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Han YA', (768-824), sometimes called Han Changli, was born in Nanyang, Henan, China, was a precursor of Neo-Confucianism as well as an essayist and poet, during the Tang dynasty. The Indiana Companion calls him comparable in stature to Dante, Shakespeare or Goethe for his influence on the Chinese literary tradition. He stood for strong central authority in politics and orthodoxy in cultural matters. An orphan, he went to Chang'an in 786, but needed four attempts to pass the jinshi exam, finally succeeding in 791. In the last few years of the 8th. Century, he began to form the literary circle which spread his influence so widely. He gained his first central government position in 802, but was soon exiled.
" The poetry of the Late Tang often looked backward, and many poets of the period distinguished themselves through the intensity of their retrospective gaze. Chinese poets had always looked backward to some degree, but for many Late Tang poets the echoes and the traces of the past had a singular aura. In this work, Stephen Owen resumes telling the literary history of the Tang that he began in his works on the Early and High Tang. Focusing in particular on Du Mu, Li Shangyin, and Wen Tingyun, he analyzes the redirection of poetry that followed the deaths of the major poets of the High and Mid-Tang and the rejection of their poetic styles. The Late Tang, Owen argues, forces us to change our very notion of the history of poetry. Poets had always drawn on past poetry, but in the Late Tang, the poetic past was beginning to assume the form it would have for the next millennium; it was becoming a repertoire of available choices--styles, genres, the voices of past poets. It was this repertoire that would endure. "
Jean Elizabeth Ward proudly presents this book with the poetry of Wen Feiqing, the literary name of Wen Tingyun, Chinese Tang Poet famous for his Ci Poetry, included are the poems inspired by and written by Jean Elizabeth Ward,an American Poet Laureate. Concluding with an introduction to Wei Yingwu, another Chinese Poet.
Yanagawa Seigan (1789–1858) and his wife Kōran (1804–79) were two of the great poets of nineteenth-century Japan. They practiced the art of traditional Sinitic poetry—works written in literary Sinitic, or classical Chinese, a language of enduring importance far beyond China’s borders. Together, they led itinerant lives, traveling around Japan teaching poetry and selling calligraphy. Seigan established Edo-period Japan’s largest poetry society and attained nationwide renown as a literary figure, as well as taking part in stealthy political activities in the years before the Meiji Restoration. Kōran was one of the most accomplished female composers of Sinitic poetry in Japanese history. After her husband’s death, she was arrested and imprisoned for six months as part of a crackdown on political reform. Seigan and Kōran’s works at once display mastery of a poetic tradition and depict Japan on the brink of monumental change. The Same Moon Shines on All explores the world of Seigan and Kōran, pairing an in-depth account of their lives and times with an inviting selection of their poetry. The book features eminent Sinologist Jonathan Chaves’s translations of more than 130 poems by Seigan and more than 50 by Kōran, each annotated and followed by the original Chinese text. An introduction by Matthew Fraleigh, a specialist in Japan’s Sinitic literature, offers insight into the historical and literary context as well as the poems themselves. Approachable and delightful, this book makes the riches of Japanese Sinitic poetry available to a range of readers.
Su Chen brought the system through! The music industry, the endangered ballad he saved, he pushed rock music to its true peak! In the literary world, he was the founder of the Obscure Poetry School. He used "Winter is here, but will spring still be far away?" Shocking the entire world! In the movie business, he was the only universally recognized Chinese godfather! Not only that, but in the world of comics, medicine, and metaphysics ... His figure could be seen almost everywhere, even his legend could be seen ...
“Part travelogue, part literary history, and part spiritual journey . . . His quest to find Han Shan’s cave is a delight from beginning to end.”—Chase Twichell, author of Horses Where the Answers Should Have Been In this transformative book, award-winning poet and essayist James Lenfestey makes an epic journey across the world to find the Cold Mountain Cave, a location long believed to exist only in myths and the ancient home of his idol, Han Shan, author of the Cold Mountain poems. Lenfestey’s voyage takes him from the Midwestern United States to Tokyo to a road trip across the expanse of China with frequent excursions to the country’s rich historical and cultural landmarks. As he makes his way to the cave, Lenfestey learns more than history or geography; he discovers his identity as a writer and a poet. Interspersed with poems by both the author and Han Shan, Seeking the Cave will appeal to lovers of poetry and travel narrative alike. “A lively account of Lenfestey’s trip to China . . . It unites our brief literary life with the ancient richness of Chinese culture.”—Robert Bly, New York Times bestselling author “A profound, and profoundly personal book. It’s very captivating, warm and friendly, personal, unguarded, idiosyncratic, pointed but also finally apolitical, and eminently charming.”—Gary Snyder, Pulitzer Prize-winning poet “His lighthearted approach, poet’s attention to detail and genuine passion for the poems of Han-shan bring the narrative far beyond essential archetypes of the Far East.”—Minneapolis Star Tribune “[A] poetry-infused memoir . . . The story of his outer and inner journeys is frank, charming, funny, moving and wise.”—Greenfield Recorder
Contains English translations of Chinese writings drawn from throughout a period of four hundred years, including poems, drama, fiction, songs, biographies, and early works of philosophy and history; arranged chronologically and by genre, with introductory quotes and comments.
The country's first and only publication devoted to narrative journalism, The Caravan occupies a singular position among Indian magazines. It is a new kind of magazine for a new kind of reader, one who demands both style and substance. Since its relaunch in January 2010, the magazine has earned a reputation as one of the country's most sophisticated publications-a showcase for the region's finest writers and a distinctive blend of rigorous reporting, incisive criticism and commentary, stunning photo essays, and gripping new fiction and poetry. Its commitment to great storytelling has earned it the respect of readers from around the world.  "India's best English language magazine", The Guardian, London  "For those with an interest in India, it has become an absolute must-read", The New Republic, Washington The Caravan fills a niche in the Indian media that has remained vacant for far too long, catering to the intellectually curious and aesthetically refined reader, who seeks a magazine of exceptional quality.