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M055 + (Green willows and closed gates, eight or nine houses. A bright moon, rolled up curtains, two or three people.)
C050 + (He must have found a delight (ch’wi) in being deep in the mountain.)
C001 + (His composition method (kuppŏp) is marvelous and classical (kigo), and there is no trace of the habit of ornamental (kiryŏ) embellishment. How could dispirited writers of later generations hope to achieve this?)

C040 + (His poem rivals Wang’s.)

C038 + (His seasoned robustness (nogŏn) is worthy of admiration.)
M059 + (How come, on this clear day, dark clouds cover the ground? Citizens of the capital, Don’t come near! For the dragon is moving among us!)
C041 + (However, Paek himself admitted that he could never reach the poetic world of Kwŏn.)
C049 + (I bet Yang would bow the knees to this.)
M077 + (I brought the willow of Paegak Mountain to Anhwa Monastery. The spring breeze must be busy. Swish, swish—it rustles again.)
M072 + (I kept you cool in the heat, warm in the c … I kept you cool in the heat, warm in the cold, and nourished you with delicacies.Why then did you pierce through the clouds and left me, never to return?To the swallows never did I feed a single grain of rice,yet year after year they return and fly around my painted beams.ey return and fly around my painted beams.)
E683 + (I once accompanied Yu Kŭn as a Composer of … I once accompanied Yu Kŭn as a Composer of Documents (chesulgwan) to Yongman (1609). When we arrived at P’yŏngyang, Yi Tal, already past age seventy, was staying as a visitor in the city. Elderly government slaves and kisaengs told me in detail the stories of Yi’s youthful revelry. They said that in the past when Academician (haksa) Sŏ Ik was Superintendent of Taedong post station (ch’albang) and Academician (haksa) Ch’oe Kyŏngch’ang was Assistant Magistrate (sŏyun), the two invited Yi to Pubyŏk Tower and selected the best singers and zither players, about ten in number, and ordered them to wait on him properly. Every evening after work, Ch’oe, together with Sŏ, arrived at Pubyŏk Tower in sedan chairs and drank wine and wrote poems, revelling to the full till they departed. This continued until Ch’oe’s official term was over and he returned to the court. Regardless of status, Ch’oe cherished talent like Sŏ. On a poetry plaque at Pubyŏk Tower was written Chŏng Chisang’s quatrain “When the rain stops, the long riverbanks turn luxuriantly green” 雨歇長堤草色多, which for long had been considered a poetic masterpiece (chŏlch’ang). One day Ch’oe said, “The three of us have been writing poems on this tower regularly, and we have written exhaustively about mountains and rivers, fish and birds. Why don’t we choose a topic and write a quatrain?” Sŏ replied, “We can choose the ‘Lotus Picking Song’ 採蓮曲 as the topic.” Ch’oe responded, “We can use the rhyme of the poem on the plaque.” The three of them held their brushes and pondered. After exerting strenuous endeavor, Ch’oe, then Sŏ, and finally Yi completed their poems. In the end, they chose Yi’s poem as a poetic masterpiece (chŏlch’ang). 蓮葉參差蓮子多蓮花相間女郎歌來時約伴橫塘口辛苦移舟逆上波 Lotus leaves are here and there. Lotus seeds are bountiful. Amid lotus flowers, young girls sing. To keep the promise made with friends to meet at the mouth of the dike, they onerously push the boat up against the waves. The poems by Ch’oe and Sŏ were not inferior yet they particularly chose Yi’s as the best. We can see the two men’s intent to esteem and award a common scholar. This is what Yi himself had told me. In my humble opinion, the two characters, “amid” 相間, do not seem appropriate.cters, “amid” 相間, do not seem appropriate.)
M070 + (I remember the time when I was fifteen, with golden hairpins on both sides adorning my long and dark hair. What a pity! Only when my beauty faded and splendor diminished did I come to be a red lotus in the government tent!)
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, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">In the farm, mulberries are ripe and barley grows thick.From green trees, I hear the sound of yellow orioles.You seem to recognize Luoyang’s traveler passing by the flowers!For you warble on with passion without rest.</blockquote>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, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Clouds have cleared away in the sky. Now the moon shines on.The crane resting in its pine nest cannot contain this pure sight.In the mountain full of gibbons and birds, few understand your sound. Fanning the fluttering feathers, you alone cry in midnight.</blockquote>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.ever, Im’s does not measure up to the spirited integrity of Ch’oe’s.)
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, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Myriad golden reeds along the west side of Fengchengstir up my spring blues, casting a gloomy shade.The boundless breeze blows without end,bringing mist and rain into deep autumn.</blockquote>The poem possesses a sentimental charm (chŏngch’i) and flows beautifully (yuryŏ).In contrast, the Tang poet Li Shangyin’s 李商隱 (813–858) poem “Willow” 柳 reads, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Together with the spring breeze we once swayed on the dancing mats.With joy, we wandered in a sundrenched garden, only to part ways with a broken heart in the sky.How can I wait until the clear Autumn Festival?The setting sun has already arrived, accompanied by cicadas.</blockquote>Chin likely drew inspiration from this poem to write his own.Huang Tingjian 黃庭堅 (1045–1105; sobriquet Shangu [Mountain Valley]) has a saying, “<blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">The one who makes plans by following others will eventually be a follower. By developing one’s style, one will attain realism (p’ipchin).</blockquote>” How true!ollower. By developing one’s style, one will attain realism (p’ipchin).</blockquote>” 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, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Words become sparse when a crescent moon enters deep into the brambly gate.sit for long in a gentle breeze that makes the tall cedar trees sing.</blockquote>He must have found a delight (ch’wi) in being deep in the mountain.Another line reads,<blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Amidst the sound of bells and prayers, a lantern burns bright red.</blockquote>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.to be as red as blood.” Yi used this story to refer to the long-burning lantern.)
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,<blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Scholar Han painted horses, real horses.Master Su writes a poem just like a painting.When Bo Le is no more,nor is there Han. To whom shall I show this poem and this painting?</blockquote>In his poem on the painting of egrets and cormorants, Yi Kyubo wrote, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">A painting cannot be owned by everyone.A poem can reach everywhere.If a poem reads like a painting,it befits to be known for ten thousand years.</blockquote>Although the two poems differ in words, their meaning (yongŭi) is the same.h the two poems differ in words, their meaning (yongŭi) is the same.)
E807 + (In the Koryŏ dynasty, each style (ch’e) ha … In the Koryŏ dynasty, each style (ch’e) had its outstanding poem. Yi Saek’s “Yesterday passing Yongmyŏng Monastery” 昨過永明寺 and Chŏng Chisang’s “When the rain stops, the long riverbanks turn luxuriantly green” 雨歇長堤草色多 have been esteemed in the categories of five-character regulated verse and seven-character quatrain, respectively. But authoritative works in the categories of seven-character regulated verse and five-character quatrain are yet to be determined. Wouldn’t they have to be Chin Hwa’s “Drizzles come down in the morning like wispy, fine feathers”小雨朝來卷細毛 and Yi Kyubo’s “The monk in the mountain greedy for moon” 山僧貪月色?How do phrases such as, 細雨僧縫衲寒江客棹舟 Under a light rain, a monk mends his robe. On the cold river, a traveler rows his boat. 寒雲秋落渚獨鶴暮歸遼 Cold clouds descend on an autumn islet. A lone crane returns to Liao at dusk. 風生萬古穴江撼五更樓 A wind rises in a grotto of ten thousand years.A river shakes the tower at the fifth watch. compare to phrases like, 竹虛同客性松老等僧年 The bamboo is empty like the traveler’s nature. The pine is old same as the monk’s age. 鶴立松丫暝雲生石竇涼 Dark. A crane stands on a forking pine tree. Chilly. A cloud rises from a rock grotto. 窗銜半規月人在一涯天 The window holds a half disc moon. People are at the end of one sky. They appear to be equal matches (hilhang).They appear to be equal matches (hilhang).)
M088 + (In the farm, mulberries are ripe and barley grows thick. From green trees, I hear the sound of yellow orioles. You seem to recognize Luoyang’s traveler passing by the flowers! For you warble on with passion without rest.)
C036 + (In the poem, we can perceive the dire circumstances of that time and the unwavering spirit of an old man.)
C043 + (Isn’t it because even after savoring it for a while, the poem still had a lingering flavor (mi)?)
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)” <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Under the carriage, dusty winds swirl. People are slain like tangled knots of hemp. Good times must not be wasted.Yellow chrysanthemums float on my white wine.</blockquote>In the poem, we can perceive the dire circumstances of that time and the unwavering spirit of an old man.es of that time and the unwavering spirit of an old man.)
C002 + (Lofty and ancient (kogo), robust and simpl … 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.as a female sovereign is truly remarkable.)
C051 + (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.)
M066 + (Moonlight fills the ninth heaven, pipes and flutes resound on the earth. In a single night, spring blooms, turning mountains into embroidered brocades.)
M076 + (My mother is at the Han Canal, my family in Baizhu north. Under the moonlight, I hear a cuckoo’s call. South and north both worry me.)
M090 + (Myriad golden reeds along the west side of Fengcheng stir up my spring blues, casting a gloomy shade. The boundless breeze blows without end, bringing mist and rain into deep autumn.)
E008 + (O Sejae 吳世才 (b. 1133; styled Tŏkchŏn; sobr … O Sejae 吳世才 (b. 1133; styled Tŏkchŏn; sobriquet Pogyang [Puyang]) composed poetry with boldness and vigor (''kyŏngjun''). Not a small number of his poems are relished (''hoeja'') by people, but people have not seen his ability to match difficult rhymes. One day, while at [[L004|North Mountain]], he wished to write a poem on [[Halberd Rocks]], and the man whom O asked to choose the rhyme intentionally chose a difficult one. O wrote, The jagged rocks of [[L004|North Mountain]],people call you Halberd Rocks. Towering, you strike the crane riding Prince Jin. Soaring, you pierce the Divine Shaman. Lightning’s fire forged your handles. Frost-like salt whetted your blades. Can I use you as a weapon to conquer Chu and save Fan! After this event, an envoy from the Northern court (Yuan) skilled in poetry came. When the envoy heard this poem, he praised its beauty (''mi'') over and over, and asked whether the poet was still alive, what his position was, and whether he could meet him. The officials of our country were stupefied and did not know how to answer. When I heard this, I said, “Why didn’t they tell him that he currently holds the position of Edict Drafter Academician (''chego haksa'')?” The lack of ability to improvise in this situation is truly deplorable.ty to improvise in this situation is truly deplorable.)
C037 + (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.)
M061 + (Old age and illness arrive together. All m … Old age and illness arrive together.All my life, I’ve lived as an unwaged scholar. Blurring vision has dimmed my eyesight.My pupils have lost their glow. I’m frightful of reading under a lampand scared of seeing snow’s glare.I will check the exam results in a while, then close my eyes and learn to forget all motive.se my eyes and learn to forget all motive.)