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E719 + (Yi Sugwang and his son Yi Min’gu 李敏求 (1589 … Yi Sugwang and his son Yi Min’gu 李敏求 (1589–1670; sobriquet Tongju [East Islet]) were both literary masters. It has been said that Sugwang was good at poetry and Min’gu at rhapsody. Yi Min’gu stated, “My late father esteemed Wang Wei’s poetry, and I esteem Du Fu’s poetry.” While he probably meant to say that he surpassed his father, critics have remarked “As for their level of poetic accomplishments, the son surely falls short of the father.” Yi Min’gu’s 帆檣影動潮生後島嶼形分水落初 The shadows of sail and mast move when the tides rise.The islands appear divided when the waters begin to recede. has been widely recited (chŏnsong). Yet the parallelization of the ebb and flow of tidal waters in the line is not without flaw (chabyŏng). It is not as good as his father’s, 風捲潮聲喧島嶼日斜帆影上樓臺 As the winds swell, the sounds of breakers holler in the islands.As the sun sets, the shadows of sails rise to the high tower. which is firm (onja) and immaculate (muha).hich is firm (onja) and immaculate (muha).)
E823 + (Yi Sugwang assiduously studied Tang poetry … Yi Sugwang assiduously studied Tang poetry all life. His poems were carefree and simple (handam), gentle and elegant (on’a). They contained striking verses (kyŏnggu) but were lacking in vigor (kiryŏk). For example, phrases such as, 風生九塞秋橫劍雪照三河夜渡兵 The gusts rise in Nine Fortresses.In autumn, they carry the swords crosswise.The snow gleams along the Three Rivers.At night, the soldiers cross them. 窗聞小雨天難曉城枕寒江地易秋 Through the window, I hear a gentle rainthat makes daybreak hard for the sky.At the city wall, I draw near a cold riverthat makes autumn come easily to the earth.are all excellent (ka). His son Yi Min’gu esteemed Ming poetry and developed his own style (chogyŏk). Could this be a case of the son surpassing the father? Yet the son’s achievements might not have reached the father’s.ments might not have reached the father’s.)
E425 + (Yi Sugwang 李睟光 (1563–1628), whose sobrique … Yi Sugwang 李睟光 (1563–1628), whose sobriquet was Chibong (Immortality Mushroom Peak), had lofty integrity that transcended the dusty mundane world. Although he experienced a change of time, he was not at all disheartened. Moreover, when he realized the time was near, he avoided getting trapped. Truly, he was the so-called precious “gentleman of gold and jade.” When sent to Sunch’ŏn in P’yŏngan province as a magistrate, he sent me his collection of poems and in it were the following two recent style poems, 暮年身世宰炎鄉治郡無能坐嘯長春燕不來閑院落晴波欲滿小池塘紅梅影下文書靜綠橘陰邊幾席香衙罷閉門人跡少隔窗啼鳥又斜陽 At old age, I am here governing the countryside south.Inept in managing my prefecture, I sit and let out a long sigh.Spring swallows do not come and visit my empty courtyard.Clear waves fill upmy small pond.Under the shadow of pink plum blossoms, documents sit still.By the shade of a green tangerine tree, my table and mat are fragrant.The workday is done, and the gate is shut. Now the footsteps are few.Through the window, a bird warblesand the sun sets. 檻外池光染綠苔一希微雨欲黃梅衙居寂寞門長掩公退尋常印不開盧橘香邊山鹿睡石榴花下怪禽來軒窗盡日淸如水輸與騷翁晝夢回 Over the balustrade the pond shines, colored by the green mosses.A sparse rain drizzles, and plums are almost ripe. It’s lonely at the government office for the gate is always closed.Coming back from work, usually there is no need to use my seal.By the sweet-smelling tangerines, the mountain deer sleep.Under the pomegranate flowers, rare birds arrive.By the tall window, all day longit is cool like water.To speak to the old poet,I return to my daydream. So clear and beautiful (ch’ŏngnyŏ), they are matchless in style (kyŏk) and rhyme.y are matchless in style (kyŏk) and rhyme.)
E438 + (Yi Sungin was the least advanced among all … Yi Sungin was the least advanced among all late Koryŏ scholars, and his literary reputation was not remarkable. One day, noticing an old painting on a wall, he wrote the following quatrain, 山北山南細路分桃花含雨落紛紛道人汲水歸茅舍一帶靑煙染白雲 Mountains to north and south, a narrow path divides.Peach blossoms drenched in rain fall one after another.A Daoist hermit draws water and returns to his thatched hut.A strip of blue smoke dyes the white clouds. When Yi Saek saw this, he thought it verged on a Tang poem (p’iptang), and since then Yi Sungin grew in fame.g), and since then Yi Sungin grew in fame.)
E544 + (Yi Sunin had high esteem for mid- and late … Yi Sunin had high esteem for mid- and late-Tang poetry. Therefore, the tone (sagi) of his poetry had clear finesse (ch’ŏngch’i) and lacked robust simplicity (unghon). In a poem on Chip’yŏng, he wrote, 縣門春晝閉官吏日高衙 The county gate is closed on this spring day.Officials arrive at work when the sun is high.Despite being just one verse, we can still see this is not a Song poem. Kim Hyŏnsŏng’s 金玄成 (1542–1621; sobriquet Namch’ang [South-Facing Window]) poem, 吏散閑庭初下鹿客來空館欲棲烏 Into an empty courtyard where officials have left, deer begin to enter.On a vacant lodge where travelers come, birds are about to perch.is also natural and carefree (chasan).rch.is also natural and carefree (chasan).)
E481 + (Yi Sunin’s farewell poem reads, 一尊今夕會何處最相思 … Yi Sunin’s farewell poem reads, 一尊今夕會何處最相思古驛逢明月江南有子規 A wine toast! Tonight we meet.Where will I think of you the most?At the old post station when I see the bright moon,I will know there is a cuckoo in the river south. Ha Ŭngnim’s poem reads, 草草西郊別臨分一把杯靑山人不見斜日獨歸來 Hastily we part in the western suburb.Before we separate, we share a toast.From the green mountain where there is no one, in the setting sun, I return alone. The two poems are both excellent (ka), but Yi’s comes closer to Tang poetry (kŭndang).i’s comes closer to Tang poetry (kŭndang).)
E738 + (Yi Sŏu 李瑞雨 (1633–1709; styled Yunbo) and Y … Yi Sŏu 李瑞雨 (1633–1709; styled Yunbo) and Yi Ok 李沃 (1641–1698; styled Munyak) were both skilled in prose and poetry, and each had his own strength. When Yi Ok was young, he studied under Yi Min’gu, who commented concerning Ok, “His talent is out of the ordinary (pulbŏm), but having passed the examination too early, he could not dedicate himself to writing. This is unfortunate.” In his late years, Ok enjoyed writing poems and often did not use ancient expressions. His poems were uneven in quality and were not as good as his prosaic works. Seventh Counselor (paksa) Hong To 洪睹 (17th century) was also Yi Min’gu’s student. He was intelligent and exceptional, and could remember whatever he read once. Whether it was the word’s meaning or rhyme, there was none that he was not proficient in. As for prose, he could wield the brush and complete a work almost without delay. But when it came to poetry, he could not write even a single line. Min’gu laughed and said, “You are strong in prose and weak in poetry. This is why the ancients said ‘Poetry is a different kind of talent.’ Isn’t that true?”fferent kind of talent.’ Isn’t that true?”)
E303 + (Yi Tal 李達 (1549–1612), the son of a concub … Yi Tal 李達 (1549–1612), the son of a concubine, had a great reputation for his poetry. His poem on the poetry manuscript of a monk at Sillŭk Monastery reads, 宿鷺下秋沙晚蟬鳴古樹舟歸白蘋風夢落西潭雨 Big herons descend on an autumn beach.Late cicadas chirp from ancient trees.A boat returns on the winds over white duckweeds.A dream falls together with rains on the west pond. Yi Ch’ungjak 李忠綽 (1521–1577; sobriquet Choram [Clumsy Studio]), also famous for his poems, responded to Yi Tal’s rhyme, 日暮人招提棲禽驚路樹山人知我乎舊宿前江雨 At sunset, as I enter the temple,the perching birds are startled on the roadside trees.Will the mountain recluse know me?Yesterday I spent the night in the rain on the river in front.Contemporaries compared the two poems but could not come to a decision. When I told this to Yi Ch’ungjak, he said, “Although Yi Tal’s poem appears to be morally lofty (ch’ŏnggo), it floats in void (hŏ) and does not land. How could it be adequate?” Thus, Yi Ch’ungjak regarded himself to be better than Yi Tal.regarded himself to be better than Yi Tal.)
E547 + (Yi Tal, native to Hongju, Ch’ungch’ŏng pro … Yi Tal, native to Hongju, Ch’ungch’ŏng province, was born of Third Secretary in Royal House Administration (pujŏng) Yi Suham 李秀咸 (16th century) and his cherished government kisaeng. His poems were relished (hoeja). His poem on peasant family reads, 田家少婦無夜食雨中刈麥林中歸生薪帶濕煙不起入門兒女啼牽衣 The young wife of a farmer has no food for dinner.In the rain, she gathers some barley and returns through the woods.The fresh firewood is too damp for the smoke to rise.When she enters the gate, crying children pull her clothes. His poem on the Cold Food Festival reads, 白犬前行黃犬隨野田草際塚累累老翁祭罷田間道日暮醉歸扶小兒 A white dog leads. A yellow dog follows.By the overgrown fields are heaps of graves.An old man finishes offering sacrifice on the path between the fields.At dusk, drunk, he returns supported by a child. Coming close to Tang poems (p’iptang), they are delightful (kahŭi).s (p’iptang), they are delightful (kahŭi).)
E087 + (Yi Talsŏn 李達善 (1457–1505; styled Kyŏmji) o … Yi Talsŏn 李達善 (1457–1505; styled Kyŏmji) once had a dream in which a scholar in a strange form presented him with a poem that read, 世上紅塵滿天樓紫玉寒東皇求八狴終不憶家山 The world is full of red dust.At the celestial mansion, the sounds of purple jades are cold. The Eastern Emperor seeks out the eight beastsbut remembers not his native mountains. Yi believed the dream was a call from the underworld, so he told everyone that he would die soon. The following year, he won the honor of the tertius at the civil service examination. I sent him the following congratulatory poem, 日下五雲爛未收廣寒深殿桂花秋祗隨傅說調金鼎準擬東皇八狴求 Under the sun, five-colored clouds glimmer without an end. Deep inside the Palace of Vast Coldness, autumn osmanthus are in bloom.Follow Fu Yue’s example and stir the golden cauldron.Let’s hope the Sovereign of the East will search for the eight beasts. The poem’s meaning (siŭi) draws an analogy between our king to the Eastern Emperor, and it shows my faith that Yi would someday assist the king. Not long after, Yi entered the Office of Special Advisors (Hongmun’gwan) and received great royal favor and honor. and received great royal favor and honor.)
E136 + (Yu Pangsŏn’s poem “Singing Pink Peach Blos … Yu Pangsŏn’s poem “Singing Pink Peach Blossoms” 吟紅桃花 reads, 肉林淫戲憐商受錦障豪奢想石崇牧野血痕猶滿地關中火焰尚燒空 A forest of meat and wanton plays, the Shang Emperor Zhou loved.Brocade screens and extravagant luxury, Shi Chong desired. The blood stains of Muyestill cover the ground.The flames of Guanzhongburn the sky even to this day. Although he tried to be artful (kyo), comparing pink peach blossoms with a “forest of meat” and “blood stains” seems inelegant (pura).His five-character regulated verse reads, 杜門甘屏跡誰肯許同群松月眠孤鶴溪風起薄雲江山終日見世事隔年聞寂寞齋居靜淸香手自焚 Shutting the gate, you gladly hide your trace. Who would be allowed in your company? A lone crane sleeps on a moonlit pine. Thin clouds rise above the breezy brook.Watching all day rivers and mountains,news from the world reach you after years have passed.Alone in the tranquil house,you burn the incense of delicate fragrance. His poem “Elegant Flow” 演雅 reads, 杜門車馬少獨坐岸烏巾竹屋雞鳴午花村犬吠春籬疏狐試客檐短鳥窺人盡日蝸廬靜唯聞燕語新 The gate is closed, few horses and carriages visit.I sit alone by the shore, wearing a black headscarf.Midday, inside a bamboo hut, chickens cluck.Spring, in the blooming village, dogs bark. Through a sparse bamboo fence, a fox tries to enter. From the low eaves, birds observe people.All day long, the humble abode is quiet.Only the calls of swallows are new. Also, 聯鳥啼深樹靜魚戲小池 A pair of birds calls in the deep woods.The fish quietly play in a small pond. Overall, his poems express ideas of uneventfulness (p’yŏngdam) and tranquility (hanjŏk) in secluded living. The couplet, 竹林人語碧花塢鳥聲紅 Human voices in the bamboo grove are green.Crows’ cries amid the flowers are red. may sound virtuosic yet does not make sense.y sound virtuosic yet does not make sense.)
E753 + (Yu Yŏnggil (sobriquet Wŏlbong [Moonlit Fai … Yu Yŏnggil (sobriquet Wŏlbong [Moonlit Fairyland])’s poem on “A Rice Pounding Woman” 咏春杵女 reads, 玉杵高低弱質輕羅衫時舉雪膚呈蟾宮慣搗長生藥謫下人間手法成 The jade hammer is raised high and low.Your delicate body moves gently.At times, your gauze jacket is lifted,revealing the snowy skin underneath.At the Moon Palace, you repeatedly pounded the elixir of immortality.Banished down to the human world,you mastered your skills. It has been praised as an excellent (ka) poem and was even included in the Ki a (Elegant Poems from the Land of Kija). But the three words “you mastered your skills” have no meaning, and I do not understand why the poem was chosen.do not understand why the poem was chosen.)
E079 + (Yun Chaun 尹子雲 (1416–1478) of Musong was th … Yun Chaun 尹子雲 (1416–1478) of Musong was the brother-in-law of Sin Sukchu of Koryŏng. Both of them served as ministers during the same period. During a gathering of their co-graduates, Sin composed the following line, 靑眼故人俱白髮 My dark-eyed friends have all become white-haired. Yun then composed a matching line, 黑頭賢相只丹心 This dark-haired wise minister has only a vermilion heart. Astonished, Sin got on his knees and said, “I cannot compete with brother’s sharp wit.” Sin was in love with a kisaeng from Kobu so that Yun used the expression “only has a vermilion heart.”e expression “only has a vermilion heart.”)
E557 + (Yun Kyŏl composed the following five-chara … Yun Kyŏl composed the following five-character quatrain, 路入石門洞吟詩孤夜行月午澗沙白山靑啼一鶯 On the road, I enter the Stone Gate Grotto.Writing the poems, I travel alone at night.Midnight moon shines brightly on valleys and shores. In the green mountain, an oriole sings. Yun told the poem to Ch’a Sik and asked, “How is this poem?” Ch’a recited it a few times and said, “This is not what a human can compose. It must be a poem by a ghost.” Yun replied, “Sure enough, I composed it in a dream last night. A spirit must have helped me (sinjo).”ht. A spirit must have helped me (sinjo).”)
E377 + (Yun Kyŏl visited my late father and talked … Yun Kyŏl visited my late father and talked with him for some time. He recited a five-character poem and asked “What do you think about this poem?” My father replied, “This is a ghost’s poem.” In a great shock, Yun replied, “Last night in my dream I visited a deep grotto. A white sandy beach stretched out over ten li. The moon was shining brightly like day, and I heard the chirpings of an oriole. I asked for the name of the grotto and was told it was Stone Gate. Then I composed the following poem,” 偶入石門洞吟詩苦夜行月午澗沙白空山啼一鶯 By chance I entered the Stone Gate Grotto.Writing the poems, I travel at night in misery.Midnight moon shines brightly on valleys and shores. In an empty mountain, an oriole calls.es. In an empty mountain, an oriole calls.)
E460 + (Yŏngbo Pavilion at the naval camp in Ch’un … Yŏngbo Pavilion at the naval camp in Ch’ungch’ŏn province was a number one scenic spot. Since ancient times many poems have been written on it, but only Pak Ŭn’s couplet, 地如拍拍將飛翼樓似搖搖不系篷 The land, flap, flap, As if birds are about to take flight.The tower, wigwag, Undulates like untied boats. is the most relished (hoeja). I also wrote a couplet, 秋色磨靑銅上下夜光浮白玉東西 Autumn colors, like a polished bronze mirror, reach both high and low.Moonlight, like a floating white jade, shines east and west. This really deserves to be called “an awkward imitation of Xi Shi.”e called “an awkward imitation of Xi Shi.”)
E294 + (Yŏngnam Tower in Miryang and Ch’oksŏk Towe … Yŏngnam Tower in Miryang and Ch’oksŏk Tower in Chinju competed as the best scenic sites. Regarding Yŏngnam Tower, poems such as this one were composed. 秋深官道映紅樹日暮漁村生白烟一竿漁父雨聲外十里行人山影邊 In deep autumn, the official road gleams with red trees.At sunset, from the fishing village rises white smoke.An angler with a fishing rod sits yonder the sound of rain. A traveler of ten-li journey passes by the shadow of mountains. These poems have been widely recited by people. However, no good poem about Ch’oksŏk Tower is known. Although there is one by someone, but the poem on Yŏngnam Tower is refined (kong), while the poem on Ch’oksŏk Tower is crude (chol). Could it be that the scenery of Ch’oksŏk Tower is so much more excellent (u) than that of Yŏngnam Tower that people are unable to describe it (hyŏngyong)?ple are unable to describe it (hyŏngyong)?)
E016 + (Zubo 祖播 (13th century), a Chan monk from S … Zubo 祖播 (13th century), a Chan monk from Song China, sent a poem, five lacquered alms bowls, and a mottled bamboo staff the Korean monk Kyŏngjo 景照 (13th century) when Ouyang Bohu visited the East. Moreover, he bestowed the name “T’ogak (Hare’s Horn)” upon Master Kyŏngjo’s retreat and sent him a hand-written plaque bearing the retreat’s name. I praised the friendship between these two monks, transcending the distance of a thousand li. I had also heard of Ouyang’s reputation as a poet and was deeply impressed by him. Therefore, I wrote the following two poems, harmonizing with the two monks.’ 此去中華隔大瀛兩公相照鏡心淸空師方結蜂窠室播老遙傳兎角名杖古尙餘斑竹暈鉢靈應秀碧蓮莖誰敎一日親交錫共作金毛震地聲 From this place to the Central Efflorescence, a great ocean’s distance lies. Yet the two monks illuminate each other’s clear mirror-like heartsMaster Konggong just built his retreat like a beehive.Old Master Zubo sent from afar the name “Hare’s Horn.” The old bamboo staff still bears mottles that are now fading. The sacred alms bowls must have blossomed from lotus stems of jade. Who would have thought that after a day of friendly meeting, they would together bellow the Golden Lions’earth-quaking roars! 邈從千里渡滄瀛詩韻猶含山水淸可喜醉翁流遠派尙敎吾輩飽香名凌霄玉樹高千丈端世金芝擢九莖早挹英風難覿面何時親聽咳餘聲 You came from a thousand li away, crossing the dark blue sea.The rhymes of your poems still containmountains and waters so clear. How delightful! The Drunken Old Man sent his descendant afar,so this generation can stillhave a fill of his fragrant fame! The Jade Tree soars to the skies,rising a thousand feet tall.The Golden Mushroom upholds the world,upright in nine stalks.Early on, I admired your illustrious name, but it is difficult to behold your face.When will I get to hear the sound of your lingering voice?to hear the sound of your lingering voice?)
E003 + ([[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solit … [[Ch’oe Ch’iwŏn's]] (sobriquet Koun [Solitary Cloud]) [literary] merit was unprecedented. Therefore, scholars of [[the East]] all regard him as the progenitor [of literature]. His poem [[“A Pipa Tune” 琵琶行]] is classified in the [[Tang yin yi xiang 唐音遺響 (Lingering Echo of the Sound of Tang)]] as an anonymous work. Later generations remain undecided on its authenticity. Some say that the line, </br><div class="poetry-text">Over [[Dongting Lake]], the moon goes down, and a solitary cloud returns home.</div></br>proves his authorship, but that alone is insufficient evidence to settle the debate. [[“A Letter to Condemn Huang Chao”]] drafted by [[Ch’oe]] is not included in official histories. It is said that when [[Huang]] read the line, “Not only do all the people of the empire openly wish for your destruction, but the ghosts of the underworld also have devised a secret plan to eliminate you,” he fell from his chair in surrender. Had it not been a writing that makes the ghosts weep and startles the wind, how could [[Ch’oe]] have reached this level? Yet his poems are not considered [[lofty (ko)]]. It must be because he entered China during the [[Late Tang period]].)
E525 + (_Sŏga (Caddis Fly), a house maid of Song I … _Sŏga (Caddis Fly), a house maid of Song In, was famous for her singing. She was what “The Song of Water Moon Pavilion” 水月亭詞 refers to as “an excellent singer and beautiful girl.” A poem by Pak Chihwa: 主家亭子漢濱秋卿月依稀逝水流惟有鳳凰天外曲人間贏得錦纏頭 Your master’s pavilion is on the Han River shore in autumn.The courtly moon dims, and the winding waters flow. Only the phoenixsings the heavenly tunes.In the mortal world we hear it from the lady with a brocade headscarf. Im Che’s poem reads, 秦樓公子風流盡檀板佳人翠黛殘惟有當時歌舞處春江水月映朱欄 At the kisaeng house, the noblemen’s amusement has ended.Fair ladies with sandalwood clappers wear faded eyebrows.Then, there only remainsthe place where they sang and danced. The moonlight on spring river shines by the vermilion balustrade. The name of Song In’s pavilion was “Water Moon,” hence the two poems referenced them.oon,” hence the two poems referenced them.)
E339 + (Ŏ Mujŏk’s style name was Chambu (Hermit). … Ŏ Mujŏk’s style name was Chambu (Hermit). As a sŏja, he could not take the civil service examination due to state restrictions, but he acquired great fame for his talent. When he was young, one early morning, he and his father passed by a Buddhist temple. Seeing the clouds rising from the mountains, his father asked him to compose a couplet. Ŏ immediately replied, 靑山敬客至頭戴白雲冠 Green mountains show respect to the arriving guestsby putting on white-cloud crowns.The poems he wrote as an adult, such as “Lamenting the New Calendar” 新曆歎and “Commoners’ Lives Are Difficult” 蒼生難, are truly savory (hoe). His poem on passing Kil Chae’s Shrine in Kŭmo Mountain reads, 落落高標吉注書金烏山下閉門居首陽薇蕨殷遺草栗里田園晉故墟千載名垂扶大義至今人過式前廬生爲男子雖無膽立立峰巒摠起余 Graceful and outstanding, Royal Recorder Kil Chaelived at the foot of Kŭmo Mountain,secluded behind a closed door.The ferns of Shouyang Mountain are the grasses of the Shang remnants.The garden of Chestnut Village is an ancient place from the Jin.Your name will be passed down for a thousand years in support of righteous causes.Even now, passersby bow before your hut.Born a man, yet I am without valor.The towering ridges and peaks always raise me up. Once I passed by Kŭmo Mountain and saw the second couplet of this poem inscribed on the crossbeam of the village gate.ibed on the crossbeam of the village gate.)
E804 + (Ŏrhyŏn 孽玄 (Chosŏn) was a female slave of a … Ŏrhyŏn 孽玄 (Chosŏn) was a female slave of an Andong Kwŏn-ssi family. She was gifted and beautiful and was capable of composing poetry. She gave herself the sobriquet Ch’wijuk 翠竹(Jade Green Bamboo). Her poem “Autumn Thoughts” 秋思 reads, 洞天如水夜蒼蒼樹葉蕭蕭夜有霜十二湘簾人獨宿玉屏還羨畫鴛鴦 In the grotto-heavens like water, the night is dark.Tree leaves rustle, swish, swoosh as the frost falls in the night.Behind the curtain with twelve bead strings, she spends the night aloneand envies the painted mandarin ducks on the screen with jade ornaments.Her poem “Visiting Sŏng No’s Past Residence” 訪石田故居 reads, 十年曾伴石田游揚子江頭醉幾留今日獨尋人去後白蘋紅寥滿汀秋 For ten years, I accompaniedSŏng No on his excursions.By the Yangzi River,how many times have we linger after getting drunk?Today I am here alonesince he has left. White duckweeds, pink clouds, a quiet moon.The waterside is full of autumn. Both poems are found in the Ki a (Elegant Poems from the Land of Kija). But “Autumn Thoughts” is incorrectly attributed to kisaeng Ch’wisŏn, and “Visiting Sŏng No’s Past Residence” was incorrectly attributed to an anonymous poet. What a pity—the world has not passed on Ŏrhyŏn’s name!the world has not passed on Ŏrhyŏn’s name!)
E396 + (Ŭiju’s T’onggun Pavilion in P’yŏngan provi … Ŭiju’s T’onggun Pavilion in P’yŏngan province, situated near the borders of the Three Kingdoms, reveals outstandingly grand mountains and rivers unrivaled in the world. Since long ago, poets who wrote about this scenery are not few, yet none was able to describe (hyŏngyong) the scenery (kisang). When he was still young, Chŏng Ch’ŏl became an assistant to Official Welcoming Foreign Envoys (wŏnjŏpsa) and wrote the following quatrain, 我欲過江去直登松鶻山西招華表鶴相與戲雲間 I wish to go beyond the riverand climb straight up Pine Falcon Mountain. From west, I beckon the cranes on ornate columns to come and play with me in the clouds. Although it is a not a masterpiece (taejak), it is extraordinary (ki) in its own way and deserves to be transmitted. Of the poems on the scenery written since, I am yet to find one that measures up to this. yet to find one that measures up to this.)
E236 + (“Rinse rice with spearheads and cook rice … “Rinse rice with spearheads and cook rice with sword tips,” “A hundred-year-old man clings to a dry branch,” and “A blind man riding a blind horse reaches a deep pool in the middle of the night” are age-old expressions of danger. During the early Ming period, there was a poem titled “Feeling Elated” 得意, 久旱逢甘雨他鄕見故知洞房花燭夜金榜掛名時 Meeting a timely rain after a long 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. And then, another poem titled “Feeling Despondent” 失意 reads, 寡婦携兒泣將軍被敵擒失恩宮女面下第擧人心 A widow carrying a child cries.A general captured by the enemy.The face of a palace lady who has lost favor.The heart of a man who failed the exam. The poems’ descriptions of joys and sorrows are better than the ingenuity (myo) of the above expressions of danger. (myo) of the above expressions of danger.)
E874 + (“The Song of Barley in Bloom” 麥秀歌 was insp … “The Song of Barley in Bloom” 麥秀歌 was inspired by a desire to weep like a woman. This is what an ancient poem calls “a sorrowful song that takes the place of weeping” 悲歌可以當泣. Li Bai’s poem reads, 平生不下泣於此泣無窮 My whole life, I never wept.For this, I weep endlessly.Li Shangyin’s poem reads, 三年已制思鄉淚更入東風恐不禁 For three years I have held back tears thinking of my hometown.When the east wind arrives, I won’t be able to help myself.Huang Tingjian’s poem reads, 西風壯夫淚多為程顥滴 Westerly wind makes a gallant man’s tearsto drop more than those shed by Cheng Hao. Yi Saek and Niu Jizhi from the Yuan dynasty passed the civil service examination together. When Yi returned to the East, Niu presented him the following poem, 我有丈夫淚泣之不落三十年今日離亭畔爲君一洒春風前 These manly tears of minehave never been shed for thirty years.Today, bidding farewell by a pavilion,I sprinkle them for you in the spring breeze.The poem parrots earlier poems albeit with inferior composition method (kuppŏp). A poem by our dynasty’s Chŏng Saryong, 向來制淚吾差熟今日當筵自不禁 By now I have become rather good at holding back my tears.But today, facing the banquet, I cannot help myself.also follows Li Shangyin’s example.myself.also follows Li Shangyin’s example.)

C005 + (Yet his poems are not considered lofty (ko). It must be because he entered China during the Late Tang period.)

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?)
E205 + (1. Among today’s military officials, those … 1. Among today’s military officials, those who can write poetry are only a few. However, none of their works are worth reading, except for Pak Hwigyŏm’s. When he was young and serving under Sin Sukchu’s command, Pak wrote the following poem, 十萬貔貅擁戍樓夜深邊月冷狐裘一聲長笛來何處吹盡征夫萬里愁 A hundred thousand fearless soldiers besiege the enemy’s lookout tower.Late at night, the moonlit frontier feels cold even with a fox fur coat.The sound of a bamboo pipe,from where does it come? It blows away the campaigning soldiers’ten-thousand-li worries. Later, he wrote the following poem “On the Fair Wind Terrace in Hŭngdŏk Prefecture” 題興德縣培風軒. 屹立亭亭萬仞峯峯頭高閣迥臨風地連蓬島三淸界人在瀟湘八景中雲帶山腰橫縹緲水涵天影接空濛忽看遠浦歸帆疾木道遙連漢水通 Towering high and upright is the peak soaring ten thousand yards. On its top stands a tall building facing the winds up high.The land below connects to Penglai Island and the domain of the Three Pure Ones.People are in Xiaoxiang,amidst their famous eight views.Clouds wrap the hillside in silky mists.Rivers hold the sky’s reflections meeting the hazy blue sky. Suddenly, I see near the distant shore a sail returning in haste.The long wood road connectsand leads to the Han River. Among the poems of military officials, such works are hard to come by.officials, such works are hard to come by.)
E224 + (1. At the end of the three-year mourning p … 1. At the end of the three-year mourning period for the death of his parent, during the Rite of the Removal of Mourning Robe, my great-great-grandfather wrote the following poem in his dream. 酸梨小洞古山阿廬墓三年一擲梭饘粥厭何疏食進衰麻纔着練冠加昊天罔極恩難報中月而行禫已過莫謂泉扃終寂寞五男俱在子孫多 The Sour Pear Small Grottorests in the ancient hills,where, tending the grave, three yearshave flown by like the throw of a weaver’s shuttle.Who would hate porridge and eat coarse grains instead?I now don sackcloth and wear a mourning cap. Infinite like the heavens,the grace of parents cannot be repaid.The period of mourning has ended,and the rite is now complete. Please don’t say in the underworldthat you feel lonely!For your five sons are all here and also many grandsons.sons are all here and also many grandsons.)
E266 + (1. Chief Minister Hong Ch’un’gyŏng’s 洪春卿 ( … 1. Chief Minister Hong Ch’un’gyŏng’s 洪春卿 (1497–1548) poem “White Horse River” 白馬江reads, 國破山河異昔時獨有江月幾盈虧落花岩畔花猶在風雨當年不盡吹 The kingdom lies in ruins. Even mountains and rivers are different from before.Only the moon over the river waxes and wanes time and again.By the Rock of Fallen Flowers, flowers still remain.The storm of that year did not blow them all away. Scholar Yi Hongnam’s poem reads, 故國登臨月上時濟王家業此成虧龍亡花落千年恨分付東風一篴吹 I visit the ancient kingdom at the time of moonrise.The royal family of Paekche rose and fell here. The dragon is dead. The flowers have fallen. A thousand years of remorse.I entrust it to the east wind in the tune of a bamboo flute. At that time, people weighed the excellence of the two poems. However, in my humble opinion, the opening line of the second poem seems like a case of “skipping the second part.”like a case of “skipping the second part.”)
E212 + (1. Cho Sin was renowned for his talent fro … 1. Cho Sin was renowned for his talent from an early age. In the kihae year of the Chenghua reign (1479; Sŏngjong 10), he accompanied envoy Sin Sukchu on a goodwill mission to Japan based on recommendations from Hong Kwidal and Ch’ae Su. King Sŏngjong personally provided Cho with five topics and commanded him to compose poems on them. Additionally, each of the six royal secretaries was instructed to select difficult rhymes to test Cho’s abilities. Just before his departure, Hong Kwidal presented Cho with his poem “A Rhapsody on Cozy Hut” 適庵賦. Later, Cho retired and lived in Kŭmsan county in Kyŏngsang province. He produced a five-volume collection of poetry manuscripts, as well as a single volume titled Somun swaerok (Miscellaneous Records of Little-Known Things). His poem “Impromptu” 偶吟 reads, 三杯卯酒詫年稀手拓南窓一詠詩泉眼溢池魚潑剌樹林遶屋鳥來歸花生顔色雨晴後柳弄腰肢風過時誰道適庵無箇事每因節物未忘機 Three cups wine in the morning I brag I am in my seventies!Opening a south-facing window, I sing out a poem.In the bubbling pool from a spring, the fish splash!To a house surrounded by trees, the birds return.Flowers wear fresh colors after the rain clears.Willow branches sway their waists when the wind passes.Who says in my Cozy Hutthere is nothing to do?With every change of season, I still haven’t forgotten all motive. His own annotation reads, “Following the to-and-fro rhyme scheme (jint’oegyŏk 進退格), I incorporated ten words, including poetry 詩, wine 酒, trees 林, spring 泉, fish 魚, birds 鳥, flowers 花, and willows 柳.fish 魚, birds 鳥, flowers 花, and willows 柳.)
E259 + (1. Chŏng Saryong built a small house on th … 1. Chŏng Saryong built a small house on the bank of Chŏng Ferry in Ŭiryŏng county in Kyŏngsang province and displayed on the wall only three poems by Yi Haeng, Pak Sang, and Cho Sin. This demonstrates Chŏng’s respect for the three men. A couplet by Yi Haeng reads, 江湖魚得計鍾鼓鳥非情 The fish of rivers and lakes are content.The birds are not moved by the sound of bells and drums. Chŏng often praised these lines.nd drums. Chŏng often praised these lines.)
E216 + (1. Ch’oe Suksaeng’s 崔淑生 (1457–1520) poem “ … 1. Ch’oe Suksaeng’s 崔淑生 (1457–1520) poem “Ŭiju’s Ch’wisŭng Pavilion” 義州聚勝亭 reads, 馬蹄西海到窮陲百尺危亭近紫微且倚雕欄看勝景不敎珠箔障晴暉江橫鴨綠兼天淨柳暗鵝黃着雨肥忽憶玉堂身萬里蓬萊何處五雲飛 At the horse-hoof coast of West Sea,at its outermost rim,there is a pavilion a hundred feet above,close to the Purple Star.I lean on its carved railings and behold the marvelous view,not letting the beaded curtains block the radiant glow.The Amnok River flowing across fuses with the clear sky.Bright orange willow catkins plump up in the rain.Suddenly I realize from the Jade HallI am thousands of li away.Oh, where in Penglai do five-colored clouds fly? Minister So ordered me to read aloud the poems on the plaques. When I got to this poem, he nodded and said, “This old man’s poem deserves to be called a mature composition (sŏngjang).”However, Cho Wi wrote a matching poem that reads, 雄藩自古壯邊陲新搆華亭對翠微絶域雲烟來醉眼層城花柳媚春暉山圍廣野靑如畫雨過長江綠漸肥叵耐登臨還望遠歸心日夜正南飛 Since ancient times, this grand domainhas had formidable frontiers.A decorated pavilion was just built,facing the azure hills.Misty clouds of distant landsenter my drunken eyes.Flowers and willows of the mountain fortressflaunt their spring glow.The open field encircled by mountainsis green like a painting.After the rain passes over the long river, verdure grows darker.I couldn’t help but ascend the pavilion and gaze afar.My homebound heart, day and night, only soars to the south. In my humble opinion, how is Cho’s poem not on par with Ch’oe’s?how is Cho’s poem not on par with Ch’oe’s?)
E222 + (1. During the Zhengtong reign, Sŏl Wi 薛緯 ( … 1. During the Zhengtong reign, Sŏl Wi 薛緯 (15th century) served as the Magistrate of Man’gyŏng county and became known for his integrity and prudence. One day, after reeiving a reprimand from a governor, he decided to resign from his position and depart. He left a poem on his desk that read, 數年江郡獨鳴琴志在高山與水深世上難逢鍾子耳絃中誰會伯牙心 For many years, in this river country, I have played the zither alone,though my aspirations have always been in lofty mountains and deep waters.In this world, it is rare to meet someone With the ears of Zhongzi.From the tunes, who can understandthe heart of Boya?unes, who can understandthe heart of Boya?)
E174 + (1. During the reign of King Chungjong 中宗 ( … 1. During the reign of King Chungjong 中宗 (r. 1506–1544), Sin Yonggae 申用漑 (1463–1519; sobriquets Iyojŏng [Two Joys Pavilion] and Munjŏng [Literary Scenery]) held the dual positions of Fifth State Councilor (uch’ansŏng) and Director at the Office of Royal Decrees (taejehak). Desiring to pass on the role of Director at the Office of Royal Decrees to Nam Kon, one day Sin had a conversation with Nam and requested a poem from him. Nam submitted the following verse, 楊柳陰陰欲午鷄忽驚窮巷溢輪蹄爭看風裁空隣舍促具盤筵窘老妻乘興但知傾藥玉忘形不覺挽鞓犀沈吟欲賦高軒過鄭重荒詞未敢題 Willows cast shadows. Roosters at midday are about to crow.Suddenly, my humble lane is flooded with carriages and horses.Trying to catch a glimpse of nobility, neighbors all come out of their homes.Hastily preparing a banquet, my old wife is anxious.When you made a surprise visit, I onlyknew I had to pour wine.Neglecting all formalities, I absentmindedly tighten my rhinoceros horn belt.Contemplating, I attempt to compose a poem on “The Tall Carriage Passes By”.But out of respect, my muddled words,I do not dare to write. Deeply impressed, Sin remarked, “My robe and alms bowl have found their rightful place.” Before long, Nam was appointed as the Director at the Office of Royal Decrees. This account is derived from Ŏ Sukkwŏn’s 魚叔權 (fl. 1520s–1550s) P’aegwan chapki 稗官雜記 (A Storyteller’s Miscellany). That day, Sin must have written a poem matching the rhymes of Nam, but it is not recorded in the P’aegwan chapki. Here, I dare to put myself in Sin’s shoes and offer a matching poem. 偶過高門見殺鷄淹留半日縶駑蹄瓊詞許以知音友斗酒謀諸擧案妻自擬方皐能相馬須煩溫嶠試燃犀欲傳衣鉢孚人望聲價無雙在品題 By chance, I passed through your lofty gate and was served a meal with slaughtered chickens. I lingered for half a day, tying my lowly horse.Precious words, you share with a friend who knows the sound of your heart.A flask of wine was prepared for all by your respectful wife.Thinking that Jiufang Gao can judge horses,I troubled Wen Qiao to light up the buffalo horns.I wish to pass on my robe and alms bowl to an esteemed one I trust.Your matchless reputation is evident in the quality of your poems.n is evident in the quality of your poems.)
E270 + (1. Hwang Yŏhŏn once said to me, “When I re … 1. Hwang Yŏhŏn once said to me, “When I returned to Hanyang, I asked Sin Kwanghan about anyone who has recently written good poems, and he replied, ‘These lines by Im Hyŏngsu 林亨秀 (1504–1547) written when he went to Cheju Island as magistrate, 山蟠王子國波蹴老人星 Mountains encircle the princely kingdom.Breakers chase the Old Man Star.are the most excellent (ch’oega).’” When I inquired Chŏng Saryong about his opinion, Chŏng responded, “I can’t see why these lines are excellent (ka).”t see why these lines are excellent (ka).”)
E177 + (1. I had a son at the age of seventy-five. … 1. I had a son at the age of seventy-five. And at age eighty, I had another son. Both of them were born from my concubine. Having a son at eighty is rarely seen in recent times. People may consider it a cause for celebration, but I see it as a disaster. In a playful manner, I composed two quatrains and sent them to Song Ch’an and An Ch’ŏsŏng 安處誠 (1477–1517; sobriquet Chukkye [Bamboo Creek]). The two old men both responded with matching poems. It is even more amusing that my poems became widely read. 七五生男世固稀如何八十又生兒從知造物眞多事饒此衰翁任所爲八十生兒恐是災不堪爲賀只堪咍從敎怪事人爭說其奈風情尙未灰 Having a son at seventy-five is indeed a rare occurrence. How could I at eighty have another child!From this I know the Creator is truly meddlesome,bestowing upon this aging manmore than he can handle!Having a son at eighty, I’m afraid it’s a mischance.It’s not worthy of congratulations, only worthy of ridicule.All kinds of strange thingspeople will now say.But what can I do when my passion has yet to fade away?I do when my passion has yet to fade away?)
E217 + (1. In his Taedong sirim大東詩林 (Poetry Forest … 1. In his Taedong sirim大東詩林 (Poetry Forest of the Great East), Yu Hŭiryŏng 柳希齡 (1480–1552; sobriquet Mongwa [Dream Nest]) records his father Yu In’gwi’s 柳仁貴 (1463–1531; sobriquet Sujae [Sleep Studio]) poem “Staying Overnight at Naksaeng station” 宿樂生驛, 日夕衆山暗遠來投樂生征驢吃殘草老僕飯香粳索枕背燈睡把盃斟酒傾時時呼長老屈指問前程 As the sun sets, the mountains grow dark.Traveling from afar, I stay in Naksaeng for the night.My donkey grazes on withered grasses.My old servant prepares fragrant rice. Finding a pillow, I turn my back towards the lamp to sleep.Taking a cup, I pour and empty the wine.Time and again, I call the elderly manAnd, counting on my fingers, inquire about the road ahead. “My donkey grazes on withered grasses” indicates that he was journeying through a desolate area. How can then there be “my old servant prepares fragrant rice”? Also, he already turned his back towards the lamp to sleep, then how can he take a cup and do all that? Moreover, “take,” “pour,” and “empty” are all similar words. What is even more laughable is that he only stayed at Naksaeng station for a day. How then can he say, “Time and again, I call the elderly man”? The post station servant cannot be compared to a Buddhist monk or a Daoist master, then how can he be called an “elder”? The expression (ŏ) “counting on my fingers” originated from the phrase in the “Biography of Chen Tang” 陳湯傳 in the Han shu 漢書 (Book of Han), “Counting on my fingers the days ahead, I said, ‘In a few days, we shall hear the good news.’” However, inquiring about the road ahead and using the expression “counting on my fingers,” I cannot see the appropriateness of that either.ot see the appropriateness of that either.)
E269 + (1. In his poem on the Magistrate’s Office … 1. In his poem on the Magistrate’s Office in Kyŏngsan county, Yi Ŏnjŏk 李彦迪 (1491–1553; sobriquet Hoejae [Dark Studio]) wrote, 鳴鳩枝上七飛燕雨中雙 Seven cuckoos call from the branches.A pair of swallows flutter in the rain.The couplet was naturally conceived (ch’ŏnsŏng). Yi wrote many other excellent poems. He did not speficially study poetry, but his poems flowed spontaneously from his temperament (sŏngjŏng). From this, we learn that if one’s true character is lofty and clear, they can effortlessly write good poems.r, they can effortlessly write good poems.)
E254 + (1. In his poem “On Marquis Zhuge Liang” 詠諸 … 1. In his poem “On Marquis Zhuge Liang” 詠諸葛武侯, Yi Haeng wrote, 死生許國無遺力成敗論人是小兒 In life and death, he served the country till his strength was spent.Judging a person based on success or failureis infantile indeed. The critical view (ŭiron) is fair, and the expression (saŏ) is also original (sin). In his poem written in response to the imperial envoy Tang Gao, Yi wrote, 縹緲三山看覆鼎逶迤一帶接投金 Faintly visible, three peaks resemble an overturned tripod cauldron.A belt of meandering stream meets the Tossed Away Gold River. “Overturned tripod cauldron” is another name for Samgak (Three Peaks) Mountain and Yanghwa Ferry is also referred to as the T’ugŭm (Tossed Away Gold) River. The parallelism between the couplet therefore is wonderfully appropriate. Some say that the couplet was composed by Minister So Seyang.ouplet was composed by Minister So Seyang.)
E127 + (1. In his “Miscellaneous Poems on Songgyŏn … 1. In his “Miscellaneous Poems on Songgyŏng” 松京雜詠, Fourth Counselor (ŭnggyo) Yu Hoin 兪好仁 (1445–1494; sobriquet Noegye [Noe Creek]; styled Kŭkki) wrote, 茫茫海國水連天黃屋艱危四十年咫尺松京胡霧隔摩尼山上暗烽煙白日西沉性命屯蜀山萬里泣孤臣四朝苦節風霜裏一段經綸鬢似銀圓頂方袍污廟堂大庭白日奮忠腸長沙萬里瘴煙祟縱使公亡道不亡 In a kingdom in the boundless sea, where the water meets the sky,the royal household was in danger for forty long years.Towards Songgyŏngas Turkish fog approached,atop Mani Mountain, beacon fires were secretly lit. As the white sun sank west, lives became grim. In Shu Mountain, thousands of li away, a lone official shed tears.Serving four kings with unwavering devotionamidst winds and frost,after managing state affairs,his sideburns turned silvery white. Monks in shaved heads and robes defiled the Confucius shrine. At the grand court, toward the white sun,he raised his faithful heart to the king.Thousands of li away in Changsha, he suffered from the miasma.Though he perished, the Way will never perish.gh he perished, the Way will never perish.)
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.)
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!”)
E215 + (1. In the year of pyŏngsin (1536), I was i … 1. In the year of pyŏngsin (1536), I was in Ŭiju. Waiting upon Minister So, one night we sat down together and read Tang Gao’s poems in the Hwanghwa chip 皇華集 (Anthology of Brilliant Flowers). I remarked, “The following couplet in Yi Haeng’s poem on the Han River is outstanding (kŭkka). 縹緲三峯看覆鼎逶迤一帶接投金 Faintly visible, three peaks resemble an overturned tripod cauldron.A belt of meandering stream meets the Tossed Away Gold River. Official So laughed and said, “You truly have a discerning eye for poetry. That couplet was written by me. Yi was busy at the time and asked me to write a poem on his behalf. The parallelism of ‘overturned tripod cauldron’ and ‘tossed away gold’ was indeed naturally conceived (ch’ŏnsŏng). Even if Yi came back to life again, I have nothing to be ashamed of.” Annotation: Some say that the poem indeed was Yi’s work, and that So is shameless in claiming it as his own.So is shameless in claiming it as his own.)
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.)
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.)