Throughout its four thousand years of history, Chinese culture has always regarded poetry as the highest form of literary and artistic expression: if literature is a linguistic art par excellence, poetry is the best of the arts.
From ancient ballads to the Tang, Song, Yuan, Ming and Qing dynasties, poetic compositions are as numerous as the stars! These magnificent cultural treasures are not only the precious heritage of a nation, but also part of the world's cultural heritage. Among these poems that have enchanted for thousands of years, the reader may find those of a kindred soul who has gone through similar experiences and found resonance in emotion.
Heaven and earth, mountains and rivers, flowers and birds, the world of nature is the protagonist of these poems, skillfully used to evoke subtle moods in the reader: love and nostalgia, solitude and the transience of things, friendship and nobility of character, vicissitudes and philosophical reflections, the search for serenity in a simple life and in the contemplation of nature.
“Nine Songs - The Spirit of the Mountain” by Qu Yuan (Taken from "The Kingdom of Chinese Poetry" p. 91)
If you seem to catch a glimpse of someone up there
in the curve of the mountain, that's me
Shrouded in ivy and bearded lichens
Sweet look and joyful smile
You admire my grace and delicate beauty
I ride a purple panther, follwed by leopard cats
And a magnolia wood chariot with laurel banners
Wearing an orchid dress, ginger flowers gird my waist
I gather fragrant flowers to gift to my beloved
I dwell in a deep bamboo forest, so dense the sky is unseen
The path is arduous and difficult, late I arrive, but no one is there
Alone I stand on the mountain peak
Clouds float and gather below me
Day turns dark as night
The east wind swirls, divine rain falls
I, a goddess, linger here out of love
Forgetting to return to the celestial realm
The years go by, who will remain ever beautiful as a flower?
On the mountain, I gather the magical mushroom of youth
Climbing through boulders and intricate kudzu vines
Regretful for the missed appointment,
Disheartened for not yet returning to the heavenly realm.
You think of me, but never have time
We, mountain dwellers, are like fragrant and immaculate pollia flowers
Drinking from pure rocky springs, in the shade of pines and cypresses
Do you think of me? Doubt creeps into my heart
Thunder rumbles, somber rain falls
Monkeys cry and scream all night long
The wind howls, desolate trees lose their leaves
I think of the young lord, useless sadness grows
“Mountain Spirit” is one of the “Nine Songs” written during the Warring States period by Qu Yuan (340-278 BC), a poet of the Chu Kingdom, and is a sacrificial hymn recited by shamans in honor of the mountain spirit. The entire poem is written in an elegant and richly romantic style. With a delicate and vivid touch, the poet describes the inner world of the mountain spirit in a complex and varied way, with sincere and moving emotions.
In 278 BC, Qin’s army destroyed Yingdu, the capital of the Chu Kingdom. Qu Yuan could no longer contain his inner sadness and wrote “Embracing the Sand”, one of the “Nine Declarations” of utter resignation, and threw himself into the Miluo River as a sacrifice for his country. Qu Yuan’s patriotic spirit and touching poetry have led successive generations to commemorate him on the fifth day of the fifth month of the lunar calendar.
It is one of the ancient traditional festivals of the Chinese nation, the “Dragon Boat Festival”, the “Duan Yang Festival”. Due to the different holiday customs in different regions, it also has many other names, such as “May Festival”, “Poets” Festival“, ”Dragon Day“ and so on. To this day, the ”Dragon Boat Festival” remains a very popular celebration for the Chinese people.
“Oh Heavens! (Heaven Is My Witness)” Anonymous (Taken from "The Kingdom of Chinese Poetry" p. 113)
I long to know you intimately
Forever, without end or decline
When mountains lose their peaks
When rivers run dry
When thunder roars in winter
When snow falls in summer
When heaven and earth merge as one
Only then will I dare part from you
This Han-era folk love song has a strong romantic atmosphere, the author is unknown. The poem uses natural scenery as the main theme, is full of deep emotions and extraordinary ideas, with an elegant and vigorous writing style, the words float melodiously. With ardent and unbridled passion, it expresses a rock-solid will for eternal love that shakes the earth and moves deeply. As Hu Yinglin (1551-1602) said, “It speaks of love in a divine way, a masterpiece in its brevity."
“Drinking Wine (V)” by Tao Yuanming (Taken from "The Kingdom of Chinese Poetry" p. 137)
I built my hut among the people
Yet there is no noise of carts or horses
You ask, how can this be?
If the heart is far from the world, so too will be the place where I dwell
Gathering chrysanthemums by the eastern fence
In the carefree tranquility, the southern mountain appears
At sunset, the mountain's spirit radiates beauty
Flocks of birds return home
In all of this, there is a True Meaning
But if I try to explain it, the words vanish
This poem is a perfect example of Tao Yuanming’s artistic style, with a natural and affectionate tone. Its deep imagination and enchanting atmosphere leave a lasting impression. The poet, free from the worries of the world, falls in love with the peaceful and idyllic life of the countryside, expresses his feelings through nature, describes his life of hard work and drinking to the point of drunkenness, admires and praises the beauty of the southern mountain, and understands the meaning of life from it. For many centuries, “the southern mountain” became the utopia in the hearts of intellectuals. Su Shi (1037-1101) in his “After Drinking. A Poem of Tao Yuanming” states, “‘I was gathering chrysanthemums and so the mountain appeared’ , the sensitive evokes the transcendent, this sentence is truly wonderful. In recent years, the common saying is ‘look at the southern mountain’, so the whole poem loses its spirit“. Sun Yuefeng (1543-1613) in his ”Detailed Annotations on Literary Selection (Volume 15)“ says, ”This poem is wonderfully evocative, points to the transcendent state of mind, the ‘true mind’ and leaves a deep impression on the reader."
“People Ask the Way to Cold Mountain” by Han Shan (Taken from "The Kingdom of Chinese Poetry" p. 171)
People ask the way to Cold Mountain
But the path is impassable
In summer, the ice has not yet melted
The sun rises, but thick mists obscure and confuse
A guy like me, how did he get there?
It is because my mind is not like yours
If your heart were like mine
You too would be right here with me
Hanshan “Cold Mountain” (date of birth and death unknown, about 618 AD. - 700 AD.), born in Julu (now Xingtai, Hebei), did not leave his real name, only his nickname “Hanshanzi”. He was a famous poet-monk of the early Tang period, active during the reigns of De Zong and Zhao Zong. Born into a family of officials, he became a monk after failing the imperial examinations and lived in seclusion all his life on the Cold Mountain, Mount Tiantai, from which he took the name “Hanshanzi”. His erudition was vast, encompassing the teachings of Confucius, Laozi and Buddha. His “Three Hundred and One Poems” are peculiar: they appear simple but in fact conceal deep meanings.
“Twelve Lyrical Reflections (I)” by Zhang Jiuling (Taken from "The Kingdom of Chinese Poetry" p. 201)
In spring, the green leaves of the orchid grow lush
In autumn, fragrant osmanthus flowers gleam white
How much joy there is in this vital surge!
In nature, every day seems a celebration
Who can understand the hermit of the woods
Who, listening to the wind, sits full of joy?
Grass and trees have their inner heart
Why would a beautiful soul ever tear them out?
Zhang Jiuling (678-740) was prime minister during the Kaiyuan period of Emperor Xuanzong and an important poet in the early heyday of the Tang dynasty.
This poem, written by the poet after his exile to Jingzhou, is part of a collection called “Lyrical Reflections”, in which he uses things and situations from the outside world to evoke poetic feelings. The poet has fully understood human dynamics and life experiences, so he is able to adapt to circumstances and be in a serene and happy state of mind.
“Overnight at the Mountain Temple” by Li Bai (Taken from "The Kingdom of Chinese Poetry" p. 249)
The vertiginous tower rises a hundred feet
With your hand you can pluck the stars
I dare not speak aloud
For fear of disturbing the inhabitants of the sky
Li Bai (701-762), with the courtesy name Taibai, also known as “Hermit of the Green Lotus” and “Immortal Exile”, is celebrated as the “Immortal Poet”.
This poem is characterised by a language that is bold and vigorous, simple and delicate. Using hyperbole, the poet creates with just a few brushstrokes a vivid and fascinating image that conveys a sense of wonder and a return to natural simplicity.
Liu Zai of the Song dynasty commented: “The verses are majestic, transcending the centuries”.
“Flower, Not a Flower” by Bai Juyi (Taken from "The Kingdom of Chinese Poetry" p. 275)
Flower, not a flower. Evanescent, yet not mist
Comes in the dead of night, leaves at dawn's first light
Comes like a spring dream, for how long?
Leaves as the morning clouds vanish, no longer to be found
The poems of Bai Juyi (772-846) are famous not only for their simple language, but also for the clarity of their imagery. This poem, however, is an exception. The whole poem flows like clouds and water, with an implicit meaning that is not explicitly stated, adding a touch of hazy beauty that makes it a beautiful love poem. Wang Yiqing of the Qing dynasty quotes Huang Sheng in “Lidai Cihua”: “The poem 'It is not flower' is particularly enveloping and infinite.” Chen Tingzhuo of the Qing Dynasty writes in “Yunshao Ji”: “The first two verses are wonderful. Look at the way he describes coming and going, without any human effort, but with a divine naturalness.”
“The Call of the Crane” by Lin Bu (Taken from "The Kingdom of Chinese Poetry" p. 331)
The call of the crane, so divine, I have known it for a long time
Its round voice extends solitary in the heart of the night
A single sharp cry that makes you startle, the whole sky seems to tear
And you are no longer in the mood for head-in-the-clouds daydreams
Lin Bu (967-1028), also known as Lin Hejing or Lin Jing, was a hermit poet of the Northern Song Dynasty. This poem is remarkable for its ability to express feelings and images with simplicity and precision. It is said that Lin Bu brought two cranes from his homeland, which often flew in the sky, circling the landscapes of the West Lake. These cranes, intelligent and sensitive, even knew how to shop and carry messages. Lin Bu loved them as precious treasures. It is said that after Lin Bu's death, the two cranes let themselves die weeping in front of his grave.
“Written on the Wall of Xilin Temple” by Su Shi (Taken from "The Kingdom of Chinese Poetry" p. 339)
Facing forward, crests are seen; from the side, peaks rise
Farther or nearer, higher or lower, each perspective differs
I cannot discern the true face of Mount Lu
Simply because I am right in the midst of it
This poem by Su Chi (1037-1101)is characterised by an innovative and ingenious conception, with a subtle and ethereal atmosphere, and a deep meaning related to Zen philosophy.
“Spring is Past” by Li Qingzhao (Taken from "The Kingdom of Chinese Poetry" p. 355)
The wind has ceased, the flowers have all fallen,
their fragrance lies in the dust
It“s already evening, today I don”t feel like combing my hair
Things have remained the same, but people have not,
now everything is over
I wish to speak, but tears flow before words
I have heard that spring at the Two Streams is still beautiful
I would love to go for a boat ride
But I fear the small boat
Cannot bear the weight of my great sadness
Li Qingzhao (1084 - 1155), the most eminent poetess of the Northern Song dynasty, is also considered the most successful woman in the history of Chinese literature.
In the last years of her life, Li Qingzhao lived in Jinhua. At that time, Jin soldiers invaded the area; her husband had already died, and she was in a miserable situation with immense pain in her heart. Her family“s precious artefacts were also used up, and she lived as a refugee, experiencing many hardships. This poem uses the landscape of late spring to describe the poet”s deepest anguish and sadness. The melancholy beauty, exhaustively expressed but with infinite meanings, cannot but arouse compassion in the reader's heart.
“Praising Myself Again” by Yang Wanli (Taken from "The Kingdom of Chinese Poetry" p. 365)
The wind and the river ask me to sing
The moon among the mountains invites me to drink
Drunk, I fall beside the scattered petals on the ground
The sky is my blanket, the earth my pillow
Yang Wanli (1127-1206) is considered one of the “Four Great Renaissance Poets” of the Southern Song Dynasty.
The most poetic life is nothing more than being open and carefree, adapting to circumstances and finding joy in them.
“Autumn Thoughts” by Ma Zhiyuan (Taken from "The Kingdom of Chinese Poetry" p. 393)
Dry vines, ancient trees, crows at dusk
A small bridge, flowing water, country houses
An old abandoned path, cold autumn wind, a bony horse
The sun sets in the west
A broken heart wanders at the edge of the world
Ma Zhiyuan (1250-1321) was a famous playwright and Sanqu author of the Yuan Dynasty.
Praised by posterity as “the ancestor of autumn thoughts”, this Sanqu uses the technique of “liejin” and elegant language to create a melancholy atmosphere, achieving the beauty of Tang couplets. Liejin is a rhetorical figure in classical Chinese poetry that consists of using an entire sentence composed entirely of nouns or nominal phrases, without the use of verbs, adjectives or prepositions, while still achieving an artistic effect of description and emotion.
“Ode to the Willow Fluff” by Cao Xueqin (Taken from "The Kingdom of Chinese Poetry" p. 469)
In front of the white jade hall, the spring dances begin
In the east wind, the willow fluff pirouettes with grace and lightness
Swarms of bees and butterflies in profusion flutter haphazardly
When have the fluff ever gone away with the flowing water?
Why should they fall to the ground in the dust?
The willow tree, a thousand threads,
a thousand bonds of love that never change
It doesn't matter whether the fluff stays close or scatters far away
Spring, do not laugh if I, a willow fluff, have no roots
With the help of the favourable wind
I rise up to the blue clouds
Cao Xueqin (1715-1763), great master of Qing dynasty literature. He was skilled in poetry and painting, but unfortunately his works have been lost. Only the classic novel “The Dream of the Red Chamber” remains, which left a valuable cultural and spiritual legacy to Chinese literature and culture.
This poem, taken from the 70th chapter of “The Dream of the Red Chamber” and composed by Xue Baochai (one of the main characters of the novel), is unique and original in its conception. The melody is fluent and harmonious, blending emotions and scenes to achieve the ultimate expression of “fusion between the object and the self”. The last phrase, which uses a natural object to express an aspiration, is the climax of the poem.
"Déjà vu" by Chen Chong (Taken from "Butterfly Dreams. Chinese Poems" p. 3)
Waterways and mountains all around
a landscape already seen in a dream
a life-giving song awakens the lonely valley
and clouded peaks
Carefree wildflowers flood the mountain
once again it's spring
birds chattering and floral aromas enchant
the rainbow heart
Dressed in brilliant colors I enter
the emerald waters
is it real or is it just my fantasy?
I am in the Mysterious Heart
The colors fade away
the wind will bring them back
the soul goes round and round
dream after dream
How many springs and autumns?
We conclude this brief review of Chinese poetry with this poem by the contemporary poet Chen Chong.
