Now, at the present moment that peculiar British shyness for quoting
poetry seems to have largely disappeared in consequence of the writings
of soldier poets.
poetry seems to have largely disappeared in consequence of the writings
of soldier poets.
Li Po
As for present-day Chinese poets, there are
several famous ones in China.
Since the lecturer has raised the question whether Li T'ai-po or Tu
Fu is the greater poet, I would say that the Chinese of the present
day consider Tu Fu to be the greater. It strikes me as curious that
European people who know something about Chinese poetry should prefer
Li T'ai-po. Perhaps very few people have heard of Tu Fu. Certainly
there is no translation of the most important of Tu Fu's poems in the
English language. In China every child who has studied poetry knows
something about Tu Fu's poems. Tu Fu is placed first by the Chinese
because he is the greatest national poet. He expresses national
feelings in a way that can be appreciated by everybody. Li T'ai-po's
poems deal chiefly with wine and women, love and sensual things, but
Tu Fu's poems are full of men and women, elderly people and children,
their joy, their anguish, the hardship of the soldier, and things of
that sort. In a word, Tu Fu's poetry expresses what we ordinary men and
women wish to express and cannot.
Mr. G. WILLOUGHBY-MEADE: One or two observations occur to me in
connection with the translation of this poetry into English. The two
greatest reading publics are the Anglo-American and the Chinese. The
Anglo-American people have produced an enormous amount of poetry which
they do not often quote, and the Chinese have produced an enormous
amount of poetry which, according to experts, they quote a great deal.
Now, at the present moment that peculiar British shyness for quoting
poetry seems to have largely disappeared in consequence of the writings
of soldier poets. These poems have been written under conditions of
great danger, difficulty, and discomfort, and it seems to me that it
would be a very good thing if poetry illustrating the thought of these
men could be placed before the Anglo-American public.
The CHAIRMAN proposed a hearty vote of thanks to the Lecturer, which
was carried by acclamation.
PRINTED BY
BILLING AND SONS, LTD.
GUILDFORD, ENGLAND
* * * * *
Transcriber's Note
p. 10 "Ch'i Kuan" changed to "Ch'i Kuan""
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several famous ones in China.
Since the lecturer has raised the question whether Li T'ai-po or Tu
Fu is the greater poet, I would say that the Chinese of the present
day consider Tu Fu to be the greater. It strikes me as curious that
European people who know something about Chinese poetry should prefer
Li T'ai-po. Perhaps very few people have heard of Tu Fu. Certainly
there is no translation of the most important of Tu Fu's poems in the
English language. In China every child who has studied poetry knows
something about Tu Fu's poems. Tu Fu is placed first by the Chinese
because he is the greatest national poet. He expresses national
feelings in a way that can be appreciated by everybody. Li T'ai-po's
poems deal chiefly with wine and women, love and sensual things, but
Tu Fu's poems are full of men and women, elderly people and children,
their joy, their anguish, the hardship of the soldier, and things of
that sort. In a word, Tu Fu's poetry expresses what we ordinary men and
women wish to express and cannot.
Mr. G. WILLOUGHBY-MEADE: One or two observations occur to me in
connection with the translation of this poetry into English. The two
greatest reading publics are the Anglo-American and the Chinese. The
Anglo-American people have produced an enormous amount of poetry which
they do not often quote, and the Chinese have produced an enormous
amount of poetry which, according to experts, they quote a great deal.
Now, at the present moment that peculiar British shyness for quoting
poetry seems to have largely disappeared in consequence of the writings
of soldier poets. These poems have been written under conditions of
great danger, difficulty, and discomfort, and it seems to me that it
would be a very good thing if poetry illustrating the thought of these
men could be placed before the Anglo-American public.
The CHAIRMAN proposed a hearty vote of thanks to the Lecturer, which
was carried by acclamation.
PRINTED BY
BILLING AND SONS, LTD.
GUILDFORD, ENGLAND
* * * * *
Transcriber's Note
p. 10 "Ch'i Kuan" changed to "Ch'i Kuan""
End of Project Gutenberg's The Poet Li Po, by Arthur Waley and Bai Li
*** END OF THIS PROJECT GUTENBERG EBOOK THE POET LI PO ***
***** This file should be named 43274-0. txt or 43274-0. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/3/2/7/43274/
Produced by Henry Flower and the Online Distributed
Proofreading Team at http://www. pgdp. net (This file was
produced from images generously made available by The
Internet Archive/Canadian Libraries)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.
