Search by property

This page provides a simple browsing interface for finding entities described by a property and a named value. Other available search interfaces include the page property search, and the ask query builder.

List of results

E084 + (Grand Prince of Kwangnŭng, Yi Kŭkpae 李克培 ( … Grand Prince of Kwangnŭng, Yi Kŭkpae 李克培 (1422–1495), had talents in both literature and statecraft. He often referred to himself as a “Scholar of the State” and was penurious in assessing the worth of others, except when it came to my eldest brother, with whom he formed a friendship for which he could sacrifice his own life. Yi held the position of First Royal Secretary (tosŭngji), while my brother served as the Third Royal Secretary (usŭngji). Yi fell in love with an exceptional kisaeng and kept his whereabouts a secret. When my brother discovered where Yi was staying, he wrote the following poem, 衙罷歸來日欲低名花國士兩相携誰家巷裏藏車駕司醞東邊禮部西 After your duties at the court, you return here as the sun begins to set.The famous beauty and the Scholar of the State embrace each other.At whose house have youhidden away your carriage?It must be to the east of the Wine Bureau, to the west of the Rites Ministry. He discreetly posted the poem on the wall of the house where Yi was staying. When Yi saw the poem, he tore it and hid it in his sleeve. This incident only deepened their friendship further. When Yi’s term came to an end, King Sejo inquired, “Who could replace you?” Yi replied, “There is no one as wise as official Sŏng.” Consequently, my eldest brother was appointed as the new First Royal Secretary.ppointed as the new First Royal Secretary.)
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.)
E110 + (Grand Prince of Sŏha, Im Wŏnjun (styled Ch … Grand Prince of Sŏha, Im Wŏnjun (styled Chasim), possessed unparalleled intelligence. Once, due to slander, he was exiled to Miryang prefecture. A governor whose surname was Pak was on an inspection tour and arrived in the prefecture. He tested Im’s knowledge of literature, and Im responded like an echo. Wishing to test Im’s memory, Pak presented him with a registry containing the names of over five hundred official kisaeng, and Im was asked to recite them all from memory. Not a single name was missed, and the order was preserved flawlessly. Impressed, Pak sighed in admiration. Returning on a post horse, Governor Pak reported to the king, saying, “There aren’t many people like Im in our country. Although he has committed a minor offense, he certainly should not be abandoned,” and recommended Im’s swift restoration to office. King Sejong summoned Im back. On the day Im entered the court, the king was staying at his daily palace. Through a window, the king spoke to the crown prince, saying, “Among the ancients, there was a person who composed a poem following the striking of a basin and a person who composed a poem while taking seven steps. Choose ‘cloud’ as the topic, select a rhyme word, and ask Im to write a poem.” In response, Im immediately composed the following, 駘蕩三春後悠揚萬里雲凌風千丈直映日五花文祥光凝玉殿瑞氣擁金門待得從龍日爲霖佐聖君 After three springs of uncurbed rashness, clouds drift in from thousands of li away. Riding the wind, they soar a thousand feet high.In the sun, they glow in five-flower patterns. An auspicious light beams down on the jade palace.Propitious aura envelops the golden gate. I will wait for the day to follow the dragonas a rain that aids the sage-king. Upon hearing this poem, the king immediately appointed Im to join the editorial department of the Hall of the Worthies (Chiphyŏnjŏn).of the Hall of the Worthies (Chiphyŏnjŏn).)
M055 + (Green willows and closed gates, eight or nine houses. A bright moon, rolled up curtains, two or three people.)
E448 + (Ha Wiji’s poem “In Gratitude for a Gift of … Ha Wiji’s poem “In Gratitude for a Gift of a Raincoat” 謝人贈蓑衣 reads, 男兒得失古猶今頭上分明白日臨持贈蓑衣應有意五湖煙雨好相尋 A man’s successes and failures are same yesterday and today.Over the head, clearlythe white sun has arrived.In presenting me with a raincoat, you must have had a reason.When the Five Lakes are in mist and rain, we will find each other with ease.Although this was the poem’s message (siŭi), he could not make the decision to retire. Isn’t it because he had no intention of leaving?it because he had no intention of leaving?)
E489 + (Ha Ŭngnim’s poem reads, 佳兒年十三彈琴雙手纖聞聲不見面聲出桃 … Ha Ŭngnim’s poem reads, 佳兒年十三彈琴雙手纖聞聲不見面聲出桃花簾 A beautiful girl of thirteen,her zither-playing hands are delicate.I hear her voice but can’t see her face.Her voice comes from behind the peach blossom curtain. Yu Yŏnggil’s 柳永吉 (1538–1601) poem reads, 臨道誰家蔭綠楊一窗珠箱護雙娘東風吹漏孤雲曲枉使行人也斷腸 By the road, whose house is it, shaded by a green willow?The beaded screen on the window conceals a pair of ladies.East wind blows and carries with it the Tune of Solitary Cloud,in vain making this passerbyalso broken-hearted.The two poems are similar (sangsa), but Ha’s is more excellent (u). The Tune of Solitary Cloud refers to the music of kayagŭm.tary Cloud refers to the music of kayagŭm.)
E054 + (Han Chongyu 韓宗愈 (1287–1354), the Chief Sta … Han Chongyu 韓宗愈 (1287–1354), the Chief State Councilor (chŏngsŭng) of Koryŏ, was reckless and unrestrained during his youth. He gathered a gang of several dozen youths, and everyday they would roam wherever shamanic performances and feasts were held, indulging themselves in misappropriating the food. Because they clapped their hands and sang the drinking song, “Willow Catkin” 楊花, people called them the Willow Catkin Gang. Later on, Han rose to the position of Chief State Councilor, and his merit and personal achievements became renowned in his time. In his later years, he retired to his hometown locate on Chŏja Island in the upper part of the Han River. He once wrote a poem, 十里平湖細雨過一聲長笛隔蘆花却將殷鼎調羹手閑把漁竿下晩沙 Over a calm lake of ten li, a light rain drizzles.The sound of a long bamboo flute drifts from beyond the reed catkins. Yet these hands that once stirred the broth in the Shang cauldronnow idly hold a fishing rod as I sit on the evening sand. Another poem said, 輕衫短帽繞池塘隔岸垂楊送晩凉散步歸來山月上杖頭猶濕露荷香 Decked in an unlined jacket and a short cap,I stroll around the pond. From the opposite shore, the hanging willows send the evening coolness. I return home after a leisurely walk, when the moon is high above the hills. The handle of my cane is still damp with the fragrance of dewy lotus.ill damp with the fragrance of dewy lotus.)
C050 + (He must have found a delight (ch’wi) in being deep in the mountain.)
E464 + (Heavy clouds are about to drip, but not ye … Heavy clouds are about to drip, but not yet dripping rain.Spring everywhere first blooms, then the flowers bloom. Also, once seeing a person at a tower in Yangju, he wrote, 溪雲欲雨未為雨路堠迎人還送人 The clouds above the stream are about to rain, but have not yet rained.The milestone by the road greets people then sees people off. These verses use similar (sangsa) language (ŏ). verses use similar (sangsa) language (ŏ).)
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.)
E730 + (Hong Chuse 洪柱世 (1612–1661; styled Sukchin) … Hong Chuse 洪柱世 (1612–1661; styled Sukchin) and Sin Ch’oe 申最 (1619–1658; styled Kyeryang) both gained literary fame and planted their flags in the poetry circle. Hong’s poem reads, 庭草階花照眼明閑中心與境俱淸門前盡日無車馬獨有幽禽時一鳴 Plants in the courtyard, flowers by the steps glow brightly in my eyes.In idle retreat, the heart and the scenery are both clear. Outside the gate, all day longthere are no signs of carriages.Only the unseen birds tweet from time to time. Sin’s poem reads, 滿地梨花白雪香東風無賴損柔芳春愁漠漠深如海棲燕雙飛繞畫梁 Covering the ground are pear blossoms, snow-white and fragrant.East wind mischievously disperses their gentle aroma. Spring sorrow is boundless, deep as the sea. A pair of nesting swallows wing around the painted beams. Hong and Ch’oe were good friends and also alike in their talent and fame. I once asked Yi Sik, “Whose writing is superior, Hong’s or Sin’s?” Yi replied, “Hong’s writing is like wild plum and chrysanthemum trees. Sin’s writing is like painted peonies.” Perhaps he meant that one was naturally conceived like wild plum and chrysanthemum trees, while the other was embellished like painted peonies. Alas! Their talent incurred jealousy of their contemporaries and eventually both could not freely realize themselves. Isn’t this what the saying “Good literature detests successful life” refers to?rature detests successful life” refers to?)
E857 + (Hong Ch’ŏryang 洪處亮 (1607–1683) naturally h … Hong Ch’ŏryang 洪處亮 (1607–1683) naturally had his family’s poetic style (sigyŏk). His poem “Mourning My Son” 哭子, 靈帷晝掩暗生塵寂寞虛堂酒果陣床有借來詩卷在婦人收取哭還人 The spirit curtain remains closed in the day, quietly gathering dust.In the silent and empty hall, wine and fruit offerings are on display.By his bed remainsa poetry book he borrowed.My wife takes it and returns to the lender in tears. comes close to an ancient work (p’ipko). comes close to an ancient work (p’ipko).)
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.)
E786 + (Hong Manjong had a poetic talent from earl … Hong Manjong had a poetic talent from early age and wrote many striking expressions (kyŏngŏ). Chŏng Tugyŏng particularly cherished him and even spoke of passing his robe and alms bowl to Hong. Im Yuhu (sobriquet Hyuwa [Restful Nest]) and Kim Tŭksin were his contemporary master poets and they esteemed and commended each other. In his mid-life, Hong unfortunately was caught in the web of misfortune and neglected writing. He built a house on the bank of the Brocade River and was carefree and self-contented. A regulated verse by him reads, 名區物色屬中秋明月淸風共一樓席上又兼絲竹肉人間何羨鶴錢州十年京洛無靑眼千里江湖有白鷗卜築已成終老計向來榮辱總浮漚 In this famous scenic place,mid-autumn has come.Bright moon and cool breezeencirlcle the tower.Again at the banquet are playingstrings, pipes, and meat.Why should mortals envycranes, money, and Yangzhou?Ten years in the capital,I saw no friendly dark eyes.A thousand li away in rivers and lakes,I have white gulls for company. With the house already built,I can fulfill my plans for old age.Honor and shame that draw nearare altogether floating bubbles. The poem is exceptionally charming (p’ungjo) and is suitable to be widely recited (chŏnyŏng). The paralleling of “strings, pipes, and voices” and “cranes, money, and Yangzhou” is refined and unique. This is unfound in the works of both ancient and modern-day poets, hence Yi Yŏ gave utmost praise. Kim Sŏkchu once was Hong Manjong’s poetry companion, and he always said, “To you, poetry is natural (ponsaek).” Many of the poems they exchanged are recorded in Kim’s poetry anthology. The three characters “strings, pipes, and voices” are an expression by Meng Jia found in the Jin shu 晉書 (Book of Jin). Original Annotation: They describe that the sound of human voices surpasses the sound of strings and pipes. surpasses the sound of strings and pipes.)
E739 + (Hong Manjong, who served as an emissary to … Hong Manjong, who served as an emissary to China, became ill early, neglected his study, and could not concentrate on developing his poetic skills. He studied under Chŏng Tugyŏng, hence his poems were fumed with fragrance (hunbang) and tinted with colors (yŏmch’ae), and his style (kyŏkcho) was clear and vigorous (ch’ŏngjun). His poem “Lotus Picking Song” 采蓮曲 reads, 彼美采蓮女系舟橫溏渚羞見馬上郎笑入荷花去 There, a beautiful lass picking the lotus moors the boat along the waterside.Shy to see a lad on horseback,smiling, she disappears amid the flowers. After reading the poem, Chŏng said, “These are High Tang expressions. I shall pass on my robe and alms bowl to you.” I always liked Hong’s poem “Sujong Monastery” 水鐘寺, 蕭寺白雲上秋江明月西禪樓無夢寐風露夜凄凄 A monastery stands above the white clouds.On the autumn river shines a bright moon in the west.At the meditation hall, I am sleepless.Gusts and dews, the night is chilly. Natural (ch’ŏnyŏn) and exceptional (ch’ojŏl), the poem has a Tang poet’s scenery and charm (kyŏngch’wi). Hong once told me, “Had I read books like you, I would not be so mediocre today!” He regretted not having read much. But even if someone who is well-read were to write a poem, will that person be able to write these words? that person be able to write these words?)
E769 + (Hong Sŏkki had quick-witted poetic talent. … Hong Sŏkki had quick-witted poetic talent. People said he could write poems dashing off on a horse, beating an alms bowl. Hong once went to visit the residence of Kim Ryu 金瑬 (1571–1648), Grand Prince (puwŏn’gun) of Sŭngp’yŏng. Kim ordered a servant girl to bring in the cups. Hong took the cup and looked intently at the girl. Kim asked, “Why do you look at her so carefully?” Hong answered, “It’s because her fingernails are dyed red very beautifully.” Kim said, “I will choose ‘Finger dying’ as the topic. You shall write a poem matching the rhyme words of my choice.” Then he called out “red” 丹 and Hong immediately responded, 鳳穴仙花血色丹 With immortals’ flowers in the phoenix cave blood-red in shade, Again, Kim called out four words in a row and Hong responded at once. 佳人染得指尖端擎杯卻訝緋桃撲捻笛還疑淚竹斑拂鏡火星流夜月畫眉紅雨過春山懶憑欄曲支香頰錯認胭脂點玉顏 A lovely woman dyed her fingertips.When she holds the cup, I’m surprised if red peach blossoms have fallen.When she lifts the flute, I still wonder if they are spots on mottled bamboo.She dusts her mirror under the shooting stars,gliding across the moonlit sky.She paints her brows in the red rain,passing over the spring hills.Idly leaning on the winding balustrade,she supports her fragrant cheeks.I thought they were blushdotted on her jade-like face. Kim greatly praised the poem and ordered the girl to come and wait on Hong. Some say the second couplet is similar to the one found in the Ming poetry anthology. I wonder if it was unintended coincidence (amhap). if it was unintended coincidence (amhap).)
E852 + (Hong Sŏkki studied under Ku Pongsŏ 具鳳瑞 (15 … Hong Sŏkki studied under Ku Pongsŏ 具鳳瑞 (1597–1644; sobriquet Nakchu [Nak Islet]) and later became a primus of a Palace Courtyard Examination (chŏngsi). Ku at the time was Governor (kwanch’alsa) of Kyŏngsang province. As a new graduate Hong visited Ku and presented a regulated verse. A couplet in the poem, 千里嶺南觀察使十年門下狀元郎 A thousand li away in Yŏngnam, you became a governor.Ten years as your disciple, I became a primus. was widely recited (chŏnsong). But it is still not as good as Hong’s, 似惜落花春巧語解分長日午雞鳴 As if cherishing the fallen flowers’ fine words of spring,all day long you shoo away the clucking chickens of midday. which is original (sin) in meaning (ŭi) and artful (kyo) in expression (ŏ).g (ŭi) and artful (kyo) in expression (ŏ).)
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.)
E415 + (Hwang Chŏnguk 黃廷彧 (1532–1607; sobriquet Ch … Hwang Chŏnguk 黃廷彧 (1532–1607; sobriquet Chich’ŏn [Sweetgrass River]) was deeply into literature. A verse in his poem reads, 平生漫說歸田好半世猶歌行路難 My whole life, I told myself it is good to resign and go home. Half a lifetime has passed, yet I still sing “The Difficult Journey.”The meaning (ŭi) is very intense (kyŏngnyŏl). meaning (ŭi) is very intense (kyŏngnyŏl).)
E541 + (Hŏ Chong’s farewell poem to the imperial e … Hŏ Chong’s farewell poem to the imperial envoy Dong Yue reads, 靑煙漠漠草離離正是江頭送別時默默相看無限意此生何處更相隨 Green mists are thick. Grasses stand clear.At the riverbank,the time has come to say goodbye.Quietly looking at each other, boundless thoughts rise.In this life, where again will we accompany each other?It is said that when Dong read it, his tears rolled down. Although the poem’s style (sigyŏk) is average, it was because the expression and meaning were (ŏŭi) delivered with sincerity. Kwŏn Pyŏk’s 權擘 (1520–1593) farewell poem to the imperial envoy Chen reads, 不知後會期何日只是相思隔此生 Not knowing the day of our next meeting,I will only miss you from afar in this life.Yu Kŭn’s farewell poem to the imperial envoy Xiong Hua 熊化 (16th century) reads, 江西海外前緣在天上人間後會難 West of the river beyond the seas, there remains our past friendship.In Heaven and amid mortals, it will be difficult for us to meet again. I don’t know which is better.meet again. I don’t know which is better.)
E570 + (Hŏ Pong by nature loved women. When he had … Hŏ Pong by nature loved women. When he had just returned from an exile in Kapsan, Hamgyŏng province, he fell deeply in love with Sim Ilch’u’s 沈日樞 (16th century) family slave, Tŏkkye 德介 (16th century). Scholar Hong Kasin 洪可臣 (1541–1615) called him “a galloping horse” and mocked him. Hŏ asked Hong’s younger brother, Hong Kyŏngsin, to choose a rhyme word and do the writing, and composed at the seat without thinking and just speaking aloud coherently “A Song of Galloping Horse” 風馬引. His poem said, 千牛閣下開天仗太液朝暉映仙掌絡首金羈照地光徘徊弄影輕雲上輕雲迢迢不可攀一生夢斷玉門關玉門關西河水流萋萋芳草生其間南風北風吹長夏笑領千群戲平野君不聞寧為沙漠憔悴骨莫作金門仗前馬 A royal guard under the pavilion reveals his weapons.The Taiye Pond under the morning sun reflects the Immortal Palm.The horse’s golden bridle lights up the groundas it roams about playing with the shadow of light clouds above.Light clouds are too high up so I cannot reach.I awake from a life of dream at Jade Gate Pass.To the west of Jade Gate Pass a river flows.Fragrant plants, full and green, grow in its midst. South wind and north wind blow on this long summer day.I would accept with pleasure a thousand playing in the open field. Have you not heard? Be rather withered bones in the desert, but don’t be the battle horse at the Golden Gate!Again, once Hŏ sent a horse to invite Tŏkkye, but she could not come because she was bound to her master. Then the Hong brothers again asked for a poem on the topic “Missing the Female Slave” 惜婢 and he wrote a poem in long and short verses. The poem said, 華堂沓白壁繡柱圍黃金暮雨隨東風珠簾深復深雙燕呢喃下夕陰相思無路托春心春心已矣空怊悵斷雲虛勞人錦衾 The splendid hall is covered with white walls.The gorgeous pillars are wrapped with yellow gold.An evening rain follows east wind.Beaded curtains get heavy and heavier. A pair of swallows twitter under the setting sun.I miss you but there is no way to deliver my spring’s mood.Now spring’s mood is gone, leaving me forlorn and disheartened. Like broken clouds, in vain you toiled on the brocade quilt.So quick and spontaneous was Hŏ with poetry. The poems were not included in his Hagok chip 荷谷集 (Collected Works of Hagok), therefore I record them here.s of Hagok), therefore I record them here.)
E011 + (I began reading at the age of nine, and ev … I began reading at the age of nine, and ever since, I have always had a book in my hand. I have delved into the Shijing 詩經 (Classic of Poetry), Shujing 書經 (Book of Documents), and the Six Classics, as well as the writings of hundred schools of philosophy, historical records and esoteric scriptures, strange tales, Buddhist scriptures, and Daoist writings. While I may not have fully grasped the depths of their meanings or uncovered all their hidden ideas, there is not a single one that I have not explored and immersed myself in, plucking ornate diction like flowers to use in my own compositions. From the time of Fuxi to the Three Dynasties (Xia, Shang, Zhou), the Han, Later Han, Qin, Jin, Sui, Tang, and the Five Dynasties, I have studied all the records of the triumphs and failures of rulers and ministers, the order and disorder of states, and the stories of loyal ministers, upright soldiers, cunning schemers, and famous bandits.From the time of Fuxi to the Three Dynasties (Xia, Shang, Zhou), the Han, Later Han, Qin, Jin, Sui, Tang, and the Five Dynasties, I have studied all the records of the triumphs and failures of rulers and ministers, the order and disorder of states, the stories of the successes and failures, good and evil of loyal ministers and upright soldiers, cunning schemers and famous bandits. Although I may have skipped over some details in my absorption, I have never left any important passages unsummarized, unreflected upon, or unmemorized, so that I may use them in opportune times. Therefore, whenever I took brush in hand and stretched out paper to compose poetry, even if it was a long poem on a complex topic with up to a hundred rhymes, the brush would gallop untrammelled (punbang) and could not be restrained. Perhaps I did not weave verses as beautiful as silk brocades or string them together like jade beads, but I never lost the manner of a poet. Such was my confidence in my poems. I was overcome with sadness, realizing that in the end, we all succumb to decay, much like vegetation. I had harbored hopes that one day, wielding my five-inch brush, I would pass through the illustrious Golden Gate and ascend to the Jade Hall. There, I would draft decrees for the king, crafting instructions, ordinances, and mandates that would resound throughout the land. Only then could I truly claim that my life's aspirations had been fulfilled. Surely I was not the sort of a common man, struggling to feed wife and children on a meager stipend! Alas! My ambition was great, but the talent was little. I was destined to a life of poverty. By the age of thirty, I had yet to secure even a low-ranking position in a county. These feelings of loneliness and bitterness were too difficult to express aloud and could only be kept locked away in my mind.When I encountered a picturesque scenery, I leisurely wrote poems. And when wine crossed my path, I drank it to my heart’s content. I wandered into the domain where reality ceased to be. When spring came, the breeze was gentle, and the sunshine warm. Hundreds of flowers vied with each other in luxuriant bloom. A day like this must not be squandered in vain, so, with Yun Seyu 尹世儒 (d. 1215), a Third Class Instructor at the National Academy (hangnok), we obtained wine and together composed dozens of verses. When our inspiration waned, drunk, I dozed off. Then Yun called forth another rhyme word and asked me to write a poem, so I responded with the following poem, 耳欲爲聾口欲瘖窮途益復世情諳不如意事有八九可與語人無二三事業皐夔期自比文章班馬擬同參年來點檢身名上不及前賢是我慙 I long for deaf ears and a mute mouth.At the end of the road, I understand more the cares of this world. Of ten hopes, eight or nine fail.People I can talk to are fewer than two or three.In aspirations, I sought to rival Gao Yao and Kui. In writing, I aimed to emulate Ban Gu and Sima Qian.Yet as I look back and examine what I have achieved, I am ashamed I’m unable to match the worthies of the past. Yun then remarked, “The phrase ‘eight or nine’ does not create a harmonious tone pattern with ‘two or three.’ You often compose a great number of long poems, even regulated verses with hundreds of rhymes. You complete them with a tempestuous speed, without a single misplaced character. Why did you disregard the rules of tone patterns in this small regulated poem today?” I replied, “I wrote it in a dream, and that is why certain parts were spoken without careful word selection. ‘Eight or nine’ can indeed be changed to ‘a thousand and ten thousand.’ However, just as unseasoned broth and pure water surpass vinegar, so it is with the technique (sudan) of a master poet (taega). How could you understand?” But before I could finish speaking, I stretched and awakened, and realized it was all a dream. I recounted the dream to Yun, and he said, “In your dream, you were discussing a poem you had written in a dream? This is what they call a dream within a dream!” We shared a laugh, and in jest, I composed the following quatrain, 睡鄕便與醉鄕隣兩地歸來只一身九十一春都是夢夢中還作夢中人 The land of slumber rests beside the land of drunkenness.Returning from both lands,it is only I!Ninety days of spring, all merely a dream.From a dream I have returned to become a man in a dream again.returned to become a man in a dream again.)

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.)
E429 + (I built a small thatched hut in a deep mou … I built a small thatched hut in a deep mountain valley. In summer lush shades cover the hut on four sides, and my eyes can see as far as the distant river. I sit alone all day and just listen to the songs of orioles. From my mouth came the following quatrain, 綠陰如畫罨庭除檻外江光漾碧虛何幸聖恩天海大謫來猶得返田廬 Picturesque green shades cover my courtyard.The sparkling river by the balustrade brims with jade green water.How fortunate to receive a royal favor as great as the sky and the seathat even in exile I am still given a hut for a retreat!I also wrote the following regulated verse, 瀟灑茅茨愜淨便葛巾烏幾坐蕭然銜來燕子晴泥凹浴罷鳧雛碧浪圓一壑已專成晚計余生猶喜保長年海山兜率倶虛語即此幽居是地仙 A relaxing thatched hut, I am contented it’s clean and convenient.Wearing a hemp headband, I sit idly behind a black desk.Swallows return holding in their beaksfine mud for their nest.After a bath, wild ducks gather around green jade ripples. In this ravine, I have completed planning my final years.For the remainder of life, I will still rejoice and preserve a long life.The Sea Mountains and the Heaven of Satisfaction are all but empty words.Living here in seclusion, I am an immortal on earth!e in seclusion, I am an immortal on earth!)
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.)
E014 + (I once read the Xiqing shihua 西淸詩話 (Remark … I once read the Xiqing shihua 西淸詩話 (Remarks on Poetry from the Hall of Western Clarity). In it is recorded a poem by Wang Anshi 王安石 (1021–1086), 黃昏風雨暝園林殘菊飄零滿地金 In the wind and rain at dusk, the garden grows dim. Faded chrysanthemums fall and cover the ground in gold. Upon reading this, Ouyang Xiu 歐陽修 (1007–1072) remarked, “All flowers fall but only chrysanthemums remain on the branches. How can you say they fall?” Wang became infuriated and responded, “It is because he doesn’t know about the phrase in the Chuci (Lyrics of Chu), ‘In the evening, I eat the fallen flowers of autumn chrysanthemums’ 夕餐秋菊之落英. Ouyang’s lack of learning is to blame.” I discussed this and said, “Poetry is inspired by what one sees. I have personally witnessed that some chrysanthemums do fall in strong winds and heavy rain. Wang’s poem states, “In the wind and rain at dusk, the garden grows dim.” Therefore, he could have refuted Ouyang’s words by simply stating that his poem was inspired by his own observations. If Wang felt the need to quote the Chuci, he could have explained to Ouyang that he hadn’t come across it. Blaming Ouyang’s lack of learning only reveals Wang’s narrow-mindedness. Even if Ouyang were not a man of broad learning, is the Chuci a secret scripture or a rare text? How could Ouyang have not read it? For this reason, I find it difficult to respect Wang.ason, I find it difficult to respect Wang.)
E015 + (I once read the poetry of Mei Yaochen’s 梅堯 … I once read the poetry of Mei Yaochen’s 梅堯臣 (1002–1060; sobriquet Shengyu [Sacred Edict]). Initially, I held a disdainful view of him and couldn't understand why the ancients considered him a master of old poetry. However, upon revisiting his works, I now realize that although his poetry may appear weak (nallyak) on the surface, its inner character is as hard as a bone (kolgyŏng). Truly, it possesses exceptional qualities even among genuine poetry. In fact, one can only claim to understand poetry after comprehending Mei's works. Nevertheless, I still do not understand why the ancients praised the line “By the pond, spring grasses sprout” 池塘春草生 from Xie Lingyun’s 謝靈運 (385–433) poem as a startling expression (kyŏngch’aek). Furthermore, while I consider the famous line in Xu Ning’s 徐凝 (jinshi 820) poem on the cascade, “A thin line breaks through the blue mountain” 一条界破靑山色, to be excellent (ka), Su Shi 蘇軾 (1037–1101; sobriquet Dongpo [Eastern Slope]) regarded it as a poor (ak) verse. These observations clearly indicate that people like me are far from the understanding of poetry that the ancients possessed. Tao Qian’s poetry is calm and tranquil (hwajŏng) like “the lute for the tune ‘Shrine of Purity’ 淸廟. Its strings were made of cinnabar silk, and the intervals between the holes were wide. When one lute began playing, three others joined in.” I strive to emulate his style (ch’e), but I am unable to come close. How laughable it is!unable to come close. How laughable it is!)
E509 + (I once saw a poem at a post station pavilion. 衆鳥同枝宿天明各自飛人生亦如此何必淚沾衣 The birds spend the night on the same branch.When the day breaks, each flies its own way.Life, too, is like this.Why must we drench our robe with tears?I still do not know who wrote it.)
E508 + (I once saw in the palace a poem written on … I once saw in the palace a poem written on a plinth. 鄉信不如春有信客情那似石無情傷衰謾自思強壯經亂空勞說太平 News from hometown isn’t as good as news of spring.How could a traveler’s heart be like a heartless rock? Wounded and weak, yet I deceive myself into thinking I am strong.After the war, in vain I speak of Great Peace. I inquired about the poem and learned that it was written by a military official. It is regrettable that I could not know his name.egrettable that I could not know his name.)
E088 + (I once traveled to Sangwŏn prefecture in P … I once traveled to Sangwŏn prefecture in P’yŏngan province. On the screen in my bedroom was written a poem titled “The Painting of Three Laughing” 題三笑圖, which read, 遠公細而黠破戒非不知暫寄虎溪興欺謾措大癡 Monk Huiyuan was careful and shrewd.He certainly knew he had broken the precept.Briefly carried away in elation at the Tiger Stream,he has deceived poor and virtuous scholars. I was surprised and delighted by the poem. The prefect said, “What did you find so surprising?” I replied, “After traveling in P’yŏngan province for two hundred days, I finally came across a poem for the first time. How could I not be surprised? When a scholar finds a good poem, it is worth more than a hundred pieces of gold. Why shouldn’t I leap for joy?” Then, reversing the meaning of the poem, I responded to it using its rhymes. 小年昧大年小知迷大知題詩亦措大安知陶陸癡 A short life is ignorant of a long life.Small wisdom is baffled by great wisdom. The poet must be just a poor scholar.How could he have known the foolishness of Tao and Lu? The prefect then said, “This poet must be our friend.” Returning to the capital, I inquired around and then found out that it was written by Yi Chongjun 李宗準 (d. 1498; styled Chunggyun). Chongjun 李宗準 (d. 1498; styled Chunggyun).)
E024 + (I received a royal order that appoints me … I received a royal order that appoints me to supervise logging at Pyŏn Mountain. Due to my work, people referred to me as the “wood chopping official.” While on the road, therefore, I composed this humorous verse: 權在擁車榮可詑官呼斫木辱堪知 Riding in a guarded carriage might be an honor. But what a disgrace it is to bear the the title of “Woodcutter”! This was because my duties resembled those of porters and woodcutters. Arriving at Pyŏn Mountain, I beheld layers of mountain peaks, rising and falling, folding and unfolding, stretching out along the sea. In the sea, there was a cluster of islets, with Wi Island located only a short distance away. The seafolk claimed that with a fair wind, sailing to China wouldn’t take long. Once I visited Chusap’o. A bright moon appeared over the mountain ridge and illuminated the sandy bank. Feeling at ease, I loosened the reins and rode slowly. I gazed upon the blue sea and immersed myself in deep contemplation for quite a while, leaving the horseboy bewildered. It was then that I composed the following poem, 一春三過此江頭王事何曾怨未休萬里壯濤奔白馬千年老木臥蒼虯海風吹落蠻村笛沙月來迎浦谷舟擁去騶童應怪我每逢佳景立遲留 Three times this spring I passed this river.Yet, why does the royal mission show no sign of ending? Majestic waves, spanning thousands of li, crash like charging white horses. An ancient tree, standing for a thousand years, resembles a slumbering green dragon. The sea breeze carries the tuneof a pipe from a deserted village. The moon shines upon the sandy shore, welcoming boats to P’ogok. The boy leading my horse must find it strangethat whenever encountering beautiful scenery, I pause and linger. I had not intended to write a poem, but it effortlessly wrote itself. a poem, but it effortlessly wrote itself.)
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!)
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.)
E121 + (If a writer’s words are superb, they will … If a writer’s words are superb, they will be transmitted throughout the ages. Even after a thousand years, people will continue to admire his renown. However, there are also words of flattery that curry favor and plead pathetically, as well as words that are unfairly partial to wrongs. Such biased words have the potential to make one completely abandon all that they once admired. Shouldn't we be cautious and guard ourselves against them? I used to love Kim Ku’s (1211–1278) poem on a hanging scroll, which says, 風護花奴頭上槿露濃王母手中桃 A breeze shields the Rose of Sharon in the hair of Huanu. Dews drench the peach in the hand of the Queen Mother of the West.How colorful and beautiful (yŏmnyŏ)! Then look at his poem “Presented to Prince of Chinyang” 上晉陽公, 兩世波瀾定海東泰山功後泰山功茆分萬戶猶毫末河潤三韓亦掌中 For two generations, you kept the waves calm in the Eastern Kingdom,accumulating Mount Tai’s merit after Mount Tai’s merit.A fief of ten thousand households is at your brush tip.The blessings for the Three Han are also in the palm of your hand. He indulged in excessive praise in this poem. Yet, after offending the Prince of Chinyang, he pleaded for forgiveness, saying, 玉上無端點作痕已將名利負乾坤 On the precious jade, without anyone knowing,a dot of blemish appeared.My pursuit of fame and gain, went against Heaven and Earth. 可憐百歲升沉事决在明朝一片言 Oh, have pity on me! The rise and fall of my remaining hundred yearsdepends solely on your single word spoken tomorrow morning. These are all words that did not refrain from flattery and pathetic pleading.frain from flattery and pathetic pleading.)
E028 + (If someone points out what is wrong with y … If someone points out what is wrong with your poems, there is reason to be pleased about it. If their suggestions are good, follow them; if not, follow your own intentions. Why be repulsed by others’ suggestions, like a sovereign who dismisses admonishments, and remain unaware of one’s own shortcomings? Once a poem is completed, review it repeatedly. Evaluate it not as your own creation but as if it were written by someone else, someone you deeply despise throughout your life. Only when you cannot identify any flaws (cha) should you consider publishing it.s (cha) should you consider publishing it.)
E410 + (Im Che (styled Chasun) possessed a bold sp … Im Che (styled Chasun) possessed a bold spirit (hogi) and could write poetry. Once he wrote “The P’ae River Song” 浿江曲 in ten poems and one of them reads, 浿江兒女踏春陽何處春陽不斷腸無限煙絲若可織為君裁作舞衣裳 At the P’ae River, young girls stroll, basking in the spring sun. Wherever it is in the spring sun, how can I not be heartbroken?Endless threads of mist,if I can weave them together,for you I will make dance robes.The language is really colorful and beautiful (yŏmnyŏ). He probably studied Du Mu (sobriquet Fanchuan [Fan Lake])’s poems.u (sobriquet Fanchuan [Fan Lake])’s poems.)
E537 + (Im Che entered Songni Mountain in Ch’ungch … Im Che entered Songni Mountain in Ch’ungch’ŏng province and there after reading the Zhongyong (Doctrine of the Mean) eight hundred times, he wrote, 道不遠人人遠道山非離俗俗離山 The Way is not far from humans. Humans are far from the Way.Mountains have not left the mundane world. The mundane world has left the mountains. by using the words from the Zhongyong. No Susin read the Lunyu 論語 (Analects of Confucius) all his life, therefore, in many of his poems he used complete sentences from the Lunyu. It is said that he once stated, “My poetry and prose find their greatest strength in the Lunyu.”ind their greatest strength in the Lunyu.”)
E665 + (Im Che had a poetic fame. My two brothers … Im Che had a poetic fame. My two brothers often commended that his poem “Northern Snow Covers Yonghwang Path” 朔雪龍荒道 was as good as a High Tang poem. Speaking of that, once when I visited a temple, I saw a poem on a monk’s scroll, which said, 竊食東華舊學官盆山雖好可盤桓十年夢繞毗盧頂一枕松風夜夜寒 Getting my food from the Gate of Eastern Flower, I am a former academician. Though the basin-range is wonderful, how could I possibly roam in it?For ten years in dreams, I have gone around the Piro Peak. The pine breeze on my pillow is chilly night after night.The poem was exceptionally free and easy (t’alswe). There was however no name, so I don’t know whose work it is. The world surely has undiscovered talents, yet people do not know them yet. When my second brother was in the north on an official mission, he ascended Apho Pavilion and wrote a poem, which said, 白屋經年病靑苗一夜霜 Thatched huts have withered through the years.Green sprouts are frosted over a night. Im Che greatly praised it and presented a poem to my brother, calling him, “The official who wrote ten characters on thatched huts and green sprouts” 白屋靑苗十字史. My second brother also praised the following poem by Im, 胡虜曾窺二十州將軍躍馬取封侯如今絶塞無征戰壯士閑眠古驛樓 When foreigners once pried about the twenty provinces,the general on a galloping steed was appointed marquis. Today, the outermost frontiers see no battles.Strongmen sleep idly at the old station tower. and believed it was elegant (p’yŏnp’yŏn) and full of chivalrous vigor (hyŏpki).ŏn) and full of chivalrous vigor (hyŏpki).)
E492 + (Im Che’s poem “Visiting a Friend” 訪友 reads … Im Che’s poem “Visiting a Friend” 訪友 reads, 樵童野老行行問流水柴門處處疑 To the woodcutter boys and old farmers, I asked for direction.Every stream and bramble gate, I wondered it was yours. His poem “Fragrant Chamber” 香奩 reads, 十五越溪女羞人無語別歸來掩洞房泣向梨花月 A fifteen-year-old beauty of Yue Stream,feeling abashed, said no words at parting.Coming back, she hid in her nuptial chamber,and wept toward the moon above the pear blossoms. His poem “At a Mountain Monastery” 山寺reads, 夜半林僧宿重雲濕草衣岩扉開晚日棲鳥始驚飛 At midnight, in a monastery in the woods,thick clouds drench my rain cape.When the stone gate opens at dusk,perching birds flew away in fright. He also wrote a striking verse (kyŏnggu), 木落風無語江流月有聲 When leaves are falling, winds speak no words.When rivers are flowing, the moon makes sounds.rivers are flowing, the moon makes sounds.)
E293 + (Im Ch’un’s poem: 寄語靑雲賢學士仁心不用是蒲鞭 These are … Im Ch’un’s poem: 寄語靑雲賢學士仁心不用是蒲鞭 These are my words to the worthy scholarsat Blue Cloud.Have a kind heart and don’t pull out the rush whip. This poem was sent to the Prefect (t’aesu) of Sŏngsan.Original annotation: “Blue Cloud” here refers to the building in front of the kisaeng house, and not to “serving at the court”. house, and not to “serving at the court”.)
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.)
E352 + (Im Hyŏngsu (sobriquet Kŭmho [Brocade Lake] … Im Hyŏngsu (sobriquet Kŭmho [Brocade Lake]) looked down on his fellows and did not spare despising words even to the elders. He only respected Yi Hwang and did not dare to be disrespectful. He once wrote the following poem “Sin Cham’s Painting of Bamboo” 申靈川畫竹. 靈川筆下碧琅開湘口高標雪月寒揀得詩人誰得似淸臒宜並退溪看 Under Sin Cham’s brush, jade trees are revealed.At the Xing riverbank, bamboos tower to the lofty snow-white moon.Who among the poets could capture such likeness?Elegant and slim, together you are fit to be viewed with the T’oe Stream. Later, when he was exiled to Cheju Island, matching the rhyme of a poem sent by Yi Hwang, he wrote, 高義吾君我不如書來情款溢言餘本知卞玉能成刖未必羊腸可覆車浮海宦情今已薄買山歸計未應疏江梅落盡誰相問萬里空傳尺素書 You are lofty and righteousnessunlike me.Your letter delivered your sincere feelings, brimming over your words. I knew that Bian He’s jade can lead to getting the feet cut off,but not necessarily for narrow and twisting roads that could overturn the carriage!Drifting on the sea, my desire to be an official has run cold.My plan to buy a hill and retreat I have not yet abandoned.Now that plum blossoms along the river are gone, to whom shall I ask?Ten-thousand-foot sky delivers my letter to you.ousand-foot sky delivers my letter to you.)
E638 + (Im Hyŏngsu was refined (p’ungnyu) and unre … Im Hyŏngsu was refined (p’ungnyu) and unrestrained (hoil) and his poetry also was elegant (p’yŏnp’yŏn). His phrase, 花低玉女酣觴面山斷蒼虯飮海腰 A drooping flower, the flushed face of a fair lady.A broken mountain, the waist of a sea-swallowing blue dragon. is relished (hoeja) to this day. Yi Hwang revelled in him and always longed for him in late years saying, “When will I get to see Im face to face?” “When will I get to see Im face to face?”)
E677 + (Im Ki 林芑 (16th century; sobriquet Suhoja [ … Im Ki 林芑 (16th century; sobriquet Suhoja [Master Long Beard]) was well versed in books of all kinds and had outstanding wisdom. Books on varied schools of thoughts, strange stories, and ancient writings, there is none that he did not read and could not recite. Once when he was in the capital, literati and erudites gathered at his house. Each asked him difficult questions about what they had heard and seen. Im looked to the left and right and answered them all without hesitation and without end, like a gushing waterfall and rolling mercury. Chŏng Saryong always called him “Walking Imperial Book Collection.” At times, Chŏng composed convoluted poems at banquets. His references (yongsa) often were incomprehensible. They were contrived but people did not know. Once while attending upon Chŏng in a private setting, Im asked, “Minister, your poems are full of contrived words that deceive people. Do you think the posterity will not find out?” Chŏng replied and said, “How many people in the world have cultivated eyes like you? The poems written in jest will not be recorded in my personal manuscript. How will they be seen by posterity?” Then they shared a laugh. When Chŏng became ill, he entrusted to Im, “Please annotate my poems,” and Im agreed. Over ten years later, Chŏng’s poetry manuscript was circulated in the world but without annotations. When my father inquired Im, he replied, “I have already acquired Chŏng’s poetry manuscript and annotated one volume. But there were many repeated references (yongsa) and words. After reading through it, I saw more and more repetitions, so I decided to stop.” Although Im was very knowledgeable, he did not care to be occupied with poetry and also did not wish to write poetry. In the imsin year (1572), to welcome the imperial envoy, Im went to Yongman as a Diarist (ilgigwan) accompanying Chŏng Yugil. In a poem Academician (haksa) Kwŏn Pyŏk composed in response to the envoy’s poem, he wrote, 仲宣樓上開襟北子美詩中首路西 On the tower, Wang Can opened his collar to the north.In a poem, Du Fu set out on the road to the west. Im remarked, “How about you change ‘on the tower’ to ‘in a rhapsody (pu ri 賦裏)’?” Chŏng Yugil looked at my father and said, “I can smite that ‘in a rhapsody’ and all those present roared with laughter. In our Korean expression “beak (puri)” and “in a rhapsody (pu ri)” have the same sound. The third and fourth lines of “Seeing off Ceng Hongshou to Mt. Tiantai 送曾宏守天台” by Ceng Ji 曾幾 (1084–1166; sobriquet Chashan [Tea Mountain]) said, 興公賦裡雲霞赤子美詩中島嶼靑 In Sun Chuo’s rhapsody, glowing clouds are red.In Du fu’s poem, small islands are green. Without any basis, how would Im have spoken those words?sis, how would Im have spoken those words?)
E787 + (Im Tosam 任道三 (b. 1647; styled Ilchi) was w … Im Tosam 任道三 (b. 1647; styled Ilchi) was well-versed and talented in poetry. When Kim Sŏkchu went to Beijing on a diplomatic mission, ascending T’onggun Pavilion, he wrote a poem to the rhymes of his late grandfather Kim Yuk’s 金焴 (1580–1658; sobriquet Chamgok [Silkworm Valley]) poem. He then asked all the guests to compose matching poems. Several dozen people were gathered there at the time, but none dared to match his poem. Im, a County Administrator (togu) of Ŏch’ŏn, composed a matching poem on the spot. 路入燕雲遠高歌且倒瓶三河無壯士千載有遺亭浿水邊頭黑胡山劍外淸鶉墟久未復天醉幾時醒 The road to Beijing is far beyond the clouds.So let’s sing out loud and empty the wine jar.At Three Rivers, there are no strongmen.A thousand years, only a pavilion remains.Along the P’ae River, the borders appear dim.Beyond Manchu mountains, western frontier is clear.The Stars of Qin have not come back for long.O, drunken Heaven! When will you sober up! Kim greatly praised the poem and said, “I did not know that a poet would be stuck in a minor office like this!” Returning to the capital, Kim did not stop praising him and Im’s literary fame therefore began to grow. Another poem by Im, “Koran Monastery” 皋蘭寺 reads, 逍遙百濟舊山河舉目其如慷慨何霸業長空孤鳥沒繁華廢寺一僧過層岩花落春無跡古渡龍亡水自波最是隔江明月夜不堪風送後庭歌 I wander freely in Paekche’sancient mountains and rivers.Lifting the eyes to catch their sight,Ah! How great is my sorrow!Feats of hegemons. In a long stretch of sky a lone bird descends.Bustling civilizations. At a derelict temple,a monk passes by.Over the tall rocks, flowers fall.Spring leaves no trace.At the ancient ferry, the dragon has perished.The water swells alone.But beyond the river, especiallyon this bright moonlit night,how can I bear the wind sending methe Song of the Rear Court! His style and rhyming (choun) are clear and graceful (ch’ŏngwan), which are also not easy to attain.ngwan), which are also not easy to attain.)
E760 + (Im Yuhu 任有後 (1601–1673; sobriquet Mansu [T … Im Yuhu 任有後 (1601–1673; sobriquet Mansu [Ten Thousand Rests]) was an uncle in my clan. When I was young, I enjoyed learning from him Tang poetry and a few chapters from Sima Qian’s Shiji (Records of the Grand Historian). I regret I did not finish studying them with him. His poem “Visiting Sŭngga Monastery” 游僧伽寺 reads, 石桟崎嶇信馬蹄忽逢蘭若暫時稽天邊遠水平如練霧後遙岑列似笄倦客無心觀柏樹居僧持法說泥犁回看城市紛紛者何限趨營病夏畦 A stony trail, rugged and rough,I travel trusting my horse’s hooves.Suddenly seeing a monastery, I pay a brief visit.At the sky’s limit are distant waters,stretched out like a piece of brocade.When the mist clears, far-away peaksspread out like lady’s hairpins.The weary visitor without desireobserves the cypress trees.A resident monk, upholding the dharma,preaches about purgatory.Looking back at the city, I see all busy bodies.Miserable! Tirelessly they work for profit,and fall ill in the hot summer field. Leaving Sŭngga Monastery, he arrived at Chunghŭng Monastery. There he wrote the following pome in response. 蕭寺來尋伽與興陟降雙屐共雲騰夕陽橫點兩三雁秋葉歸筇四五僧千丈古杉庭畔老一溪流水檻前澄君詩突兀驚人眼若比禪家是上乘 Monasteries I came searching,Sŭngga and Chunghŭng.Ascending and descending in a pair of shoes,I drifted together with the clouds.The setting sun, a yellow dot,two or three geese.Autumn leaves, returning with bamboo staffs,four or five monks.A thousand feet tall ancient firgrows old to the side of the courtyard.A stream of flowing wateris clear by the balustrade.Your poem is looming,startling the eyes.In the expression of Buddhism,it is the Highest Vehicle. Both poems are elegant and robust (agŏn) in poetic forms (kyŏngnyul). They are all masterful (taega) expressions (ŏ) and are widely recited (chŏnsong).ons (ŏ) and are widely recited (chŏnsong).)