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E600 + (Supernumerary Official (wŏn’oerang) Kim Kŭ … Supernumerary Official (wŏn’oerang) Kim Kŭkki’s poetic ideas were extremely ingenious (kyo). The last verse in his poem on plum blossoms on a winter day reads, 無乃異香來聚窟漢宮重見李夫人 Isn’t that amazing fragrance coming from Juku Island?The Han palace once again beholds Lady Li. This is what former worthies had not said. The poem he composed in Yongman said, 文章向老可相娛一劍游邊尙五車衙罷不知爲塞吏紙窓明處臥看書 As we get older, literature is what we can take pleasure in together. Carrying a sword and touring the frontier, I prize the five cartloads of books.When the office closes, I forget that I am a frontier officer.In a bright place by the paper window, I recline and read books. One can imagine his untrammeled heart that sought escape from boredom.led heart that sought escape from boredom.)
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.)
E615 + (Sŏ Kŏjŏng served as the Director of the Of … Sŏ Kŏjŏng served as the Director of the Office of Royal Decrees (taejehak) for a long time, therefore, his contemporaries, such as Kang Hŭimaeng (choronym Chinsan), Yi Sŭngso (choronym Yangsŏng), and Kim Suon (choronym Yŏngsan), all died before they could get to the position of literary authority. These lines in Yi Sŭngso’s poem on magpies, 綠楊門巷東風晩靑草池塘細雨迷 In the lanes with green willows, east wind is late.On the pond with green plants, light rain is hazy. has the very image of a Tang poet. hazy. has the very image of a Tang poet.)
E017 + (Sŏn master Hyemun 惠文 (d. 1234) was a nativ … Sŏn master Hyemun 惠文 (d. 1234) was a native to Kosŏng county, Kyŏngsang province. At the age of around thirty, he finally entered monkhood, and progressing through various stages, he became a renowned Sŏn master. He once resided at Unmun Monastery. Being a man of strong integrity, he quickly gained the admiration of many famous literati who became his followers. He had a fondness for writing poetry and adopted the style (ch’e) of a mountain hermit. His poem on Pohyŏn Monastery reads, 爐火煙中演梵音寂寥生白室沈沈路長門外人南北松老巖邊月古今空院曉風饒鐸舌小庭秋露敗蕉心我來寄傲高僧榻一夜淸談直萬金 Amidst the smoke of the censer, Sanskrit sounds are explained. From tranquility breaks a radiant light into a room, deep and dark. On the long road outside the gate, people come and go, heading north and south.An aged pine stands by the rocky cliff. The moon is the same yesterday and today.In the empty temple, the morning breezecarries the resonance of wooden bells. In the small courtyard, autumn dews glisten on withered plantain leaves.I come, setting aside my pride, before the esteemed monk’s seat. An evening of pure conversation is worth ten thousand pieces of gold. Serenity (yuch’i) and lofty unworldliness (chajae) reside within these verses. The second couplet is widely recited (chŏnsong). As a result, Hyemun earned the sobriquet “Pine-Moon Monk.”mun earned the sobriquet “Pine-Moon Monk.”)
E417 + (Sŏng Hon’s 成渾 (1535–1598; sobriquet Ugye [ … Sŏng Hon’s 成渾 (1535–1598; sobriquet Ugye [Ox Stream]) poem “Weeping for Pak Sun” 哭思庵 reads, 世外雲山深復深溪邊草屋已難尋拜鵑窩上三更月曾照先生一片心 Beyond the world, the cloud-covered mountains hide deep and deep.A thatched hut by a creek is already hard to find.Above Visit Cuckoo Nest,midnight moon shinesthat once illuminated the master’s piece of unchanging heart.This can be called an excellent eulogy for Pak Sun. Visit Cuckoo Nest is the name of Pak Sun’s abode.uckoo Nest is the name of Pak Sun’s abode.)
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.)
E122 + (Sŏng Hŭi’s 成熺 (15th century) poem, reflect … Sŏng Hŭi’s 成熺 (15th century) poem, reflecting on living in exile in Kimhae, Kyŏngsang province, reads, 漢城客作盆城客銀海波添金海波 A wanderer in Hansŏng became a wanderer in Punsŏng. Billows of silvery sea were added to the billows of golden sea. He probably was referring to the anecdote of tears adding to the waves. Ch’oe Hang’s 崔恒 (1409–1474; sobriquet Munjŏng [Literary Stillness]) poem states, 銀海幾寒金海望靑雲難奪白雲思 How cold is the silvery sea as you gaze at the golden sea?A blue cloud cannot easily forsake the wish to become a white cloud.It is highly likely that the earlier poem served as an allusion to this one.er poem served as an allusion to this one.)
E506 + (Sŏng Imin’s 成以敏 (b. 1565) “A Poem on the F … Sŏng Imin’s 成以敏 (b. 1565) “A Poem on the Fish Lamp” 詠漁燈 reads, 楚水流無極靈均恨不平至今魚腹裏留得寸心明 The Chu River flows endlessly.Qu Yuan laments injustice.To this day in the fish’s stomach,he kept his luminous heart. Some praise this poem, but the opening line is not good (ka), and it uses a child’s language (ŏ). He certainly is not a writer.anguage (ŏ). He certainly is not a writer.)
E403 + (Sŏng Sujong 成守琮 (1495–1533), a younger bro … Sŏng Sujong 成守琮 (1495–1533), a younger brother of Sŏng Such’im 成守琛 (1493–1564), was one of the worthies persecuted during the literati purge in the year of kimyo (1519). Early on he passed the civil service examination as a primus but was removed from office and stayed at home idly. A quatrain by him reads, 數疊靑山落市邊層城日暮散風煙幽居近壑人來少獨采黃花坐石田 Tiers of green mountains come down by the city.The towering walled city at dusk is strewn with winds and mists. Living in seclusion near a ravine, visitors are few.Alone I pick chrysanthemums sitting on a stony field. Reciting the poem, we can imagine his person.iting the poem, we can imagine his person.)
E463 + (Sŏng Sujong’s poem reads, 小山當面背長江山雨江聲落夜窗朝來 … Sŏng Sujong’s poem reads, 小山當面背長江山雨江聲落夜窗朝來臥卜漁人惠破席門前吠老尨 With a small hill in front and a long river behind, the sound of a mountain rain on the river falls on my night window.When the morning comes, in bed I imagine a fisherman bringing me a gift.Just then by the tatty matted gate, my old dog barks. The poem has well captured the delight (ch’wi) of riverside living.d the delight (ch’wi) of riverside living.)
E062 + (Sŏng Sŏgin 成石因 (1338–1414; sobriquet Sangg … Sŏng Sŏgin 成石因 (1338–1414; sobriquet Sanggok [Mulberry Valley]) and Yi Haeng 李行 (1352–1432; sobriquet Kiu [Ox Rider]) enjoyed a close friendship. While Yi lived in Sŏngnam, Sŏng resided in Sŏsan, with a distance of about five li separating them. They would occasionally visit each other, walking with canes, and engage in poetic exchanges.Sŏng built a small room in his garden and named it the Life Nurturing Hall (Wisaengdang). There he gathered his young servants and had them prepare herbal medicine. Yi wrote the following poem, 蕭灑新堂白板平圖書花竹有深情墻頭嫩綠三槐樹好箇黃鸝一兩聲 Easy and carefree in the new hall, with an uncarved white plaque. Paintings and books, flowers and bamboo evoke profound sentiments.Along the wall, tender green leavesadorn three sophora trees.How delightful is the singing of a pair of yellow orioles!s the singing of a pair of yellow orioles!)
E081 + (Sŏng Sŏngnin 成石璘 (1338–1423; sobriquet Tok … Sŏng Sŏngnin 成石璘 (1338–1423; sobriquet Tokkok [Solitary Valley]) and Yi Haeng were close friends. On a day when Sŏng visited Yi but couldn’t meet him, he left a poem on his friend’s door, 德彝不見太平年八十逢春更謝天桃李滿城香雨過謫仙何處酒家眠 Deyi did not get to see the time of Great Peace. At eighty, meeting another spring, I am all the more grateful to Heaven. Peach and plum blossoms fill the city.Scented rains have just passed.You, banished immortal!At which tavern did you fall asleep? When Sŏng was young, Chief Minister (sijung) Cho Chun 趙浚 (1346–1405) held a banquet to celebrate his appointment as the examiner of the civil service examinations. On the spot, Sŏng composed a celebratory poem, 得士方知座主賢侍中獻壽侍中前天敎好雨留佳客風送飛花落舞筵 When capable scholars are found, we know the exam officer is virtuous. I, a Chief Minister, offers birthday wishesto you, Oh, Chief Minister!Heaven rains down blessings upon these fine guests. The wind wafts petals to fall on the dance floor. Everyone gasped in admiration. However, after listening, Grand Prince of Ch’angnyŏng Sŏng Yŏwan 成汝完 (1309–1397) reproached Sŏng, saying, “Scholars’ jealousy for talent is worse than women’s jealousy. How come you did not yield and dared to present the poem first? Why not ponder the art of self-protection?” At the time, many young scholars jealous of others’ talent attacked each other, and that is why he thus remarked.h other, and that is why he thus remarked.)
E527 + (Sŏng Un’s poem reads, 波乾龍爛死松倒鶴驚飛地下忘恩怨人間說是非 … Sŏng Un’s poem reads, 波乾龍爛死松倒鶴驚飛地下忘恩怨人間說是非 When waters dry, dragons are scorched to death.When pines fall, cranes fly away in fright.Under the ground, kindness and enmity are forgotten, yet the mortal world disputes right and wrong.The poem probably mourns all who perished in the purge of the ŭlsa year (1545). The second couplet aptly describes the feelings of the worthies and can make one cry bitterly.he worthies and can make one cry bitterly.)
E896 + (Sŏng Yŏhak was skilled (kong) in poetic ru … Sŏng Yŏhak was skilled (kong) in poetic rules (siyul), and he became poetry-and-wine friends with Yu Mongin. Sŏng was over sixty years old but still had not held an official appointment. At the time, Yi Chŏnggwi was in charge of the Ministry of Personnel (Ijo). Yu gave his recommendation to Yi and said, “It is Sŏng Yŏhak who wrote, 露草蟲聲濕風枝鳥夢危 On dewy plants, insects sound damp.On windy branches, birds dream danger.How can we allow him to age in vain?” Yi then immediately appointed Sŏng as a poetry instructor. Lately, Hong Manjong has become famous for his poetry. His sobriquet is Monghŏn (Dream Terrace). Untrammeled by convention, he loved to write books and printed his compilation Tongguk yŏktae ch’ongmok 東國歷代總目 (Outline and Digest of a Chronological History of the Eastern Kingdom). A eunuch, who regarded it as an unauthorized historical writing, demanded to have him exiled. Minister Ch’oe Sŏkchŏng 崔錫鼎 (1646–1715) then told someone, “It is Hong Manjong who wrote, 席上又兼絲竹肉人間何羨鶴錢州 At the banquet are again playingstrings, pipes, and voices.Why should mortals envycranes, money, and Yangzhou?How could I bear punishing him with an exile?” Then he submitted a memorial to ask for Hong’s release but could not undo the decision. From beginning to end, although the issues were different, both Yu and Ch’oe were the same in their will to cherish the talented.ame in their will to cherish the talented.)
M051 + (Tears at parting year after year build the blue breakers)
E707 + (That meaning (yŏngŭi) in literature must c … That meaning (yŏngŭi) in literature must come naturally from wondrous (kimyo) creativity (chohwa) has indeed been difficult to expound. As for descriptions of objects (changmul) and scenery (sagyŏng), for example, the shifting forms of winds and clouds and constant changes from morning to night cannot bring about an experience of awakening if they were not naturally obtained (chado), in the manner that only a sage can understand another sage. In his Chibong yusŏl (Topical Discourses of Chibong), Yi Sugwang appraised a couplet in Chŏng Saryong’s poem “Sitting in the Rear Terrace in the Evening” 後臺夜坐, 山木俱鳴風乍起江聲忽厲月孤懸 Mountain trees sing togetherat the sudden gust of wind. River sounds suddenly raceunder the lonely hanging moon. and commented that “under the lonely hanging moon” and “suddenly quickens the sound of river” do not belong together. In the Kukcho sisan (Poems Culled from Our Country), compiled by Hŏ Kyun, Hŏ included the poem and appraised it saying, “This couplet by the old poet is surely the most outstanding in the whole collection.” Hŏ was renowned for his appraisal of poetry, therefore he must have had profound understanding of the poem. Couldn’t it be that Yi Sugwang had such debasing review because he did not examine the poem in detail? Once I was passing Ch’ŏngp’ung county and spent the night at Hwanggang station. In the middle of the night, I heard the rushing sound of the river. I opened the door to look, and there in the sky a lonely moon was hanging. Then I recalled the line by Chŏng, “River sounds suddenly race under the lonely hanging moon.” After reciting the poem and savoring its meaning, I began to understand that the old poet’s description of scenery (sagyŏng) was realistic (p’ipchin). The poem’s value increased when put next to a real scenery.increased when put next to a real scenery.)
E590 + (The Chinese literati had a clear literary … The Chinese literati had a clear literary judgment. Envoy Zhu Zhifan said, “Although Chosŏn is a small state, in appointing the Chief Minister, they certainly choose someone with exceptional literary talent. Chief State Councilor (yŏngŭijŏng) Yu Yŏnggyŏng’s 柳永慶 (1550–1608) composition is most admired (ch’oego).”Whenever Zhu read Yu’s poem, he struck the table in praise, saying, “A first-rate composition in the East!” At that time, Yu always ordered his colleague Ch’oe Rip to write poems. The poems attributed to Yu found in the Hwanghwa chip were all Ch’oe Rip’s poems. Once Ch’oe composed and cosigned a memorial with two chief ministers and submitted it to the office in Liaodong. Censor-in-Chief (duyushi) Gu Yangqian 顧養謙 (1537–1604) opened the document in his carriage. Pulling the three chief ministers close to him, Gu said, “Superb (ka) indeed! Whose composition is this?” They answered, “It is by Second Chief Minister.” Gu pored over Ch’oe and marked up the text in the air with his finger, saying “A composition of this quality is rare even in China.” Once when I was in China (1609), we submitted a request of exemption from banquet to the Ministry of Rites because of royal mourning back home. The ministry was resolute and would not sign it. Seven Vice Directors (shilang) took turns to read the document. They stared at each other, looking moved. Our interpreter stood in the courtyard from morning till sunset, but there was no reply, except for three-four rounds of inspection. When the interpreter requested that the ministry returns the document, a Vice Director said, “It will stay in the ministry.” That year, Chŏng Kyŏngse 鄭經世 (1563–1633) submitted a document to the Ministry of Rites. The Vice Directors praised his writing and granted his request, saying “This is a very difficult matter, but because his composition is excellent, we specially grant his request.” All Vice Directors spoke greatly of his writing and said to each other, “This composition, although excellent, is not as good as previous envoy Yu’s composition. His was twice as lofty and ancient (kogo), but because the matter was inappropriate, we turned down his request. The East certainly has many writerly officials.” That year I passed by Yongping Prefecture’s Ten Thousand Willow Manor, a villa belonging to Li Huan 李浣 (16th century), an Auxiliary Official in the Office of Foreign Affairs (Honglusi). I composed on its whitewashed wall a seven-character regulated poem with sixteen rhymes. At that moment, the day was getting dark, so I wrote the poem holding a candle. An old scholar came and saw it and said, “Ah! Excellent (ka) poem! Excellent poem!” Censor (yushi) Han Yinggeng 韓應庚 (jinshi 1577), who was Li Huan’s brother-in-law, and neighbor scholar and Hanlin academician Bai Yu 白瑜 (d. 1623) came and saw the poem and praised it, and they engraved it on a plaque and hung it on the wall. Since the ancient time, Chinese scholars have looked down on people from our country. For several hundred years, along the road of several thousand li, not a single poem by our countryman was hung on a plaque. That a poetry plaque in China by our countryman starts with me is my honor. I realized that about several hundred poems were written on Ten Thousand Willow Manor, and what I wrote was not markedly different from them. Yet the Chinese scholars only displayed my poem on the wall. Their literary judgment too is different from that of our countrymen. The poem reads, 巾我河車指玉京諸天無際是三淸朝來失路靑霞迥物外沾衣白露生怪石當溪蹲老虎暗鐘隱郭吼長鯨茅龍展尾紆淸硐遼鶴舒翎抗畫甍翳日涼陰藏小店拂天高柳滿平坰臨風裊裊齊垂線匝地森森亂擢莖嫩葉正濃紅女織新枝初暢葆蕤傾酡顏系馬尋芳興玉手攀條惜別情徑糝白氈飄落絮門張翠幄擲流鶯凋霜啄木秋聲急殘綠寒蜩夕吹輕萬里三游人不識天高地迥我何征神仙縹渺吾身是山海微茫上界行繡闥朱門淸晝掩寒林衰草暮鴉鳴風煙淡淡愁山色歌曲悠悠送水聲鶴背明朝參北極鰲頭歸路杳東瀛煙波夢斷盧龍塞鄉客應尋舊姓名 Closing the curtain on River Carriage, I head toward the Jade Capital. Heaven is boundless, the realm of the Three Pure Ones. Coming in the morning, I lost my way in the distant blue clouds.Beyond the worldly domain, dampening my robeare rising clear dews. A strange rock facing the stream crouches like a tiger.A hidden bell in a secluded city roars like a whale. The grass dragons stretch their tails and curl up inside the pure cave.Liao’s crane spreads its plumes and perches on the painted beams.The cool shade shrouding the sun covers over village shops.Tall willows swinging in the sky fill up the open outskirts. In the wind they bend, standing straight up.All over the ground they are luxuriant with copious long twigs. Their tender leaves deepening in colorare woven together by young girls.On their new bourgeoning branchestassel flowers hang low. With a face flushed with wine, tying my horse, I search for fragrant elation.Delicate hands break the willow twigs with parting regrets. White felt covers our diverging paths as falling catkins drift.Jade green veils spread over the gate as sweet orioles leap. Woodpeckers on frost-bitten trees rush the sound of autumn.On chilly cicadas amid withering greens, sunset blows gently.These three travelers from thousands of li away people do not know.To the high heavens and far-off landshow will I journey?Gods and immortals drift, and so is my body.Through hazy mountains and seas, I tour the heavenly realm.Embellished doors and vermilion gates are closed during the day.In the cold forest amid withering plants, evening crows sing.The light mist in the air makes the mountain look melancholy.Gently, gently, the songs carry the sound of water. On crane’s shoulders tomorrow morning I will join the North Pole.Atop a sea tortoise and homebound, I will disappear into the eastern world. The dream of misty waters ends at Lulong Fortress.Hometown strangers will ask about my former name.n strangers will ask about my former name.)
E712 + (The Great Prince (puwŏn’gun) of Yŏnhŭng, K … The Great Prince (puwŏn’gun) of Yŏnhŭng, Kim Chenam 金悌男 (1562–1613), hosted a banquet one summer day at South Mountain’s Ŭppaek Hall. Many writers and poets of the time, including Ch’oe Rip, attended. Near the end of the banquet, the host laid before each guest a sheet of ornate writing paper and asked each of them to write a poem. All proposed Ch’oe to write first. Ch’oe declined the request multiple times, but eventually took the brush and composed a seven-character recent style poem, 避暑風流傾北海衝泥車馬簇南山身忘國舅衣冠右具取家人鼎俎間桂醞盞愁蕉葉脆冰羞盤訝水晶頑佳招只為憐能賦白首其如夢錦還 Our merrymaking on this summer day surpasses that at Beihai.Carriages and horses, spurting mud, have assembled at South Mountain. Not minding your lofty position as a royal in-law,together with all your family, you have hosted a banquet of delicacies.Fragrant vintage wine. Won’t the banana leaf cup be too delicate?Icy treats. The platter is hard like crystal!Happily you invited the guests only to enjoy some good poems.This white-haired man feels as if he dreamed of returning his silk brocade. At this, Yi Homin, Yi Chŏnggwi, and all other guests all put down their brushes. Reading now, Ch’oe’s poem is mellow and full (wŏnhon), robust and abundant (ungsŏm). It clearly is a masterpiece (kŏlchak). But why did Yi Homin and others have to drop their brushes? Perhaps the two men had discerning eyes and truly understood the poem’s fineness. Those who roughly know how to match rhymes regard forced rhyming as ability. This is truly laughable.yming as ability. This is truly laughable.)
E594 + (The Hallim pyŏlgok (Song of Academician) s … The Hallim pyŏlgok (Song of Academician) says “Yu Wŏnsun’s prose” and “Yi Illo’s poetry,” indicating Censor (taegan) Yi Illo’s poetry indeed was the best of his time. His verse, 夜半聞鷄聊起舞幾回捫蝨話良圖 At midnight, hearing the rooster’s crow, I rise and dance.Several times, I spoke of fine plans while catching fleas.is really excellent (suho), and is similar to Qu You’s 瞿佑 (1341–1427), 射虎他年隨李廣聞鷄中夜舞劉琨 The other year, I shot a tiger following Li Guang.At midnight, hearing the rooster’s crow, I dance like Liu Kun. His poems on the Eight Views were similarly (sangsa) excellent (ka).ws were similarly (sangsa) excellent (ka).)
E587 + (The Hwanghwa chip (Anthology of Brilliant … The Hwanghwa chip (Anthology of Brilliant Flowers) is not a book for posterity, and it must not have appeared in China. As for the compositions of imperial envoys, regardless of their quality, our country did not dare to select some and discard some, so instead kept them all and printed them. Our countrymen say that among imperial envoys Gong Yongqing surely was a competent writer, but when they asked envoy Zhu Zhifan 朱之蕃 (1546–1624) about him, Zhu said he had not even heard of Gong’s name. They say Qi Shun and Tang Gao were illustrious, yet they also were not exceptional poets. Zhang Ning’s poems appear somewhat clear and beautiful (ch’ŏngnyŏ), yet they were also fragile and weak (ch’wi), without bones; in the end, he was a minor poet. Zhu Zhifan’s poems were variegated (pakchap) and without imagery, even inferior to Xiong Hua’s weak and soft (wiyak) poems. How can we then even speak of others? Yet the literati of our country responded to every one of their poems, and many were inferior to theirs. How can this be! This is the difference between great and small, center and periphery. Welcoming Official (wŏnjŏpsa) Sŏ Kŏjŏng dared to compose a poem before Qi Shun did, as if to challenge him, but eventually was trapped by the phrase, 百濟地形臨水盡五臺川脈自天來 Paekche’s terrain overlooks the river.Odae’s fountainhead flows from Heaven. Yi I mocked him and said, “Sŏ is like a wrestler who first tripped the opponent but later fell to the ground. When the people of an inferior state are entertaining imperial envoys, they ought to simply respond to their poems with respect. How dare he write a poem first!” These are the words of someone who truly understands. In order to entertain the imperial envoys, our country gathers together those among contemporary literati who are somewhat capable of writing poetry to respond to their poems. Yet the ones chosen have not been proficient. How many times did they make the envoys laugh? Although Chŏng Saryong was called “Poetry General,” his poems were but borrowed expressions put together into poems. Only Yi Haeng wrote blended (honyŏn) poems, yet his style (chogyŏk) was vulgar (pi), similar to examination writings. Every time he composed a poem, he looked up for a moment and his hand quickly wrote down the poem. As for spontaneity, he did not have any problem. If not through careful reflection in everyday life, how could he have achieved this? Although So Seyang and Yi Hŭibo appeared to have surrendered to the poetic icons of their time, they cannot be placed next to today’s poets such as Yu Kŭn who read Korean compositions and practice four-character rhymes. Literature flows down like a passing current. This is truly deplorable!passing current. This is truly deplorable!)
E434 + (The Koryŏ dynasty figure Wi Wŏn’gae 魏元凱 (1 … The Koryŏ dynasty figure Wi Wŏn’gae 魏元凱 (1226–1292) was native to Changhŭng in Chŏlla province. Both him and his brother graduated as primuses at the civil service examination, and the younger brother was Wi Mun’gae 魏文凱 (13th century). They were the so-called two dragon heads born from one family. Wi Wŏn’gae later became a monk and adopted the sobriquet Wŏngam (Circular Mirror). He lived in Sŭngp’yŏng’s Chŏnghoe Monastery. His poem reads, 誰知雞足山中老曾是龍頭座上賓 Who knows that the old man of Chicken Feet Mountain once was a distinguished guest,a dragon head? He also said, 落石奔川淸碎玉入雲層翠冷磨秋 Rocks fall into rushing rivers and become clear fragments of jade.Clouds enter the tiers of emerald greenand cool the autumn air.s of emerald greenand cool the autumn air.)
E512 + (The Koryŏ monk Sŏnt’an 禪坦 (14th century) w … The Koryŏ monk Sŏnt’an 禪坦 (14th century) was a native to Koksŏng, Chŏlla province. His poem “Early Spring” 早春 reads, 管弦聲碎竹外硐水墨畫點煙中山立馬停鞭望復望倉庚上下春風端 The sounds of flutes and harps crack the bamboo outside the cave.Like the painted dots in an ink paintingare the mists in the mountains. Halting the horse and holding the whip, I gaze and gaze again.Orioles flutter up and down above the spring breeze. Also the poem “Visiting Yŏngdong” 游嶺東 reads, 鳴沙十里海棠紅白鷗兩兩飛疏雨 Along the sounding sand of ten li, sweet brier blossoms are red.White gulls, two by two, fly in a sparse rain. Someone was going to visit Yŏngdong. Upon hearing these verses by Sŏnt’an, he cancelled the trip, saying “I have already visited there.”ip, saying “I have already visited there.”)
E411 + (The Koryŏ poet Chŏng Chisang wrote, 桃花紅雨鳥喃 … The Koryŏ poet Chŏng Chisang wrote, 桃花紅雨鳥喃喃繞屋靑山間翠嵐一頂烏紗慵不整醉眠花塢夢江南 Peach blossoms blush after the rain. Flocks of birds fly south. The blue knoll surrounding the lodge is cloaked in jade-green haze. My black official cap is lopsided. I am too lazy to fix it. Drunk, I slumber in a flower bed, dreaming of river south.Ingenious (kyŏngbal) and elegant (choryŏ), a poem like this rarely found in our Eastern Kingdom. this rarely found in our Eastern Kingdom.)
E432 + (The Koryŏ scholar Chin Hwa was native to H … The Koryŏ scholar Chin Hwa was native to Hongju, Ch’ungch’ŏng province. He wrote very clear and beautiful poems (ch’ŏngnyŏ) and was contemporaneous with Yi Kyubo. The account in the Hallim pyŏlgok 翰林别曲 (Song of Confucian Academicians), “Fourth Censor (chŏngŏn) Yi and Academician Chin both swiftly composed poems,” refers to them. His poem “Odae Mountain” 五臺山 reads, 畫裏當時見五臺掃雲蒼翠有高低今來萬壑爭流處自覺穿雲路不迷 That day in a paintingI saw Odae Mountain,in the blue sky cleared of cloudswith high and low peaks. Today, coming to its ten thousand ravines,to the place where streams rush down,I realize through the cloudsI will not be lost on the way. Another poem reads, 作詩亦是妨真興閑看東風掃落花 Poetic compositions can alsoget in the way of true elation.I idly watch the east wind sweep the fallen petals.tch the east wind sweep the fallen petals.)
E005 + (The Samhan established contact with China … The Samhan established contact with China since the Xia dynasty, but written records from that period are unheard of. From the Sui and Tang dynasties onward, we have had writers. Although works such as Ŭlchi Mundŏk’s poem presented to the Sui general and Queen Chindŏk’s eulogy poem to the Tang emperor were included in books, their numbers were but few. When we come to Ch’oe Ch’iwŏn, who went to Tang and passed their civil service examination, he shook the world with his literary fame. A couplet by him reads, 崑崙東走五山碧星宿北流一水黃. The Kunlun Range spans out eastward into five blue mountains. The Xingxiu River flows northward in a stream of yellow water.His fellow graduate, Gu Yun, said, “This verse serves as a geographical treatise.” This is because the five mountains all start from Mount Kunlun, and the Yellow River originates at the Xingxiu River. A line from Ch’oe’s poem “Cihe Monastery in Runzhou 題潤州慈和寺” reads, 畵角聲中朝暮浪靑山影裏古今人. The battle horn’s call mingles with the sound of the morning and evening tides.In the shade of green mountains flicker the people of present and past. Academician (haksa) Pak Inbŏm’s 朴仁範 (9th century) poem on Longshuo Monastery in Jingzhou reads, 燈撼螢光明鳥道梯回虹影落巖扃 The flickering lights like fireflies illumine the narrow hilly path.The arched staircase like a rainbow descends on the stone gate. Deputy Minister (ch’amjŏng) Pak Illyang’s 朴寅亮 (d. 1096) poem on Guishan Monastery in Sichuan reads, 門前客棹洪波急竹下僧棊白日閑 Outside the gate, a traveler rows a boat anxiously through the rushing waves.Beneath the bamboo, a monk plays chess idly under the bright sun. With these three men, the poetry of the East began to be known in China.This is an example of how literature glorifies a country.ple of how literature glorifies a country.)

C045 + (The above poems move people to recite them with fondness.)

E031 + (The ancients have said, “Of the ten things … The ancients have said, “Of the ten things hoped for in this world, eight or nine fail.” Truly, how much of what one hopes for is actually realized during one’s lifetime? I have composed a twelve-line poem titled “Against Will” 違心, and it goes as follows, 人間細事亦參差動輒違心莫適宜盛歲家貧妻尙侮殘年祿厚妓常隨雨霪多是出遊日天霽皆吾閑坐時腹飽輟飡逢美肉喉瘡忌飮遇深巵儲珍賤售市高價宿疾方痊隣有醫碎小不諧猶類此揚州駕鶴況堪期 Every little affair of the mortal world can often go astray.Time and again, against one’s heart, they go awry. When I was young and poor, even my wife scorned me in disdain.Now, that I am old and rich, courtesans always follow me around.Heavy rains usually pour on the days I need to travel, while the sky clears when I sit idly at ease. Having had my fill, I cease to eat, then a delectable meat dish appears before me. When I refrain from drinking due to a sore throat, a deep jar of wine is presented.I sell my treasures at a bargain price, only for the market value to rise. Just as I recover from a prolonged illness, a doctor settles in next door. When even the slightest matters in life do not align as expected,how can I ever hope to ride a crane in Yangzhou! In general, things can often unfold contrary to one’s wishes, as illustrated by the examples mentioned. From small issues such as one’s glory and misery, joy and sorrow, to big affairs such as a country’s peace and strife, order and chaos, nothing seems to align with the desires of one's heart. While my humble (chol) poem merely enumerates trivial instances, its underlying principle extends to more significant matters as well. There is a well-known poem about the four joys, which goes as follows, 大旱逢嘉雨他鄕見故人洞房花燭夜金榜掛名辰 Catching a happy rain after a severe drought.Meeting an old acquaintance in a foreign land.Spending a candlelit night in a nuptial chamber.Seeing your name on the Golden Honor Roll at dawn. However, even if it rains after a drought, once the rain comes, another drought may follow. Even if one meets a friend in a foreign land, farewells are inevitable. Even after spending a night in the nuptial chamber, who can guarantee that there won’t be separation? Even if one makes it to the Golden Honor Roll, who knows if it is not the beginning of trouble? Thus, there is much that goes against our wishes and little that truly satisfies. How regrettable it is!at truly satisfies. How regrettable it is!)
E685 + (The character of Academician (haksa) Yi An … The character of Academician (haksa) Yi Annul’s poetic style (sigyŏk) was simple and direct (honhu), rich and beautiful (nongnyŏ). He truly was a rare talent. During his days as Prefect of Ch’usŏng county, we ascended Myŏnang Pavilion together and wrote poems. Risking impoliteness, I first presented a poem, and its third and fourth lines said, 殘照欲沈平楚闊太虛無閡衆峯高 Evening glow is about to set in the vast wooded plain.Great Void is boundless amid all towering peaks. I thought I had a fine expression (chun ŏ). In a matching rhyme, Yi wrote, 西望川原何處盡南來形勝此亭高 Gazing to the west toward Ch’ŏnwŏn,where is the end?Scenic terrains from the south tower at this pavilion.The second line faintly resembles a line in Du Fu’s poem, “The ocean lies to the right of this ancient pavilion” 海右此亭古. They have somewhat similar tones. It was the case of offering a quince and receiving a fine jade in return. During a visit of the imperial envoy Gu Tianjun 顧天俊 (1560–1626), as an assistant to Welcoming Official (wŏnjŏpsa) Yi Chŏnggwi, Yi Annul arrived at Yongman. He ascended T’onggun Pavilion and wrote the following poem, 六月龍灣積雨晴淸晨獨上統軍亭茫茫大野浮天氣曲曲長江裂地形宇宙百年人似蟻山河萬里國如萍忽看白鶴西飛去疑是遼陽舊姓丁 In the sixth month in Yongman, a long rain has cleared.Early in the morning, I ascend T’onggun Pavilion alone.Over the boundless open plainsdrifts fresh air.A long winding riverseparates the terrain. The world is hundreds of years old. People are like ants.Mountains and rivers stretch thousands of li.Countries are like duckweeds. Suddenly I see a white crane flying to the west.Could it be Liaoyang’sold Mr. Ding? Isn’t this a master poet (taesu)! Ding? Isn’t this a master poet (taesu)!)
E409 + (The daughter of Hŏ Yŏp and the wife of Kim … The daughter of Hŏ Yŏp and the wife of Kim Sŏngnip 金誠立 (1562–1593), who gave herself the sobriquet “Kyŏngbŏn Hall” (Hall of Admiring Lady Fan), printed an anthology of her poetry and every piece is incomparably moving (kyŏngjŏl). Her well-known writing that hung on the upper beam of the Kwanghan Hall is marvelous and beautiful and clear and robust, resembling the works of the Four Masters. But the poems in her anthology, such as “The Poem on Wandering Immortal” 游仙詩, uses complete lines by the ancients for more than half of the poem. I once saw in her recent style poem, the following two verses, 新妝滿面猶看鏡殘夢關心懶下樓 After putting on new makeup, she still looks at the mirror.Pondering her dream, she feels too lazy to come down the tower. These lines come from an ancient poem. Some say, “Her younger brother Hŏ Kyun spreads his fame by plagiarizing (p’yojŏl) poems that are not known in the world and mixing them in.” She is like him.orld and mixing them in.” She is like him.)
E653 + (The day I departed to take office in Suan … The day I departed to take office in Suan prefecture, Hwanghae province, Hwang Chŏnguk presented the following poem to me, 詩才突兀行間出官況蹉跎分外奇摠是人生各有命悠悠餘外且安之 Your poetic talent towers high above the ranks.Your career, so peculiarly, has been full of slips.In the end, each has his own fate.Leave the many things for another day, and let us be content. The poem is truly full of emotion (kamgae). When Hwang was young and was at the Office of Special Advisors (Hongmun’gwan), Yi Sunin, Ch’oe Kyŏngch’ang and Ha Ŭngnim and the like all esteemed Tang style poetry (tangun) and wrote poems on the peach trees in the palace. Many poems were composed, and Hwang wrote a poem in response, which said, 無數宮花倚粉牆游蜂戲蝶趁餘香老翁不及春風看空有葵心向太陽 Copious flowers in the palace lean on white-washed walls.Roaming bees and playing butterflies chase the delicate scent.The old man arrived too late to see the spring breeze.His sunflower heart only looks to the sun. The implied meaning (hamŭi) is profound and lasting (simwŏn), and the diction (chosa) is unique and bold (kihan). Shouldn’t any poem be like this? A poem about ornamental (kiryŏ) scenery, on the contrary, will weaken its richness (hu).e contrary, will weaken its richness (hu).)
M080 + (The desolate courtyard is in and out of view. Autumn thoughts are bitter. Stumbling upon a low hill, the sunset is radiant.)
E676 + (The fifth and sixth lines in Chŏng Saryong … The fifth and sixth lines in Chŏng Saryong’s poem on a painting of Hangzhou, 湖舫客歸花嶼暝蘇堤鶯擲柳陰濃 On a lake skiff, the traveler returns to the dimming flower islet.Along Su Dike, orioles leap in the deep shades of willows. are widely recited (chŏnsong) today. Some say, “I am not sure if the word ‘to leap (ch’ŏk 擲)’ was used in the past for orioles.” Many cast doubts on him. When I was reading the Tang bai jia shi xuan 唐百家詩選 (Selections from a Hundred Tang Poets), although I forgot the poet’s name, there was a phrase, 林明露擲猿 In the forest shining in dews, gibbons leap. Also, Du Fu’s poem on setting up a chicken fence said, 織籠曹其內令入不得擲 I weave a cage and keep the chickens inside.I lead them inside so they cannot leap.In other words, the word ch’ŏk means “to leap” and these examples can dispel people’s doubts.these examples can dispel people’s doubts.)
E023 + (The following day, I untied the boat, sett … The following day, I untied the boat, setting sail to drift down the eastward river’s flow. By nightfall, I docked near Wŏnhŭng Monastery and spent the night aboard my boat. The night was quiet, and all were asleep. Only the splashes of leaping fish broke the silent space. Using my arm as a pillow, I dozed off, but could not sleep for long because the night was chilly. Near and far, I could hear fishermen’s singing and merchants’ piping. The sky stretched high, and the water clear. The white beach sparkled with glistening sand. Ripples shimmered with the moon’s reflection, as my boat rocked to and fro. There before me stood some strange-looking rocks resembling crouching tigers and bears. I loosened my headband and savored the pleasures of the riverscape. How much greater is this joy than embracing beauties with powdered faces and listening to them sing to flutes and strings every day to the heart’s content! Then I composed the following two poems, 碧天浮遠水雲島認蓬萊浪底紅鱗沒烟中白鳥來灘名隨地換山色逐舟回喚取江城酒悠然酌一盃 The blue sky hovers above the distant water.That island in the clouds must be Penglai!Beneath the waves, crimson scales disappear.Through the mist, white birds come into view.As I drift on, the beach changes its name. With every turn, the mountains transform in hue. I order wine from the river village,and cheerfully pour myself a cup. 夜泊沙汀近翠巖坐吟蓬底撚疏髥水光瀲瀲搖船閣月影微微落帽簷碧浪漲來孤岸沒白雲斷處短峯尖管聲嘲哳難堪聽須喚彈箏玉指纖 At night, I moor on the sandy shore, near the emerald cliffs. Seated, I chant verses, stroking my wispy beard. The water gleams, swaying gently against the boat’s terrace.Moonlight spills softly from the brim of my hat. Blue waves surge, engulfing a lonely rock. Amidst parting white clouds, a short peak stands tall. The jarring sounds of pipes are unbearable to the ear.I must call for a lute, plucked by delicate jade-like fingers. I had asked an attendant officer to play the pipe.ked an attendant officer to play the pipe.)
E511 + (The following poems have been transmitted … The following poems have been transmitted down for generations. 耕牛無宿草倉鼠有余糧萬事分前定浮生空自忙 The farm cattle have no saved grass.The storage mice have more than enough grains.Ten thousand matters were surely predetermined.Life afloat is empty, busy by itself. Ming dynasty’s Luo Hongxian’s 羅洪先 (1504–1564; sobriquet Nian’an [Missing Hut]) poem reads, 籠雞有食湯災近野鶴無糧天地寬 Caged chickens have food to eat but are close to the calamity of becoming soup.Wild cranes have no grains but are free in the sky and on earth. The language is particularly expressive (tal).language is particularly expressive (tal).)
M002 + (The great [[Tang]] … The great [[Tang]] has begun its grand mission.Majestic are the great merits of the emperor!The battles ceased, and the armor was put away.Civilization was restored, succeeding hundreds of kings.Commanding the heaven, the [[Tang]] showered down favor.Managing all things, it embodies beauty.Its benevolence was profound, keeping with the sun and the moon.Conforming to a timely fortune, a generation of great peace followed.How brilliant are your streaming banners!How dazzling your gongs and drums!Barbarians outside the realm who disobey your commandsshall be overthrown by a calamity from heaven.Harmonious air gathers throughout the world.Far and near, all vie for auspicious signs.Four seasons regulate favorable weather.[[Seven Stars]] illuminate myriad places.High mountains bring forth great ministers.The emperor employs the loyal and the good.Becoming one in virtue with [[Five Emperors and Three Kings]]is the radiant imperial house of Tang.]] is the radiant imperial house of Tang.)
E297 + (The imperial envoy Wang Jingmin’s 王敬民 (16t … The imperial envoy Wang Jingmin’s 王敬民 (16th century) poem, “Departing in the Morning to Promulgate the Decree,” 早行頒詔 reads, 天威咫尺頒殊渥東國衣冠盡拜稽 The imperial edict’s promulgation draws near to bestow special favor upon you.The officials of the Eastern Kingdom all bow down in reverence. Minister Yi I 李珥 (1536–1584; sobriquet Yulgok [Chestnut Valley]), the Welcoming Official at that time, responded with a poem using a matching rhyme, 殷殷呼嵩騰瑞霧三韓厥角一時稽 Heartfelt praises call forth auspicious mist.the Three Han kingdoms, their horns sounding,all bow down at once. The word “to bow down” 稽 is always used as an oblique tone. Wang made a mistake here. But why did Yi repeat the error? When I asked Minister Yi to evaluate, he changed the rhyme. The poems recorded in the Hwanghwa chip (Anthology of Brilliant Flowers), therefore, are different from the original version. Yi is a man of exceptional talent, and his great erudition is known to all. Yet, under impromptu circumstances, he made such a mistake, which would not allow him to escape derision. How much more difficult would it be for someone with lesser talent to undertake such a responsibility?talent to undertake such a responsibility?)
E713 + (The imperial envoy Zhu Zhifan wrote a long … The imperial envoy Zhu Zhifan wrote a long verse while cruising the Han River and asked Chief State Councilor (yŏngŭijŏng) Yu Yŏnggyŏng to write a responding poem. Ch’oe Rip who was Composer of Documents (chesulgwan) at the time wrote the poem instead. A line in his poem reads, 漢江自古娛佳客不能十里王京陌 From of old, the Han River has entertained fine guests.But it cannot be compared to the ten-li-long royal capital road. Welcoming Official (wŏnjŏpsa) Yu Kŭn read it, and he changed “royal capital” to “Chang’an.” Ch’oe Rip secretly laughed at him. When the poem was presented to the envoy, he praised the poem greatly then pointed to the two characters “Chang’an” and said, “Chang’an is not your native place name and is also a weak expression. Using ‘royal capital’ would be more appropriate.” Listening to the envoy, Yu felt deeply embarrassed. A couplet by Ch’oe reads, 士羞不識龍灣路文欲相當鳳詔臣 This scholar is ashamed of not knowing the road to Yongman.With writing, I wish to contend with imperial envoys. He presented this poem to the Welcoming Entourage. It is a pity that they did not have Ch’oe serve as Welcoming Official and compete openly with the imperial envoy.nd compete openly with the imperial envoy.)
E291 + (The imperial envoys from the past until no … The imperial envoys from the past until now possessed different levels of literary competence. I asked for Chŏng Saryong’s opinion on this matter. He said, “Qi Shun is the best, followed by Ni Qian and Dong Yue. Jin Shi’s seven-character quatrains are outstanding (kŭkho). Zhang Ning seems not fully mature (misuk).” Chŏng often recited and praised Dong Yue’s couplet, 江雨釀寒來樹杪嶺雲分瞑落山阿 The brewing chill from the river rain reaches the treetops. The splitting darkness from the summit clouds descends upon the mountain hills. Opinions regarding the praise of this couplet varied among people.raise of this couplet varied among people.)
M060 + (The jagged rocks of North Mountain, people … The jagged rocks of North Mountain,people call you Halberd Rocks. Towering, you strike the crane riding Prince Jin. Soaring, you pierce the shaman in the sky.Lightning’s fire forged your handles.Frost-like salt whetted your blades. Shall I wield you as a weapon to conquer Chu and save Fan!u as a weapon to conquer Chu and save Fan!)
M053 + (The land responds to the blue sky, not too far apart from each other. People and white clouds face each other at ease.)
E812 + (The most excellent (ch’oega) five-characte … The most excellent (ch’oega) five-character regulated verses are Yi Haeng’s “On the green hill under the moon tonight” 靑山今夜月, Ki Chun’s “The first frost came in the frontier region” 塞國初霜下, Im Ŏngnyŏng’s “The river runs, stroking the spring tower” 江觸春樓走, Im Che’s “A gaunt horse carries a weary traveler” 羸驂馱倦客, and Yi Chŏnggwi’s “I halt my horse at the village of Mok Mausoleum” 立馬穆陵村.se at the village of Mok Mausoleum” 立馬穆陵村.)
E705 + (The mountains wish to stay still, but the … The mountains wish to stay still, but the rocks wish to fly.Deep inside the Grotto-Heaven, the traveler forgets to return. The sun sets over the clear lake. White clouds rise. A thread of celestial breeze wafts an immortal’s feathered robe. These are words of a Daoist immortal.obe. These are words of a Daoist immortal.)
M092 + (The one who makes plans by following others will eventually be a follower. By developing one’s style, one will attain realism (p’ipchin).)
C1743 + (The other three poems are allegorical (p’ungyu).)
E618 + (The past generations have praised these li … The past generations have praised these lines in Kim Chongjik’s poem on the Yŏ River, 十年世事孤吟裏八月秋容亂樹間 Ten years of a life’s troublesare in my lonely poems. The eighth month autumn’s countenance is among the colorful trees.But it is not as good as the lines in the poem composed at Sillŭk Monastery, 上方鍾動驪龍舞萬竅風生鐵鳳翔 When the temple bell tolls, the black dragon dances.When the wind rises in ten thousand caves, the iron phoenix takes wings. Luminous (hongnyang) and solemn (ŏmjung), this truly is a phrase that can support the universe. His poem, “Poch’ŏn Beach: An Impromptu Verse” 寶泉灘卽事, 桃花浪高幾尺許銀石沒頂不知處兩兩鸕鶿失舊磯銜魚却入菰蒲去 Waves carrying peach blossoms, how tall are they?Silvery rocks have sunken to the top, so I can’t tell where they are.Pairs of cormorants have lost their footings.Holding the fish in their beaks, they enter the reedy marsh. is the loftiest (hanggo). Every poem in his Tonggyŏng akpu 東京樂府 (Music Bureau of the Eastern Capital) is classic (ko).u of the Eastern Capital) is classic (ko).)
C056 + (The poem possesses a sentimental charm (chŏngch’i) and flows beautifully (yuryŏ).)
E366 + (The poems on Ch’ŏnggan Pavilion in Kansŏng … The poems on Ch’ŏnggan Pavilion in Kansŏng were all composed using the words, “pair” 雙 and “window” 窓, and of them Yang Saŏn’s 楊士彦 (1517–1584; sobriquet Ch’anghae [Blue Sea]) was especially superior (ko). 碧海暈紅窺日半蒼苔岩白煙鷗雙金銀台上發高嘯天地浩然開入窓 A red disc in the blue sea, I see half of the sun.Over the white rocks covered in green mosses is a pair of mist and gull.On the gold and silver platform, I let out a loud whistle.The boundless heaven and earth enter through the window. When someone showed the poem to Yi Hubaek, Yi said, “Even if someone had a similar idea, that person surely would not be able to surpass this.” My late father also responded to the poem using its rhymes, 疏雨白鷗飛兩兩夕陽漁艇泛雙雙擬看暘谷金鳥出畫閣東頭不設窓 Through a sparse rain, white gulls fly two by two.The setting sun and a fishing boat float as a pair.To watch from the sunlit valleythe rising Golden Bird,on the east side of the painted pavilion, they didn’t make a window. People all praised it. Kim Ch’ŏmgyŏng 金添慶 (1525–1583) wrote two poems in response when he was a governor (kwanch’alsa). One of them reads, 可惜鴻門玉斗撞紛飛片片不論雙化成白鳥群千百日出呶呶鬧客窓 What a pity! At the Hong Gate,the jade chalice was knocked down. It shattered into pieces without any pair!Transformed into white gulls in flocks of hundreds and thousands,at sunrise they “Caw, caw,” noisily at every window. Another one said, 好景紛紛左右撞馬頭紅粉亦雙雙 Beautiful scenery one after another knocks me down from left and right.At the dock, fair ladies are also seen in pairs. I cannot remember the last verse. Below the poems, someone wrote, “How laughable is Kim Ch’ŏmgyŏng, knocking down one after another, left and right.” Those who saw it ridiculed Kim.nd right.” Those who saw it ridiculed Kim.)
E040 + (The poet Yang Yunpeng 楊雲鵬 (13th century; s … The poet Yang Yunpeng 楊雲鵬 (13th century; sobriquet Feiqing [Flying Minister]) of late Jin wrote a poem titled “Red Trees” 題紅樹, which reads, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">Rosy ocean clouds do not bring rain and hover above the woods.A wildfire without wind reaches the treetop.</blockquote>Yi Changyong 李藏用 (1201–1272; posthumous sobriquet Munjin [Literary Truth]) also wrote, <blockquote class="font-weight-light my-2" style="padding-left: 2em; padding-right: 2em; line-height:110%">The desolate courtyard is in and out of view. Autumn thoughts are bitter.Stumbling upon a low hill, the sunset is radiant.</blockquote>I bet Yang would bow the knees to this.;p class="my-2 text-info">I bet Yang would bow the knees to this.)
E591 + (The poetry of Academician (haksa) Ch’oe Ch … The poetry of Academician (haksa) Ch’oe Ch’iwŏn was rash (sol) and frivolous (cho), superficial (ch’ŏn) and insincere (pulhu), like the trend of late Tang poets such as Zheng Gu and Han Wo 韓偓 (844–923). Only the quatrain, 秋風唯苦吟世路少知音窓外三更雨燈前萬里心 Autumn winds only make me write poems of agony.On the worldly road, there are few who understand my tune.Outside the window, a midnight rain falls.By the lamp, my heart wanders thousands of li.is his best (ch’oeho).This couplet, 遠樹參差江畔路寒雲零落馬前峯 Distant trees here and there line the road along the river bank.Cold clouds sparingly descend over the peak your horse faces.is also excellent (ka).k your horse faces.is also excellent (ka).)
E453 + (The rocks of Paektu Mountain are all sharp … The rocks of Paektu Mountain are all sharpened swords.The streams of the Tumen River no horses drink.If a man at age twenty still hasn’t pacified the country,in later generations, who will call him a true man? The expression and meaning (ŏŭi) are domineering (palho), and the poem lacks a calm (p’yŏngon) air (kisang). It would be hard for him to avoid trouble.It would be hard for him to avoid trouble.)
E630 + (The setting sun meets the barren fields.Wi … The setting sun meets the barren fields.Wintry crows land on an evening village.In the empty woods, smoke and fire have cooled.The bramble gate is closed at the thatched house. is very similar to Liu Changqing’s poem. His song on U Island is dim (myomyŏng) and gloomy (ch’anghwang), at once concealing (yu) and revealing (hyŏn). It truly shows the finesse (ch’i) of extreme talent. Sin Kwanghan compared him to Li He 李賀 (790–816; styled Changji).him to Li He 李賀 (790–816; styled Changji).)