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E051 + (Later, Qi Shun 祈順 (15th century), Supervis … Later, Qi Shun 祈順 (15th century), Supervisor at the Ministry of Census (Hubu langzhong), and Zhang Jin 張瑾 (15th century), the envoy, came together. Qi was sincere and gentle. He excelled in poetry and rhapsodies. The king treated him with great generosity. Qi admired the king’s elegant demeanor and called him “a truly heavenly man.” Prince of Sŏnsŏng, No Sasin 盧思愼 (1427–1498), and Prince of Talsŏng, Sŏ Kŏjŏng escorted Qi, and Hong Kwidal 洪貴達 (1438–1504; styled Kyŏmsŏn兼善), Yi Sukkam 李淑瑊 (15th century; styled Ch’agong 次公), and I were appointed temporary officials on standby. Sŏ Kŏjŏng said, “Although Supervisor Qi is good at writing poems, all are preconceived works. If I first write a poem and ask him to match mine with challenging rhymes, he will surely be embarrassed.” On the day of the Han River cruise, we ascended Chech’ŏn Pavilion. Sŏ first composed a few poems and said, “I had been unable to match your excellent rhymes. I hope you can respond to my humble poems.” With a smile, Supervisor Qi glanced at the poems, held a brush, and started writing. His writing needed no corrections. He wrote a couplet like, 百濟地形臨水盡五臺泉脉自天來 Paekche’s terrain overlooks the river.Odae’s fountainhead flows from Heaven. And he also wrote, 倚罷高樓不盡情又携春色泛空明人從竹葉盃中醉舟向楊花渡口橫 Leaning from the tower, the sentiments linger on. Again, I hold in my hand spring colors, letting them waft in the luminous sky.From the Bamboo Leaf Wine,people are getting drunk. Towards the Willow Catkin Ferrythe boat drifts on.He also composed a lyric poem, “River Current” 江之水. From the moment we boarded the boat, throughout the ride, and until we reached Chamdu Peak, he did not stop writing poems. Stunned and disheartened, Prince of Talsŏng put a hat over his head and let out long sighs. Agape and astonished, Kim Suon said, “I did not have [[T044|<span class="keyword topic">acupuncture</span>]] lately. My poetic thoughts (sisa) have dried up (kogal), and that’s why I am having a rough time.” So saying, he could not compose a single line (sa). Everyone had a laugh about it.saying, he could not compose a single line (sa). Everyone had a laugh about it.)
E298 + (Luo Wanhu at the Chinese court became reno … Luo Wanhu at the Chinese court became renowned throughout the world for his poetry. In the imo year of the Wanli reign (1582; Sŏnjo 15), he was appointed to deliver the decree to our country announcing the birth of the crown prince. However, due to his advanced age, Huang Hongxian 黃洪憲 (1541–1600) was sent instead.Luo’s poem on watching people hunting at the Ji Gate reads, 滿目邱墟百戰餘旅情衰草共悽如寒山古堠逢秋獵遠水孤燈見夜漁家在瀟湘多暮雨鴈來湓浦少鄕書故人一別三千里惆悵東西未定居 An expanse of wilderness that fills the eye is what remains of a hundred battles.Traveler’s mood and withered grass share the same sorrow.At the ancient battlement in the cold mountain, I encounter autumn hunting.A lone light flickering in the distant water reveals night fishing. My home is by the Xiao and Xiang Rivers,where there is often evening rain.Wild geese arriving at the Pen River deliver but a few letters from home.One farewell with an old friend, separated by three thousand li.Ah! Drifting between east and west, I have yet to find a place to settle. The composition method (kuppŏp) of this poem is smooth-running and vigorous (wŏnhwal). This is a case of balls rolling down the slope. I heard this poem from others. It is unfortunate that I did not come across more of his works.t I did not come across more of his works.)
E401 + (Minister Pak Sun was Pak Sang’s nephew. In … Minister Pak Sun was Pak Sang’s nephew. In uprightness and assiduousness, none could match him. While serving as a minister for ten years, he had no faults. But those who disliked his uprightness ostracized him and demanded his dismissal based on several tens of crimes. Luckily, King Sŏnjo, clearly realizing Pak’s innocence, saved him from calamity. In the end, taking illness as an excuse, Pak retired in Yŏngp’yŏng. The place had scenic areas with water and rocks, excellent for carefree wandering. When banished to the West Lake, he wrote the following poem, 琴書顛倒下龍山一棹飄然倚木蘭霞帶夕輝紅片片雨增秋浪碧漫漫汀籬葉悴騷人怨水寥花殘宿鷺寒頭白又為江漢客滿衣霜露泝危灘 Carrying the zither and books upside down, I descend the Dragon Mountain. Drifting on a raft, I lean on the wooden railing. Clouds, wearing an evening glow, turn pink, piece by piece. Rains add to the autumn waves everywhere in blue. Behind the waterside fence, the leaves wither, and the poet grieves.In the quiet water with fading flowers, the egret spends the night in the cold. With grey hair, I have again become the traveler of the Yangzi and Han.In clothes draped with frosts and dews, I go up the dangerous shore. The poem was widely recited (chŏnsong) for some time. His poem “On the Monk’s Scroll” 題僧軸 said, 小齋朝退偶乘閑隱幾蕭然看遠山終古世紛無盡了只今人事轉多難長空過鳥元超忽落日孤雲自往還遙想舊游天外寺木蓮花發水潺潺 Retreating early to the small studio, I enjoy an idle moment.Leaning on the table quietly, I gaze at the distant mountains. From the beginning, the world in turmoil has seen no end.But now the ways of the world have turned even more difficult.In the open sky, a passing bird travels early and far.At sunset, a solitary cloud returns alone.I recall my past journey to the monastery beyond the sky.Magnolia flowers bloom. The stream murmurs. This also can be incomparably moving (kyŏngjŏl). A quatrain written in Yŏngp’yŏng reads, 谷鳥時時聞一個匡床寂寂散群書每憐白鶴臺前水才出山門便帶淤 Now and then, I heara bird in the valley.Quietly, I spread outthe books on the bed.I always feel pity for the waterby the White Crane Terracefor soon as it leaves the mountain gate,it gets mixed with the mud. It can be said to be complete in both quiet and carefree idea (hanjŏk) and lofty and unworldly (chajae) aim.jŏk) and lofty and unworldly (chajae) aim.)
E392 + (Minister Yun Ch’unnyŏn had good judgment f … Minister Yun Ch’unnyŏn had good judgment for poetry. Seeing a regulated verse by my father, Yun said, “You must have read High Tang poems, and they must be Du Fu’s.” My father replied, “Yes, I am now dedicated to Du Fu’s poetry.” My father’s poem reads, 渡江緣草徑乘醉宿江城白月千峰照春鵑獨夜鳴水村歸夢罷山郭旅魂驚望帝春心托孤臣再拜情 Crossing the river, through the path of green grass,drunk, I spend the night at Kangsŏng. Bright moon shines on a thousand peaks.Spring cuckoo cries alone at night.In a river hamlet, the dream journey home ends.In a mountain town, my wandering soul is startled. Wangdi entrusted his spring heart to a cuckoo.This lonely official again expresses his heartfelt gratitude. Later, after reading the Tang shi gu chui 唐詩鼓吹 (Fife and Drum Songs of Tang Poetry), my father wrote a poem and showed it to him. Minister Yun said, “This poem has the air (ki) and flavor (mi) of late Tang poetry. It must be the Tang shi gu chui.” Then my father again read Du Fu’s poetry. Minister Yun saw his poem and said, “This again has the sound and rhythm of High Tang. You must have read Du Fu’s poetry.” His judgments were all right, and my father greatly respected him. Then he presented my father with the following poem, 欲詣詩門試一聽功夫著處自生靈靑天日月昭昭影大地山河歷歷形春風和融陶萬物波濤洶湧起滄溟留名萬古非難事舉世沉冥也獨醒 If you wish to enter the gate of poetry, please try to listen.Wherever you put effort in, spirit will naturally be born.In the blue sky, sun and moon have glowing reflections.On the vast land, mountains and rivers have distinct shapes. Spring breezes gently blend in, molding myriad things.Tidal waves surge with a roar, rousing the blue sea. Leaving your name behind for ten thousand years is not a difficult thing.The whole world is in deep darkness. Stay awake alone.rld is in deep darkness. Stay awake alone.)
E071 + (Monk Manu 萬雨 (b. 1357) was a leading disci … Monk Manu 萬雨 (b. 1357) was a leading disciple of Hwanam 幻庵 (1320–1392). From childhood, he devoted himself to studying, leaving no inner and outer canons left unprobed. He meticulously investigated their meanings. He was also skilled in composing poetry. His poetic thoughts (sisa) were exceptionally pure (ch’ŏngjŏl). He exchanged poems with Yi Saek and Yi Sungin 李崇仁 (1347–1392; sobriquet Toŭn [Potter Recluse]). Because the present dynasty does not uphold Buddhist teachings, children from influential families were unable to enter the Buddhist order. However, as Manu’s fame spread, scholars from far and wide gathered around him like clouds. Even the scholars of the Hall of Worthies (Chiphyŏnjŏn) sought his advice, sitting at his feet. Seeing how he brought together Confucians, Buddhists, and forest of scholars alike, all people admired him.My eldest and second eldest brothers used to study at Hoeam Monastery. When they saw Master Manu, he was over ninety years old. His appearance was clear and thin, and his vigor and body were still strong. Sometimes he would go without eating for two days, yet he felt no hunger. When food was presented to him food, he could consume several bowls, yet he showed no signs of being full. And for a few days, he did not use the toilet. He always sat upright in an empty room with just a lamp and a desk. He perused books all through the night and meticulously studying every word, no matter how small. Every single word became an object of his investigation. He never succumbed to sleep or lay down. He kept away from people and did not allow anyone to be near him. To summon a person, he would strike a small gong. When the disciples responded to it, he never called them in a loud voice. When the Japanese emissary, Monk Bunkei 文溪 (15th century), requested poems from several dozens of officials, Master Manu also responded to the court’s order and composed the following poem. 水國古精社灑然無位人火馳應自息柴立更誰親楓岳雲生屨盆城月滿闉風帆海天闊梅柳故園春 From an ancient monastery in the land of watercomes a carefree man without an office.Blazing gallops shall come to rest.Standing tall like a tree, who could be your friend?At the P’ungak Mountains, clouds rise under the straw sandals. At Punsŏng, the moon fills the city gate.Your sail rides the wind into the vast ocean and sky.Plum blossoms and willows, my old garden is in spring. Pyŏn Kyeryang, judging in the capacity of the Director of the Office of Degrees, changed the line “a carefree man without an office” from Manu’s poem to “a solitary man separated from the world” 蕭然絶世人. In response, the master said, “Official Pyŏn truly knows nothing about poetry. How is ‘solitary’ as good as ‘carefree’ and ‘separated from the world’ as good as ‘without an office’? These changes destroy the poem’s spontaneous (chayŏn) and uncontrived (muwi) charm (ch’wi)!” Every time he met scholars, he felt greatly disappointed. His literary collection, Ch’ŏnbong chip 千峯集 (Collected Works of Ch’ŏnbong), circulates in the world.ks of Ch’ŏnbong), circulates in the world.)
E390 + (My eldest brother Ch’a Ŭllo車殷輅 (1540–1556) … My eldest brother Ch’a Ŭllo車殷輅 (1540–1556) could write composition at age five and was known as a child prodigy. Minister Han Tu 韓㞳 (1501–1558) was Governor (yusu) of Kaesŏng, and at the time my father had returned home after being relieved from the position as a Lecturer at the National Academy (chikkang). My eldest brother, who was just nine years old, by chance threw a roof tile and it mistakenly dropped on a neighbor’s urn. Not knowing who my brother was, the neighbor said inappropriate words. When my brother heard them, he narrated the detailed account in writing to present to the governor. When the governor saw a handsome boy entering the court and upon learning that he was a son of a Lecturer at the National Academy, he allowed my brother to come forward. “Can you write poems?,” the governor asked. “I can only arrange rhymes,” my brother replied. It was a time of severe drought, so the governor commanded him to write a poem on “Worrying over the Drought” 悶旱 and chose “sky” 天 as a rhyme word. My brother responded in a loud voice, 雲霓空蔽天 There is no rainbow in the sheltering sky. Then the governor chose “field” 田 as a rhyme word. My brother replied, 龜背拆乾田 Tortoise shells crack open in the sun-scorched field. Again, the governor chose “year” as a rhyme word, and immediately he responded, 魯國焚巫日成湯剪爪年 This is the day the State of Lu burned their shaman.This is the year King Tang of Shang clipped his nails. The governor applauded and praised my brother. At first, he wanted to have my brother compose with four rhymes, then he stopped, probably not wishing to make him reveal his talent. The governor offered my brother sweets and food as well as paper, brush, and ink, then flogged the neighbor. Later, Governor Han told my father, “Your son has exceptionally rare talent. You must hide it. Please don’t ask him to write poems and show them to everyone. I shall give my granddaughter in marriage to him.”give my granddaughter in marriage to him.”)
E019 + (Old Master Tonyu 敦裕 (13th century), the ab … Old Master Tonyu 敦裕 (13th century), the abbot of Sŏbaek Monastery, sent me two poems. His messenger hurried me for a response upon arrival, so I hastily composed the following poems in reply, 不是皇恩雨露疏煙霞高想自居幽須知紫闥催徵召休憐靑山久滯留遁世眞人甘屛跡趍時新進競昂頭衆王何日來騰踏狐鼠餘腥掃地收 It wasn’t because the rains and dews of the kingshowered sparsely on you. Loving the twilight mists and rose clouds, you chose to dwell in seclusion. Remember! The Purple Palace will soon summon you.So don’t love the blue mountains and linger there for too long.The enlightened ones, who have left the world, gladly conceal their traces.The ambitious, seizing the opportune time,thrust their heads forward in competition.When will the King of All come galloping, trampling so the stench of foxes and ratsbe cleared from the world? 莫道長安鯉信疏俗音那到水雲幽巖堂煙月棲身穩京輦風塵戀祿留道韻想君風入骨宦遊憐我雪蒙頭掛冠何日攀高躅六尺殘骸老可收 Please don’t say the letters from Chang’an are few. How could worldly sounds reach the rivers and clouds so deep!In a grotto, under the iridescent moon,you have settled, serene and secure,while I remain in the capital of dusty winds,for the love of government stipend.I miss you, who resonate the Way,like the wind penetrating the bones.And I pity myself, a traveler of officialdom,with head white as snow. When will I hang up my official cap and pursue the lofty path?A six-foot failing body ,I can collect it in when I am old. I also composed another poem to to express gratitude for the gift of candles. 東海孤雲十世孫文章猶有祖風存兩條金燭兼詩貺詩足淸心燭破昏 A tenth generation descendent of Solitary Cloud of the East Sea. In your writings, you still carrythe air of your ancestor.Two sticks of golden candles and a poem you gifted me. The poem to cleanse my heart, the candles to break the dark.In his reply, the abbot wrote, “Fearing that your poems might fall into oblivion, I carved a plaque of your verses and hung it on the wall, granting them a long life.”t on the wall, granting them a long life.”)
E042 + (Pak Hang’s 朴恒 (1227–1281; sobriquet Munŭi … Pak Hang’s 朴恒 (1227–1281; sobriquet Munŭi [Literary Finesse]), </br><div class="poetry-text">[[M083|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Even on a low hill beat with a white sun, a rain can pour down. </br>Over an old fortress covered in yellow sand, a rainbow suddenly appears.</div> </br>An Hyang’s 安珦 (1243–1306; sobriquet Munsŏng [Literary Completion]),</br><div class="poetry-text">[[M084|<span class="fa fa-plus-circle poetry-link-btn"></span>]]A pigeon wings through a morning rain in the field of wild grass.</br>A horse gallops through a spring breeze in a city brimming with flowers.</div> </br>Assistant Royal Secretary (milchik pusa) Kim I’s 金怡 (d. 1317), </br><div class="poetry-text">[[M085|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Where a wisp of dark cloud hovers, on which mountain does it rain?</br>When the fragrant plants are lush, there is a breeze all day long.</div> </br><div class="critique-text">[[C052|<span class="fa fa-plus-circle critique-link-btn"></span>]]All of these phrases are excellent (ka). It is regrettable that I cannot see the complete poems of these poets.</div>a fa-plus-circle critique-link-btn"></span>]]All of these phrases are excellent (ka). It is regrettable that I cannot see the complete poems of these poets.</div>)
E002 + (Queen Chindŏk 眞德 (r. 647–654) of Silla is … Queen Chindŏk 眞德 (r. 647–654) of Silla is found in the ''Tangsi yugi'' 唐詩類記 (Classified Records of Tang Poetry). </br><div class="critique-text">[[C002|<span class="fa fa-plus-circle critique-link-btn"></span>]]Lofty and ancient (''kogo''), robust and simple (''unghon''), her poem rivals the poems from the early Tang dynasty. At that time, the literary culture of the East had not yet flourished. Besides Ŭlchi Mundŏk’s quatrain, I had heard nothing else. That she achieved this as a female sovereign is truly remarkable.</div> </br>The poem reads, </br><div class="poetry-text">[[M002|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The great [[Tang]] has begun its grand mission.<br></br>Majestic are the great merits of the emperor!<br></br>The battles ceased, and the armor was put away.<br></br>Civilization was restored, succeeding hundreds of kings.<br></br>Commanding the heaven, the [[Tang]] showered down favor.<br></br>Managing all things, it embodies beauty.<br></br>Its benevolence was profound, keeping with the sun and the moon.<br></br>Conforming to a timely fortune, a generation of great peace followed.<br></br>How brilliant are your streaming banners!<br></br>How dazzling your gongs and drums!<br></br>Barbarians outside the realm who disobey your commands<br></br>shall be overthrown by a calamity from heaven.<br></br>Harmonious air gathers throughout the world.<br></br>Far and near, all vie for auspicious signs.<br></br>Four seasons regulate favorable weather.<br></br>[[Seven Stars]] illuminate myriad places.<br></br>High mountains bring forth great ministers.<br></br>The emperor employs the loyal and the good.<br></br>Becoming one in virtue with [[Five Emperors and Three Kings]]<br></br>is the radiant imperial house of Tang.<br></div></br>According to an annotation: In the first year of the Yonghui reign (650; T’aehwa 1), Queen Chindŏk destroyed the Paekche army and presented to the emperor a silk embroidery of her five-character poem, the “Poem of Great Peace.” </br>Note: Yonghui (650–656) was the reign title of Tang Emperor Gaozong.een Chindŏk destroyed the Paekche army and presented to the emperor a silk embroidery of her five-character poem, the “Poem of Great Peace.” Note: Yonghui (650–656) was the reign title of Tang Emperor Gaozong.)
E032 + (Second Censor (sagan) Chŏng Chisang wrote, … Second Censor (sagan) Chŏng Chisang wrote, </br><div class="poetry-text">[[M050|<span class="fa fa-plus-circle poetry-link-btn"></span>]]When the rain stops, the long riverbanks turn luxuriantly green.</br></br>Seeing you off at Namp’o moves me to sing sad tunes.</br></br>The waters of the Taedong River, when will you run dry?</br></br>Tears at parting year after year add to rising breakers.</div></br></br>In transcribing this poem, Liang Zai 梁載 (14th century) from Yannan wrote, </br><div class="poetry-text">[[M051|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Tears at parting year after year build the blue breakers</div></br></br>In my opinion, neither “rising” nor “swell” is satisfactory, and only “add more blue breakers” 添綠波 will suffice. </br></br>Chŏng also wrote lines such as, </br><div class="poetry-text">[[M053|<span class="fa fa-plus-circle poetry-link-btn"></span>]]The land responds to the blue sky, not too far apart from each other. </br></br>People and white clouds face each other at ease.</div></br></br><div class="poetry-text">[[M054|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Drifting clouds and running streams, a traveler arrives at a temple. </br></br>Red leaves and green mosses, the monk shuts the gate.</div></br></br><div class="poetry-text">[[M055|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Green willows and closed gates, eight or nine houses.<br></br>A bright moon, rolled up curtains, two or three people.<br></div></br></br><div class="poetry-text">[[M056|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Touching the Big Dipper, a triangle rooftop. </br></br>Appearing in mid-air, a single tower.</div></br></br><div class="poetry-text">[[M057|<span class="fa fa-plus-circle poetry-link-btn"></span>]]At the edge of a rock, a pine ages under a crescent moon. </br></br>At the sky’s end, clouds descend on a thousand crags below.</div></br></br><div class="critique-text">[[C035|<span class="fa fa-plus-circle critique-link-btn"></span>]]Poets like to use such meters (''yul'').</div>-plus-circle critique-link-btn"></span>]]Poets like to use such meters (''yul'').</div>)
E335 + (Second Minister (ch’amp’an) Pak Yŏng 朴英 (1 … Second Minister (ch’amp’an) Pak Yŏng 朴英 (1471–1540) was a renowned military official during the reign of King Chungjong. His education was comprehensive. He was good at poetry and also possessed medical knowledge. His home was in Sŏn Mountain by the bank of the Naktong River, Kyŏngsang province. His poem reads, 絶域南陲海氣昏兜鍪金甲老王孫無心麟閣題名字家在洛東江上村 In a secluded region, at the southern tip, covered in thick ocean mists,donned with helmet and armor is an old royal descendent.With no intention to have his name inscribed at the Qilin Pavilion,his home is in a village along the Naktong River. Another poem reads, 四十纔過五十初人間無用一籧篨餘生只合劉伶醉散步江湖堪打魚 Just passed my forties and now into my early fifties,useless in the mortal world, I am a disabled man.In the life that remains, I am only fit to be drunk like Liu Ling.Strolling along rivers and lakes, I shall go fishing.long rivers and lakes, I shall go fishing.)
E404 + (Sŏ Kyŏngdŏk was born with nearly supreme i … Sŏ Kyŏngdŏk was born with nearly supreme intelligence and had an especially profound understanding of Shao Yong’s 邵雍 (1011–1077) commentary on the Yijing (Book of Changes). The tactics he obtained from the Huangdi jingshi 皇極經世 (Book of Supreme World Ordering Principles) did not contain a single error. He wrote the following poem, 讀書當日志經綸歲暮還甘顏氏貧富貴有爭難下手林泉無禁可安身采山釣水堪充腹詠月吟風足暢神學到不疑真快活免教虛作百年人 Then I studied bookswith the intent on statecraft. Now in my waning years, I delight in the poverty of Yan Hui.Wealth and honor competeand are hard to get hold of. Forests and fountains do not discriminate, so there you can rest yourself.Picking firewood in the mountain and angling in the water, I can fill my belly.Singing the moon and chanting the wind, I satisfy my free spirit.Learning to the point of having no doubt, I am cheerful.I shall not let myself in vainbecome a hundred-year-old man.self in vainbecome a hundred-year-old man.)
E405 + (Sŏng Hun (sobriquet Taegok [Great Valley]) … Sŏng Hun (sobriquet Taegok [Great Valley]) was born with a beautiful nature and early on escaped the web of the mundane world. His older brother suffered the calamity of the literati purge in the year of ŭlsa (1545) and died a violent death. After that, Sŏng became even more indifferent to the world and lived in seclusion at the foot of Songni Mountain in Ch’ungch’ŏng province and died past the age of eighty. His poetry was like his person, deep and delicate (ch’ungdam), carefree and elegant (han’a), and had a lingering sound of the West Lake Recluse Lin Bu 林逋 (967–1028). 春服稱身雙袖短古琴便手七弦長十年嘗盡山中藥客到時聞口齒香 Spring jacket fits me wellwith two short sleeves.Zither is familiar to my handswith seven long strings.For ten years I tasted every herb in the mountain.When guests come, I often hear them say my breath is fragrant. The poem “Seeing off Cho Sik” 送曹南冥植 reads, 溟鴻獨向海南飛正值秋風落木時滿地稻梁雞鶩啄碧雲天外自忘機 A lone soaring goose flies south toward the sea,just when in autumn wind the time comes for trees to wither.Millets all over the groundchickens and ducks peck. Azure clouds beyond the skymake me simply forget all motive. He wrote many poems like these.ll motive. He wrote many poems like these.)
E334 + (There was a plum tree called “Yamen Plum” … There was a plum tree called “Yamen Plum” at Tansok Monastery in Chiri Mountain, and it was known to have been planted by Kang Hoebaek 姜淮伯 (1357–1402; sobriquet T’ong Pavilion). Cho Sik wrote the following poem about it, 寺破僧羸山石古先生自是未堪家化工定誤寒梅事昨日開花今日花 The temple in ruins, the monks lean, the mountain rocks ancient.This is not a place, you sir, can call home.The Maker must have made a mistake with your plum blossoms.Blooming yesterday, blooming today.The poem mocks Kang’s disloyalty.ng today.The poem mocks Kang’s disloyalty.)
E346 + (There was a student named Hong Hanin 洪漢仁 ( … There was a student named Hong Hanin 洪漢仁 (Koryŏ) who was talented in poetry and loved to roam in mountains and waters. He once wrote a poem about Ch’ŏnma Mountain, which reads, 朝上白雲峯頂觀暮投峯下孤菴宿夜深僧定客無眠杜宇一聲山月落 In the morning, I ascend the cloud-covered peak to view the scenery.At dusk, I reach the bottom of the peakand spend the night at a solitary temple.The night is deep. The monk is calm. The guest cannot sleep.The call of a cuckoo rings as the moon sets over the mountain.Later, it is said that he traveled to the Diamond Mountains and, while enjoying the deep pool, his foot slipped and drowned.e deep pool, his foot slipped and drowned.)
E300 + (These days, the study of poetry focuses pr … These days, the study of poetry focuses primarily on late Tang poetry, and pays no attention to Su Shi’s poetry. When Chŏng Saryong heard this, he remarked, “It is not because Su is inferior (pi), but because they fail to understand him.” Yi Hwang 李滉 (1501–1570; sobriquet T’oegye [T’oe Stream]) also said, “How could Su’s poetry fall short of late Tang poetry?” In my humble opinion, I also believe Su Shi’s poems, such as, 豈意靑州六從事化爲烏有一先生 Could it be that six jugs ofQingzhou’s Attendant Official wineturned into oneMr. Nothing! 凍合玉樓寒起粟光搖銀海眩生花 On the frozen jade towers, my shoulders are chilled with goose bumps.In the shimmering silvery seas, dazzles turn into blooms. 風花誤入長春苑雲月長臨不夜城 Petals in the winds mistakenly enter the Eternal Spring Garden.The cloud-covered moon at last arrives at the City That Never Sleeps. I don’t know of one late Tang poem that can match the outstanding (kijŏl) wonder of these poems! During the Koryŏ dynasty, every list of successful examination candidates said, “We have selected thirty-three Su Shi.” The literature of Koryŏ was superior (u) to that of our dynasty, and since Su was honored as the teacher of all teachers, his poetry cannot be considered inferior. If we look down on his character, then how many late Tang poets were worthier than Su? Minister Yi Hwang spoke highly of Su’s poetry and often recited the following lines, 雲散月明誰點綴天容海色本澄淸 Strewn clouds and a bright moon. Who beautifully displayed them up there?The face of the sky and the colors of the sea are crystal clear by nature.In many of his own poems, Yi used expressions (ŏ) by Su. own poems, Yi used expressions (ŏ) by Su.)
E351 + (When Kim An’guk was at the Yŏ River, Yi Ch … When Kim An’guk was at the Yŏ River, Yi Cha 李耔 (1480–1533) from Ch’ungju and Yi Changgon 李長坤 (b. 1474) from Uman came to Sillŭk Monastery and there met with Kim and spent the night. Kim Allo, who was in power at the time, said, “Dismissed high-ranking officials have gathered to discuss state affairs. They shall be heavily punished.” Yi Changgon then went down to his villa in Changnyŏng, and Yi Cha also did not dare to return. In a poem presented to a monk, Kim An’guk said, 三年廢把東臺酒明月滄江定怪嗔為問山僧休亦笑償愆須及百花春 I have not held for three years a wine cup at the East Terrace.The bright moon and the blue river must think it strange.I ask a monk in the mountain, “Please stop laughing at me also.This loss can be made good witha spring of a hundred flowers.”e good witha spring of a hundred flowers.”)
E095 + (When Kim Sisŭp 金時習 (1435–1493; sobriquet T … When Kim Sisŭp 金時習 (1435–1493; sobriquet Tongbong [Eastern Peak]) read books, he did not confine himself to the literal meaning of specific passages but sought out the main points and savored (mi) the principles. I once wrote “Laments of a Campaigning Soldier” 征夫怨 in ten quatrains, matching the rhymes of Yuan Haowen’s 元好問(1190–1257; sobriquet Yishan [Yi Mountain]) poem. One of them said, 百草凋霜月滿空年年鞍馬任西東令嚴萬幕平沙夜部伍相招鼓角中 Above the frostbitten grassy plain, the moon fills the sky.Year after year, horsemen campaign east and west.Commands are solemn in thousands of tents in the desert at nights.Soldiers call each other amid the sound of drums and pipes. When Kim read it, he burst into laughter, saying, “You made an error. How can they call each other when the commands are solemn?” He then showed me the Xiaoya 小雅 (Minor Odes) of the Shijing (Classic of Poetry), which said, “When you go on a campaign, not a peep can be heard. Indeed, you will achieve great success.” Deeply impressed by his words, I returned and told Hong Yuson what had happened. Hong marveled at Kim without end.appened. Hong marveled at Kim without end.)
E074 + (When King T’aejong 太宗 (1346–1422) was youn … When King T’aejong 太宗 (1346–1422) was young, he studied for the civil service examination. In the imsul year of Sin U 辛禑 (1382), he became a Literary Licentiate (chinsa) as the secundus. In the following kyehae year (1383), he successfully passed the civil service examination. Among his co-graduates were Kim Hallo 金漢老 (b. 1367) as the primus, Sim Hyosaeng 沈孝生 (1349–1398) as the secundus, and King T’aejong won the tenth place. Yi Rae 李來 (1362–1416), Sŏng Pu 成傅 (15th century), Yun Kyu 尹珪 (1365–1414), Yun Sasu 尹思修 (1365–1411), Pak Sŭp 朴習 (d. 1418), and Hyŏn Maengin 玄孟仁 (15th century) were also among his fellow graduates.After ascending the throne, King T’aejong arranged for Kim Hallo’s daughter to become the wife of Crown Prince Yi Che’s 李禔 (1394–1462). Every time he met Kim, the king addressed him as the primus and not by his name. King T’aejong once composed a poem on a fan, 風榻依時思朗月月軒吟處想淸風自從削竹成團扇朗月淸風在掌中 Reclining on a summer bed, I yearn for the bright moon.Writing at a moonlit terrace, I long for a cool breeze. From carving the bamboo a round fan is formed.The bright moon and cool breeze are in the palm of my hand. Since ancient times, there have been few literary figures who accomplished the grand task of founding a kingdom. Among the writings of emperors and kings, none exhibits the deft craftsmanship (kigyo) found in this poem. It employs allegory through objects and is infused with subtle meanings (ŭi) and charm (ch’wi). This is something only a sage can achieve.This is something only a sage can achieve.)
E332 + (When Prince Nosan was in Yŏngch’ŏn, he asc … When Prince Nosan was in Yŏngch’ŏn, he ascended the Bright Moon Pavilion on a moonlit night and heard a cuckoo calling. Then he wrote the following poem, 蜀魂啼山月白相思空倚樓頭爾啼苦我心愁無爾聲無我憂寄語人間離別客愼莫登子規啼明月樓 The soul of Shu cries in the white moonlight of the mountain.Yearning for you in vain, I lean against the tower.Your mournful cry grieves my heart.Without your sound, I have no sorrow.Here is my advice to allthe travelers in the mortal world.Be careful not to ascend the Bright Moon Pavilion when you hear the cuckoo’s cry.n Pavilion when you hear the cuckoo’s cry.)
E884 + (When Yi Sik was about twenty years old, he … When Yi Sik was about twenty years old, he was not yet well-known. His brother-in-law Sim Changse 沈長世 (1594–1660) was serving as Prefect of Puan county in Chŏlla province, and Yi came to visit his own mother-in-law. At the time, Hŏ Kyun happened to be in exile there. Hŏ presented a regulated verse to Yi, and its fifth and sixth lines read, 皓首身千里黃花酒一杯 A white-haired man, a thousand li away from home,drinks a cup of wine by the chrysanthemum flowers. Yi responded to it, 旅跡無常策窮愁共此杯 On a traveler’s journey, I have no fixed plans.Let’s share this cup in the depths of sorrow. Hŏ praised him greatly and said that Yi would later become the Director of the Office of Royal Decrees (taejehak). Yi became renowned because of the event.. Yi became renowned because of the event.)
E292 + (Whenever imperial envoys come, the staffer … Whenever imperial envoys come, the staffers at the post stations in P’yŏngan province remove all poetry plaques except for the one by Chŏng Chisang, which is hung at the Boat Pavilion by the Taedong River. The plaque reads, “When the rain stops, the long riverbanks turn luxuriantly green” 雨歇長堤草色多. Chŏng Saryong commented, “In Yi Saek’s poem on Pubyŏk Tower, there are the lines, 昨過永明寺今登浮碧樓城空月一片石老雲千秋… Yesterday, I passed Yongmyŏng Monastery.Today, I ascend Pubyŏk Tower.Over the empty city, a crescent moon.Around the ancient rock, clouds of a thousand years.…These lines are absolutely ingenuous (myojŏl) and moving (tongin). The poem even made the imperial envoy Ni Qian stomp his feet in praise. How can it be considered inferior to Chŏng’s poem??” Therefore, Yi Saek’s plaque was left and not removed.Yi Saek’s plaque was left and not removed.)
E001 + (Writing emerged in the East when Kija, the … Writing emerged in the East when Kija, the Grand Tutor of Shang, came to be enfeoffed here. However, since it was so long ago, nothing can be known about the writers from that period. The [[B026|<span class="keyword book"><i>Yaoshantang waiji</i> 堯山堂外記 (Unofficial Records from the Hall of Yaoshan)</span>]] provides detailed notes on [[P024|<span class="keyword person">Ŭlchi Mundŏk’s 乙支文德 (ca. 612)</span>]] literary achievements, including a five-character quatrain he presented to the Sui General Yu Zhongwen, which reads, </br><div class="poetry-text">[[M001|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Your divine strategies probe the heaven’s patterns.<br>Your wondrous tactics exhaust the earth’s principles.<br>The battle is won. Your merit is towering.<br>Know that you have done enough and please call it an end.<br></div> <div class="critique-text">[[C001|<span class="fa fa-plus-circle critique-link-btn"></span>]]His composition method (<i>kuppŏp</i>) is [[CT001|<span class="keyword critical-term">marvelous and classical (<i>kigo</i>)</span>]], and there is no trace of the habit of [[CT002|<span class="keyword critical-term">ornamental (<i>kiryŏ</i>) embellishment</span>]]. How could dispirited writers of later generations hope to achieve this?</div> <br>Note: [[P024|<span class="keyword person">Ŭlchi Mundŏk</span>]] was a minister of [[H002|<span class="keyword era">Koguryŏ</span>]]. era">Koguryŏ</span>]].)
E083 + (Yi Chip 李集 (1314–1387; sobriquet Tunch’on … Yi Chip 李集 (1314–1387; sobriquet Tunch’on [Secluded Village]) gained renown throughout the world because of his literary achievements. His friends were all outstanding figures of their time. Once he spoke critically of current affairs. When his words touched upon the topic of Sin Ton 辛旽 (d. 1371), Sin tried to secretly assassinate him. Together with his father, Yi fled. Hearing that his co-graduate Ch’oe Wŏndo 崔元道 (14th century) lived at Yŏngch’ŏn, Kyŏngsang province, they went there to seek refuge. Ch’oe treated them with great generosity. For three years, they never left his house. When Yi’s father died, Ch’oe took care of everything for his funeral and burial, as if the deceased had been his own father, and buried him next to Yi’s mother’s grave. Yi then presented the following poem to Ch’oe, 慷慨傷時淚滿襟流離孝懇達幽陰漢山迢遞雲烟阻羅峴盤回草樹深天占後先雙馬鬣誰知君我兩人心願焉世世長如此須使交情利斷金 Overcome with grief, tears drench my collars.Sincere filiality of this refugee has reached the underworld.Mount Han is far away, obstructed by misty clouds.Steep hills of Nahyŏn twist and turn,buried among thickets. Heaven claimed them one after another, and they now rest in twin graves. Who would understand you and me,the hearts of yours and mine? May we, generation after generation,this way remain. Let us keep this friendship that can cut through metal!To this day, people all praise Ch’oe’s faithfulness. Namhyŏn is the place where his mother was buried. is the place where his mother was buried.)
E003 + ([[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solit … [[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solitary Cloud]) [literary] merit was unprecedented. Therefore, scholars of [[the East]] all regard him as the progenitor [of literature]. His poem [[“A Pipa Tune” 琵琶行]] is classified in the [[Tang yin yi xiang 唐音遺響 (Lingering Echo of the Sound of Tang)]] as an anonymous work. Later generations remain undecided on its authenticity. Some say that the line, </br><div class="poetry-text">[[M003|<span class="fa fa-plus-circle poetry-link-btn"></span>]]Over [[Dongting Lake]], the moon goes down, and a solitary cloud returns home.</div></br>proves his authorship, but that alone is insufficient evidence to settle the debate. [[“A Letter to Condemn Huang Chao”]] drafted by [[Ch’oe]] is not included in official histories. It is said that when [[Huang]] read the line, “Not only do all the people of the empire openly wish for your destruction, but the ghosts of the underworld also have devised a secret plan to eliminate you,” he fell from his chair in surrender. Had it not been a writing that makes the ghosts weep and startles the wind, how could [[Ch’oe]] have reached this level? Yet his poems are not considered [[lofty (ko)]]. It must be because he entered China during the [[Late Tang period]].)

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?)
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.)
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.)
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.)
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.)
E187 + (1. The Koryŏ dynasty’s Yi Inbok is a grand … 1. The Koryŏ dynasty’s Yi Inbok is a grandson of Yi Chonyŏn 李兆年 (1269–1343). People call him a wise man. In the poem he sent to his fellow graduates from the Yuan Empire, Recipient of Edicts (chengzhi) Ma Yanhui 馬彥翬 (14th century) and Academician Fu Zitong 傅子通 (14th century), he wrote, 每向瓊林憶醉歸賜花春煖影離離別來更覺交情厚老去安知世事非駑鈍尙慚懷棧豆鵬飛誰復顧藩籬請君莫笑東夷陋海上三峰聳翠微 Often I remember our time at the Red Jade Grove and how we returned home drunk.The flowers from the emperor wore spring colors and shined with glimmer.After we parted, I felt all the more our friendship was dear. Now that I am old, how can I tell the ills in worldly affairs?Though incompetent, I shamefully sought petty gains.But when the great roc takes flight, who would look back at the fences?Please don’t laugh at this Eastern Barbarian and call him vulgar!The three peaks in the sea are towering green mountains. Kim Chongjik recorded this poem in his Ch’ŏnggu p’unga (Airs and Odes from the Blue Hills) and annotated it, saying, “At the time, the Yuan dynasty was reaching the end of its demise. The poem invites the two people to escape to Korea.” Royal Secretary (sŭngji) and Academicians (haksa) were high ranking officials who supported the emperor nearby. Although Yi Inbok said they were fellow graduates and good friends, nevertheless, they were still people of another country. How dare he summon them to come here? Furthermore, the last line does not imply a summons I do not understand based on what evidence Kim annotated it as such.on what evidence Kim annotated it as such.)
E183 + (1. The Tongin sihwa (Easterners’ Remarks o … 1. The Tongin sihwa (Easterners’ Remarks on Poetry), compiled by Sŏ Kŏjŏng, reads, “During the reign of King Kongmin of Koryŏ, Chief Minister Yu Suk 柳淑 (1324–1368; sobriquet Saam [Thoughtful Hut]) wrote a farewell poem to a friend who was returning to his hometown after resignation. The poem goes as follows, 人間膏火自相煎明哲如公史可傳已向危時安社稷更從平地作神仙五湖夢斷烟波綠三逕秋深野菊鮮顧我未能投紱去邇來雙鬢雪飄然 In the world, with greased torches people burn each other.A wise man like you deserves to be remembered in history. Already, in this dangerous time, you brought stability to the Gods of the Land and Grain.Now you return to a peaceful land to become an immortal. At the Five Lakes, you awake from your dreams, where misty waters are green.In the Three Trails, autumn is deep, where wild chrysanthemums are fresh.I look at myself, who still cannot leave the office behind.Lately, the hair on my temples has become sprays of snow.Sin Ton slandered Yu before the king, citing his use of terms like “wise man,” “Five Lakes,” which led to Yu’s execution.” The Ch’ŏnggu p’unga 靑丘風雅 (Airs and Odes from the Blue Hills), compiled by Kim Chongjik, also records this poem. But there, it states the poem was written by Yi Inbok 李仁復 (1308–1374) on the occasion of bidding farewell to Yu Suk. In the annotation by Kim at the end of the poem, Kim writes, “Initially, the last line of the poem was 西風塵土意茫然 Westerly wind blows over the dusty realmwith endless desires.” Out of fear that Sin Ton might see it, Yi later changed it to “Lately, the hair on my temples has become sprays of snow.”” Sŏ Kŏjŏng and Kim Chongjik were both well-read individuals, and their chronologies are not far apart. How is it not strange that their accounts differ in this way? But, if Sin Ton did indeed use the poem to speak ill of its author before the king, then it is evident that the poem was indeed written by Yu Suk.hat the poem was indeed written by Yu Suk.)
E192 + (1. The expression “bu fen” 不分 is a colloqu … 1. The expression “bu fen” 不分 is a colloquial Chinese phrase. The sound of the word “fen” 分 (to divide) is similar to that of “fen” 噴 (to burst).” That is why “bu (not) fen 不分” means “to be angry.” It implies not letting one's anger burst forth but rather holding it inside. In Du Fu's poem, there is a line that reads, 不分桃花紅勝錦生憎柳絮白於綿 I am not angry that the peach blossoms are redder than brocade.But I resent that willow catkins are whiter than cotton fluff.The phrase “sheng zeng” 生憎, meaning “to resent,” is also a colloquial expression. Since “bu fen” is a colloquial expression, Du used another expression “sheng zeng” to match it. The line from Su Shi’s poem, 不分東君專節物 I am angry that the Lord of Spring keeps the season’s bounties to himself. also has this meaning (ŭi).es to himself. also has this meaning (ŭi).)
E220 + (1. There were many lowly women in the past … 1. There were many lowly women in the past who encountered poets and whose names were thus immortalized. For Du Fu, it was Fourth Lady Huang; for Li Shangyin, Lady Willow Branch; for Bai Juyi, a merchant’s wife; and for Huang Tingjian, Guoxiang. These were truly rare poetic events and brought great fortune to those women. In recent times, there was a kisaeng named Sangnimch’un 上林春 (mid-15th century) from Hanyang who was a renowned zither player at that time. She once caught the attention of Sin Chongho 申從濩 (1456–1497), the Second Minister of Personnel (ch’amp’an), who presented the following poem to her, 第五橋頭楊柳斜晩來風日轉淸和緗簾十二人如玉靑鎖詞臣信馬過 At the Fifth Bridge, poplars and willows sway.In the evening, the wind and sunturn everything clear and calm.Playing the twelve silk stringsis a jade-like fair lady. The poetry official from the palace of green windows lets his horse take him to her place. Reaching the era of the Jiajing emperor (1507–1567; Chungjong 2–Myŏngjong 22), she had surpassed seventy years of age. She asked Yi Sangjwa 李上佐 (mid-16th century) to paint a picture of that event and wrote Sin Chongho’s poem on it. She also requested poems from scholar-officials, and Chŏng Saryong (sobriquet Hoŭm [Lake Shade]) wrote a regulated verse for her. His introductory note reads, “The zither player kisaeng Sangnimch’un is seventy-two this year, and her skills have not waned. When her heart is saddened by past events, she immediately sets aside the plectrum and sheds tears. There is much melancholy in her tune. Every time she comes and asks for a poem, wishing to leave her name behind. Moved by her earnest request, I write a regulated verse.” The poems reads, 十三學得猗蘭操法部叢中見藝成遍接貴遊連密席又通宮籍奏新聲嬌鶯過雨花間滑細溜侵宵澗底鳴才調終慚白司馬豈能商婦壽佳名 At thirteen, you learned to play the Tune of Elegant Orchid.Among the crowd at the music academy,your talent stood out.Befriending the nobles, you joined seats with them.Advancing to the royal registry, you played new tunes.Like a charming oriole after rain,singing smoothly among the flowers,like a rapid in the depth of nightechoing at the bottom of a brook,your talent and style ultimately surpassed even the poet Bai Juyi.For how could a merchant’s wife attain lasting fame? Kim An’guk wrote the following quatrain for her, 容謝尙存傾國手哀絃彈出夜深詞聲聲似怨年華暮奈爾浮生與老期 Your beauty has faded, yet your hands retain the talent that captivates the nation.Sorrowing strings play the Late-Night Song.Note after note, you seem to mournthe passing of youthful years.What to do when a drifting life meets with old age?Many wrote poems matching his rhyme, and she put them together into a long poetry scroll. Ah! The fortune of her encounter certainly is not less than that of other women, such as Du Fu’s Fourth Lady Huang. women, such as Du Fu’s Fourth Lady Huang.)
E185 + (1. Third Minister (ch’amŭi) Im Ŏngnyŏng wa … 1. Third Minister (ch’amŭi) Im Ŏngnyŏng was a native of Haenam, Chŏlla province. His poetry was carefree (chunil), clear, and fresh (ch’ŏngsin). He gained fame early in his life. During the purge of the ŭlsa year (1545), he Im Ŏngnyŏng held different views from his younger brother Im Paengnyŏng 林百齡 (d. 1546), so he did not join the officials with Merits of Protecting the State (Wisahun), but he still served in the court. Later, he was appointed as Magistrate (pusa) of Tamyang and wrote the following poem, 朝趨北闕暮南州竊比明時僞許由縱跡似雲舒或卷行藏如水止還流何妨混世陶腰折追悔爭名羿彀遊歸老海邊吾已決黃花朱橘故園秋 Scurrying to the northern palace in the morning, then back to the southern province in the evening,I compare myself to the sage era’spretend Xu You. My traces like clouds stretch out or roll.I advance and retreat like water, stopping and flowing.In a confused time, what mattersif Tao Qian bowed down?I regret vying for fame, roaming with Hou Yi’s bow.To return to the ocean side and grow old,this have I already decided.Chrysanthemums and tangerines, autumn has come to my old garden. He also wrote, 吏散庭空鳥印蹤杏花疏影月明中白頭剛厭烏紗帽客去而懸客至籠 After the officials leave, in the empty courtyard, only birds’ footprints remain. Apricot blossoms scatter their shadows under the moonlight.Loathing to wear on my white haira black gauze cap,I hang it when the guests leave and put it on when they come.guests leave and put it on when they come.)