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E151 + (Yi Saek wrote: “Once I invited Minister Ha … Yi Saek wrote: “Once I invited Minister Han Ak 韓渥 (1274–1342) of the Sangdang clan, and together we climbed Inwang Mountain to admire the flowers. While there, the Prince of Yean, U T’ak 禹倬 (1265–1342), invited us to his residence and served us wine. He presented a draft couplet that said, 花開將爛漫我老豈蕭條 Flowers are blooming, ready to burst into sparkling colors.I am growing old, but why feel despondent?We wished him a happy birthday and chatted and laughed, unable to complete the poem. Just then, my boy servant at home walked in and reported that Chŏng Mongju, Yi Sawi 李士渭 (b. 1342), Kim Kuyong 金九容 (1338–1384), Yi Sungin, Ch’oe P’yo 崔彪 (late 14th century), Ch’oe Sunggyŏm, Yŏm Chŏngsu 廉廷秀 (d. 1388), and others had brought wine as they were passing the alley. So, I bid farewell and rushed back home, promising him that the poem would be ready by the next day.”From this account, we can vividly (wanyŏn) picture what our forefathers’ gatherings of poetry and wine were like. The couplet was based on Chen Yuyi’s 陳與義 (sobriquet Jianzhai [Bamboo Slip Studio]; 1090–1139) poem, 拒霜花已吐吾宇不凄涼 Now that hibiscus flowers have come into bloom,my house is not so forlorn.ome into bloom,my house is not so forlorn.)
E123 + (Yi Saek’s poem “Waiting for Someone Who Do … Yi Saek’s poem “Waiting for Someone Who Does Not Come” 待人不至 reads, 新年無日不思家豈有功夫管物華寂寂小村來往斷西山依舊夕陽斜 As the New Year approaches, not a day goes bywithout me missing home. How can I focus on studying when I’m tending to the scenery?In this small and quiet village, visitors have stopped coming. Over the West Mountain, just like always, the evening sun goes down. The poem beautifully captures his leisurely mood. He also wrote, 堂北堂前多老樹最高樹上有鳴鳩 To the north and south of the hallare many old trees.On top of the tallest tree is a cooing pigeon. Furthermore, 小婦掃落葉盛之以破箕頂戴入廚去主婦催暮炊 The little daughter-in-law sweeps the fallen leaves,filling them in a frayed winnowing basket.She carries it on her head to the kitchen.The first daughter-in-law hastens her to cook supper. And also, 坐韉白沙地挂巾靑松枝 I sit on the saddlecloth on the white sand beachand hang my head cloth on the green pine branch. The language used in these poems can be described as simple and easy (yongi), as if I am seeing a picture (yŏhwa).ngi), as if I am seeing a picture (yŏhwa).)
E412 + (Yi Saek’s poem, 一點君山夕照紅闊吞吳楚勢無窮長風吹上黃昏月銀燭紗籠暗 … Yi Saek’s poem, 一點君山夕照紅闊吞吳楚勢無窮長風吹上黃昏月銀燭紗籠暗淡中 Mt. River Goddess, a tiny speck,glows red under the setting sun,swallowing up the land of Wu and Chuwith boundless strength.Steady winds blow upto the moon at dusk.Inside a gauzed cage, silvery candlelightsgrow dim. has aura (kisang) that reaches broad and far (hwarwŏn), surpassing all others. and far (hwarwŏn), surpassing all others.)
E118 + (Yi Saek’s poems were quiet and carefree (h … Yi Saek’s poems were quiet and carefree (hanjŏk). For example, his poem “Morning Elation” 晨興reads, 湯沸風爐雀噪簷老妻盥櫛試梅鹽日高三丈紬衾暖一片乾坤屬黑甜 The water boils on the brazier. The sparrows chirp on the eaves.My old wife, having washed up and combed, prepares a meal. The sun is already three feet up, but I stay warm under the thin silk blanket.A piece of Heaven and Earthbelongs to my sweet dream. The poem, “Spring Overcast” 春陰, reads, 春陰漠漠午風輕綠暗紅殘小院明微雨乍來看不見忽聞黃鳥兩三聲 Spring clouds are faint. A midday breeze is gentle.In the shade of green, red blossoms wither,lighting up the small courtyard.A drizzle came unexpectedly, and I did not see.Suddenly, I hear an oriole’swhistles, two or three. The poem, “Impromptu” 卽事, reads, 風定餘花猶自落雲移少雨未全晴墻頭粉蝶別枝去屋角錦鳩深樹鳴 The wind has stopped, but remaining flowers still continue to fall.The clouds have moved, but little raindrops have not yet cleared.A white butterfly on the wall flutters to tree branches. A pigeon at the tip of the roof calls to the deep forest. His poem, “A Quatrain” 絕句, reads, 松舟向晚繫苔矼落日微風滿一江詩興浩然收不得更呼明月倚蓬窓 Toward evening, a pine boat is moored at a mossy stone bridge.The setting sun and a gentle breeze spread over the whole river.Filled with poetic elation, so intense and unstoppable,I call again to the bright moon, leaning on the grass window. Another poem, “Humming Cicadas” 蟬聲, reads, 細泉流月葉號風欲斷還連乍異同曾記客程搔首立滿山紅樹夕陽中 In the small spring, the moon flows. The leaves howl in the wind.About to stop, then they continue,or the other way around. I remember once on a journey how I rose to my feet, scratching my head,at the sight of a mountain of red trees under the blazing sunset. These poems demonstrate refined (chŏnggyo) descriptions of objects (changmul) and boundless meanings (ŭisa). His poem, “Picking Chestnuts” 拾栗, reads, 坐想山村栗政肥金丸欲落映離離乞身何日飄然去拾得滿籠深夜歸 Sitting down, I imagine how in the mountain villagechestnuts must now be plump.The golden balls ready to fallare shining with glimmer.When will this poor body drift over there,gather a basket full and return home late at night? One can see his desire to return home in this poem.ee his desire to return home in this poem.)
E848 + (Yi Sohan 李昭漢 (1598–1645; sobriquet Hyŏnju … Yi Sohan 李昭漢 (1598–1645; sobriquet Hyŏnju [Deep Islet]) and other scholars wrote poems about the night scenery in the palace. A line in Yi’s poem reads, 觚棱隱隱參差見更鼓依依次第傳 The palace rooftops here and there are faintly visible. The pounding hour drums one after another echo in a haze. Ch’ae Yuhu always praised it. When visiting the P’ungak Mountains, Yi presented the following quatrain to a monk, 爾在此山中餉看霜後楓吾行及秋晚何似去年紅 In this mountain, you see to the full the maples after frost.I have come in late autumn.How do they compare to last year’s red? It is also excellent (ka).t year’s red? It is also excellent (ka).)
E719 + (Yi Sugwang and his son Yi Min’gu 李敏求 (1589 … Yi Sugwang and his son Yi Min’gu 李敏求 (1589–1670; sobriquet Tongju [East Islet]) were both literary masters. It has been said that Sugwang was good at poetry and Min’gu at rhapsody. Yi Min’gu stated, “My late father esteemed Wang Wei’s poetry, and I esteem Du Fu’s poetry.” While he probably meant to say that he surpassed his father, critics have remarked “As for their level of poetic accomplishments, the son surely falls short of the father.” Yi Min’gu’s 帆檣影動潮生後島嶼形分水落初 The shadows of sail and mast move when the tides rise.The islands appear divided when the waters begin to recede. has been widely recited (chŏnsong). Yet the parallelization of the ebb and flow of tidal waters in the line is not without flaw (chabyŏng). It is not as good as his father’s, 風捲潮聲喧島嶼日斜帆影上樓臺 As the winds swell, the sounds of breakers holler in the islands.As the sun sets, the shadows of sails rise to the high tower. which is firm (onja) and immaculate (muha).hich is firm (onja) and immaculate (muha).)
E438 + (Yi Sungin was the least advanced among all … Yi Sungin was the least advanced among all late Koryŏ scholars, and his literary reputation was not remarkable. One day, noticing an old painting on a wall, he wrote the following quatrain, 山北山南細路分桃花含雨落紛紛道人汲水歸茅舍一帶靑煙染白雲 Mountains to north and south, a narrow path divides.Peach blossoms drenched in rain fall one after another.A Daoist hermit draws water and returns to his thatched hut.A strip of blue smoke dyes the white clouds. When Yi Saek saw this, he thought it verged on a Tang poem (p’iptang), and since then Yi Sungin grew in fame.g), and since then Yi Sungin grew in fame.)
E481 + (Yi Sunin’s farewell poem reads, 一尊今夕會何處最相思 … Yi Sunin’s farewell poem reads, 一尊今夕會何處最相思古驛逢明月江南有子規 A wine toast! Tonight we meet.Where will I think of you the most?At the old post station when I see the bright moon,I will know there is a cuckoo in the river south. Ha Ŭngnim’s poem reads, 草草西郊別臨分一把杯靑山人不見斜日獨歸來 Hastily we part in the western suburb.Before we separate, we share a toast.From the green mountain where there is no one, in the setting sun, I return alone. The two poems are both excellent (ka), but Yi’s comes closer to Tang poetry (kŭndang).i’s comes closer to Tang poetry (kŭndang).)
E738 + (Yi Sŏu 李瑞雨 (1633–1709; styled Yunbo) and Y … Yi Sŏu 李瑞雨 (1633–1709; styled Yunbo) and Yi Ok 李沃 (1641–1698; styled Munyak) were both skilled in prose and poetry, and each had his own strength. When Yi Ok was young, he studied under Yi Min’gu, who commented concerning Ok, “His talent is out of the ordinary (pulbŏm), but having passed the examination too early, he could not dedicate himself to writing. This is unfortunate.” In his late years, Ok enjoyed writing poems and often did not use ancient expressions. His poems were uneven in quality and were not as good as his prosaic works. Seventh Counselor (paksa) Hong To 洪睹 (17th century) was also Yi Min’gu’s student. He was intelligent and exceptional, and could remember whatever he read once. Whether it was the word’s meaning or rhyme, there was none that he was not proficient in. As for prose, he could wield the brush and complete a work almost without delay. But when it came to poetry, he could not write even a single line. Min’gu laughed and said, “You are strong in prose and weak in poetry. This is why the ancients said ‘Poetry is a different kind of talent.’ Isn’t that true?”fferent kind of talent.’ Isn’t that true?”)
E303 + (Yi Tal 李達 (1549–1612), the son of a concub … Yi Tal 李達 (1549–1612), the son of a concubine, had a great reputation for his poetry. His poem on the poetry manuscript of a monk at Sillŭk Monastery reads, 宿鷺下秋沙晚蟬鳴古樹舟歸白蘋風夢落西潭雨 Big herons descend on an autumn beach.Late cicadas chirp from ancient trees.A boat returns on the winds over white duckweeds.A dream falls together with rains on the west pond. Yi Ch’ungjak 李忠綽 (1521–1577; sobriquet Choram [Clumsy Studio]), also famous for his poems, responded to Yi Tal’s rhyme, 日暮人招提棲禽驚路樹山人知我乎舊宿前江雨 At sunset, as I enter the temple,the perching birds are startled on the roadside trees.Will the mountain recluse know me?Yesterday I spent the night in the rain on the river in front.Contemporaries compared the two poems but could not come to a decision. When I told this to Yi Ch’ungjak, he said, “Although Yi Tal’s poem appears to be morally lofty (ch’ŏnggo), it floats in void (hŏ) and does not land. How could it be adequate?” Thus, Yi Ch’ungjak regarded himself to be better than Yi Tal.regarded himself to be better than Yi Tal.)
E547 + (Yi Tal, native to Hongju, Ch’ungch’ŏng pro … Yi Tal, native to Hongju, Ch’ungch’ŏng province, was born of Third Secretary in Royal House Administration (pujŏng) Yi Suham 李秀咸 (16th century) and his cherished government kisaeng. His poems were relished (hoeja). His poem on peasant family reads, 田家少婦無夜食雨中刈麥林中歸生薪帶濕煙不起入門兒女啼牽衣 The young wife of a farmer has no food for dinner.In the rain, she gathers some barley and returns through the woods.The fresh firewood is too damp for the smoke to rise.When she enters the gate, crying children pull her clothes. His poem on the Cold Food Festival reads, 白犬前行黃犬隨野田草際塚累累老翁祭罷田間道日暮醉歸扶小兒 A white dog leads. A yellow dog follows.By the overgrown fields are heaps of graves.An old man finishes offering sacrifice on the path between the fields.At dusk, drunk, he returns supported by a child. Coming close to Tang poems (p’iptang), they are delightful (kahŭi).s (p’iptang), they are delightful (kahŭi).)
E585 + (Yu Hŭigyŏng 劉希慶 (1545–1636) was a lowly sl … Yu Hŭigyŏng 劉希慶 (1545–1636) was a lowly slave. By nature he was quiet and refined, and from young age studied poetry and ritual propriety. After the Imjin war, when livelihood was difficult, he became a clerk (sŏwŏn) at a guarding post (wijangso). When the queen’s guards stopped over at Suan county, Hwanghae province, just then the snow cleared, and the scenery appeared even more exquisite. Then the officials on guard had Yu compose a poem, and his poem read, 扈衛遼陽古郡城風飄瓊屑灑林垌村童莫厭埋樵逕天為行宮作玉京 Royal escorts arrive in Yoyang at the old city gate.Snowy jade flakes wafting in the breeze sprinkle the forests and fields. Village children! Please don’t mind the woodcutter’s trail is covered.For Heaven has turned our temporary palaceinto a jade capital.Again, once when he visited Yongmun Mountain in Kyŏnggi province, the scholars traveling with him on horseback had Yu compose a poem. His poem read, 山含雨氣水含煙靑草湖邊白鳥眠路人海棠花下轉滿地香雪落揮鞭 The mountains wear rain clouds, the waters wear mists. On the lush grasses by the lake, white birds are asleep.Under the sweet brier blossoms, travelers turn and on the ground covered with fragrant snow lower their horsewhips. Yu was good at making funerary robes, therefore regardless of whether one knew him or not, whenever there was a funeral, people often ordered him make the robes. Because of his humble background, Yu could not refuse them. At age seventy, he worked as a hired hand for bereaved families. He went about hungry and in lament, and those who knew him had pity on him.t, and those who knew him had pity on him.)
E089 + (Yu Suk’s柳淑 (sobriquet Saam [Thoughtful Hut … Yu Suk’s柳淑 (sobriquet Saam [Thoughtful Hut]; 1324–1368) poem “Pyŏngnan Ferry” 碧瀾渡 reads, 久負江湖約紅塵二十年白鷗如欲笑故故近樓前 Long ago I pledged for rivers and lakes,but spent twenty years in the dusty realm. White gulls seem to be laughing at me.Ko ko, they squawk near the tower. Ultimately, Yu was unable to escape the misfortunes of the mortal world. In the end, before his loyalty, uprightness, and integrity could be recognized, he was falsely accused by the traitor Sin Ton and secretly assassinated. Ah, what misery! When I was thirty-six, while passing Pyŏngnan Ferry, I wrote the following poem using his rhymes, 未議靑雲路江湖四十年思菴終賊手余在白鷗前 Not having chosen the path of the azure cloud,I have lived in rivers and lakes for forty years. You died at the hands of a traitor,I now stand before white gulls.The poem reverses Yi’s original poem.ulls.The poem reverses Yi’s original poem.)
E753 + (Yu Yŏnggil (sobriquet Wŏlbong [Moonlit Fai … Yu Yŏnggil (sobriquet Wŏlbong [Moonlit Fairyland])’s poem on “A Rice Pounding Woman” 咏春杵女 reads, 玉杵高低弱質輕羅衫時舉雪膚呈蟾宮慣搗長生藥謫下人間手法成 The jade hammer is raised high and low.Your delicate body moves gently.At times, your gauze jacket is lifted,revealing the snowy skin underneath.At the Moon Palace, you repeatedly pounded the elixir of immortality.Banished down to the human world,you mastered your skills. It has been praised as an excellent (ka) poem and was even included in the Ki a (Elegant Poems from the Land of Kija). But the three words “you mastered your skills” have no meaning, and I do not understand why the poem was chosen.do not understand why the poem was chosen.)
E309 + (Yu Ŭngbu 兪應孚 (d. 1456) composed the follow … Yu Ŭngbu 兪應孚 (d. 1456) composed the following poem, 將軍仁義鎭夷蠻塞外塵淸士卒眠晝永空庭何所玩良鷹三百坐樓前 The general’s benevolent justice has held back the Yi and the Man.With the dust outside the frontiers cleared, the soldiers can now sleep.On a long day in an empty courtyard,with what will I amuse myself? Three hundred fine hawks are perched on the tower before me. Commenting on the last line, Nam Hyoon said, “It amply demonstrates his personal aura (kisang).” Since this poem is rarely seen, I record it here.his poem is rarely seen, I record it here.)
E079 + (Yun Chaun 尹子雲 (1416–1478) of Musong was th … Yun Chaun 尹子雲 (1416–1478) of Musong was the brother-in-law of Sin Sukchu of Koryŏng. Both of them served as ministers during the same period. During a gathering of their co-graduates, Sin composed the following line, 靑眼故人俱白髮 My dark-eyed friends have all become white-haired. Yun then composed a matching line, 黑頭賢相只丹心 This dark-haired wise minister has only a vermilion heart. Astonished, Sin got on his knees and said, “I cannot compete with brother’s sharp wit.” Sin was in love with a kisaeng from Kobu so that Yun used the expression “only has a vermilion heart.”e expression “only has a vermilion heart.”)
E557 + (Yun Kyŏl composed the following five-chara … Yun Kyŏl composed the following five-character quatrain, 路入石門洞吟詩孤夜行月午澗沙白山靑啼一鶯 On the road, I enter the Stone Gate Grotto.Writing the poems, I travel alone at night.Midnight moon shines brightly on valleys and shores. In the green mountain, an oriole sings. Yun told the poem to Ch’a Sik and asked, “How is this poem?” Ch’a recited it a few times and said, “This is not what a human can compose. It must be a poem by a ghost.” Yun replied, “Sure enough, I composed it in a dream last night. A spirit must have helped me (sinjo).”ht. A spirit must have helped me (sinjo).”)
E377 + (Yun Kyŏl visited my late father and talked … Yun Kyŏl visited my late father and talked with him for some time. He recited a five-character poem and asked “What do you think about this poem?” My father replied, “This is a ghost’s poem.” In a great shock, Yun replied, “Last night in my dream I visited a deep grotto. A white sandy beach stretched out over ten li. The moon was shining brightly like day, and I heard the chirpings of an oriole. I asked for the name of the grotto and was told it was Stone Gate. Then I composed the following poem,” 偶入石門洞吟詩苦夜行月午澗沙白空山啼一鶯 By chance I entered the Stone Gate Grotto.Writing the poems, I travel at night in misery.Midnight moon shines brightly on valleys and shores. In an empty mountain, an oriole calls.es. In an empty mountain, an oriole calls.)
E711 + (Yŏngp’yŏng county’s Uduyŏn (Ox Head Pool) … Yŏngp’yŏng county’s Uduyŏn (Ox Head Pool) is the best scenic site in Kyŏnggi province. In the past, a man named Kim Yunbok lived there. Kim was a good zither player and gave himself a sobriquet, Old Zither Player. There Yang Saŏn engraved his poem on a rock, 綠綺琴伯牙心鐘子是知音一鼓復一吟泠泠虛籟起遙岑江月娟娟江水深 The Green Marquisette Zither.Boya’s heart.Zhongzi is the one who understands your tune.One beat followed by one note. Cold and empty melody rises from a distant hill.The river moon is rolling, the river water deep.The language (ŏ) is pure (ch’ŏng) and the style classic(ko). This is a rare poetic masterpiece (chŏlchak).s is a rare poetic masterpiece (chŏlchak).)
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]].)
E525 + (_Sŏga (Caddis Fly), a house maid of Song I … _Sŏga (Caddis Fly), a house maid of Song In, was famous for her singing. She was what “The Song of Water Moon Pavilion” 水月亭詞 refers to as “an excellent singer and beautiful girl.” A poem by Pak Chihwa: 主家亭子漢濱秋卿月依稀逝水流惟有鳳凰天外曲人間贏得錦纏頭 Your master’s pavilion is on the Han River shore in autumn.The courtly moon dims, and the winding waters flow. Only the phoenixsings the heavenly tunes.In the mortal world we hear it from the lady with a brocade headscarf. Im Che’s poem reads, 秦樓公子風流盡檀板佳人翠黛殘惟有當時歌舞處春江水月映朱欄 At the kisaeng house, the noblemen’s amusement has ended.Fair ladies with sandalwood clappers wear faded eyebrows.Then, there only remainsthe place where they sang and danced. The moonlight on spring river shines by the vermilion balustrade. The name of Song In’s pavilion was “Water Moon,” hence the two poems referenced them.oon,” hence the two poems referenced them.)
C003 + (sobriquet Koun [Solitary Cloud]) [literary] merit was unprecedented. Therefore, scholars of the East all regard him as the progenitor [of literature].)
E160 + (Ŏ Mujŏk 魚無跡 (styled Chambu; 15th century) … Ŏ Mujŏk 魚無跡 (styled Chambu; 15th century) was a sŏja of Ŏ Segyŏm 魚世謙 (1430–1500; sobriquet Munjŏng [Literary Uprightness]). He was diligent in his studies and excelled in poetry, earning the praise from Third Minister (chisa) An Ch’im. His poem “ Illness Thinking of You While Sick” 病裏書懷呈相公 reads, 方丈煙霞鎖廣寒暮鐘三杵夕陽殘樹沿官道牆邊立月在鄰家屋上看點水卻憐螢誤落尋巢堪羨鳥知還隔窗終夜繅車響疑在山莊夢始闌 Mt. Fangzhang, enveloped in mists and rosy clouds, veils the Moon Palace.At dusk, the bell tolls thrice, as the lingering sunset fades.Trees line the main roads, standing tall by the walls.The moon, perched above neighbors’roofs, casts its gaze down.When raindrops fall, I worry they might mistakenly land on fireflies.When birds find their nests, how I admirethem for knowing where to return!Outside the windows, all night long,silk reeling machines are noisy. I wonder if, in your mountain villa, you are drifting in and out of dreams.la, you are drifting in and out of dreams.)
E339 + (Ŏ Mujŏk’s style name was Chambu (Hermit). … Ŏ Mujŏk’s style name was Chambu (Hermit). As a sŏja, he could not take the civil service examination due to state restrictions, but he acquired great fame for his talent. When he was young, one early morning, he and his father passed by a Buddhist temple. Seeing the clouds rising from the mountains, his father asked him to compose a couplet. Ŏ immediately replied, 靑山敬客至頭戴白雲冠 Green mountains show respect to the arriving guestsby putting on white-cloud crowns.The poems he wrote as an adult, such as “Lamenting the New Calendar” 新曆歎and “Commoners’ Lives Are Difficult” 蒼生難, are truly savory (hoe). His poem on passing Kil Chae’s Shrine in Kŭmo Mountain reads, 落落高標吉注書金烏山下閉門居首陽薇蕨殷遺草栗里田園晉故墟千載名垂扶大義至今人過式前廬生爲男子雖無膽立立峰巒摠起余 Graceful and outstanding, Royal Recorder Kil Chaelived at the foot of Kŭmo Mountain,secluded behind a closed door.The ferns of Shouyang Mountain are the grasses of the Shang remnants.The garden of Chestnut Village is an ancient place from the Jin.Your name will be passed down for a thousand years in support of righteous causes.Even now, passersby bow before your hut.Born a man, yet I am without valor.The towering ridges and peaks always raise me up. Once I passed by Kŭmo Mountain and saw the second couplet of this poem inscribed on the crossbeam of the village gate.ibed on the crossbeam of the village gate.)
E804 + (Ŏrhyŏn 孽玄 (Chosŏn) was a female slave of a … Ŏrhyŏn 孽玄 (Chosŏn) was a female slave of an Andong Kwŏn-ssi family. She was gifted and beautiful and was capable of composing poetry. She gave herself the sobriquet Ch’wijuk 翠竹(Jade Green Bamboo). Her poem “Autumn Thoughts” 秋思 reads, 洞天如水夜蒼蒼樹葉蕭蕭夜有霜十二湘簾人獨宿玉屏還羨畫鴛鴦 In the grotto-heavens like water, the night is dark.Tree leaves rustle, swish, swoosh as the frost falls in the night.Behind the curtain with twelve bead strings, she spends the night aloneand envies the painted mandarin ducks on the screen with jade ornaments.Her poem “Visiting Sŏng No’s Past Residence” 訪石田故居 reads, 十年曾伴石田游揚子江頭醉幾留今日獨尋人去後白蘋紅寥滿汀秋 For ten years, I accompaniedSŏng No on his excursions.By the Yangzi River,how many times have we linger after getting drunk?Today I am here alonesince he has left. White duckweeds, pink clouds, a quiet moon.The waterside is full of autumn. Both poems are found in the Ki a (Elegant Poems from the Land of Kija). But “Autumn Thoughts” is incorrectly attributed to kisaeng Ch’wisŏn, and “Visiting Sŏng No’s Past Residence” was incorrectly attributed to an anonymous poet. What a pity—the world has not passed on Ŏrhyŏn’s name!the world has not passed on Ŏrhyŏn’s name!)

C006 + (Later generations remain undecided on its authenticity. Some say that the line, Over Dongting Lake, the moon goes down, and a solitary cloud returns home. , proves his authorship, but that alone is insufficient evidence to settle the debate.)

E203 + (1. A poem by Third Minister-without-portfo … 1. A poem by Third Minister-without-portfolio (chisa) An Ch’im’s “Lingering Tower in Yŏngam County” 靈巖郡徘徊樓reads, 徘徊樓上月徘徊客子徘徊亦快哉玉兔幾年仙藥搗素娥何處鏡奩開搖波散百東坡水對影成三太白盃直到夜深天似洗好風吹送桂香來 Over the Lingering Tower the moon lingers.This wanderer also lingers,Oh, how pleasant it is!How many years has the Jade Hare pounded immortal elixir?Where does the Mood Goddess open her mirror box? Undulating ripples scatter and become one hundred Su Shi. Before the shadow, there truly are three Li Bai.We linger late into the night. The sky appears washed and clean.A pleasant breeze wafts the fragrances of cassia toward us. At the time, it was regarded as an excellent poem. However, “one hundred Su Shi” 東坡百 and “three Li Bai” 太白三 are originally expressions coined by Yi Kyubo. An Ch’im also wrote a poem on Ch’angnyŏng’s Autumn Moon Studio, and one of its couplets reads, 搖波散百東坡水對影成三太白盃 Undulating ripples scatter and becomeone hundred Su Shi.Before the shadow, there truly arethree Li Bai. What is so new (sin) about these expressions (ŏ) that he repeatedly used them?ressions (ŏ) that he repeatedly used them?)
E186 + (1. At Chŏja Island in East Lake, the lands … 1. At Chŏja Island in East Lake, the landscape is stunning. Minister Han Chongyu of the previous dynasty built a villa and spent his retirement there. His poem reads, 十里平湖細雨過一聲長篴隔蘆花直將金鼎調羹手還把漁竿下晩沙單衫短帽繞池塘隔岸垂楊送晩涼散步歸來山月上杖頭猶襲露荷香 Over a calm lake of ten li, a light rain drizzles.The sound of a long bamboo flute drifts from beyond the reed catkins.Quickly, these hands that stirred the broth in the golden cauldronreturn to holding a fishing poleas I sit on the evening sand.Decked in an unlined jacket and a small cap, I saunter around the pond.From the nearby shore, hanging willows send the evening cool. I stroll and return home when the moon is high above the hills. The handle of my cane still carries the fragrance of dew-drenched lotus. The poem, too, is fine (ho). Pongŭn Monastery is situated about a li west of the island. Years ago, when I spent a leisurely time at East Lake’s Reading Hall, I moored my boat on the island and visited the monastery. In the nearby fishing village, apricot flowers were in full bloom. The spring scenery was truly delightful. On the boat, I wrote the following poem, 東湖勝槩衆人知楮島前頭更絶奇蕭寺踏穿松葉徑漁村看盡杏花籬沙暄草軟雙鴛睡浪細風微一棹移春興春愁吟未了狎鷗亭畔夕陽時 That East Lake is picturesqueis known by everyone. But the entrance to Chŏja Island is even more splendid.I stride toward the monastery on the pine needle trailand watch in the fishing villagefences wrapped in apricot blossoms. On the warm sand and soft grasses,a pair of mandarin ducks are asleep.Through fine ripples and gentle breeze,I row with a single oar.Spring delights and spring blues,before my poem is done.Over the bank of the Apku Pavilion, the sun is setting.It has already been over forty years since then. I cannot go there again to see the sights, but they remain in my memory. the sights, but they remain in my memory.)
E266 + (1. Chief Minister Hong Ch’un’gyŏng’s 洪春卿 ( … 1. Chief Minister Hong Ch’un’gyŏng’s 洪春卿 (1497–1548) poem “White Horse River” 白馬江reads, 國破山河異昔時獨有江月幾盈虧落花岩畔花猶在風雨當年不盡吹 The kingdom lies in ruins. Even mountains and rivers are different from before.Only the moon over the river waxes and wanes time and again.By the Rock of Fallen Flowers, flowers still remain.The storm of that year did not blow them all away. Scholar Yi Hongnam’s poem reads, 故國登臨月上時濟王家業此成虧龍亡花落千年恨分付東風一篴吹 I visit the ancient kingdom at the time of moonrise.The royal family of Paekche rose and fell here. The dragon is dead. The flowers have fallen. A thousand years of remorse.I entrust it to the east wind in the tune of a bamboo flute. At that time, people weighed the excellence of the two poems. However, in my humble opinion, the opening line of the second poem seems like a case of “skipping the second part.”like a case of “skipping the second part.”)
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.)
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!)
E219 + (1. Im Ch’un’s “A Kisaeng that Ran Away” 詠逃 … 1. Im Ch’un’s “A Kisaeng that Ran Away” 詠逃妓 reads, 紅粧待曉帖金鈿爲被催呼上綺筵不怕長官嚴號令漫嗔行客惡因緣乘樓未作吹簫伴奔月還爲竊藥仙寄語靑雲賢學士仁心不用示蒲鞭 Applying the rouge, you waited for the dawn, and adorned yourself with golden hairpins.Summoned hastily, you took your seat on the brocade mat.You are not afraid of officials issuing stern orders.Freely you complain to the guestsabout your ill-fated love. Ascending the tower, you did not becomea companion of the flute player.Instead, you eloped to the moon and became a fairy who stole the elixir!These are my words to noble and worthy scholars:Have a kind heart and don’t pull out the rush whip. The poem itself is excellent (ka), but the expression (ŏ) “rush whip” immediately disrupts the charm (p’ungun) of the boudoir. If he met a woman throwing the weaver’s shuttle, I am afraid he wouldn’t be as happy as Youyu with his broken teeth.e as happy as Youyu with his broken teeth.)
E179 + (1. In the fall of sinhae during the reign … 1. In the fall of sinhae during the reign of Jiajing (1551; Myŏngjong 6), I, in the capacity of a representative of the Ministry of Civil Official Affairs (ibu), went to P’yŏngan province on an official mission. It was there that I had a romance with a kisaeng from Kisŏng, known as Tongjŏngch’un 洞庭春 (Spring at Dongting Lake) (16th century). After my return to the court, she sent me a letter that said, “Unable to see you, whom I miss dearly, I cannot bear this pain of separation. I would rather die and be buried with you. Soon, I will return to the Beauties’ Grotto.” The grotto was located outside the Seven Star Gate of Kisŏng, and kisaengs were all buried there. In response, I jokingly wrote a quatrain and sent it to her, 滿紙縱橫摠誓言自期他日共泉原丈夫一死終難免當作嬋娟洞裏魂 Your letter was filled with words of a solemn vow. I promise that someday we shall be together in the underworld.A man’s death, after all, cannot be avoided.I shall be a ghost in the Beauties’ Grotto. Not long after, she died from an illness. Once again, I wrote a regulated verse as a jest. 生別長含惻惻情那知死別忽呑聲乍聞凶訃腸如裂細憶音容淚自傾書札幾曾來浿水夢魂無復到箕城嬋娟戱語還成讖愧我泉原負舊盟 After our parting in life, I always carried feelings of sorrow.How could have I known our parting in death would suddenly render me speechless?Hearing the news of your passing severs my innards. Vividly remembering your voice and your face, tears stream down on their own. Several letters had arrived from you through the P’ae River.But in my dreams, I have yet to return to Kisŏng.The joke of the Beauties’ Grotto has become a reality.I am sorry I cannot keep our old promise to meet in the underworld. All my friends read it and laughed. In the spring of kimi (1559), I went to Ch’ungch’ŏng province on an official mission. Second Minister (ch’amp’an) Kwŏn Ŭngch’ang 權應昌 (1505–1568) was serving as Magistrate (moksa) of Hongju (Sr. 3), and his illegitimate younger brother Kwŏn Ŭngin 權應仁 (16th century; sobriquet Songgye [Pine Creek]) followed him there. On the day of my arrival, Kwŏn Ŭngin presented me with two regulated verses he had written for singing performance at kisaeng schools. The last lines read, 人生適意無南北莫作嬋娟洞裏魂 In human affairs, if two people share their thoughts,it matters not whether they are in the north or south.Just do not become a ghost in the Beauties’ Grotto!These lines are apposite (chŏldang) and savory (yumi) lines. At the time, I had tender feelings for a local kisaeng named Ongnusŏn 玉樓仙 (Jade Tower Fairy) (16th century), so Kwŏn’s poem resonated with me.entury), so Kwŏn’s poem resonated with me.)
E190 + (1. In the imsin year of the reign of Zheng … 1. In the imsin year of the reign of Zhengde (1512; Chungjong 7), a Japanese envoy came to our capital and fell ill. He and wrote the following poem, 東國館門外四屏山暮春塵埋床下屨蛛網架頭巾枕有思鄉淚門無問病人滄波萬里客惆悵未歸身 Outside the guest house in the Eastern Kingdom,four screening mountains are in late spring.Straw sandals are collecting dust under the bed,and the head scarf has cobwebs.My pillow is soaked with tears shed missing home.At the gate, there is no visitor for this sick person.A wanderer from ten thousand li of sea is in gloom unable to return.The Pacification Commissioner (sŏnwisa) at the time did not stop praising the poem, and the poem was recited widely (chŏnsong) throughout the capital. Upon closer examination, it appears that a monk from the late Tang dynasty composed a similar poem about his dwelling, 枕有思鄉淚門無問疾人塵埋床下履風動架頭巾 My pillow is soaked with tears shed missing home.At the gate, there is no visitor for this sick person.My shoes are collecting dust under the bed,and the winds sway the head scarf on a rack.It just so happened that a Censor (pusa) came across the monk’s poem and reported his situation to the court. Subsequently, the court ordered all monasteries to estalish a House of Recovery (Yŏnsuryo 延壽寮) to take care of monks’ illnesses. The Japanese envoy’s poem used the two couplets by the sick monk, and simply switched the first and the second couplets, and changed the words “shoes” to “straw sandals” and “the winds sway” to “cobwebs.” Those in the capital who spread and recited (chŏnsong) the poem wre likely not well-read, while the Pacification Commissioner lacked discerning eyes. This is truly a laughable matter.ng eyes. This is truly a laughable matter.)
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.)
E194 + (1. In the pyŏngo year of the Chenghua reig … 1. In the pyŏngo year of the Chenghua reign (1486; Sŏngjong 17), while crossing the Pakch’ŏn River for the second time, Supervisor Qi Shun composed many poems. In one of them, he used “water chestnuts” 菱 as the rhyme word in the last line. Sŏ Kŏjŏng matched Qi’s poems, and they composed and exchanged a total of twelve poems each. In the final line of his poem, Sŏ wrote, 南望達城家萬里夢魂長繞故園菱 Gazing south to Talsŏng, home is ten thousand li away.In my dreams, my spirit roams around the water chestnuts in the old garden. Qi questioned, “Water chestnuts are not plants that grow in gardens. What then does this line refer to?” The interpreter stepped forward and explained, “Official Sŏ’s home is in a water region known for abundant water chestnut production. That is why he mentioned it in his poem.” Qi replied, “If that is the case, then it is acceptable.” Sŏ was using “the old garden” to refer to his hometown, which ultimately is not well suited.town, which ultimately is not well suited.)
E214 + (1. In the pyŏngsin year of the reign of Ji … 1. In the pyŏngsin year of the reign of Jiajing (1536; Chungjong 31), I accompanied Minister So Seyang 蘇世讓 (1486–1562; sobriquet T’oehyudang [Hall of Retreat and Rest]), the Welcoming Official for foreign envoys, to Ŭiju. So tried to write a matching poem on the “Ch’wisŭng Pavilion” to the rhyme word ‘radiance’ (hwi) 暉. After struggling for a while, he said, “Most of you have used expressions such as the ‘setting radiance,’ ‘evening radiance,’ ‘slanting radiance,’ ‘twilight radiance,’ and ‘morning radiance’ to match the rhyme, and these are repetitious and unrefined. I came up with this line, 澄江如練謝玄暉 ‘Limpid river like white brocade,’ from Xie Xuanhui.It does not seem to repeat common rhymes, but I am finding it difficult to write a corresponding line.” Then I answered, “Huang Tingjian’s poem has a line, 霜月掣金蛇 Frosty moon pulls the golden serpent. So, the line, 霜月掣蛇黃太史 ‘Frosty moon pulls the golden serpent’ from Official Historian Huang.could work, but Huang’s line is not on a par with ‘limpid river like white brocade,’ which has been continuously relished (hoeja) for thousands of years. A poem by Han Yu said, 新月似磨鎌 The new moon resembles a sharpened sickle.Why don’t you use that as a corresponding line?” Official So responded, “Indeed,” and proceeded with the line 新月似鎌韓吏部 ‘The New moon like a sickle’, from Minister Han of Civil Service Affairs.and completed the rest of the poem. It was after the full moon. Since there was no new moon, he waited until the beginning of the month to write it down and show it to others. As he was on an escorting mission, he did not display the poem on a plaque in the pavilion.play the poem on a plaque in the pavilion.)
E218 + (1. In the sinch’uk year of the Jiajing rei … 1. In the sinch’uk year of the Jiajing reign (1541; Chungjong 36), I went to Beijing accompanying the Envoy for the Emperor’s Birthday (hajŏlsa). It just so happened that the empress of Emperor Wuzong had recently passed away, so that the members of our mission also joined the procession of officials and mourned day and night. One day, early in the morning, while I was briefly sitting outside the shrine gate, many Chinese officials also came out to sit. An official standing under the cracked eaves approached Interpreter Hong Kyŏm and asked, “Can you write poetry?” Hong replied, “There was a light rain last night. Feeling homesick and melancholic, I wrote a quatrain in the spur of the moment.” The official insisted on seeing the poem. Hong then wrote down a poem by Ch’oe Ch’iwŏn and showed it to him, which said, 秋風惟苦吟世俗少知音窓外三更雨燈前萬里心 Autumn winds only make me write poems of agony.In this world, there are few who understand my tune.Outside the window, a midnight rain falls.By the lamp, my heart wanders thousands of li.The Chinese official took the poem and showed it to his superior, who promptly sent officials to copy it down. The commotion continued for a while until someone brought refreshments for us. Eventually, someone handed a brush to Hong and asked, “Can you write another poem?” Hong pointed at me and said, “He can also write poetry. Go and ask him for a poem.” The man then requested a poem from me. I wrote on the paper, “Petty literary craft, like engraving a worm and carving a seal, was not originally meant to be a pursuit of gentlemen. Especially during a state funeral, how can this be a time for poeticizing the wind and the moon? But, if I must, I have written a few things on the way to China. I can show you one quatrain from them.” The man replied, “I’d be lucky to have that.” Then I wrote down the poem “Seeing You Off to the East at Tangzhan” 湯站送人東還詩, and it read, 松鶻山前路君東我馬西欲題家信去臨紙意還迷 Standing on the road at the foot of Mt. Songgol,you head east, and I gallop west.I wish to send a letter back home,but facing the paper, my thoughts beocme blurry.Then they all read it and copied it down, just as they had done before. Pointing out my remark, “How can this be a time for poeticizing the wind and the moon?,” they all praised and said, “Yours is a country that truly understands propriety!”country that truly understands propriety!”)
E184 + (1. It has been a state regulation to besto … 1. It has been a state regulation to bestow a leaning chair and a cane to first-ranking officials who are over seventy years old but cannot retire from their positions due to their importance in state affairs. In the sixth month of the kyeyu year during the reign of Wanli (1573; Sŏnjo 6), Hong Sŏm 洪暹 (1504–1585), the First Minister in the Office of Ministers-without-Portfolio (yŏngsa) and former Chief State Councilor, turned seventy and received a leaning chair and a cane. A banquet was held in his honor, and many officials gathered. Royal Spokesman (chungsa) and First Royal Secretary (tosŭngji) Yi Hŭigyŏm 李希儉 (1516–1579) presented the royal wine. Recorder (chusŏ) Yi Chun 李準 (1545–1624) presented the dictum, chair, and cane. Third State Councilor (uŭijŏng) No Susin, Sixth State Councilor (chwach’amch’an) Wŏn Hon 元混 (1505–1597), Prince of Yŏsŏng Song In 宋寅 (1516–1584), Chief Magistrate of Hanyang (p’anyun) Kang Sŏm 姜暹 (1516–1594), Second Minister of Punishments (Hyŏngjo ch’amp’an) Pak Taerip 朴大立 (1512–1584), and Third Magistrate of Hanyang (uyun) Kim Kye 金啓 (1528–1573) attended. As the Second Minister of Taxation (Hojo ch’amp’an), I took the last seat.At that time, Hong’s mother, the daughter of former Chief State Councilor (yŏngŭijŏng) Song Chil 宋軼 (1454–1520), was eighty-seven years old. Hong’s late father, Hong Ŏnp’il 洪彦弼 (1476–1549), had also received a chair and cane while serving as Chief State Councilor. This made Hong’s mother a daughter, wife, and mother of Chief State Councilors. Receiving such honor multiple times was an extraordinary and unprecedented event. During the banquet, No Susin wrote the following poem, 三從不出相門闈此事如今始有之更拄省中靈壽杖却被堂上老萊衣恩霑雨露眞千載歡接冠紳盡一時何處得來叨席次愧無佳句賁黃扉 Fulfilling the Three Obediences, your mother did not leavethe Chief Ministers’ gates.It is only today that an honor such as this has come into conception.At the court, you hold the cane of longevity.And at home, you put on the clothes of Old Master Lai!May rich favors rain and dew upon you for a thousand years!Let us joyfully celebrate this occasion through and through. Who am I to comeand occupy a seat? What a shame to have no beautiful poem to adorn a Yellow-Painted Gate!I also wrote the following poem, 几杖鴻恩罕此邦相公家慶更無雙傳三議政官槐棘奉大夫人福海江滿座榮光花映席騰空喜氣酒盈缸一時盛事應須記安得鋪張筆似杠 The royal gifting of a chair and cane is a rare occasion in our kingdom.The celebration of your family is indeed without equal.Continuing for three generationsthe highest office of Chief State Councilor,you serve your mother with blessings like oceans and rivers.Honored guests fill the seats decorated with beaming flowers. Joyful air rises to the sky, and wine jars are filled to the brim.A wonderful event such as this deserves recording.Where might I find a brush as thick as a rafter? Prince of Yŏsŏng, Song In was Hong Sŏm’s cousin. He followed and composed a narrative record as well as a long regulated verse. The rest of us also followed his lead and composed some narratives and some regulated verses. Hong ordered a painter to create a depiction of the event, and Song wrote down all our compositions on the back of the painting. The painting is kept as their family treasure. Hong Sŏm’s mother passed away at the age of ninety-four, and Hong himself at the age of eighty-two this year. Their good fortunes are truly unmatched in this world. Original annotation: At the banquet, there were two pots of artificial flower arrangements and ten jars of royal wine.r arrangements and ten jars of royal wine.)
E124 + (1. Kim Chongjik (sobriquet Mun’gan [Bamboo … 1. Kim Chongjik (sobriquet Mun’gan [Bamboo Slip Writing]) composed a poem while visiting Son Kŭkkyŏm’s 孫克謙 (15th century) forest garden. It reads, 十室卑湫地閑園數畒荒松爲一柱觀菊作百和香小砌蘭承露踈籬杮得霜主人年八十燕坐惜頹光 Ten rooms in the low-lying waterland,this peaceful garden has just a few barren ridges and furrows. A pine stands tall as the One Pillar Watchtower.Chrysanthemums diffuse the Hundred Harmonious Fragrance. At the small brick house, orchids are drenched in dews.Along the sparse bamboo hedge, persimmons are covered in frost. The master, now eighty years old, sits in peace and cherishes the remaining years. This is a poem about an old man in a country garden. His poem “Staying Overnight at Tapkye station” 宿踏溪驛 reads, 古樹獰飆攪荒林片月孤官胥來督傳郵婦泣供廚鼠竄殘殘戶星馳急急符誰知燈影下危坐恨非夫 Ancient trees tremble at fierce winds.Over the barren forest, a lone crescent moon gleams.A minor officer arrives with an urgent message.The post officer’s wife sobs in the kitchen.A rat scurries off out of the house,as quickly a shooting star sent a sudden notice.Who can understand under the flickering lampsitting up straight and loathing for not being a man? This is a poem about feeling abandoned at the post station. The poem “Quick Clearing of a Rain at Cheun Tower” 齊雲樓快晴 reads, 雨脚看看取次收輕雷猶自殷高樓雲歸洞穴簾旌暮風颭池塘枕簟秋菡萏香中蛙閣閣鷺 1. 影外稻油油憑欄更向頭流望千丈峯巒湧玉虯 The pouring rain is slowing down. A light thunder still echoes at the high tower.Clouds return to the caves, and dusk falls on the curtain.Winds brush over the pond, and autumn comes to the bamboo mat. Amid the fragrance of lotus, frogs croak “kak kak.”Far from the shadows of egrets,the rice grows with luster. Leaning on the railing, I gaze at the Turyu Mountain.Mountain peaks, a thousand feet tall, protrude like an emerging dragon. This poem depicts the scenery observed from a city tower after a rain shower. His poem “After a Snow, Leaving Kobu for Hŭngdŏk” 雪後發古阜向興德 reads, 一夜湖山銀界遙瀛州郭外馬蕭蕭村家竹盡頭搶地野樹禽多翅綴條沙浦烟痕蒼海岸笠岩霞氣赤城標臘前已是饒三白想聽明年擊壤謠 Overnight, Mt. Ho turned into a distant silvery world.Outside Yŏngju’s city wall, horses snort and neigh.In village homes, bent bamboo tips touch the ground.In trees in the fields, a flock of birds huddle together on branches.Sandy Riverbank is cloaked in mist that stretches out into the blue sea.Bamboo Hat Rock shrouded in rosy fog is the border of the Red City.Before the year’s end, we already had three snowfalls. Next year, I want to hear people singing, striking the earth. This poem describes taking a stroll after a snowfall. Reading the scenery here is like viewing a painting (yŏhwa).y here is like viewing a painting (yŏhwa).)
E208 + (1. Kim Chŏng (sobriquet Ch’ungam [Humble H … 1. Kim Chŏng (sobriquet Ch’ungam [Humble Hut]) had a reputation for his poetic skills during his lifetime. However, most of his works were lost, and only a few have survived. One of his poems, “An Evening Gaze” 晩望, reads, 秋陰起將暝迢遞倚荊扉虛莽夔魖悄冥烟島嶼微眼穿孤鳥盡思逐片雲依一葦豈云遠人遐自未歸 Autumn clouds rise as the sun goes down.Lost in thought, I lean on the bramble gate.In the wild thickets, mountain goblins are quiet.Shrouded in mists, islands appear hazy.My eyes are fixed on a lone bird.My thoughts drift with a wisp of cloud.A barge—how can you call it far away?Yet people are distant and have not returned. His poem “River South” 江南 reads, 江南殘夢晝厭厭愁逐年芳日日添雙燕來時春欲暮1. 杏花微雨下重簾 In a fleeting dream of river south, the day goes on and on.My sadness, chasing vernal fragrances, grows day by day.When a pair of swallows arrive, spring deepens.Apricot blossoms fall in a light rain outside the double screen. His poem “Feeling the Mood” 感興 reads, 落月臨荒野寒鴉下晩村空林烟火冷白屋掩荊門 Sinking moon closes in on the wilderness.Jackdaws descend on an evening village.In the empty forest, smoke and fire are rare.The bramble gate of the thatched house is shut.ramble gate of the thatched house is shut.)
E209 + (1. Kim Chŏng once visited Ch’ongsŏk Pavili … 1. Kim Chŏng once visited Ch’ongsŏk Pavilion in T’ongch’ŏn and composed six poems. A prefect later destroyed Kim’s poetry plaque, causing us to lose two of the six poems. I once read in the Tongin sihwa (Easterners’ Remarks on Poetry) by Sŏ Kŏjŏng that a poem by Kim Chidae (sobriquet Yŏnghŏn [Heroic Decree]), written at Ŭisŏng’s official lodge, became a most relished (hoeja) work during that time. Later, the building was burnt down during a war, and the plaque destroyed along with it. Several decades later, the daughter of prefect O Chŏkchang 吳迪莊, who lost her sanity and spoke incoherently, suddenly recited Kim Chidae’s poem. The ghosts, too, loved the poem and allowed it to be known again throughout the world. Unfortunately, it is a pity that no ghost in T’ongch’ŏn loves poetry in the same way. Therefore, I now record the four remaining poems. 絶嶠丹崖滄海陬孤標夐邈卽蓬丘硬根直揷幽波險削面疑經巧斧修鼇柱天高殘四片羊碑峴占杳千秋鶴飛人去已寥廓目斷碧雲空自愁 On the cut-off hill, vermillion cliffs meet the blue sea.A lone summit stands in the distance near Penglai Island.Your firm roots reach straight down to the deep and perilous waters.Your carved surfaces resemble the workof a skillful axe. The pillar on the giant sea turtle, reaching to the sky, left behind four pieces.Yang’s Stele on the steep hill has remained silent for a thousand years. Cranes have flown away and people have departedinto the silent vastness. I gaze at the azure clouds. This emptiness brings sadness on its own. 千古高皐叢石勝登臨寥落九秋懷斗魁鏟彩墮滄海月宮借斧削丹崖巨溟欲泛危巒去頑骨長衝激浪排蓬島笙簫空淡佇夕陽搔首寄天涯 On the thousand-year-old highland stands the magnificent Ch’ongsŏk Pavilion.Ascending it at times,with a heart full of late autumn. The Big Dipper, like a shining spade, fell into the blue sea,and with an axe borrowed from the Moon Palace carved the vermilion cliffs. I yearn to sail across the deep sea towards perilous mountains.Firm and resolute, I push forward against the charging breakers.Penglai Island’s music of pipes, empty and bland, I await.In the sunset, I scratch my head, leaning on the horizon. 八月十五叢石夜碧空星漢淡悠悠飛騰桂影昇天滿搖漾銀光溢海浮六合孤生身一粒四仙遺躅鶴千秋白雲迢遞萬山外獨立高邱杳遠愁 On the fifteenth day of the eighth month,a night at the Ch’ongsŏk Pavilion.In the azure sky, the River of Stars shines faint and serene.The soaring reflection of the cassia-tree moon rises and fills the sky.The rippling silvery lights float on the brimming sea.Alone in the six directions, I am but a single grain.The four immortals left behindthe cranes that live for a thousand years.White clouds in the distance drift beyond ten thousand mountains.The lofty hill standing alone is immersed in remote melancholy. 雲沒秋晴淡碧層淸晨起望太陽昇光涵海宇初呑吐彩射天衢忽湧騰幽窟老龍驚火焰深林陰鬼失依憑人間昏黑從今廓欲向崦嵫爲繫繩 Cloudless clear autumn sky, a faint layer of blue.In the clear morning, I gaze as the sun rise.The light-soaked expanse of the ocean begins to spew out the sun.Colors shoot across the sky, suddenly surging and billowing.Startled, ancient dragons in hidden caves belch out flames.The ghosts of thick forestslose their places of rest.The darkness in the human worldwill now fade away. I wish to ascend Yanzi Mountainand tie you there with a rope.nzi Mountainand tie you there with a rope.)
E211 + (1. Kim Chŏng’s two quatrains “Presented to … 1. Kim Chŏng’s two quatrains “Presented to the Recluse in the Market Pak Kyegang 朴繼姜 (16th century)” 贈市隱朴繼姜 are, 看渠詩思入湖山剛壓紅塵十丈頑大隱從來非曲徑市中壼日亦仙班 I see his poetic thoughtsentering Lake Mountain,treading down on the red dustrising ten feet tall.Great hermits never take the winding paths.In the market, living inside a magic gourd,you, too, are a kind of immortal. 懶倚紗窓春日遲紅顏空老落花時世間萬事皆如此叩角狂歌誰得知 Idly, you lean on the veiled window as the spring day passes slowly.Youthful faces age in vain, and now it’s time for the flowers to fall.Myriad affairs of this world all end in this way.Strike your horn and sing madly,but who would pay attention?However, it is recorded in the Ch’ugang naenghwa (Satirical Remarks of Ch’ugang) that the second quatrain was a poem presented to a scholar named Han by a blue-robed old man during the Hongzhi reign. It must have been when Pak Kyegang visited Kim with a scroll asking for poems, and Kim wrote this poem down for fun since its meaning happened to suit Pak.un since its meaning happened to suit Pak.)
E246 + (1. Kim Ilson 金馹孫 (1464–1498; sobriquet T’a … 1. Kim Ilson 金馹孫 (1464–1498; sobriquet T’agyŏng [Washing the Hat Strings]) made a name for himself with his writings. Nam Kon often said, “The poetry of Pak Ŭn’s 朴誾 (1479–1504; sobriquet Ŭpch’wihŏn [Attracting Kingfisher Terrace]) and the prose of Kim Ilson deserve to be called a superb class.” Kim’s collection of prose is popular in the world, but his poems are rarely discussed. A regulated verse by him at Kwansu Tower in Samga prefecture, Kyŏngsang province, reads, 一縷溪村生白烟羔羊下佸謾爭先高樓樽酒東西客十里桑麻南北阡句乏有聲遊子拙杯斟無事使君賢倚欄更待黃昏後觀水仍看月到天 From a village with a threadlike stream rises white smoke.Young goats descend the hill in a flock, vying to be the first.At a tall tower, around flasks of wine, gather the guests from east and west.Along ten li, mulberry and hemp fields stretch out to north and south. Words are few, and this traveler only makes clumsy remarks.I raise my cup with a carefree heart to the prefect who is a worthy man.Leaning on the railing, I wait longer until the sun setsand gaze at the water until the moon reaches the sky. Readers can clearly see, between his poetry and prose which is better.ween his poetry and prose which is better.)
E195 + (1. Kim Sisŭp sent a letter to Yu Yangyang … 1. Kim Sisŭp sent a letter to Yu Yangyang 柳襄陽 (15th century) that contained hundreds of words. The essence of the letter is as follows: “When I was eight months old, I was able to read books, so an elderly official Ch’oe Ch’iun 崔致雲 (1390–1440) suggested that my parents name me “Sisŭp (constant practicing of learning).” At the age of three, I was able to write compositions, including phrases such as, 桃紅柳綠三春暮珠貫靑針松葉露 Peach blossoms are pink and willows green in the last of the three spring months.Like pearly beads pierced by green needlesare the dews on pine leaves. At the age of five, I had learned the Zhongyong 中庸 (Doctrine of the Mean) and the Daxue 大學 (Great Learning) from Sixth Counselor (such’an) Yi Kyejŏn 李季甸 (1404–1459). Second Assistant Master of the National Academy (saye), Cho Su 趙須 (15th century), conferred me the style name Yŏl. When Chief Minister Hŏ Cho 許稠 (1369–1439) visited me at home, he said, “I am an old man. Can you write a phrase using with the word “old” 老?” I responded to him, saying, 老木開花心不老 Flowers bloom on an old tree. Its heart is not old.Hŏ applauded and remarked, “He is what people call a child prodigy.” When King Sejong heard about me, he contacted the Royal Secretariat (taeŏnsa) and instructed the First Royal Secretary (chisinsa), Pak Ich’ang 朴以昌 (d. 1451), to test me. Holding me in his lap, Pak pointed to a landscape painting on the wall and said, “Can you compose a poem about it?” I responded, 小亭舟宅何人在 A small pavilion in a boat,who resides within?In this manner, I have created an extensive body of writings and poems.d an extensive body of writings and poems.)
E188 + (1. On New Year’s Day of the kapsin year (1 … 1. On New Year’s Day of the kapsin year (1584), as Minister No Susin (sobriquet Sojae [Revival Studio]) turned seventy, he wrote the following poem, 寄也歸而免居然到者稀誰從聖人欲久昧大夫非一理君臣契深衷老病違只應梅柳色依舊入霑衣 Resigning, I returned and was set free. Surely, now visitors are few. Who has the desire to follow the sages?Long have I been ignorant of faults of officials.In one principle, the king and I were united.Now old and sickly, I am grieved by our separation. Only the colors of plum blossoms and willowsdrench my clothes just as before. On New Year’s Day of the ŭlyu year (1585) as I turned seventy, I wrote a poem matching No’s rhymes. 斗覺新年至誰言七十稀飽經榮與落多耐是兼非修短天應定行休理敢違思量乞身事準擬解朝衣 Little did I know a new year has arrived.Who said only a few live to be seventy?Honor and shame I’ve experienced in full.Right or wrong, I’ve endured much.One’s length of life must have been set by Heaven.Who’d dare go against the truth of advancing and retreating? I consider asking for my resignationand prepare to take off my official robe. In the poem, I expressed my wish for future resignation. On New Year’s Day of the ŭlmi year (1595), when I turned eighty, I wrote another matching poem. 人生稀七十八十更應稀欲學武公戒曾知蘧瑗非貪恩身局束乞退事乖違志願何時遂嗟哉食與衣 Only a few people reach age seventy,people reaching eighty must be fewer.I wished to learn from Duke Wu’s admonitionsbut realized, like Qu Yuan, that I’d been wrong.Desires for royal favors confine my body.Requests for resignation were declined.When will I pursue my heart’s wish?Alas, it’s all because of food and clothes! I repeatedly begged to resign, but my requests were not approved. I showed this poem to Song Ch’an, who harmonized with my poem. One couplet of his reads, 城內仍留是林間欲去非 Right for you to remain in the city.Wrong for you to wish to leave for the forest. Song’s poem said so because the battles had not yet ceased, and it seemed difficult to retreat to the countryside. I composed another poem and presented it to him. 爵祿人皆享期頤世固稀仍留果爲是欲去未應非晩節尤宜退初心詎肯違妖氛何日定唯望一戎衣 All enjoy salaries,but a hundred-year life is rare in this world.Staying in the court surely is right,but wishing for a leave might not be wrong. At old age, it is fitting to retire.But how can I go against my original intent?When will this evil aura dissipate?I only wish to put on an armored suit once. In the late winter of pyŏngsin (1596), my request for resignation was finally granted. My remaining years are few. How long will my retirement be! Still, I was given my heart’s wish. At death, I shall close my eyes in peace. At death, I shall close my eyes in peace.)
E202 + (1. Once Kang Hon (sobriquet Mokkye [Wood C … 1. Once Kang Hon (sobriquet Mokkye [Wood Creek]) went to Kyŏngsang province and developed a fondness for a kisaeng from Sŏngsan known as Ŭndaesŏn (Silver Tower Fairy).When it was time for him to return, he and the kisaeng arrived at Pusang station only to find that his luggage carriers had already left with his bedding. Kang and the kisaeng spent the night at the station, and he presented a poem to her, 扶桑館裏一場歡宿客無衾燭燼殘十二巫山迷曉夢驛樓春夜不知寒 At Pusang station, we had a moment of delight.The guests had no blankets, and candles were burnt to ashes.Among the twelve peaks of Mt. Wu, I was lost in an early morning dream.On that spring night at the station tower,I didn’t feel the chill. Another poem said, 姑射仙人玉雪肌曉窓金鏡畫峨眉卯酒半酣紅入面東風吹鬢綠參差 A fairy from Gushe Mountain,her skin like snow-white jade. By the dawning window, she holds a golden mirror and paints her lovely brows.After a hint of morning wine, a rosy blush spreads across her face.An easterly breeze blows,caressing her glowing dark tresses. 雲鬟梳罷倚高樓鐵笛橫吹玉指柔萬里關山一輪月數行淸淚落伊州 After combing the beautiful hair, she leans by the high tower,playing the iron flute with her jade-white fingers so nimble.Thousands of li away from her hometown, under the full moon,streams of clear tears flow to the tune of Yizhou.of clear tears flow to the tune of Yizhou.)
E249 + (1. Once, a group of Confucian scholars had … 1. Once, a group of Confucian scholars had a get-together with graceful girls at a mountain monastery. When the party was in full swing, drunk, they lay down in a drunken stupor. Adjacent to them was a zither leaning against the wall. A monk with a dark complexion and tattered robes entered the room from outside and stealthily wrote the following poem on the bottom of the zither, 鵾絃鐵撥撼高堂玉指纖纖窈窕娘巫峽啼猿哀淚濕衡陽歸鴈怨聲長凍深滄海龍吟壯淸徹疏松鶴夢涼曲罷參橫仍月落滿庭山色曉蒼蒼 The crane strings and an iron pick shook the temple hall,under the slender jade-like fingers of a graceful lady.At the sound of crying gibbons at the Wu Gorge, the robes were drenched in sorrowful tears.The returning geese of Hengyang made long harrowing calls.In the icy deep blue sea, the dragons’ roars boomed.Perched on quiet and bright sparse pines, the cranes dreamed of winter. When the song ended, the Three Stars filled the sky as the moon set.The mountain colors filled the courtyard as the sky dawned. And just like that, he disappeared. People at that time believed that only someone of the caliber of Chŏng Hŭiryang could have written such a poem.g Hŭiryang could have written such a poem.)
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.)
E247 + (1. Statute Law Clerk (kŏmnyul) Ham Chaye’s … 1. Statute Law Clerk (kŏmnyul) Ham Chaye’s 咸子乂 (c. 1419) poem “On Ch’oksŏk Tower” 題矗石樓 reads, 山自盤環水自流幾年興廢此江頭彷徨更惜曾遊處昨是春風今是秋 The mountains surround. The waters flow.For how long have fortunes changed at this river beach?Strolling leisurely, I cherish even more this place I visited before.Last time there was a spring breeze. This time it is autumn. The poem is nailed to the wall and is relished (hoeja) by people. Still, the third line particularly lacks vigor (kiryŏk). Why is it that people call it a poetic masterpiece (chŏlch’ang)? Is it because for a humble person like him to write such a poem is a great achievement? write such a poem is a great achievement?)
E261 + (1. Sŏ Kŏjŏng wrote a poem to match a poem … 1. Sŏ Kŏjŏng wrote a poem to match a poem by the imperial envoy Qi Shun. The poem reads, 金岩日暖初楊柳劍水春寒未杜鵑 At Golden Rock, the sun is warm,and willows begin to bud.At Sword River, the spring is cold, and cuckoos have not yet returned.Hwang Yŏhŏn 黃汝獻 (b. 1486; sobriquet Yuch’on [Willow Village]) could not stop praising the beauty of the couplet.When I told about this to Chŏng Saryong, he said, “There’s something sickly about these words. I don’t understand why it is beautiful (mi). One line is boastful and the other suppressed. The messages of the two are uneven.” After returning home, I pondered over Chŏng’s criticism. Then I realized that the parallelism (tae) in this couplet is entirely borrowed from a poetic expression (siŏ) by a Yuan dynasty poet. However, the two lines in Sŏ Kŏjŏng’s poem are entirely different from the original one. In the original one, the expressions “begin” 初 and “not yet” 未 are appropriate. But from Golden Rock to Sword River, one can leave in the morning and arrive in the evening, so how can there be a difference of “warm sun” 日暖and “cold spring” 春寒? This discrepancy can indeed be described as sickly (pyŏng) words (ŏ). Chŏng’s words should be deemed correct.). Chŏng’s words should be deemed correct.)