By Lloyd Haft
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Extra info for Pien Chih-lin : a study in modern Chinese poetry
Example text
This, in the original, is: Wo meng-chien ni-ti lan-shan Yen-liu ti-ch'uan-ti shih-chieh. 17 As an example of a poem in which Pien makes use of near-rhyme, "The Record" may be mentioned. The poem in translation is as follows: Now it is again the time when lamps are alight. I drank a mouthful of the haze of the streets, Yet seem to have awakened, stretching, Shaking o f f a heavy daydream. " I was startled, stumbled in my tracks, Threw o f f a sheet of crinkled white paper— G o , then, Record of this whole day of mine!
He enjoyed an active and profitable summer vacation in Peking. 19 Like Pien in his own way, Tsang K'o-chia had been profoundly influenced by Wen I-to's theories on the technical basis of versification, but unlike Pien, he had been attracted from the start by the poetry of overt social protest. His works were characterized by an admirable craftsmanship coupled with explicitly anti-establishment content. These qualities were to stand him in good stead through the subsequent historical developments, especially after the founding of the People's Republic, when he was to become the leading editor and commentator in the world of Mainland The Thirties 21 Chinese poetry.
A gem? A star? (July 8, 1935; trans L. ) 41 The phrase I have translated as "seductive appearances" is, in the original, se-hsiang. In Chinese Buddhist terminology, hsiang, equivalent to the Sanskrit laksana, means "aspect". Se, in addition to its common suggestion of sexual passion, occurs in Buddhist terminology as an important technical term: riipa, usually translated as " f o r m " , being a stage in the breakup of primordial intelligence into specifically delimited forms— and, hence, illusions.