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• E453  + (The rocks of Paektu Mountain are all sharp … The rocks of Paektu Mountain are all sharpened swords.The streams of the Tumen River no horses drink.If a man at age twenty still hasn’t pacified the country,in later generations, who will call him a true man? The expression and meaning (ŏŭi) are domineering (palho), and the poem lacks a calm (p’yŏngon) air (kisang). It would be hard for him to avoid trouble.It would be hard for him to avoid trouble.)
• E152  + (The simplicity and directness (honhu) of c … The simplicity and directness (honhu) of contemporary poetry can be seen in the following poems.Yi Saek wrote, 風定樹容重雨多苔色深 Winds are steady; trees look massive. Rains are plenty; mosses are dark. 雨暗桑麻徑秋身芋栗園 Rain sheds dark over the trail of mulberries and hemp.Autumn arrives in the garden of taro and chestnuts. Chŏng Po 鄭誧 (1309–1345) wrote, 平生恥與噲等伍後世必有楊雄知 My whole life, I was ashamed of being in the company of Fan Kuai.In the next life, I shall have understanding friends like Yang Xiong. Sŏng Sŏngnin wrote, 細君洗酌開新醞稚子挑燈讀古書 My wife washes the cups and opens a new jar of wine.My son turns up the lampand reads books of the ancients. Yi Chip 李集 (1327–1387; sobriquet Tunch’on [Hermit Village]) wrote, 焚香祈道泰對食願年豐 Burning incense, I pray for the Way of Peace.Facing the food, I wish for a bountiful year. 雁聲落日江村晚閑詠新詩獨倚樓 The geese cry and the sun goes down in this evening river village.I idly chant a new poem, leaning on the tower alone.The following are examples of poems that express deep grief (ch’imt’ong).Yi Saek wrote “Hearing that the Enemy Has Penetrated into the Western Capital” 聞賊入西京. 豈謂便如此茫然迷所為 How could I have known that this would happen?I am at a loss for what to do.Yi Chehyŏn wrote, 愁聽杜子三年笛悵望張侯萬里槎 Sorrowfully I listened to Du Fu’s bamboo flute for three years.Anxiously I watched Zhang Qian’s raft traveling ten thousand li.An Ch’uk 安軸 (1287–1348; sobriquet Kŭnjae [Prudent Studio]) wrote, 百年丘壟無情草十里風煙有信鷗 For a hundred years, wilderness was covered in heartless grasses. In misty winds of ten li, there are faithful gulls. Sŏl Son’s 偰遜 (d. 1360) poem, 不見風塵息胡為江漢行 Without seeing the dusty winds cease,how can I leave for the rivers?Yi Chip’s poem, 晚來江海風波惡何處深灣系釣舟 In the evening, to rivers and seas came a violent squall. Where is a hidden bay where I can tie my boat? As for poems that show refined skills (kongch’i), we have the following: Yi Saek wrote, 寵已極焉同衛鶴技之盡矣卽黔驢 When royal favors were at their peaks, I was like a crane of Wei.Now that I have exhausted my limited skills, I have become the donkey of Qian. 雨歇又來山變色風吹欲止草生香 Rain stops then comes again, changing the colors of the mountains.Winds blow then die down, wafting the fragrances of plants. 牆外日光穿屋漏檐間鳥影在屏風 The sunlight goes over the walls penetrating through a corner in the roof.The shadows of birds between the eaves are cast on the folding screen. 詩成白也知無敵花落虞兮可奈何 When your poems become like Li Bai’s, then you know you are matchless.When flowers fall, Fair Lady Wu, what should I do with you? Chŏng Mongju wrote, 客子未歸逢燕子杏花才落又桃花 Still a traveler, yet to return, I come upon the swallows.Apricot blossoms have just fallen, and now peach blossoms fall. 梅窓春色早板屋雨聲多 Spring colors arrive early to the plum window.Rain sounds are loud at the board-roofed ship. Ch’oe Hae wrote, 柿園雨過金丹脆栗屋霜飛玉殼斑 A rain passes the persimmon garden. Oh, how soft are yellow-red persimmons!Frost falls on a house with chestnut trees. Oh, how motley are jade-hard chestnuts!Yi Sungin wrote, 鶴立松丫暝雲生石竇涼 Cranes resting on forking pines cast a dark shadow.Clouds gathering above rocky grottos cool the air. Sŏ Kŏjŏng wrote, 老婢繅絲霜滿鬢小童學字墨渾衫 The old servant is reeling silk, her tresses white like frost.The little boy is learning to read, his jacket smudged with ink. 山來有約能排闥落花無心學墜樓 I’ve come to the mountain with a promisethat will help open the gate.Falling flowers are so heartless,like the fair lady who leapt from the tower.Kim Chongjik wrote, 村家竹盡頭搶地野樹禽多翅綴條 In village homes, bent bamboo tips touch the ground.In trees in the fields, a flock of birds huddle together on branches. 野牛浮鼻橫官渡巢鷺將雛割暝烟 Wild oxen stay afloat with their noses above the water and cross the official ferry.Egrets and their chicks, cut through the evening haze. 村家皆燕壘野水已苗針 In village homes, swallows are building their nests. In watered fields, sprouts are already pricking up. 牛羊銜宿荻鵝鸛聚浮槎 The cattle and sheep are chewing old reeds.The geese and storks gather on a floating raft. For poems of grandiosity and heroism (hojang), we have the following. Yi Saek wrote, 城空月一片石老雲千秋 Over the empty city, a crescent moon. 1. Around the ancient rock, clouds of a thousand years. Yi Chehyŏn wrote, 碧雲暮隔魚鳧水紅樹秋連鳥鼠山 Azure clouds at dusk separate fromthe Fish and Duck River. Red trees of autumn join together with Bird and Rat Mountain.Chŏng Mongju’s poem, 靑山隱約扶餘國黃葉繽紛百濟城九月高風悲客子百年豪氣誤書生 Blue hills are faint in the kingdom of Puyŏ.Yellow leaves are profuse in the city of Paekche.High winds of the ninth month dismay the traveler.Bold spirits of a hundred years brought harm to the scholar. 山河帶礪徐丞相天地經綸李太師 A belt of the Yellow River and the whetstone of Mt. Tai,Chief Minister Xu pledged.Heaven and Earth, like combing and arranging silk threads,Chancellor Li governed. 甕城畫角斜陽裏瓜浦歸帆細雨邊 At Urn City, battle horns ring out in the setting sun.At Gourd Bay, returning boats sail by a light drizzle. Yi Chip’s poem, 待得滿船秋月白好吹長笛過江樓 Awaiting to fill my boatwith the bright autumn moonlight.Playing a nice tune on the long flute,passing the river tower.Sŏ Kŏjŏng’s poem, 簾幕暑催梅子雨衣巾香濕藕花風 Outside the beaded curtains, summer heat rushes the plum rain.My robe and headscarf soak up the fragrance from the lotus breeze. 林巒號怒風從北星斗欄干月欲西 Forests and hills howl with the northern winds.Over the starlit balustrades, the moon is tilting west. Kim Chongjik wrote, 鎔金日落羣山島搭素烟橫碧骨陂 The sun of molten gold sets over Kunsan Island.A coat of white mistenshrouds Pyŏkkol Slope. 雲歸洞穴簾旌暮風颭池塘枕簟秋 As clouds return to caves, dusk falls on curtains.As winds brush over the pond, autumn comes to bamboo mats. 牛羊遠牧草鋪野鵝鸛驚飛風打樓 Faraway, the cattle and sheep graze in grass-covered fields.Startled geese and storks take flight as winds beat on the tower. 十年世事孤吟裏八月秋容亂樹間 Ten years of life’s troublesare in my lonely poems. The eighth-month autumn’s countenance is among the colorful trees. 名園已梅子綉陌盡楊花 In famous gardens, plum blossoms are already in bloom.Along splendid roads, willow blossoms overflow. As for poems that are robust and unique (unggi), we have: Yi Saek’s poem, 喧枕枯箕憐馬瘦繞牆老薺望人肥 Awakened by the munching of dried-up bean stalks, I pity the scrawny horses.Even wilting shepherd’s-purses around walls, I hope can nourish people. Yi Chehyŏn’s poem, 十年艱險魚千里萬古升沈貉一丘 Hardships of ten years,fish traveling a thousand li.Ups and downs of ten thousand years,raccoon dogs on the same hillock. Koengyŏn’s 宏演 (14th century) poem, 童子雲中採藥去高人竹外抱琴來 Into the clouds, a boy servant enters to pick medicinal herbs.From bamboo, a hermit emerges, carrying a zither. 湖海魚龍秋水冷東南耆舊曉星稀 Fish and dragons in lakes and seas feel the cold of autumn waters. Old friends from southeast are as rare as morning stars. 天女或携綠玉杖仙人自讀黃庭經 Celestial maidens at times carry green jade rods.Immortals read by themselves the Yellow Court Classic. Sŏl Son’s poem, 風前一鳥打人過天際孤雲學鴈飛 In the wind, a bird brushes past a person.On the horizon, a solitary cloud glides like a goose. 靑山如龍入雲去白浪捲花飛雪輕 Green mountains like dragons enter the clouds.White billows curl up into flowers and flutter like snowflakes. Pyŏn Kyeryang’s poem, 百年身世客迷路滿壑烟霞僧閉門 Life of a hundred years,I have wandered around.In a ravine full of mist and clouds, a monk closes the gate.As for poems that are quiet and carefree (hanjŏk), we have Yi Saek’s poems, 夜冷狸奴近天晴燕子高 On cold nights, cats come near.On clear days, swallows soar high. 殘年深閉戶淸曉獨行庭 In my remaining years, I stay secluded behind closed gates.In the clear dawn, I stroll alone in the courtyard. Chŏng Tojŏn’s poem, 護竹開迂徑憐山起小樓 Protecting bamboo, I open a winding path.Loving mountains, I build a small tower. Min Sap’yŏng’s 閔思平 (1295–1359) poem, 釣魚靜坐籬邊石採蕨暗登屋上山 I angle for fish, sitting in stillness on a rock by 1. the fence.I pick brake leaves, climbing quietly the hill behind the house. Sŏl Changsu’s 偰長壽 (1341–1399) poem, 平湖春暖煙千里古岸秋高月一航 A calm lake, warm spring air,smoke stretches a thousand li.Ancient shores, tall autumn sky,the moon sails alone.Yi Ch’ŏm’s poems, 蟋蟀鳴依壁蜻蜓立近人 Crickets chirp leaning against the wall.Dragonflies stand close to people. 草生殘雪岸松偃夕陽村 Grasses sprout on the snow-covered hills. Pines recline in the sunset village. Yi Chip’s poem, 安得卜隣成二老杏花春雨耦而耕 How can we move to one neighborhood and grow old together?Apricot blossoms and spring rain, we can plough side by side.Sŏ Kŏjŏng’s poems, 姜須如我白柿面為誰紅 Ginger bears are white like my hair.For whom are the persimmons blushing? 白髮有公道靑山無世情 White hair has fairness.Blue hills have no worldly cares. 日色溫如玉春光潤似酥 The sun’s rays are warm as jades.Spring radiances are smooth as butter. Kim Chongjik’s poems, 潤泉猶在筧香燼尚堆盤 The refreshing spring water still flows through the water pipe. Fragrant ashes are still piled up on a tray. 蜥蜴跳深草兒童聚淺沙 Lizards leap into the thick grass.Children gather on shallow beaches. 柳邊撑畫艇竹下響紋枰 By the willows, painted rafts push along.Under the bamboo, the sounds of the chessboard ring. 蠮翁封筆管豹脚度香烟 A wasp blocks the brush pipe.A mosquito darts through the incense smoke. 映雲雨脚翛翛過隔竹花香苒苒傳 From glowing clouds, splashes of rain pitter, patter, and pass.Through the distant bamboo, the fragrance of flowers gently, gently spreads. As for the poems of dryness and simplicity (kodam), we have these: Yi Saek’s poems, 破窓多月影虛榻半松陰 Broken windows let in more moonlight.Half of an empty bed is under pines’ shades. 雨深病葉時時落春去餘花續續開 Rains pour down, and sallow leaves fall time and time.Spring is gone, and abundant flowers bloom one after another. Pyŏn Kyeryang’s poem, 江天雲盡見歸雁山竹月明聞杜鵑 When the clouds clear in the sky above the river, I see returning geese.As the moon shines over mountain bamboo, I hear cuckoos.And Yi Chip’s poem, 瘦馬鳴西日羸僮背朔風 A sickly horse neighs toward the western sun.A scraggly servant boy turns his back to the north wind.vant boy turns his back to the north wind.)
• 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.)
• E025  + (There are nine styles (ch’e) of poetic com … There are nine styles (ch’e) of poetic composition that one should avoid. I arrived at this understanding through careful contemplation. They are as follows: Excessive name-dropping. This is “carrying a cartload of ghosts.” Stealing ideas from the ancients. Stealing good ones is bad enough, let alone stealing bad ones! This is “clumsy thieves can be caught easily.”Forcing difficult rhymes for no good reasons. This is “being unable to hold an overdrawn bow.” Attempting a rhyme beyond one’s capabilities and failing entirely. This is “drinking too much wine.”Having a fondness for using obscure words that confuse the reader. This is “digging ditches for the blind.”Imposing coarse expressions upon others. This is “coercing others into following.”Excessively using colloquialisms. This is “conversations of country bumpkins.”Having a penchant for flouting Confucius and Mencius by not using honorific expressions when referring to them. This is “insulting the worthies.”Not trimming prolixity. This is “a field full of weeds.” Only by avoiding these faulty styles (ch’egyŏk) can one engage in meaningful discussions about poetry.ge in meaningful discussions about poetry.)
• E427  + (There have been writers in every generatio … There have been writers in every generation of our dynasty, altogether numbering more than several hundreds. Speaking of contemporary writers, they come in three paths. As for those who became experts in harmoniousness (hwap’yŏng) and simple elegance (tam’a), there were Yi Haeng and Sin Kwanghan. In comparison, Sin was clearer (ch’ŏng) and Yi more mellow (wŏn). Yet the master poet (taega) was Sŏ Kŏjŏng who should be regarded as number one, while Kim Chongjik and Sŏng Hyŏn should take the second place. Writers like Pak Sang, Chŏng Saryong, No Susin, Hwang Chŏnguk, and Ch’oe Rip believed their talents lay in rugged splendor (kŏmgoe) and unique robustness (kigŏn), but those who attained full awakening were still not many. Recently, Pak Sun has been somewhat involved in the Tang style and his poems are truly clear and excellent (ch’ŏngso). are truly clear and excellent (ch’ŏngso).)
• E029  + (Those who aspire to emulate the styles (ch … Those who aspire to emulate the styles (ch’e) of ancient writers must first attain a deep familiarity with their poetry. Only then will they be able to imitate them. Or else, even plagiarism will prove challenging. To draw an analogy, a thief first spies on a wealthy person’s house and acquaint himself with its gates and fences. Only then will he be ready to break in and take possessions without detection. If not, when searching through bags and opening chests, the thief is bound to be caught.Since my youth, I have been unrestrained and lacked diligence in reading books. Even the Six Classics, philosophical and historical documents, were read superficially, without delving into their profound principles, let alone the prose and poetry of various writers! Without being acquainted with their writings, how can I imitate their styles (ch’e) and appropriate their words? That is why I cannot but create new words.That is why I cannot but create new words.)
• 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.)
• E915  + (What poets loathe the most is plagiarism ( … 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.guard against and follow at the same time.)
• 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.)
• E778  + (When Kim Sŏkchu and Kim Man’gi 金萬基 (1633–1 … When Kim Sŏkchu and Kim Man’gi 金萬基 (1633–1687; sobriquet Sŏsŏk [Auspicious Rock], styled Yŏngsuk) were at the Examination Hall together, Kim Sŏkchu wrote “To the Rhymes of Gao Shusi’s ‘Examination Hall’” 次高叔嗣試院韻, 拜命校東堂與子辭王宮鑒識豈云明揀選惟在公良驥待伯樂美材須梓工尚恐珠璧珍或穢泥沙中居然涉一旬辛勤相與同未覺過重陽葉落庭樹空月冷砌邊蛩霜驚雲外鴻微風時觸檻淸漏猶丁東秉燭悄無寐永言心何窮 At the king’s order to grade at the Examination Hall,you and I have departed the jade palace.How can my discernment be clear?Selection is only in fairness.Fine steeds wait for Bo Le.Good lumber requires woodworker’s skills.I’m still afraid that precious pearl and jademight be hidden inside dirty mud and sand. Already ten days have passed,you and I toiling together. I didn’t realize the passing of the Double Ninth.Leaves fall in the courtyard, leaving the trees bare.The moon chills the crickets by the steps.The frost startles the geese beyond the clouds.Gentle breeze at times caresses the railing.Clear raindrops still fall ding dong.Holding the candle, in silence, unable to sleep,writing long words, how boundless is the heart! Kim Man’gi wrote in response, 校藝承綸命粉袍簉澤宮點勘朱墨休唱酬追歐公騁辭若振綺學步焉能工興闌燭見跋坐久月並中乖闊巷南北且復今夕同凄凄節物肅窅窅天宇空銀漢掛屋角淸霜飄塞鴻想見菊新華粲粲疏籬東期君重聯袂幽趣未渠窮 We’ve come to grade the talents at the king’s order.Scholars in white robes fill the Examination Hall. When taking a break from marking with red ink,we exchange poems following Ouyang Xiu’s example.Your words are like a display of radiance.Just learning to walk, will I be able to show any skills? When the excitement is gone, the candle shows its base.We sit for long until the moon is in the mid-sky.We were separated far to the south and the north.But tonight once again we are here together.Bleak O bleak! The season’s vista is solemn.Far O far! The sky’s vault is empty.The River of Stars hangs on the corner of the roof.Clear frost drifts by the frontier geese. I wish to see new chrysanthemum blossoms,beaming through the sparse fence to the east.I hope to hold your hands againfor our elegant delight is boundless. Both poems have ancient feelings (koŭi). They are also worthy of being compared to Yan Yanzhi and Xie Lingyun.ng compared to Yan Yanzhi and Xie Lingyun.)
• 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.)
• E550  + (When Scholar Yi Chu went to China as Liter … When Scholar Yi Chu went to China as Literary Secretary (sŏjanggwan), he ascended the gate tower in Tongzhou and wrote the following poem, 通州天下勝樓觀出雲霄市積金陵貨江通楊子湖孤雲秋落渚獨鳥瞙歸遼鞍馬身千里登臨故國遙 At Tongzhou, world-renowned for its scenery,viewing towers emerge from the clouds.Markets store up goods from Jinling.Rivers connect to the waves of the Yangzi.A lonely cloud descends on an autumn islet.A solitary bird faintly visible returns to Liao. On horseback, I have traveled a thousand li.The day of arriving at homeland is far away. The Chinese put it on a plaque and called him “Mr. Solitary-bird-returns-into-the-distance-at-dusk.” The Chinese look down on foreigners. Although Ch’oe Ch’iwŏn served as an official in China, his poetry and prose are not generally found among the works of the Chinese writers. Some say the anonymous poet in the Tang yin yi xiang (Lingering Echo of the Sound of Tang) refers to Ch’oe Ch’iwŏn, but it is not clear whether this is true or not. Only a few are found in the Wenyi zhi 藝文志 (Record of Literary Works), and we Easterners regard it as honor. Recently, Education Official (hakkwan) Ŏ Sukkwŏn’s book, the P’aegwan chapki (A Storyteller’s Miscellany), shows what he copied from the Tianzhong ji 天中記 (Records from Mt. Tianzhong), and that also did not include Ch’oe’s writings. Ch’oe Ch’iwŏn’s “A Letter to Condemn Huang Chao” 黃巢檄, which we Easterners greatly praise, was not selected in their Four-Six prose collections. In this China once again could not escape its narrow-mindedness. As I see, although “A Letter to Condemn Huang Chao” contains alarming phrases, in the presentation of argument and implication, it also made many mistakes. We Easterners truly do not understand literature. But since the works by monks and women are equally found in Chinese anthologies, among the collections of writings by writers from our country, how could there not be one or two that are worth picking! This is truly deplorable. Yi Chu’s poetry plaque in Tongzhou can be said to be a fortunate case. When I saw my poetry plaque in Ten Thousand Willow Villa, I was deeply moved.Thousand Willow Villa, I was deeply moved.)
• E749  + (When Tang poets wrote poems, they exerted … When Tang poets wrote poems, they exerted their whole heart and strength. That is why they were able to become famous and known to later generations. They wrote, for example, 吟安數個字捻斷幾莖髭 Writing and arranging a few words,how many strands of beard have I twisted off? 吟成五字句用破一生心 To write a five-character line,break open all your heart. 兩句三年得一吟雙淚流 Two lines in three years.with one chant, double tears flow. 欲識吟詩苦秋霜若在心 If you want to know how to make a poem bitter,think as if you hold autumn frost in your heart. Also, a poem like, 夜吟曉不休苦吟鬼神愁如何不自閑心與身為仇 Writing from night till dawn without rest.Writing in agony, even the ghosts and spirits worry.Why can’t I take it easy?I’ve become an enemy to my heart and my body. How true these words are! I also have this obsession. I wish to be freed from it but have not been unable to. I playfully wrote a quatrain, which said, 為人性癖最耽詩詩到吟時下字疑終至不疑方快意一生辛苦有誰知 By nature, I am obsessedMostly with poetry.When writing a poem, I hesitate to put words down.At last reaching the point of no doubt, only then do I feel blissful happiness.A life of agony, who would understand? Ah! Only with those who understand can I discuss this condition. The people of today with scant knowledge hastily write compositions and even wish to write words that will impress people. Isn’t this also aiming too far?ss people. Isn’t this also aiming too far?)
• E632  + (When as a young man Kim Allo visited Kangw … When as a young man Kim Allo visited Kangwŏn province, he had a dream. In the dream a spirit recited, 春融禹甸山川外樂奏虞庭鳥獸間 Spring permeates Yu’s field, beyond mountains and rivers.Music is played at Shun’s court amid birds and beasts. and told him, “These are the words that will get you on the road.” Waking up, Kim wrote them down. The next year, when he took the examination in the palace courtyard, King Yŏnsan’gun presented as six regulated poems as the examination, which included a poem with a topic “One spring day, the Pear Garden musicians idly read musical scores at Deep Fragrance Pavilion” written to the rhyme of “idle” 閑. Thinking that the phrase was appropriate, Kim used it and submitted his composition. Examination Master Kang Hon greatly extolled him and made him a primus. Examination Official Kim An’guk, who was known for his understanding of literature, remarked, “This phrase is a saying by a ghost, not a poem by a human.” After repeatedly questioning, Kim Allo acknowledged that was the case and people were impressed by Kim An’guk’s expert judgment.impressed by Kim An’guk’s expert judgment.)
• E726  + (When exchanging poems with imperial envoys … When exchanging poems with imperial envoys, our literati have always used regulated verses. Even a master poet (taesu) like Chŏng Saryong, when it came to ancient style poems and long verses, was not as competent. Only Kwŏn P’il had a deep understanding of ancient style poetry. His poems, “Ch’ungju Rock” 忠州石and “Seeing off Cultivated Talent Ho” 送胡秀才, are exceptional (chŏlga), unlike other Korean examples that focus only on the flow of parallelism. Lately, Chŏng Tugyŏng 鄭斗卿 (1597–1673; styled Kunp’yŏng; sobriquet Tongmyŏng [East Sea]) stood out among his generation of poets. Having divested himself of the habit of flash and wasteful (pumi) composition, Chŏng composed songs (gexing) which were robust (unggŏn) and carefree (chunil), equalling those by High Tang poets. For example, his “Knight-Errant’s Poem” 俠客篇 reads, 幽州胡馬客匕首碧於水荊卿西入咸陽日待者何人此子是惜哉不與俱藏名屠狗家空對燕山秋月色時時吹笛落梅花 The Turkish horseman from Youzhou, his dagger bluer than the water.The day Jing Ke entered Xianyang in the west,who did Jing wait for? It was he!Alas! The two did not meet.Concealing his name, the knight became a dog butcher. Empty, he meets the autumn moon at Mount Yan, time and again playing the flute amid falling plum petals. A poem of this quality is rare even among Tang poems. Critics have said, “Among our country’s literary works, there are two that have surpassed the accomplishment of the past dynasty and can even stand on a par with Chinese works: namely, Im Sugyŏng’s parallel prose (pianliwen) and Chŏng Tugyŏng’s songs (gexing).”iwen) and Chŏng Tugyŏng’s songs (gexing).”)
• E751  + (When he was young, my great-great-grandfat … When he was young, my great-great-grandfather Im Yŏl 任說 (1510–1591) read the Han Changli quanji 韓昌黎全集 (Complete Collection of Writings by Han Yu) a thousand times. He passed the Classics Licentiate (saengwŏn) and Licentiate examinations, Special Civil Service Examination (pyŏlsi), Second Civil Service Examination (chungsi), another Second Civil Service Examination, Examination for Selecting the Worthy (paryŏngsi), and Examination for Promoting the Worthy (t’agyŏngsi). Through his successes in seven civil service examinations, his literary reputation was known throughout the world. Together with Yi Hwang, No Susin and others, he was selected to enter the Hall of Reading (toksŏdang). As for official career, he advanced to Chief Magistrate (p’anyun) and Deputy Director of the Office of Royal Decrees (chehak). His collection of writings in fifteen volumes was lost to fire during the Imjin War. Some of his surviving writings and calligraphy can be seen in the poems at viewing towers but none of them became widely known. At No Susin’s house there is “The Ten Green Pavilion Poetry Album” 十靑亭詩貼, a compilation of poems by the writers of his generation, including my great-great-grandfather’s ten seven-character regulated verses. They are, 詠松龍鱗錯落挺千章棟廈高材百丈強天地有情生勁操霜雪無計判剛腸藍田日晚留丞詠栗里秋深伴菊香約在後凋休負約歲寒珍重郁蒼蒼 Pines Dragon scales were strewn over a thousand upright trees.Beams for a mansion, quality lumber. Over a hundred foot tall. Heaven and Earth, with affection, birthed your firm integrity.Frost and snow, without effect, tried to divide your upright heart. In Indigo Fields under the late sun, lingering minister chants his poems.At Chestnut Village in the deep of autumn,your companion chrysanthemums are fragrant.You promised to wither late,so don’t break your promise.The cold season treasuresyour lush green color. 詠柏直干穿雲得地幽亭亭一節不驚秋煙籠深蓋靑無盡月透疏枝玉未收弱柳幾慚衰謝質狂飆莫試折摧謀扶持自是乾坤力廊廟何煩匠石求 CedarsStraight trees, piercing the clouds,bring shade to the ground. With lofty and unchanging integrity,you are not startled by autumn.Cloaked in a thick misty veil,you are forever green.The moonlight crosses your sparse branches,but jade you have not received.How embarrassed are the delicate willowsby their shrivelled body?Stormy gales have not succeededin their scheme of destruction.Sustained naturallyby the force of Heaven and Earth.Fit for the royal court, where is the needto seek Carpenter Shi? 詠檜夭矯名雄植物曹枝垂左紐節應高笑看落木吾心壯傲睨獰風自守牢凜冽容顏千尺肅森嚴氣像十分豪不因冷暖紛遷就封植年年豈憚勞 Cypresses Graceful manners, famed for valor, among the generation of plants.Low hanging branches, left-turning patterns,your integrity must be great.Laughing at the withering trees,my heart is steadfast.Looking down at ferocious storms,you preserve yourself in chains. Your intensely cold appearanceis a thousand-foot respectful.The solemn air about you is altogether valiant. Unaffected by cold and warm,you keep persevering.Cultivating yourself year after year,is it not arduous? 詠杉松柏前頭不語寒豈知幽客亦彈冠霙花未敢窺門闥朔吹何曾動肺肝護我靑蔥容莫變笑他衰歇氣先闌榮腓朝夕非吾事唯願冬春一樣看 Firs Before the pines and cypresses,you don’t discuss the cold. Who would have thought that a hermitwas also flicking his cap?Snowflakes have not daredto peep at your gate.When did the north windmove your innards?Guarding your lush green colors,you do not change your appearance, and laugh at those who wither,when their vigor starts to wane. “Blooming and withering, morning and evening,these are not my concerns.This is my only wish. Winter or spring,may I will always stay the same.” 海松深居海岳早知名不易惟存歲暮盟枝老會看鸞鳳宿材宏直指棟梁成涼飔初鼓淸笙咽凍雨方沾翠幔橫耳目少閑佳趣富相公心賞足平生 Ocean PinesYou dwell in deep oceans and mountains,and early have I heard of your renown.“I will not falter. I will survive.”At year’s end you take your vow.Old branches, there I can seewhere the phoenixes spend their nights.Magnificent trunks, pointing straight up,are fit to become ridgepoles.Cool autumn breeze begins to fan,filled with clear music of pipes.A gust of rain just drenchedthe spread-out green curtains.Ears and eyes can barely restover the richness of your excellent charm.Having won Chief Minister’s admiration,you should be content for life. 詠真松百昌從古賦形殊氣概同歸是一趨碧帶挼絲搖檻外靑鸞展翅映牆隅春來樹葉渾無別雪後龍髯獨不枯說許真松應有意方人安得理相孚 True PinesHundreds of creatures since antiquityhave been endowed with different forms. Yet their vital energy all return,and in this they are the same. Green sashes made from soft silksway outside the balustrade.Blue orioles with stretched wingsappear in the corner of the wall. In spring, trees and leavesblend without distinction.After a snow, the dragon’s beardalone does not wither. People’s calling you true pinesmust have a reason. How can a person attainprinciple comparable to yours? 詠赤木問名不答是何因取貌論名恐喪真正由灼中當赤外直從觀物可觀人虯枝過雨紅猶濕黛葉經冬綠尚均形色滿眸終莫改只應相對會心神 Larches When asked your name, you do not answer.What is the reason?Seeing your face and discussing your fame,I’m afraid of losing the truth.The true reason for your radiancemust be other than your redness.By observing the things,one can observe the person.A rain passes through your winding branches,making you red and wet.Going through winter your dark leavesare green just the same.Your figure and color filling my eyesdo not change even to the end.We shall see each other face to faceand meet heart to heart in spirit. 詠杜衝同氣相求共作林追隨應是遇知音芳洲草滿人誰問香甕春濃客不吟擇地晦蹤藏姓字傲寒堅操守初心去留已定移無所莫向華扁藥譜尋 Hardy Rubber Trees Those with same vigor seek each otherand together form a woodland.Your pursuit must befinding a friend who understands your tune. The flowering isles are full of plants.Who shall I ask?The jar of wine is fragrant. Spring is deep.The traveler does not write poems.You’ve picked a place, hidden your trace,and concealed your name.In a severe cold, with firm integrity,you preserve your original intent.Leaving and staying are already determined,with no place to go. Don’t be like Hua and Bianwho sought you for prescription. 詠黃楊急盛招衰物也人好將謙退處吾身性堅不染三年大進寸休論十抱珍滿壑樹林摧一雪倚牆枝葉保長春東坡不識幽潛志謾取塵寰閏歲陳 Box Trees Hasty growth invites declinefor things as well as for people. It’s good to withdraw politelyand live in seclusion.By nature you are firm and untainted,in three years reaching maturity.Don’t say you grow slowly.Ten arms-length wide, you are a rare beauty.The trees that fill the valleyare overcome after just one snowfall. Your branches and leaves lean on the wall,preserving their youth.Su Shi did not understand your profound intentand disrespectfully claimed in the dusty world you face disaster in the leap year. 詠榧子園莽蕭條六出中孤姿獨秀玉山東三彭勿說驅除苦一筆難尋滑淨工今日入庭無剪伐他年近檻益榮蔥殷勤無替栽培力十友相將好始終 Torreyas Garden plants turn desolateunder hexagonal snowflakes. Your solitary disposition surpasses allto the east of Jade Mountain.The Three Pengs have nothing to sayfor you drive away adversities.With one brush stroke, it’s difficult to capture your smooth and pure skills.Today you entered the garden,untouched by the woodcutter. Another year, by the balustrade,you will flourish even more. Passionately, without changing,cultivate your strength.May the ten friends beclose from beginning to end. His poems, completely divested of flowery colors, valued gloomy and melancholy (ch’imul), and simple and robust (honung). Yi Sik composed an epitaph for him, and in it he said, “Im was erudite and had good memory. In poetry and prose, he particularly esteemed vigor and style (kygyŏk).” What Yi recorded is true.style (kygyŏk).” What Yi recorded is true.)
• E108  + (When he was young, the fortune teller Kim … When he was young, the fortune teller Kim Ryun 金倫 (16th century) wandered through Hyang Mountain in P’yŏngan province and other places. There, he met a hermit named Yi Ch’ŏnnyŏn 李千年 (16th century) and joined him on travels to numerous mountains for six or seven years. During this time, Kim learned several divination techniques from Yi. When the time came for Kim to bid farewell and return, Ch’ŏnnyŏn presented the following poem, 八十山中老三彭已掃除人間應不夢鶴伴意無餘雪榻蟾光冷雲牕日影疏誰知無累鑑萬代自淸虚 Eighty years old now, I age in the mountains.The Gods of Three Corpses, already swept clean. The mortal world I do not dream.With a crane as my company, there is nothing else I desire.On the snow-covered bed shines the cold moon glare.Through the cloud-shrouded window, sparse sunlight enters.Who knows of the unstained mirrorwhich for ten thousand generations stays pure and empty? To his young servant, who was thirteen or fourteen years old, Yi also presented a handwritten poem that said, 天地無家山水客生涯一句意如如苔痕山路白雲鎖月影淸泠竹影疏 Without a home in the world, I am a guest of mountains and rivers.My life in one line:Aspire to Thusness.Mossy mountain trails are locked up in white clouds.The moonlight pure and cold casts sparse shadows of bamboo. He also wrote this poem, 碧山雲萬疊滄海闊無邊爲問緣何事歸心北闕懸 Blue mountain is amid ten thousand layers of clouds.Azure sea is vast and boundless.May I ask you? Whydoes your heart yearn to return to the Northern Palace? His poetic style (sigyŏk) is lofty and ancient (kogo), and his calligraphy unique and robust (kigŏn). Even his servant was gifted in poetry and had an extraordinary calligraphic style. Clearly, Yi was not an ordinary hermit. Some say he was Chŏng Hŭiryang 鄭希良 (1469–1502).say he was Chŏng Hŭiryang 鄭希良 (1469–1502).)
• E563  + (When others point out the flaws in their w … When others point out the flaws in their writings, some scholar-writers are happy and willing to receive advice and change their writings until it flows well, while some become indignant and furious to realize their fault yet do not make changes in their writings. Ki Taesŭng took pride in his own writings and did not willingly give in to others. As a Drafter of Royal Decrees (chijegyo), he submitted a composition written on the king’s behalf. When Royal Secretary (sŭngji) at Royal Secretariat (Sŭngjŏngwŏn) handed it to him with notes on his flaws (chabyŏng), Ki became furious and loudly rebuked junior officials and did not change a single word. When Yu Kŭn was First Royal Secretary (tosŭngji), Yi Homin submitted a composition. Yu made many comments and asked Yi to make changes, but Yi changed some but others. Yu still sent an official and asked Yi to change over and over. Again, in his note on the character “hap” 欱, Yu asked “What is this character?” Yi sneered and said, “Has Yu only read Korean poetry and prose and not the Wenxuan 文選 (Selections of Refined Literature)? Then he wrote an annotation, which reads, “The Wenxuan has it ‘He drank up the fields and spewed out mountains’ 欱野噴山 and ‘He drank up the Feng River and churned out the Hao River’ 欱灃吐鄗. Hap is an ancient word for “hŭp” 吸 (to drink). Yu again sent an official and asked Yi to try his best to change it. Thereupon, Yi became furious and loudly rebuked the official. Yu felt greatly ashamed, and from then on even when Yi submitted clumsy writing, Yu did not dare to ask him to change it, fearing that he would be angry again. Chŏng Saryong showed to people every poem he composed. If someone told him the poem’s flaw (cha), he always humbly accepted their advice with delight and changed the poem until it flowed smoothly. He often showed his writings to Yi Hwang. If Yi pointed out a blemish in the jade, Chŏng got his brush out immediately and changed it without slightest hesitation. Yi also lauded Chŏng for not rejecting his advice. At an examination in court, Yi composed a regulated verse in twenty lines on the topic of the “Pavilion of Prince Teng” 滕王閣. Yi asked Chŏng if he could see Chŏng’s verse, and Chŏng showed Yi his draft. When Yi read up to the lines, 納日檐虛先曉白透風寮薄未秋涼 Catching the sun, its empty eaves glow first at dawn.Letting in the wind, its thin windows are cool before autumn.Yi applauded in praise and said, “Each work of literature has its own natural craftsman. In today’s examination, who will be the primus if not you?” Then Yi put his own poem in the sleeve and did not take it out, and he left without submitting his paper. and he left without submitting his paper.)
• E353  + (Whenever Sin Kwanghan wrote a poem, he sho … Whenever Sin Kwanghan wrote a poem, he showed it to Lecturer (chikkang) Sin Chongho. Only after getting the poem fine-tuned by Chongho, did Kwanghan release it to the world. One day Sin Kwanghan showed him his poem “The Records of a Ceremony of Washing Historical Drafts” 洗草宴契軸. When Sin Chongho got to the line, 人間遺跡似龍騰 Your traces in the mortal world soar like a dragon. he did not agree with it in his heart, and he read it again two or three times. Sin Kwanghan asked, “Do you think it is not suitable?” Sin Chongho replied, “When Su Shi said, 世間遺跡猶龍騰 Your traces in the human world soar like a dragon.he was saying that after the original copy of the Preface to the Orchid Pavilion written on the paper made from silkworm cocoons was buried with Tang Emperor Taizong in his Zhao Mausoleum, its copy, which was passed down to the world, soared like a dragon. He was saying although the copy is not the original version, the vigor of its brush still resembled a soaring dragon. Today, you are using this expression to parallel with 天上寶書隨水化 Precious writings from Heaven dissolve in water. I am afraid it is not suitable.” Sin Kwanghan replied, “Why do you read it that way? By ‘soar like a dragon’ I only meant that the writings left no trace like a transforming dragon.” Disagreeing with Sin Chongho’s comment, Sin Kwanghan did not change “soar like a dragon” and released the poem in public. In this, I am afraid, Sin Chongho was right. this, I am afraid, Sin Chongho was right.)
• E001  + (Writing emerged in [[the East]] … 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 [[Yaoshantang waiji 堯山堂外記 (Unofficial Records from the Hall of Yaoshan)]] provides detailed notes on [[Ŭlchi Mundŏk’s 乙支文德 (ca. 612)]] literary achievements, including a [[five-character quatrain]] he presented to the [[Sui General]] [[Yu Zhongwen]], which reads, </br><div class="poetry-text">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></br><div class="poetry-text">His composition method (<i>kuppŏp</i>) is marvelous and classical (<i>kigo</i>), and there is no trace of the habit of ornamental (<i>kiryŏ</i>) embellishment. How could dispirited writers of later generations hope to achieve this?</div> </br></br>Note: [[Ŭlchi Mundŏk]] was a [[minister]] of [[Koguryŏ]].)
• E091  + (Yi Ch’ong’s 李摠 (d. 1504; styled Paegwŏn) , … Yi Ch’ong’s 李摠 (d. 1504; styled Paegwŏn) , possessed unparalleled talents bestowed upon him by heaven. Despite not having stdued the Classics and histories, his writing was exceptional. Once, he bid farewell to me at the Public Medical Institute (Pojewŏn). The guests all saw me off with songs and dance, and Yi wrote a poem on my fan that read, 相知八年內會少別離多臨分千里手掩泣聞淸歌 In these eight years we’ve known each other, our meetings were few, partings were many.With these hands, before we part a thousand li,we wipe away tears and listen to the fine songs. Upon reading the poem, people left their seats and put down their brushes. When Yi Chongjun saw the poem, he praised it as an excellent (taeho) and unsurpassed (chŏllyun) composition.o) and unsurpassed (chŏllyun) composition.)
• 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.)
• E136  + (Yu Pangsŏn’s poem “Singing Pink Peach Blos … Yu Pangsŏn’s poem “Singing Pink Peach Blossoms” 吟紅桃花 reads, 肉林淫戲憐商受錦障豪奢想石崇牧野血痕猶滿地關中火焰尚燒空 A forest of meat and wanton plays, the Shang Emperor Zhou loved.Brocade screens and extravagant luxury, Shi Chong desired. The blood stains of Muyestill cover the ground.The flames of Guanzhongburn the sky even to this day. Although he tried to be artful (kyo), comparing pink peach blossoms with a “forest of meat” and “blood stains” seems inelegant (pura).His five-character regulated verse reads, 杜門甘屏跡誰肯許同群松月眠孤鶴溪風起薄雲江山終日見世事隔年聞寂寞齋居靜淸香手自焚 Shutting the gate, you gladly hide your trace. Who would be allowed in your company? A lone crane sleeps on a moonlit pine. Thin clouds rise above the breezy brook.Watching all day rivers and mountains,news from the world reach you after years have passed.Alone in the tranquil house,you burn the incense of delicate fragrance. His poem “Elegant Flow” 演雅 reads, 杜門車馬少獨坐岸烏巾竹屋雞鳴午花村犬吠春籬疏狐試客檐短鳥窺人盡日蝸廬靜唯聞燕語新 The gate is closed, few horses and carriages visit.I sit alone by the shore, wearing a black headscarf.Midday, inside a bamboo hut, chickens cluck.Spring, in the blooming village, dogs bark. Through a sparse bamboo fence, a fox tries to enter. From the low eaves, birds observe people.All day long, the humble abode is quiet.Only the calls of swallows are new. Also, 聯鳥啼深樹靜魚戲小池 A pair of birds calls in the deep woods.The fish quietly play in a small pond. Overall, his poems express ideas of uneventfulness (p’yŏngdam) and tranquility (hanjŏk) in secluded living. The couplet, 竹林人語碧花塢鳥聲紅 Human voices in the bamboo grove are green.Crows’ cries amid the flowers are red. may sound virtuosic yet does not make sense.y sound virtuosic yet does not make sense.)
• 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">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]].)
• E874  + (“The Song of Barley in Bloom” 麥秀歌 was insp … “The Song of Barley in Bloom” 麥秀歌 was inspired by a desire to weep like a woman. This is what an ancient poem calls “a sorrowful song that takes the place of weeping” 悲歌可以當泣. Li Bai’s poem reads, 平生不下泣於此泣無窮 My whole life, I never wept.For this, I weep endlessly.Li Shangyin’s poem reads, 三年已制思鄉淚更入東風恐不禁 For three years I have held back tears thinking of my hometown.When the east wind arrives, I won’t be able to help myself.Huang Tingjian’s poem reads, 西風壯夫淚多為程顥滴 Westerly wind makes a gallant man’s tearsto drop more than those shed by Cheng Hao. Yi Saek and Niu Jizhi from the Yuan dynasty passed the civil service examination together. When Yi returned to the East, Niu presented him the following poem, 我有丈夫淚 泣之不落三十年今日離亭畔 爲君一洒春風前 These manly tears of minehave never been shed for thirty years.Today, bidding farewell by a pavilion,I sprinkle them for you in the spring breeze.The poem parrots earlier poems albeit with inferior composition method (kuppŏp). A poem by our dynasty’s Chŏng Saryong, 向來制淚吾差熟今日當筵自不禁 By now I have become rather good at holding back my tears.But today, facing the banquet, I cannot help myself.also follows Li Shangyin’s example.myself.also follows Li Shangyin’s example.)

• C001  + (His composition method (<i>kuppŏp</i>) is marvelous and classical (<i>kigo</i>), and there is no trace of the habit of ornamental (<i>kiryŏ</i>) embellishment. 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?)
• E265  + (1. Envoy Wang He wrote a poem after visiti … 1. Envoy Wang He wrote a poem after visiting Kija Shrine (Kijamyo). Chŏng Saryong tried to write a matching poem to the rhyme of “teacher” 師. He struggled for a few days, but the more he tried, the cruder the poem became. He asked the Assistant Commander of the Gate Guard (chongsagwan) to try matching the line. Then Yi Hongnam 李洪男 (b. 1515), the Section Chief (chŏngnang), immediately wielded the brush and wrote, 三仁雖異迹百世尙同師 The Three Benevolent Ones had different merits.But a hundred generations revered them as one teacher. Even a literary talent like Chŏng can sometimes experience writer’s block, let alone people with inferior talent!ck, let alone people with inferior talent!)
• E279  + (1. In the pyŏngjin year of the Jiajing rei … 1. In the pyŏngjin year of the Jiajing reign (1536; Chungjong 31), a Ming Chinese named Liu Yingji 劉應基 (16th century) was captured by Japanese invaders and later rescued by the people of the country.Upon arriving in Hanyang, he wrote the following poem, 只怨干戈不怨天離鄉去國路千千愁纏病骨哀衰運淚灑紅顏泣盛年見月思歸西塞外看雲心逐北堂前旄丘見葛何多日瑣尾孤身困此邊 Blame only the weapons of war and do not blame Heaven.Away from my native land and country, the road runs for thousands upon thousands of li.Cloaked in sorrow, this ailing body bemoans the waning fortune.Shedding tears, this ruddy face weeps over the prime of life.Gazing at the moon, I long to return beyond the western frontier.Seeing the clouds, my heart runs to my mother’s room.The dolichos on high and sloping mounds,how many days have I been seeing?A fragment and a remnant, alone I am stranded on this border. When he was young, Minister Yi Sanhae (sobriquet Agye [Goose Brook]) wrote a poem matching Liu’s rhyme, 鯤海鯨波杳接天南荊迢遞幾三千流離異國惟孤影飄泊他鄉是弱年蝶夢有時歸塞外雁書無路到家前知君夜夜思親處秋雨蕭蕭客枕邊 The deep sea and giant waves connect with the distant sky.The southern land of Chu is faraway, O how many three thousand li?Wandering in ta foreign country, I am a lonely shadow.Drifting in an alien land, I am meager in age.Becoming a butterfly in a dream, at times I flutter homeward beyond the frontier.The letters carried by the geese have no way to reach home.Knowing that every night I think of where my parents are,an autumn rain sprinkles gently near the pillow of this wanderer.At the time, Liu was only fifteen or sixteen, and Yi seventeen or eighteen years of age. They were both young, yet their poetry was already mature composition (sŏngjang). From of old, those who manifest their talents early on become successful early on. Today, Yi holds a ministerial position, but I do not know whether Liu also achived success. Some say he passed the examination, but the veracity of that claim is uncertain.t the veracity of that claim is uncertain.)
• 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.)
• 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.)
• 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.)
• 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.)
• E035  + (During the Song dynasty, on the occasion o … During the Song dynasty, on the occasion of the Lantern Festival, an imperial poetry composition was announced. The Grand Chancellor (zaixiang), Hanlin academicians (liangzhi), Secretariats (zhizhigao), and scholars of the Three Halls (sanguan) were all commanded to write poems, making it a grand event. One of the most representative works was composed by Wang Gui 王珪 (1019–1085; sobriquet Qigong [Qi Mountain Man]), who wrote, </br><div class="poetry-text">Twin phoenixes descend among the clouds, guiding a carriage. </br>Six tortoises emerge from the sea, carrying mountains on their backs.</div></br><div class="critique-text"></div></br>On the night of our country’s Lantern Festival, Yi Kyubo wrote a poem titled “For a Calligraphy Screen” 文機障子, which says, </br><div class="poetry-text">Three shouts of “To ten thousand years!” A sacred mountain burst forth.</br>A thousand-year-old divine peach appears.</div></br><div class="critique-text">His poem rivals Wang’s.</div></br>Recently, Grand Prince Yech’ŏn, Kwŏn Hangong 權漢功 (d. 1349; sobriquet Ilchae [Unity Studio]), wrote, </br><div class="poetry-text">An auspicious wine brewed in South Mountain contained in a silver urn.</br>The Big Dipper ladles it out into a jade chalice.</br>Hundreds of sticks pound on double drums. Spring is boundless.</br>Phoenix lanterns hang from thousands of trees, creating a lingering moon.</div></br>And Chancellor (p’yŏngni) Paek Wŏnhang 白元恒 (14th century) composed, </br><div class="poetry-text">Moonlight fills the ninth heaven, pipes and flutes resound on the earth. </br>In a single night, spring blooms, turning mountains into embroidered brocades.</div></br><div class="critique-text">However, Paek himself admitted that he could never reach the poetic world of Kwŏn.</div>lt;div class="critique-text">However, Paek himself admitted that he could never reach the poetic world of Kwŏn.</div>)
• 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.)
• C001  +
• E578  + (Hong Isang’s 洪履祥 (1549–1615) younger broth … Hong Isang’s 洪履祥 (1549–1615) younger brother, Hong Nansang 洪鸞祥 (b. 1553), had a nimble and exquisite (minmyo) talent in poetry. When writing his monthly test composition, Isang made Nansang to compose for him a seven-character quatrain “Deaf Healing Wine” 治聾酒. The poem reads, 良辰康酌味偏長不待扁俞驗妙方醉裡撫聞塵世事小槽獨愛滴淸香 On a good day, healthy wine tastes even better.Don’t wait for the doctor and test the favorite remedy!Drunk, I listen soothingly to the worldly affairs. Alone I enjoy this small cup of wine, every drop with delicate scent. Yi Sanhae, Director of the Office of Royal Decrees (taejehak), awarded first place to Hong’s test. One day, encountering Isang, Yi said, “The quatrain ‘Deaf Healing Wine’ in your test was outstanding (kŭkka) and people could not stop praising it.” Isang replied, “I did not compose it. It is my younger brother’s poem.” Surprised, Yi replied, “How come I hear of your worthy brother’s talent this late?” Then turning around his carriage, Yi paid Nansang a visit and departed after showing him exceptional respect.ted after showing him exceptional respect.)
• E465  + (I won’t be ashamed when standing in midair … I won’t be ashamed when standing in midair. Elated, I come and draw near the pure and harmonious realm.It is not that my heart looks down on high officials.All along, my long-cherished will was with forests and springs.For sincere and illustrious accomplishments, I have roamed with a sword.For abstruse and wondrous schemes, I did not wear a whip.With reverence achieve your merits,then you will receive praises.Wind and moon filling the window leave me naturally at ease. Cho Uk wrote a poem in matching rhymes and said, 至人心跡本同天小智區區滯一邊謾說軒裳為桎梏從來城市即林泉舟逢急水難回棹馬在長途合受鞭誠敬固非容易事誦君佳句問其然 The true mind and acts of a perfected person are same as Heaven in nature.Inferior wisdom is small and stays at rest on one side.Carelessly people say official’s salary becomes a shackle.All along, cities and markets have been forests and springs.When the boat meets a rapid, it is difficult to row back.Traveling a long road on horseback, it is fitting to hold back the whip.Sincerity and reverence thus are not easy matters to attain.Reciting your excellent verses, I ask these questions. Probably because Sŏ’s poem had a strong message of self-promotion, Cho responded with a message of advice.n, Cho responded with a message of advice.)