reign (650; T’aehwa 1), Queen Chindŏk destroyed the Paekche army and presented to the emperor a silk embroidery of her five-character poem, the “Poem of Great Peace.” </br>Note: Yonghui (650–656) was the reign title of Tang Emperor Gaozong.een Chindŏk destroyed the Paekche army and presented to the emperor a silk embroidery of her five-character poem, the “Poem of Great Peace.” Note: Yonghui (650–656) was the reign title of Tang Emperor Gaozong.)
E032 + (Second Censor (sagan) Chŏng Chisang wrote, … Second Censor (sagan) Chŏng Chisang wrote, </br><div class="poetry-text">[[M050|<span class="fa fa-plus-circle poetry-link-btn"></span>]]When the rain stops, the long riverbanks turn luxuriantly green.</br></br>Seeing you off at Namp’o moves me to sing sad tunes.</br></br>The waters of the Taedong River, when will you run dry?</br></br>Tears at parting year after year add to rising breakers.</div></br></br>In transcribing this poem, Liang Zai 梁載 (14th century) from Yannan wrote, </br><div class="poetry-text">[[M051|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Tears at parting year after year build the blue breakers</div></br></br>In my opinion, neither “rising” nor “swell” is satisfactory, and only “add more blue breakers” 添綠波 will suffice. </br></br>Chŏng also wrote lines such as, </br><div class="poetry-text">[[M053|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The land responds to the blue sky, not too far apart from each other. </br></br>People and white clouds face each other at ease.</div></br></br><div class="poetry-text">[[M054|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Drifting clouds and running streams, a traveler arrives at a temple. </br></br>Red leaves and green mosses, the monk shuts the gate.</div></br></br><div class="poetry-text">[[M055|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Green willows and closed gates, eight or nine houses.<br></br>A bright moon, rolled up curtains, two or three people.<br></div></br></br><div class="poetry-text">[[M056|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Touching the Big Dipper, a triangle rooftop. </br></br>Appearing in mid-air, a single tower.</div></br></br><div class="poetry-text">[[M057|<span class="fa fa-plus-circle poetry-link-btn"></span>]]At the edge of a rock, a pine ages under a crescent moon. </br></br>At the sky’s end, clouds descend on a thousand crags below.</div></br></br><div class="critique-text">[[C035|<span class="fa fa-plus-circle critique-link-btn"></span>]]Poets like to use such meters (''yul'').</div>-plus-circle critique-link-btn"></span>]]Poets like to use such meters (''yul'').</div>)
E037 + (Section Chief (ch’ongnang) Hong Kan 洪侃 (d. … Section Chief (ch’ongnang) Hong Kan 洪侃 (d. 1304) loved the following poem by Edict Transmitter (sŭngsŏn) Chŏng Sŭmmyŏng 鄭襲明 (d. 1151). </br><div class="poetry-text">[[M069|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Amidst hundreds of flowers, is your elegant and lush face!</br>Suddenly, a wild wind blows, Diminishing that rosy hue.</br>Even otters’ marrow cannot restore your fair cheeks.</br>Oh, lads of the Five Hills! Your disappointment knows no bounds</div></br><div class="critique-text">[[C043|<span class="fa fa-plus-circle critique-link-btn"></span>]]Isn’t it because even after savoring it for a while, the poem still had a lingering flavor (mi)?</div></br>In recent times, there was a famous kisaeng in P’ungju. The Greeting Official (chonmunsa) of the Western Capital summoned her and listed her name in the official kisaeng registry. She regretted that she had not met him earlier. Scholar Yi Ŭi 李顗 (ca. 1080) wrote a poem and had her sing it. </br><div class="poetry-text">[[M070|<span class="fa fa-plus-circle poetry-link-btn"></span>]]I remember the time when I was fifteen, </br>with golden hairpins on both sides adorning my long and dark hair.</br>What a pity! Only when my beauty faded and splendor diminished </br>did I come to be a red lotus in the government tent!</div></br><div class="critique-text">[[C044|<span class="fa fa-plus-circle critique-link-btn"></span>]]When compared to Chŏng Sŭmmyŏng’s poem, this poem is on par.</div>-plus-circle critique-link-btn"></span>]]When compared to Chŏng Sŭmmyŏng’s poem, this poem is on par.</div>)
E040 + (The poet Yang Yunpeng 楊雲鵬 (13th century; s … The poet Yang Yunpeng 楊雲鵬 (13th century; sobriquet Feiqing [Flying Minister]) of late Jin wrote a poem titled “Red Trees” 題紅樹, which reads, </br><div class="poetry-text">[[M079|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Rosy ocean clouds do not bring rain and hover above the woods.<br> A wildfire without wind reaches the treetop.</div></br>Yi Changyong 李藏用 (1201–1272; posthumous sobriquet Munjin [Literary Truth]) also wrote, </br><div class="poetry-text">[[M080|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The desolate courtyard is in and out of view. Autumn thoughts are bitter.<br> Stumbling upon a low hill, the sunset is radiant.</div></br><div class="critique-text">[[C049|<span class="fa fa-plus-circle critique-link-btn"></span>]]I bet Yang would bow the knees to this.</div>a fa-plus-circle critique-link-btn"></span>]]I bet Yang would bow the knees to this.</div>)
E004 + (The “Treatise on Literature” (Yiwenzhi藝文志) … The “Treatise on Literature” (Yiwenzhi藝文志) in the Xin Tang shu 新唐書 (New Book of Tang) contains Ch’oe Ch’iwŏn’s single-volume Saryuk chip 四六集 (Collection of Four-Six Poetic Exposition). Additionally, his ten-volume literary collection, the Kyewŏn p’ilgyŏng 桂苑筆耕 (Ploughing the Cassia Grove with a Writing Brush), has been published. I have always admired the great open-mindedness of the Chinese for not looking down upon foreigners and including them in their official histories, and even making their writings circulate throughout the world. Nevertheless, I cannot figure out why there is no separate biography of Ch’oe Ch’iwŏn in the “Biographies of Writers” (Wenyi liezhuan 文藝列傳) [in the Xin Tang shu]. Was it because there was a paucity of information about him to write a separate biography? At age twelve, Ch’oe crossed the sea to study in Tang and passed the highest civil service examination on his first attempt. He went on to serve Gao Pian 高駢 (821?–887) and wrote “A Letter to Condemn Huang Chao,” which disconcerted the rebel. Subsequently, he was appointed Campaign Commander (dutong xunguan) and Attendant Censor (shiyushi). When it was time for him to return to his native land, Gu Yun 顧雲 (d. 894), a fellow graduate of the civil service examination, gave him a poem, “Song of a Confucian Immortal” 儒仙歌. One of its stanzas reads, At twelve you boarded a ship, crossing the sea to arrive here.Your writings inspired the kingdom of Central Efflorescence.ired the kingdom of Central Efflorescence.)
E358 + (Tutor (kyogwan) Chŏng Chak showed me Yun C … Tutor (kyogwan) Chŏng Chak showed me Yun Ch’unnyŏn’s 尹春年 (1514–1567; sobriquet Ch’angju [Blue Islet]) poem “A Farewell in the Autumn of the Imja Year” 壬子秋贈別, 文章有正脈意音為之主此道久不傳已矣如聾瞽性情本湛然惟意能鼓舞哀樂各相應表裏元一矩元氣信浩然大樂安有譜調切寄文字節奏應鐘鼓嗟余讀古書十年勤自苦一朝幸有得敢謂如目睹鄭子雖年少其心甚慕古相從已屢問自愧無所補養氣以為本讀書以為固血氣苟不盛萬卷終鹵莽願君聽殷勤我言出肺腑豈徒作文法學道從此取今君有遠行寂寞歸南土追隨應久廢別離那可數贈言欲效古我才非李杜徘徊不忍別秋風動江浦 In literary composition, there is a correct path—Meaning and rhyming are essential.For long this Way has not been taught,and we have already become like the deaf and the blind.Natural temperament is inherently clear.Only meaning can move us to drum and dance.Joy and sorrow respond to each other.Outside and inside are one at the beginning. Primordial energy is surely unbound.How can there be a score for great music?Play and rest both follow the words.Rhythm responds to bells and drums.Ah! I read the classics, striving for ten years and suffering alone.One morning, I fortunately understood them.I dare say it was like eyes could finally see.Mr. Chŏng! Although he is young in age,His heart truly admires the ancients. In our meetings, you asked me many questions,But I am sorry I was not much of a help.Be rooted by nurturing the vital energy.Be resolute in studying the books. If your physical energy is not strong,ten thousand books will eventually be wasted.I wish you listen with affectionthese words that come from the bottom of my heart.Why would this only apply to composition?Learning of the Way should be sought in this.Today you embark on a long journey,returning alone to the southern land.Hereafter, we must be long downcast.How can we speak of farewell?I present these words, wishing to emulate the ancients,though I surely am not Li Bai or Du Fu.Pacing around, I cannot bear to part.Autumn wind moves the river. Chŏng Chak was just twenty years old at the time, yet Yun Ch’unnyŏn already acknowledged him in this way. The poem has great stylistic progression (kudo) worthy of esteem.istic progression (kudo) worthy of esteem.)
E043 + (T’anji 坦之 (late Koryŏ) passed the civil se … T’anji 坦之 (late Koryŏ) passed the civil service examination and became renowned for his poetry. He later became a Buddhist monk and adopted the name Ch’wibong (Vulture Peak). His poem “Falling Pear Blossoms” 落梨花 reads, </br><div class="poetry-text">[[M086|<span class="fa fa-plus-circle poetry-link-btn"></span>]]When millions of jade dragons clashed over the pearly sun, the God of Waves in the sea picked up their fallen scales. </br>Secretly, to the spring breeze he tried to sell them. </br>Handily, the Lord of Spring scattered them in the dusty world of mortals.</div></br><div class="critique-text">[[C053|<span class="fa fa-plus-circle critique-link-btn"></span>]]This is an example of so-called “poetry smacking of village schools.”</div></br>Kim Ku 金坵 (1211–1278; sobriquet Munjŏng [Literary Uprightness]) also wrote a poem by this same title, and his reads, </br><div class="poetry-text">[[M087|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Fluttering and dancing nimbly, moving to and fro.</br>Scattered by the wind, yet you wish to bloom on the branches. </br>Out of nowhere, a petal sticks to the cobweb. </br>Spiders come out thinking that a butterfly has been snared.</div></br><div class="critique-text">[[C054|<span class="fa fa-plus-circle critique-link-btn"></span>]]Each poet has his own technique (sudan).</div>lus-circle critique-link-btn"></span>]]Each poet has his own technique (sudan).</div>)
E095 + (When Kim Sisŭp 金時習 (1435–1493; sobriquet T … When Kim Sisŭp 金時習 (1435–1493; sobriquet Tongbong [Eastern Peak]) read books, he did not confine himself to the literal meaning of specific passages but sought out the main points and savored (mi) the principles. I once wrote “Laments of a Campaigning Soldier” 征夫怨 in ten quatrains, matching the rhymes of Yuan Haowen’s 元好問(1190–1257; sobriquet Yishan [Yi Mountain]) poem. One of them said, 百草凋霜月滿空年年鞍馬任西東令嚴萬幕平沙夜部伍相招鼓角中 Above the frostbitten grassy plain, the moon fills the sky.Year after year, horsemen campaign east and west.Commands are solemn in thousands of tents in the desert at nights.Soldiers call each other amid the sound of drums and pipes. When Kim read it, he burst into laughter, saying, “You made an error. How can they call each other when the commands are solemn?” He then showed me the Xiaoya 小雅 (Minor Odes) of the Shijing (Classic of Poetry), which said, “When you go on a campaign, not a peep can be heard. Indeed, you will achieve great success.” Deeply impressed by his words, I returned and told Hong Yuson what had happened. Hong marveled at Kim without end.appened. Hong marveled at Kim without end.)
E074 + (When King T’aejong 太宗 (1346–1422) was youn … When King T’aejong 太宗 (1346–1422) was young, he studied for the civil service examination. In the imsul year of Sin U 辛禑 (1382), he became a Literary Licentiate (chinsa) as the secundus. In the following kyehae year (1383), he successfully passed the civil service examination. Among his co-graduates were Kim Hallo 金漢老 (b. 1367) as the primus, Sim Hyosaeng 沈孝生 (1349–1398) as the secundus, and King T’aejong won the tenth place. Yi Rae 李來 (1362–1416), Sŏng Pu 成傅 (15th century), Yun Kyu 尹珪 (1365–1414), Yun Sasu 尹思修 (1365–1411), Pak Sŭp 朴習 (d. 1418), and Hyŏn Maengin 玄孟仁 (15th century) were also among his fellow graduates.After ascending the throne, King T’aejong arranged for Kim Hallo’s daughter to become the wife of Crown Prince Yi Che’s 李禔 (1394–1462). Every time he met Kim, the king addressed him as the primus and not by his name. King T’aejong once composed a poem on a fan, 風榻依時思朗月月軒吟處想淸風自從削竹成團扇朗月淸風在掌中 Reclining on a summer bed, I yearn for the bright moon.Writing at a moonlit terrace, I long for a cool breeze. From carving the bamboo a round fan is formed.The bright moon and cool breeze are in the palm of my hand. Since ancient times, there have been few literary figures who accomplished the grand task of founding a kingdom. Among the writings of emperors and kings, none exhibits the deft craftsmanship (kigyo) found in this poem. It employs allegory through objects and is infused with subtle meanings (ŭi) and charm (ch’wi). This is something only a sage can achieve.This is something only a sage can achieve.)
E001 + (Writing emerged in the East when Kija, the … Writing emerged in the East when Kija, the Grand Tutor of Shang, came to be enfeoffed here. However, since it was so long ago, nothing can be known about the writers from that period. The [[B026|<span class="keyword book"><i>Yaoshantang waiji</i> 堯山堂外記 (Unofficial Records from the Hall of Yaoshan)</span>]] provides detailed notes on [[P024|<span class="keyword person">Ŭlchi Mundŏk’s 乙支文德 (ca. 612)</span>]] literary achievements, including a five-character quatrain he presented to the Sui General Yu Zhongwen, which reads, </br><div class="poetry-text">[[M001|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Your divine strategies probe the heaven’s patterns.<br>Your wondrous tactics exhaust the earth’s principles.<br>The battle is won. Your merit is towering.<br>Know that you have done enough and please call it an end.<br></div> <div class="critique-text">[[C001|<span class="fa fa-plus-circle critique-link-btn"></span>]]His composition method (<i>kuppŏp</i>) is [[CT001|<span class="keyword critical-term">marvelous and classical (<i>kigo</i>)</span>]], and there is no trace of the habit of [[CT002|<span class="keyword critical-term">ornamental (<i>kiryŏ</i>) embellishment</span>]]. How could dispirited writers of later generations hope to achieve this?</div> <br>Note: [[P024|<span class="keyword person">Ŭlchi Mundŏk</span>]] was a minister of [[H002|<span class="keyword era">Koguryŏ</span>]]. era">Koguryŏ</span>]].)
E087 + (Yi Talsŏn 李達善 (1457–1505; styled Kyŏmji) o … Yi Talsŏn 李達善 (1457–1505; styled Kyŏmji) once had a dream in which a scholar in a strange form presented him with a poem that read, 世上紅塵滿天樓紫玉寒東皇求八狴終不憶家山 The world is full of red dust.At the celestial mansion, the sounds of purple jades are cold. The Eastern Emperor seeks out the eight beastsbut remembers not his native mountains. Yi believed the dream was a call from the underworld, so he told everyone that he would die soon. The following year, he won the honor of the tertius at the civil service examination. I sent him the following congratulatory poem, 日下五雲爛未收廣寒深殿桂花秋祗隨傅說調金鼎準擬東皇八狴求 Under the sun, five-colored clouds glimmer without an end. Deep inside the Palace of Vast Coldness, autumn osmanthus are in bloom.Follow Fu Yue’s example and stir the golden cauldron.Let’s hope the Sovereign of the East will search for the eight beasts. The poem’s meaning (siŭi) draws an analogy between our king to the Eastern Emperor, and it shows my faith that Yi would someday assist the king. Not long after, Yi entered the Office of Special Advisors (Hongmun’gwan) and received great royal favor and honor. and received great royal favor and honor.)
E003 + ([[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solit … [[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solitary Cloud]) [literary] merit was unprecedented. Therefore, scholars of [[the East]] all regard him as the progenitor [of literature]. His poem [[“A Pipa Tune” 琵琶行]] is classified in the [[Tang yin yi xiang 唐音遺響 (Lingering Echo of the Sound of Tang)]] as an anonymous work. Later generations remain undecided on its authenticity. Some say that the line, </br><div class="poetry-text">[[M003|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Over [[Dongting Lake]], the moon goes down, and a solitary cloud returns home.</div></br>proves his authorship, but that alone is insufficient evidence to settle the debate. [[“A Letter to Condemn Huang Chao”]] drafted by [[Ch’oe]] is not included in official histories. It is said that when [[Huang]] read the line, “Not only do all the people of the empire openly wish for your destruction, but the ghosts of the underworld also have devised a secret plan to eliminate you,” he fell from his chair in surrender. Had it not been a writing that makes the ghosts weep and startles the wind, how could [[Ch’oe]] have reached this level? Yet his poems are not considered [[lofty (ko)]]. It must be because he entered China during the [[Late Tang period]].)
E068 + ([[P118|<span class="keyword person"> … [[P118|<span class="keyword person">Kim Suon (sobriquet Munp’yŏng [Literary Standard])</span>]] was well-versed in the Six Classics, the writings of hundred schools of thought, and history. There was nothing that he did not probe into, and his understanding of Buddhist Sūtras was particularly profound. Once, he said, “The merit of scholarship lies in a student’s reading one book thoroughly and repeatedly. They must also take the time to reflect on it. If one is hasty, it will be difficult to savor the book’s flavor (mi). I control my mind and calm my instincts, and that is how I understand all that come into contact with me.”During a visit to Yanghwa Ferry, the imperial envoy Chen Hanlin 陳翰林 (15th century) composed a poem that included the word “cheerful” 怡. Matching that rhyme proved challenging for everyone. Kim then responded, 江深畫舸惟須泛山遠晴雲只可怡 A painted boat on the river deepmakes us think only about drifting.Bright clouds over the mountains farbring nothing but cheer. Chen replied, 山中何所有嶺上多白雲只可自怡說不堪持贈君 What could be there in the mountains?Over the hilly roads, white clouds abound. I can only feel cheerful myself. Too bad, I cannot offer them to you. He said to Kim, “You truly captured the charm (ch’wi) of the scenery.” While cruising the Han River, Councilor (langzhong) Qi Shun (15th century) composed a poem that included the word “sleep” 眠. Each attending scholars wrote a poem in response, but Kim struggled and sighed deeply. Even after a long time, he couldn’t complete it. In the end, he presented the following couplet, 江口日斜人自集渡頭風靜鷺絲眠 At the river’s mouth, the sun sets, and people gather together.At the ferry dock, the wind calms, and herons sleep a little. Recorder (chusŏ) Yi Ch’angsin 李昌臣 (b. 1449), who was nearby, remarked, “I’m afraid ‘gather together’ and ‘sleep a little’ do not match.” Kim then said, “You can make the correction.” Yi suggested, “How about replacing ‘a little’ 絲 with ‘idly’ 閑?” Kim responded, “Your words are absolutely correct. Recently, my poetic thoughts (sisa) have dried up (kogal) because I have not been receiving [[T044|<span class="keyword topic">acupuncture</span>]] and moxibustion.” Everyone laughed at his remark.)

C001 + (His composition method (<i>kuppŏp< … His composition method (<i>kuppŏp</i>) is [[CT001|<span class="keyword critical-term">marvelous and classical (<i>kigo</i>)</span>]], and there is no trace of the habit of [[CT002|<span class="keyword critical-term">ornamental (<i>kiryŏ</i>) embellishment</span>]]. How could dispirited writers of later generations hope to achieve this?[CT002|<span class="keyword critical-term">ornamental (<i>kiryŏ</i>) embellishment</span>]]. How could dispirited writers of later generations hope to achieve this?)

E253 + (1. Cho Sin wrote a regulated verse at a de … 1. Cho Sin wrote a regulated verse at a derelict Buddhist temple. The third couplet reads, 逕覆今秋葉廚餘去日樵 The trail is now covered with autumn leaves.In the kitchen are firewood from bygone days.His way of line composition (kuppŏp) is wonderfully outstanding (kijŏl). People recited the poem widely (chŏnsong). However, when Cho transcribed his works, he did not include this one. It is possible that he discarded it because he was not satisfied with his earlier works. was not satisfied with his earlier works.)
E216 + (1. Ch’oe Suksaeng’s 崔淑生 (1457–1520) poem “ … 1. Ch’oe Suksaeng’s 崔淑生 (1457–1520) poem “Ŭiju’s Ch’wisŭng Pavilion” 義州聚勝亭 reads, 馬蹄西海到窮陲百尺危亭近紫微且倚雕欄看勝景不敎珠箔障晴暉江橫鴨綠兼天淨柳暗鵝黃着雨肥忽憶玉堂身萬里蓬萊何處五雲飛 At the horse-hoof coast of West Sea,at its outermost rim,there is a pavilion a hundred feet above,close to the Purple Star.I lean on its carved railings and behold the marvelous view,not letting the beaded curtains block the radiant glow.The Amnok River flowing across fuses with the clear sky.Bright orange willow catkins plump up in the rain.Suddenly I realize from the Jade HallI am thousands of li away.Oh, where in Penglai do five-colored clouds fly? Minister So ordered me to read aloud the poems on the plaques. When I got to this poem, he nodded and said, “This old man’s poem deserves to be called a mature composition (sŏngjang).”However, Cho Wi wrote a matching poem that reads, 雄藩自古壯邊陲新搆華亭對翠微絶域雲烟來醉眼層城花柳媚春暉山圍廣野靑如畫雨過長江綠漸肥叵耐登臨還望遠歸心日夜正南飛 Since ancient times, this grand domainhas had formidable frontiers.A decorated pavilion was just built,facing the azure hills.Misty clouds of distant landsenter my drunken eyes.Flowers and willows of the mountain fortressflaunt their spring glow.The open field encircled by mountainsis green like a painting.After the rain passes over the long river, verdure grows darker.I couldn’t help but ascend the pavilion and gaze afar.My homebound heart, day and night, only soars to the south. In my humble opinion, how is Cho’s poem not on par with Ch’oe’s?how is Cho’s poem not on par with Ch’oe’s?)
E173 + (1. In the summer of kapsin (1544), I was a … 1. In the summer of kapsin (1544), I was appointed Sixth State Councilor (chwach’amch’an). Chief State Councilor (yŏngŭijŏng) Pak Sun 朴淳 (1523–1589), Second State Councilor No Susin 盧守愼 (1515–1590), Third State Council (uŭijŏng) Chŏng Yugil 鄭惟吉 (1515–1588), Fourth State Councilor (ch’amsŏng) Chŏng Ch’ŏl 鄭澈 (1536–1593), and I were all primuses of civil service examinations. The three seniors had previously served as Directors at the Office of Royal Decrees (taejehak), and Chŏng Ch’ŏl at the time was serving as Deputy Director (chehak), and I had once held that position in the past. It was a wonderful occurence that the five of us could be colleagues for once. In light of this, I composed a poem, 潭潭相府會龍頭盛事人間罕比侔爭道一時奎璧煥只慚庸品廁名流 At the grand office of the State Council, the heads of dragons have convened.Few events in the mortal world are as wonderful as this.Rivals of our time,you are all glowing stars.Yet, a mediocre talent, I can only feel unworthy among the luminaries. Chŏng Ch’ŏl then matched my poem, 五學士爲五壯頭聲名到我不相侔只應好事無分別等謂當時第一流 The five scholars standas the five primuses.As for their fame,I am unable to match. It surely is a wonderful thingthat we have no discord.So let’s proudly proclaim that we are all first-class officials!aim that we are all first-class officials!)
E246 + (1. Kim Ilson 金馹孫 (1464–1498; sobriquet T’a … 1. Kim Ilson 金馹孫 (1464–1498; sobriquet T’agyŏng [Washing the Hat Strings]) made a name for himself with his writings. Nam Kon often said, “The poetry of Pak Ŭn’s 朴誾 (1479–1504; sobriquet Ŭpch’wihŏn [Attracting Kingfisher Terrace]) and the prose of Kim Ilson deserve to be called a superb class.” Kim’s collection of prose is popular in the world, but his poems are rarely discussed. A regulated verse by him at Kwansu Tower in Samga prefecture, Kyŏngsang province, reads, 一縷溪村生白烟羔羊下佸謾爭先高樓樽酒東西客十里桑麻南北阡句乏有聲遊子拙杯斟無事使君賢倚欄更待黃昏後觀水仍看月到天 From a village with a threadlike stream rises white smoke.Young goats descend the hill in a flock, vying to be the first.At a tall tower, around flasks of wine, gather the guests from east and west.Along ten li, mulberry and hemp fields stretch out to north and south. Words are few, and this traveler only makes clumsy remarks.I raise my cup with a carefree heart to the prefect who is a worthy man.Leaning on the railing, I wait longer until the sun setsand gaze at the water until the moon reaches the sky. Readers can clearly see, between his poetry and prose which is better.ween his poetry and prose which is better.)
E182 + (1. My cousin’s son, Sim Ilsŭng 沈日昇 (16th c … 1. My cousin’s son, Sim Ilsŭng 沈日昇 (16th century), held the position of Superintendant (ch’ambong) at the Royal Kitchen (Saongwŏn) and later became a production supervisor (kamjogwan) at the Royal Kiln (Sagiso). He told me, “Please write a poem and send it to me. I will write it on a pedestal and fire it for you.” Thus, I composed the following five-syllable quatrain, 酒德眞堪頌醺醺養太和巵觴我寓戒唯願酌無多 Wine’s virtue is truly worthy of praise.Merrily, it nourishes Great Harmony.On this wine cup, my admonition lies. May you only drink in moderation. Sim crafted a cup and sent it to me. I wrote the poem intending to caution my sons and nephews. How would I dare hope that others will read it and follow as well? The calamities caused by wine are miserable, and anyone concerned for their well-being should bear this in mind.their well-being should bear this in mind.)
E207 + (1. Since ancient times, it has been the ca … 1. Since ancient times, it has been the case that women’s duties in our Eastern Kingdom are limited to cooking and weaving, and literary pursuits have been considered improper. Therefore, eventhough there have been women with outstanding literary talents, they concealed them and did not fully exert themselves. How deplorable! We do not hear of any such woman writers from the Three Kingdoms period. During the five hundred years of the Koryŏ dynasty, there were only Udol 于咄 (13th century), a kisaeng from Yongsŏng, and Tonginhong 動人紅 (13th century), a kisaeng from P’aengwŏn, who knew poetry. In our dynasty, we have Lady Chŏng, Lady Sŏng, and Lady Kim. Their poems have become widely known but are soft (wiyak) and lack sufficient vigor (ki). However, Lady Chŏng’s poem, 昨夜春風入洞房一張雲錦爛紅芳此花開處聞啼鳥一詠幽姿一斷腸 Last night a spring breeze entered my nuptial chamber,bringing to my sheet of cloud brocadethe fragrances of shining pink petals.Where the flowers bloom,I hear a weeping bird,singing each tune with sequestered charms,for each broken heart. Lady’s Sŏng’s poetic lines are as follow, 眼帶雙行淚胸藏萬里心 From my eyes run two streams of tears.My bosom hides a heart that wanders a thousand li. 門外紅桃一時盡愁中白髮十分新 Outside the gate, pink peach blossoms Have withered all at once. In sorrow my gray hairs grow always anew. And Lady Kim’s poem goes as follows, 境僻人來少山深俗士稀家貧無斗酒宿客夜還歸 In this secluded place, few visitors come.In the deep mountains, worldly scholars are scarce.In my destitute home, there is no wine to offer,An overnight guest returns at night.These poems are more or less well-crafted.These poems are more or less well-crafted.)
E169 + (1. When the Chinese emissary Ni Qian came, … 1. When the Chinese emissary Ni Qian came, Sin Sukchu (sobriquet Pohanjae [Idleness Studio]) accompanied him for sightseeing. Sin was holding a book in his hand, and on its cover were written two characters “pŏm ong” 泛翁 (Drifting Old Man) in standard style. It was a calligraphy by Prince Anp’yŏng.When Ni saw it, he asked, “The calligraphy is exquisite. Whose work is it?” Sin lied to him, saying, “It is by my friend Kang Hŭian.” Ni then gave him a piece of paper and requested Kang’s calligraphy. Later, Sin presented him with Kang’s calligraphy, but Ni responded, saying, “This is not by the same hand.” When King Sejo heard about this incident, he remarked, “Royal descendants and sons of high officials should value literary refinement. If they possess artistic talents, why should they conceal them?” Then the king ordered Prince Anp’yŏng to write something and give it to Ni. Later, when some of our people who went to Beijing sought exquisite calligraphy, the people of Beijing replied, “Your country already has a first-class calligrapher. Why bother purchasing one from afar?” Thus, we learned that Prince Anp’yŏng’s calligraphy was highly regarded in China. Both Chen Jian and Ni Qian were expert literary connoisseurs who had the ability to discern whether a work was genuine or fake just by looking at a single line or character. They are truly admirable.ne or character. They are truly admirable.)
E572 + (A Reading Hall was built in Tongho to gath … A Reading Hall was built in Tongho to gather scholar-writers and give them time for reading. Selected participants had to be excellent both in talents and reputation. It was debated when whether Yi Sŏngjung 李誠中 (1539–1593) should be one of the participants for he had talents but not ample reputation. Someone said, “Yi had written the poem, 紗窗近雪月滅燭延淸輝珍重一樽酒夜闌猶未歸 A veiled window is close to the snow-white moon.Snuffing out the candles, I invite the clear moonlight in.I relish a flask of wine.The night is deep, and I am yet to return. With a poem like this, he cannot but be chosen.” Therefore, he got permission to participate. But “Snuffing out the candles, I invite the clear moonlight in.” is a verse by Li Bai. Since one of the four verses came from an ancient poem, Yi should be called a “Reading Hall scholar with three verses” 三句書堂.Nam Sŏngsin 南省身 (16th century) was about to be recommended to become a royal academician but many objected. At the time Yu Suk 柳潚 (1564–1636), First Counselor (pujehak) at the Office of Special Advisors (Hongmun’gwan), said to one royal academician, “Scholar Nam once wrote a four-verse poem and its fourth verse said, 一萬二千峰上路壬寅庚子年間行風煙眼底至今色笙鶴空中猶舊聲 Through twelve thousand peaks along the road,I have traveled between the years imin and kyŏngja. The view of misty scenery is before my eyes to this day.The music of reed pipe and crane still echoes like the former day. How could someone who composed this not become a royal academician?” Nam, therefore, was selected to join, and he should be called “Royal Academician with four verses” 四句翰林.“Royal Academician with four verses” 四句翰林.)
E475 + (A couplet in Fifth Minister at the Office … A couplet in Fifth Minister at the Office of Ministers-without-Portfolio (ch’ŏmjisa) Yu Sunsŏn’s 柳順善 (1516–1577) poem on a “Fake Plum Tree” 假梅reads, 何以假為須看葉如其真也豈無香 To tell whether it is fake or not, you must look at its leaves.If the tree is genuine, how could its leaves not be fragrant? Also, in the poem “Slashing a Peach Tree and Grafting a Plum Branch” 斫桃接梅 reads, 舊日繁華歸寂寞異時疏影可徘徊 In former days, when you were in full bloom, I returned home feeling lonely.At another time, under your cool shade, I hope I can linger on.The language is artful (kyo) but there is no rhyme.age is artful (kyo) but there is no rhyme.)
M062 + (A hundred-span round timber, is useful because it’s useless. <br>A three-foot long beak speaks without speaking.)
E027 + (Adopting a purely clear and bitter (ch’ŏng … Adopting a purely clear and bitter (ch’ŏnggo) manner to poetry composition represents the style (kyŏk) of a mountain hermit. Decorating the entire verse with beautiful and elegant (yŏllyŏ) words represents the style of the palace. It is only by combining clarity and profundity (ch’ŏnggyŏng), robustness and boldness (ungho), beauty and elegance (yŏllyŏ), and plainness and simplicity (p’yŏngdam), that poetry can achieve a complete style (ch’egyŏk), and people will not be able to pinpoint its style (ch’e). not be able to pinpoint its style (ch’e).)
E885 + (All his life, Chŏng Tugyŏng read Sima Qian … All his life, Chŏng Tugyŏng read Sima Qian’s Shiji over and over. So the prose and poetry he wrote were simple and vast (honho), deep and heroic (ch’imung). His poem on the Mach’ŏn Mountain Range reads, 驅馬磨天嶺層峰上入雲前臨有大澤蓋乃北海云 Galloping on horseback to Mach’ŏn Range,layered cliffs rise up to the clouds.In front lies a great marsh, known as the North Sea. The second line entirely utilizes original words from the “Biographies of the Xiongnu” 匈奴傳 in the Shiji. It is robust and simple (unghon) in vigor and imagery (kisang). All his ancient style poems and regulated verses were outstanding (t’ŭkch’ul), deep (angang) like the ringing of a large bell. Among Korean writers, few had his literary talent. Kim Tŭksin once showed his own poem to Chŏng. Chŏng commented, “You often speaking of following the example of the Tang (haktang). Why then do you write expressions (ŏ) from the Song?” Kim said, “Why do you say I use expressions from the Song?” Chŏng replied, “All my life, I have read and recited poems from the Tang and the earlier periods. Your poem has words that I have never seen. They must be from the Song.” Kim concurred in admiration.om the Song.” Kim concurred in admiration.)
E009 + (Among my seniors, seven were renowned writ … Among my seniors, seven were renowned writers who considered themselves the icons of their time, calling one another the Seven Sages in emulation of the Seven Sages of the Bamboo Grove from the Jin dynasty. They often gathered for wine and poetry and acted insolently. Thus, many criticized them. I was nineteen at the time. O Sejae made me a young friend of his and took me to their meetings. Later, O went to the eastern capital Kyŏngju. When I attended their meeting, Yi Tamji 李湛之 (12th century) said to me, “Your friend O has not returned from his trip. Would you like to take his place?” I stood up and responded, “Are the Seven Sages like court positions? Why would there be a need to fill in? I have not heard of anyone taking the places of Ji Kang 嵇康 (223–262) and Ruan Ji 阮籍 (210–263)!” Those seated burst into laughter and asked me to compose a poem using the rhyme words “spring” 春 and “person” 人. I quickly recited, </br>榮參竹下會快倒甕中春未識七賢內誰為鑽核人 </br></br>What an honor to attend this gathering among the bamboos!</br></br>Merrily I pour spring wine from the crock. </br></br>I still haven’t figured out who among the Seven Sages</br></br>was the person that bored the seeds. </br></br>As they all frowned in annoyance, I proudly left the place fully intoxicated. In my youth, I was wild like this. Everyone thought I was a mad guest. this. Everyone thought I was a mad guest.)
E239 + (As a young man, Ch’oe Sandu 崔山斗 (1483–1536 … As a young man, Ch’oe Sandu 崔山斗 (1483–1536) composed his “Rhapsody on the Compendium” 綱目賦 at the examination hall. The poem is extraordinary (kiwi) and moving (tongt’ang) and has a hermit’s (nŭngun) vigor (ki) to it. After experiencing a purge, he was exiled to Pokch’ŏn and there called himself the “Turnip Mountain Man.” He once sent a poem to Yun Ku 尹衢 (b. 1495; sobriquet Kyuljŏng [Tangerine Pavilion]), which read, 江路尋春晚思君步月時年年山澗曲隨分有生涯 On the riverside road, I look for late spring.Thinking of you, I stroll when the moon is high.Year after year, the mountain stream winds on.According to my lot, I live my life. Ch’oe was also a close friend of Yu Kyerin 柳桂鄰 (15th century) and went to pay a visit to Yu’s father. After Yu passed away, Yu’s orphaned son Hŭich’un 柳希春 (1513–1577) approached Ch’oe and requested to become his student. Ch’oe presented the following poem to him, 君當謂我兄我謂君如弟悠悠俯仰間對面今三世 You shall call me your older brother,and I shall call you my younger brother.Slowly, as I scan you up and down, I face all three generations today. The last line subtly alludes to the message in Han Yu’s “Tomb Inscription for Supervisor Ma” 馬殿中墓誌.Tomb Inscription for Supervisor Ma” 馬殿中墓誌.)
E484 + (As a young man, Yi Koeng 李宏 (16th century) … As a young man, Yi Koeng 李宏 (16th century) was famous for his talent. One day, with a friend he visited the Sesim (Heart Cleansing) Platform. When his host, Yi Hyŏngsŏng 李亨成 (16th century), pleaded illness and did not show himself, Yi Koeng wrote a poem on the wall, which said, 堂前綠竹難醫俗台下淸風未洗心 Even the green bamboo outside the hall cannot cure your crudeness.The cool breeze at the platform has not cleansed your heart. People recited it widely. Hyŏngsŏng suffered from it and prepared a lavish banquet and invited Yi Koeng and asked him to change the previous composition. Dipping the brush in ink, Yi Koeng changed it to, 堂前綠竹真醫俗台下淸風可洗心 The green bamboo outside the hall truly cures crudeness.The cool breeze at the platform can cleanse your heart. Another couplet he wrote when visiting Yongmun Mountain reads, 北望孩三角東臨裔五臺 Gazing north is its child, Three Peaks Mountain.Facing east is its grandchild, Five Platform Mountain.is its grandchild, Five Platform Mountain.)
E532 + (At Ŭiju’s Ch’wisŭng Pavilion, So Seyang co … At Ŭiju’s Ch’wisŭng Pavilion, So Seyang composed one line to the rhyme “radiance” 暉 (hwi), 澄江如練謝玄暉 “Limpid river like white brocade” said Xie Xuanhui. Then he could not find another line to match it. Then Education Official (hakkwan) Ŏ Sukkwŏn matched it with 新月似鎌韓吏部 “New moon like a sickle” said Minister Han of Civil Service Affairs.And it was regarded as a good poem for a time. However, to begin, “New moon like a sickle” is not an elegant (a) line. Moreover, its composition method (kuppŏp) is similar to a child’s expression. It is not good enough to be mentioned.on. It is not good enough to be mentioned.)
E552 + (By the time Kim Chŏng passed his civil ser … By the time Kim Chŏng passed his civil service examination, he was already famous for poetry. He had an exceptional moral character, and the literati class looked up to him. In writing, integrity, and action, Nam Kon was not inferior to his contemporaries, but the literati class disdained him, and all regarded him as a petty man. When Nam was Second Deputy Director in the Office of Royal Decrees (chikchehak) and Kim still a scholar, the two met at a friend’s house. Extremely intoxicated, Kim vomited on a mat and lay down. Seeing Nam arriving, Kim paid no attention. The host forced him to get up, and only then he sat down with disheveled hair. Glaring at Nam, Kim said, “What brat came and woke me up from a dream?” Nam treated him with utmost courtesy and said, “I have heard of your great name. You were to me a person in a book, and I wished to meet you once but there was no chance. It is my fortune to finally meet you today. I have just acquired a screen of the Painting of the Wangchuan Villa 輞川圖. It will be my great luck if you can write a good poem to embellish the first panel of the screen.” He then ordered a servant to bring the screen from his house. Drunk, Kim wielded his brush dipped in ink and finished the poem without much hesitation or contemplation. His poem said, 江南有樂地夜裏夢逍遙自買花村酒分明過此橋 There is a paradise in Jiangnan. At night I freely wander there in dream.To buy wine from the flowering village,I know for certain I have to cross this bridge. It was because in the painting there was a person crossing the bridge, carrying a wine jar. Nam recited it a few times and praised it, and after offering earnest thanks, he left.nd after offering earnest thanks, he left.)
E104 + (Chief State Councilor (chŏngsŭng) Pak Wŏnh … Chief State Councilor (chŏngsŭng) Pak Wŏnhyŏng 朴元亨 (1411–1469) rose to the position of Second State Councilor (chwaŭijŏng), yet he remained upright and frugal, and regulated his own conduct. He instilled these values in his children. When his son, Fourth State Councilor (chwach’ansŏng) Pak Ansŏng 朴安性 (15th century), had not yet achieved a high-ranking title, on Pak’s birthday, Ansŏng prepared wine and wished him longevity. Senior Pak took the wine and drank it merrily. Later that evening, he called his son and recited the following poem, 今夜燈前酒數巡汝年三十二靑春吾家舊物唯淸白好把相傳無限人 Tonight, by the lamp, we shared several rounds of wine. You, at thirty-two years old,Are in the prime of your youth.Our family has but one legacy—perfect purity.Please pass it down to countless generations. In their shared drinking at home, there was no frivolous indulgence or laxity. Rather, it was a moment for admonition and instruction. It also exemplified a way to educate one'’s children.mplified a way to educate one'’s children.)
E538 + (Ch’a Ch’ŏllo’s writings were robust (unggŏ … Ch’a Ch’ŏllo’s writings were robust (unggŏn) and unique (kijang) and did not focus on refinement (chŏngnyŏn). Like long rivers and great seas, the more he poured out, the more boundless his writings became. He was especially good at composition with contrast. When he was young, he saw people cutting rocks to make a bridge in Song Stream and wrote a poem, 靑山飛禹斧白石落秦鞭 In the green mountains Yu’s axe flies.On the white rocks Qin’s whip falls. These are rare words in both past and present. Once he visited Japan as part of a goodwill mission and wrote over four thousand poems. One couplet from them reads, 天連魯叟乘桴海地接秦童采藥山 Heaven bonds with the old man of Lu riding a raft on the sea.Earth joins with the children of Qin picking herbs in mountains. He also said, 東海波翻六鰲島北溟風立大鵬雲 In the East Sea, waves roll as six tortoises carry the island. In the North Sea, winds rise as the great roc rides the wind. We can see a glimpse of his poetry. wind. We can see a glimpse of his poetry.)
E573 + (Ch’oe Inbŏm 崔仁範 (16th century), styled Tŏk … Ch’oe Inbŏm 崔仁範 (16th century), styled Tŏkkyu, was my childhood friend. He was good at composition and his description verged on antiquity (kŭn’go). At the court examination, he composed “A Rhapsody on Crossing the River on a Boat” 濟川舟楫賦, which became known throughout the world. It was also not a common examination composition. Since youth, he concentrated on becoming skillful in poetry. He disdained examination writings and died not long after passing the examination. During the Imjin War his posthumous writings were scattered and lost, and today not even a very little of them remains. I only remember one poem he himself took pride in. The poem said, 喚做舍僧頑似吏賒來村馬弱如驢 What is called a monk is as stupid as an official.The villager’s horse bought on credit is as weak as a donkey. It also said, 過雨山坡無舊路逢年澤國有新村 After a passing rain, on the hillocks old paths are no more.In a bounty year, in the wetlands new villages are formed. At the time I was still young and did not understand the artistry in the poem. Someone showed four poems with four rhymes by Ch’oe to Hŏ Pong, and Hŏ said, “Of the four poems, three deserved to be included in the Tongmunsŏn (Anthology of Eastern Literature).” Hŏ is a man of great pride, so he must be thorough when he comments on poems. From this we can reckon that Ch’oe was an accomplished poet.eckon that Ch’oe was an accomplished poet.)
E234 + (During the Zhengde reign (1506–1521; Chung … During the Zhengde reign (1506–1521; Chungjong 1–16), Fifth Counselor (kyori) Hwang Hyohŏn 黃孝獻 (1491–1532) showed me a poem entitled “The Diagram of the Eight Formations” 八陣圖 and said, “This is a poem by Pak Sang 朴祥 (1474–1530; sobriquet Nulchae [Stammer’s Studio]), who wrote it as a monthly test poem for the Office of Special Advisors (Hongmun’gwan) on behalf of his brother U 朴祐 (1476–1547). It is strange that when it was graded, the Director of the Office of Royal Decrees (taejehak) did not place U in the class of first-rate scholars.” His poem read, 兵家休說渭陽符不見夔江八陣圖天地動搖歸指畫鬼神蕭瑟落規模三分海宇擎微羽萬古孫吳叱懶夫雄算未終星已隕至今遺蹟截高孤 Military experts! Stop discussing Grand Duke Jiang’s treatise,if you haven’t seen in the river of Kuithe Diagram of the Eight Formations!Heaven and Earth trembled at the return of leadership.Ghosts and spirits hushed at the revelation of its scale.A third of land and sea was roused up by Zhuge’s wondrous fan.For ten thousand years, Sun and Wu rebuked the lazy men.Before the grand strategy was completed, the stars had already fallen.To this day, its legacy lives on in prominence. Around the kimyo year (1519), Pak Sang and Kim Chŏng (sobriquet Ch’ungam [Deep Hut]), who appreciated High Tang poetry and Western Han prose, formed teacher-disciple relations and friendships with people like Royal Secretary (sŭngji) Kim Ku, Third Counselor (chŏnhan) Ki Chun 奇遵 (1492–1521) and their associates. After they were purged, Yi Haeng was appointed Director of the Office of Royal Decrees (taejehak) in charge of literary policy. He wished to reform the poetic styles (ch’e) of the time. When he supervised literary examinations, he only chose unadorned, austere writings and any writing that had the slightest inkling of being strange or bold (kigŏn) were immediately dismissed. Acceptance and rejection in monthly test poems, too, were based on the same principle.ms, too, were based on the same principle.)
E350 + (During the reign of King Myŏngjong, while … During the reign of King Myŏngjong, while observing an archery practice below Kyŏnghoe Tower, the king ordered the officials to write poems. Academician (haksa) Ha Ŭngnim was the first to write a poem in response. The poem, which was widely recited (chŏnsong) at the time, read, 暖風晴日禁池東粉革高張綠樹中猿臂乍開星的滿烏號俄拂月輪空主皮豈是輸筋力觀德要須奏奇功西掖詞臣無伎倆沐恩留得醉顏紅 On a clear day with warm breeze, east of the forbidden pond,white leather targets hang high among the green trees.Long arms spread open. The star-like targets are all around. The moment the Crow-Calling Bow is drawn, a full moon disappears. How can the shooting of a leather target be merely from the strength of muscles?To witness virtue, one must achieve outstanding merit.The civil officials at the National Academy have no skills to display.But the shower of royal favor leaves them drunk and red in the face. Ha was known for his poetry. His calligraphy was bold and robust (hogŏn), and his painting was also outstanding. He died at age thirty-three as the Second Assistant Master (saye).ree as the Second Assistant Master (saye).)
E170 + (During the reign of King Sŏngjong, Qi Shun … During the reign of King Sŏngjong, Qi Shun, the Supervisor at the Ministry of Census, came to promulgate an imperial order. While on the road, Qi wrote poems inspired by what he saw. Welcoming Official (wŏnchŏpsa) Sŏ Kŏjŏng thought Qi’s poems were mediocre and made light of him in his heart. The day after their mission, Sŏ invited Qi for an excursion along the Han River. Qi agreed, saying, “When we exchange poems on the road today, the guest can start first and the host can respond. Tomorrow on the river, the host can start, and the guest will respond.”Sŏ had composed one regulated verse in advance and also copied down the poem “At Yŏngch’ŏn’s Myŏngwŏn Pavilion” 永川明遠樓, which he had composed earlier, and said to himself, “I must see that old man’s defeat.” They arrived at Chech’ŏn Pavilion the next day. When they had not yet finished half of their wine, Sŏ quietly recited the poem from his seat, pretending to be deep in thought. He then asked for a brush and wrote a couplet that said, 風月不隨黃鶴去煙波長送白鷗來 Wind and moon do not follow and depart with yellow cranes.Mists and waves always send off the white gulls and come. Then immediately Qi wielded his brush and wrote, 百濟地形臨水盡五臺泉脉自天來 Paekche’s terrain overlooks the river.Odae’s fountainhead flows from Heaven. He asked Sŏ if his composition was correct. The style of Qi’s poetry was bold and unrestrained (hoeng’il), and no one could challenge him. The expression on everyone’s face changed. Kim Suon, who was also invited, had to respond to Qi’s poem. The rhyme contained the character “to pile up” 堆. Kim tried but ran out of ideas. Knitting his eyebrows, he turned to everyone, saying, “My thoughts are exhausted, and my ideas are dried up. I think I’m dying.” After a long time, he barely managed to patch together a few words and said, 崇酒千甁肉百堆 We pour a thousand bottles of wine and eat a hundred piles of meat. Next came the rhyme character “head” 頭, and Kim added, 黑雲含雨已臨頭 Dark clouds saturated with rain are already above our heads. To this, Qi replied, “The rain can surely soak a hundred piles of meat!” They boarded a boat and cruised down the river. The scenery labored their spirits, the food wore out their bodies, and the brush exhausted their energy. They were too busy to turn their attention away. The sun reached the midpoint in the western sky, and the evening tides slowly rose. The rested while still drunk. Then, in the blink of an eye, the boat reached the bottom of Chamdu Peak. Qi opened his eyes and asked, “What is the name of this place?” The interpreter replied, “It is Yanghwa (Willow Catkin) Ferry.” Immediately, Qi composed a regulated verse, 人從竹葉盃中醉舟向楊花渡口橫 From the Bamboo Leaf Wine,people are getting drunk.Towards the Willow Catkin Ferry,the boat drifts on. Matching the poem, Sŏ said, 山似高懷長偃蹇水如健筆更縱橫 Mountains, like our lofty hearts, soar straight up.Waters, like our spirited brushes, flow on freely. The two of them were almost on a par in artfulness (kyo) and speed. They were like two heroes confronting each other in a never-ending battle. Their strategies changed in unexpected ways. Their spears crossed as they clashed. Lightning flashed, and thunders crashed, yet amidst the war drums and banners, there was an air of manners. Although they valiantly followed the Diagram of the Eight Formations, raised their fans and directed the troops, just like Sima Yi’s 司馬懿 (179–251) schemes that entailed no mistakes, it was also not easy to subdue the enemy. Qi then said to Sŏ, “If you lived in China, you would still rank among the top four or five poets.” On their return boat on the Imjin River, Sŏ first composed a long poem in the ancient style. Qi placed the end of the rolled paper on the table and slowly unrolled it, and examined one line at a time, immediately composing matching lines. His hands and eyes moved down together. As soon as he finished examining the poem, he also finished matching the rhymes.But even after the matching ended, his brush did not stop and continued writing until he reached the end of the paper. Like a rustling breeze and a passing shower, he again completed another poem. Sŏ was deeply impressed and turned to Assistant Official Ch’ae Su (sobriquet Najae [Lazy Studio]), and said, “What speed! What volume!” Then puckering his brows anxiously, Sŏ quickly composed two more poems. His ideas (ŭisa) flowed like a gushing spring without stopping. Qi then composed another poem, which was matched with ease. The victory would be claimed by whoever wrote more poems, and Sŏ displayed his nimble and rare skills.Since then, whenever Chinese scholars met our people, they inquired about Chief Minister Sŏ. When Second Censor (sagan) Ch’oe Pu sailed from T’amna to Taizhou and up to Suzhou and Hangzhou, some among the locals also asked about Sŏ. We can see Sŏ’s fame has reached far and wide in the world.ame has reached far and wide in the world.)
E698 + (Education Officer (kyogwan) Kwŏn P’il deve … Education Officer (kyogwan) Kwŏn P’il developed an obsession with poetry and did not endeavor in official career. In poetry he upheld Du Fu and followed Chen Yuyi. His poems were extensive (chido) in expression and meaning (ŏŭi) and delicate (yŏnnun) in composition method (kuppŏp). All competent poets of the time revered him and believed he was without equal. Among the poets who attained great fame in recent years, Kwŏn was regarded the greatest. I heard that when the Chinese printed a collection of Korean poems, several long regulated verses by Kwŏn were included. One of them reads, 江上嗚嗚聞角聲斗柄揷江江水明早潮侵岸鴨鵝亂遙舍點燈砧杵鳴客子出門月初落舟人挂席風欲生西州千里自此往長路險艱何日平 Oo, Oo... by the riverI hear the bugle’s call.The Dipper’s handle piercing the river illuminates the water.As morning tide encroaches on the shore, ducks get busy.In the distant house, where the light is lit, the poundings of laundry mallets are heard.The traveler leaves the gate as the moon begins to fall.The boatman hangs the sail as the wind starts to rise.A thousand-li journey to Sŏju starts in this place.This long and dangerous road— When will it be levelled? The poem was written when he was heading from P’aju to Kanghwa Island. Just from this one poem, one can sufficiently grasp his great talent. During the reign of King Kwanghaegun, members of the Yu clan, using their connection with Queen Yu, fearlessly exercised unbridled dominance. The court officials of the time all flattered and beseeched them. At that time, Fourth Inspector (chip’yŏng) Im Sugyŏng, then an examination candidate, composed a proposal to rectify the situation. It contained many offensive and prohibited words. He was to be disqualified, but fortunately the decision was revoked. Kwŏn wrote a poem which said, 宮柳靑靑鶯亂飛滿城冠蓋媚春輝朝家共賀昇平樂誰遣危言出布衣 Around the green willows of the palace, orioles flutter in confusion.The city is full of officials cajoling the spring radiance.In the court, all celebrate the time of peace with music.Who made these candid words to come forth from an unwaged scholar? After that, Pak Chahŭng 朴自興 (1581–1623) passed a special examination in which his father, Pak Sŭngjong 朴承宗 (1562–1623), and father-in-law Yi Ich’ŏm 李爾瞻 (1560–1623) served as examination officials. No one dared to mention their exercise of preferential treatment. Hŏ Kyun, who also served as an examination official, included a composition by his nephew in the pile of successful compositions and was found guilty and exiled. Kwŏn wrote another poem that said, 設令科第有私情子壻弟中姪最輕獨使許筠當此罪世間公道果難行 Even if examination resultswere swayed by private feelings,compared to a son, son-in-law, and brother, a nephew is the least close. Yet only Hŏ Kyun was made to bear this guilt.In the world, the path of fairness is surely difficult to follow. When the king investigated and punished the rebels, these two poems came from a guilty official’s letters. Because of the poems, Kwŏn was tortured and was eventually sentenced to exile in a faraway land. When he was carried out to a house outside Tongsŏng, there I saw the last four lines of Li He’s poem “Bring in the Wine” 將進酒 carved on the window sill in cursive script. But “I beg you (勸 kwŏn)” was mistakenly transcribed as “I, Kwŏn” 權. It was late spring and peach petals filled the courtyard. Facing his death, Kwŏn drank three cups of wine one after another. The sun was setting, and the sky was growing dark. In the end, the mistake of one word came true. Isn’t this truly strange! word came true. Isn’t this truly strange!)
E097 + (Grand Prince of Sangdang, Han Myŏnghoe 韓明澮 … Grand Prince of Sangdang, Han Myŏnghoe 韓明澮 (1415–1487) built a pavilion on the south side of the Han River and named it Apku (Befriending the Gulls) Pavilion. He aspired for his meritorious deeds to be comparable to those of Han Qi 韓琦 (1008–1075) and hoped to be recognized as someone who went into a quiet retirement. However, despite his talk of retreating to rivers and lakes, his attachment to titles and wealth prevented him from leaving. When he wrote a poem of farewell, the court officials vied with each other and composed several hundred matching poems. Among them, the poem by Second Minister (p’ansa) Ch’oe Kyŏngji 崔敬止 (d. 1479) was considered the finest. 三接慇懃寵渥優有亭無計得來遊胸中政使機心靜宦海前頭可狎鷗 Visiting the king day and night, the royal grace to you abounds.You have a pavilion, yet no plansmto go there and enjoy yourself.If the scheming heart in your bosom can find tranquility,before the sea of officialdom, you may be able to befriend the gulls. Displeased with the poem, Han chose not to include it on the pavilion’s plaque. Later, a common scholar named Yi Yunjong 李尹宗 (15th century), who happened to pass by the pavilion and took a rest there, composed a lengthy masterpiece (taejak). Its concluding lines read, 有亭不歸去人間眞沐猴 You have a pavilion but have not gone there.In the world of men, you truly are a monkey with a hat. Yi’s poem, being overly apparent (ro), lacked the implicit meaning (ŭisa), honest sincerity (onsun) and refined weightiness (chŏnjung) found in Ch’oe’s composition.s (chŏnjung) found in Ch’oe’s composition.)