" "A certain
Captain Kao Hsia-yu was courting a dancing-girl.
Captain Kao Hsia-yu was courting a dancing-girl.
Waley - 170 Chinese Poems
"
Content, in short, he valued far above form: and it was part of his
theory, though certainly not of his practice, that this content ought to
be definitely moral. He aimed at raising poetry from the triviality into
which it had sunk and restoring it to its proper intellectual level. It
is an irony that he should be chiefly known to posterity, in China,
Japan, and the West, as the author of the "Everlasting Wrong. "[47] He
set little store by the poem himself, and, though a certain political
moral might be read into it, its appeal is clearly romantic.
[47] Giles, "Chinese Literature," p. 169.
His other poem of sentiment, the "Lute Girl,"[48] accords even less with
his stated principles. With these he ranks his _Lu-shih_; and it should
here be noted that all the satires and long poems are in the old style
of versification, while his lighter poems are in the strict, modern
form. With his satires he classes his "reflective" poems, such as
"Singing in the Mountains," "On being removed from Hsun-yang," "Pruning
Trees," etc. These are all in the old style.
[48] Giles, "Chinese Literature," p. 165.
No poet in the world can ever have enjoyed greater contemporary
popularity than Po. His poems were "on the mouths of kings, princes,
concubines, ladies, plough-boys, and grooms. " They were inscribed "on
the walls of village-schools, temples, and ships-cabins.
" "A certain
Captain Kao Hsia-yu was courting a dancing-girl. 'You must not think I
am an ordinary dancing-girl,' she said to him, 'I can recite Master Po's
"Everlasting Wrong. "' And she put up her price. "
But this popularity was confined to the long, romantic poems and the
_Lu-shih_. "The world," writes Po to Yuan Ch? n, "values highest just
those of my poems which I most despise. Of contemporaries you alone have
understood my satires and reflective poems. A hundred, a thousand years
hence perhaps some one will come who will understand them as you have
done. "
The popularity of his lighter poems lasted till the Ming dynasty, when a
wave of pedantry swept over China. At that period his poetry was
considered vulgar, because it was not erudite; and prosaic, because it
was not rhetorical.
Although they valued form far above content, not even the Ming critics
can accuse him of slovenly writing. His versification is admitted by
them to be "correct. "
Caring, indeed, more for matter than for manner, he used with facility
and precision the technical instruments which were at his disposal. Many
of the later anthologies omit his name altogether, but he has always had
isolated admirers. Yuan Mei imitates him constantly, and Chao I (died
1814) writes: "Those who accuse him of being vulgar and prosaic know
nothing of poetry. "
Even during his lifetime his reputation had reached Japan, and great
writers like Michizane were not ashamed to borrow from him.
Content, in short, he valued far above form: and it was part of his
theory, though certainly not of his practice, that this content ought to
be definitely moral. He aimed at raising poetry from the triviality into
which it had sunk and restoring it to its proper intellectual level. It
is an irony that he should be chiefly known to posterity, in China,
Japan, and the West, as the author of the "Everlasting Wrong. "[47] He
set little store by the poem himself, and, though a certain political
moral might be read into it, its appeal is clearly romantic.
[47] Giles, "Chinese Literature," p. 169.
His other poem of sentiment, the "Lute Girl,"[48] accords even less with
his stated principles. With these he ranks his _Lu-shih_; and it should
here be noted that all the satires and long poems are in the old style
of versification, while his lighter poems are in the strict, modern
form. With his satires he classes his "reflective" poems, such as
"Singing in the Mountains," "On being removed from Hsun-yang," "Pruning
Trees," etc. These are all in the old style.
[48] Giles, "Chinese Literature," p. 165.
No poet in the world can ever have enjoyed greater contemporary
popularity than Po. His poems were "on the mouths of kings, princes,
concubines, ladies, plough-boys, and grooms. " They were inscribed "on
the walls of village-schools, temples, and ships-cabins.
" "A certain
Captain Kao Hsia-yu was courting a dancing-girl. 'You must not think I
am an ordinary dancing-girl,' she said to him, 'I can recite Master Po's
"Everlasting Wrong. "' And she put up her price. "
But this popularity was confined to the long, romantic poems and the
_Lu-shih_. "The world," writes Po to Yuan Ch? n, "values highest just
those of my poems which I most despise. Of contemporaries you alone have
understood my satires and reflective poems. A hundred, a thousand years
hence perhaps some one will come who will understand them as you have
done. "
The popularity of his lighter poems lasted till the Ming dynasty, when a
wave of pedantry swept over China. At that period his poetry was
considered vulgar, because it was not erudite; and prosaic, because it
was not rhetorical.
Although they valued form far above content, not even the Ming critics
can accuse him of slovenly writing. His versification is admitted by
them to be "correct. "
Caring, indeed, more for matter than for manner, he used with facility
and precision the technical instruments which were at his disposal. Many
of the later anthologies omit his name altogether, but he has always had
isolated admirers. Yuan Mei imitates him constantly, and Chao I (died
1814) writes: "Those who accuse him of being vulgar and prosaic know
nothing of poetry. "
Even during his lifetime his reputation had reached Japan, and great
writers like Michizane were not ashamed to borrow from him.
