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PO CHU-I - BAI JUYI - HAKU RAKUTEN772-846 CE) vowed his poems would be understood at every Social level, so he broke with the poetic habits of the literati in two respects. First, his diction was not merely simple but sometimes Colloquial, and, second, he frequently lamented the economic and social injustices perpetrated on the poor. However, he also ranged freely among traditional subjects, including, the evocation of emotions using natural scenes.
The Tang dynasty, lasting from 618 to 907, was the high point of medieval Chinese history, featuring unprecedented achievements in governmental organization, economic and territorial expansion, literature, the arts, and religion. Many Tang practices continued, with various developments, to influence Chinese society for the next thousand years. For these and other reasons the Tang has been a key focus of Western sinologists. This volume presents English-language reprints of fifty-seven critical studies of the Tang, in the three general categories of political history, literature and cultural history, and religion. The articles and book chapters included here are important scholarly benchmarks that will serve as the starting-point for anyone interested in the study of medieval China.
"This situation can be recalled, but it was lost at that time." I like this poem of Li Shangyin very much. I use it as a title to record the past.
KIMO POETRYis a post-Haiku poetic form, consisting of three lines of 10, 7, and 6 syllables. This form of poetry was developed in Israel. Kimo had evolved from the need for more than 5, 7, and 5 syllables in a Haiku in Hebrew. It usually describes one frozen scene that has no movement in it. Rhyme not necessary. An excellent book for the busy reader who would like to read one a day. Vintage Illustrations added. Bonus of an Elvis Presley Mandala.
This book by Norman Hinsdale Pitmanwas originally a book of Chinese Stories, last published in 1919: Illustrations areby Li Chu-T'ang. The Golden Beetle, The Great Bell, The Strange Tale of Dr. Dog, How Footbinding Started, The Talking Fish, Bamboo and the Turtle, The Mad Goose and the Tiger Forest, The Nodding Tiger, The Princess Kwan-yin, The Two Jugglers, The Phantom Vessel. In the revised edition Jean Elizabeth Ward has added a chapter of Poems in Alphabetized Order, with Homage being paid to such Poets as Li Qi, Han Yu, Li Bai, Du Fu, Li He, Qiwu Q ian, Wen Tingyun, Li Qingzhao, Po Chu-I, Liu Changqing, Wang Wei, Liu Jixu, Juan Chi, Cen Can, Zhang Ji.
Poems of Adversity from poets: Adelaide Anne Procter, Percy Shelley, Charles, Kingsley, James W. Watson, William Shakespeare, Lord Byron, Amelia Anne Blandford Edwards, John Fletcher, Elizabeth Barrett Browning, Chediock Tichborne, Lord Houghton, Walter Savage Landor, Henry Neele, John Keats, Ralph Hoyt, Will Carleton, Mary Louise Ritter, John Milton, George Crabbe, Thomas Noel, Thomas Hood, Oliver Wendell Holmes, Thomas Moss, Letitia Elizabeth Landon, Ya Perezhil Svoi Zhelanya, Pierre-Jean De Beranger, Frances Quarles, Frances Bacon, and a final chapter by American Poet Laureate, Jean Elizabeth Ward, Ed. including Naani, Tanka, Kimo, Choka, and Shape Poems. The Wail of Prometheus Bound with picture. Poems mentioning Houston, Texas, Texas, New Quay, Wales, and the Titanic.
Po Chu-i (772-846 C.E.) is the quintessential Chinese poet. For although clear thought and depth of wisdom inform the work of all major Chinese poets (as opposed to the complexity and virtuosity often valued in the West), Po makes clarity itself his particular vision.
Jean Ward, Jean E. Ward, Jean Elizabeth Ward, Poetry, Prose, Quotes, Kimo Poetry, Senryu Poetry,and Poems from Various Famous Poets: John Hay, Robert Burns, Shakespeare, Lord Byron, Jean Engelow, Tennyson, Mrs. Norton, Whittier, Motherwell, W. Scott, P. Sidney, and many more.
From ancient times, China's remote and exotic South—a shifting and expanding region beyond the Yangtze River—has been an enduring theme in Chinese literature. For poets and scholar-officials in medieval China, the South was a barbaric frontier region of alienation and disease. But it was also a place of richness and fascination, and for some a site of cultural triumph over exile. The eight essays in this collection explore how tensions between pride in southern culture and anxiety over the alien qualities of the southern frontier were behind many of the distinctive features of medieval Chinese literature. They examine how prominent writers from this period depicted themselves and the South in poetic form through attitudes that included patriotic attachment and bitter exile. By the Tang dynasty, poetic symbols and clichés about the exotic South had become well established, though many writers were still able to use these in innovative ways. Southern Identity and Southern Estrangement in Medieval Chinese Poetry is the first work in English to examine the cultural south in classical Chinese poetry. The book incorporates original research on key poets, such as Lu Ji, Jiang Yan, Wang Bo, and Li Bai. It also offers a broad survey of cultural and historical trends during the medieval period, as depicted in poetry. The book will be of interest to students of Chinese literature and cultural history. Ping Wang is assistant professor of Chinese at University of Washington, Seattle. Nicholas Morrow Williams is research assistant professor at the Mr. Simon Suen and Mrs. Mary Suen Sino-Humanitas Institute, Hong Kong Baptist University. "A long-overdue appreciation of the South as a center for the production of medieval Chinese literature as well as a focal point of Chinese cultural and intellectual reflection and identity, this collection of essays by a stellar roster of leading scholars offers an immensely rich contribution to the study of classical Chinese poetry." — Martin Kern, Greg (’84) and Joanna (P13) Zeluck Professor in Asian Studies, Princeton University "This book presents a systematic study of how the symbol of the 'southland' was reinvented in medieval Chinese literature, taking readers on a cultural and geographic journey to survey the continuous rewriting of the South and its identity." — Yu Yu Cheng, Distinguished Professor of Chinese Literature, National Taiwan University
A POEMS is the first of the alphabet, filled with well over 600 poems, all beginning with an A. With an Alien Acrylic Illustration on the cover. Elvis Presley Poems, Chinese Homage Poems, Child Abuse Awareness Poems, Children's Poems, and many more, with a Reference of Poetry in the beginning of this 300 page book, with 40 Illustrations.