Poems of the Masters: China's Classic Anthology of T'ang and Sung Dynasty Verse

by Red Pine (Translator)

Bilingual: Chinese/English

Poetry is China’s greatest art, and for the past eight centuries Poems of the Masters has been that country’s most studied and memorized collection of verse. For the first time ever in English, here is the complete text, with an introduction and extensive notes by renowned translator, Red Pine. Over one hundred poets are represented in this bilingual edition, including many of China’s celebrated poets: Li Pai, Wang Wei, Tu Fu, Wang Po, and Ou-yang Hsiu.

Poems of the Masters was compiled during the Sung dynasty (960–1278), a time when poetry became the defining measure of human relationships and understanding.

As Red Pine writes in his introduction: "Nothing was significant without a poem, no social or ritual occasion, no political or personal event was considered complete without a few well-chosen words that summarized the complexities of the Chinese vision of reality and linked that vision with the beat of their hearts . . . [Poetry’s] greatest flowering was in the T’ang and Sung, when suddenly it was everywhere: in the palace, in the street, in every household, every inn, every monastery, in every village square."

"Chiupu River Song" by Li Pai

My white hair extends three miles
the sorrow of parting made it this long
who would guess to look in a mirror
where autumn frost comes from
Red Pine (the pen name of writer and independent scholar Bill Porter) is one of the world’s most respected translators of Chinese literature, bringing into English several of China’s central religious and literary texts: Taoteching, The Diamond Sutra, Zen Teachings of Bodhidharma, and Collected Songs of Cold Mountain. He lives near Seattle, Washington.

Genres: Poetry, China, Classics, Chinese Literature, Asia, Anthologies, History

480 pages, Paperback

First published September 1, 2003

About the author

Pen name of Bill Porter

Reviews

[Mark Robison · Rating 4 out of 5]

This isn't a new compilation of great poems. Rather it was compiled about 750 years ago and features poems written from the 600s to the 1200s in China, 99% by men, all mostly bureaucrats. It was a time when everyone was a poet; it's just what people did, at least what government officials who were wealthy enough to have some spare time did. The poems are the most widely read in China and taught in school.

The presentation is perfect. Each of the 224 poems gets two pages. In the upper left of each two-page spread is a poem in Chinese; in the upper right is the translation in English, either four or eight lines. Starting on the lower left and usually spilling over to the lower right are the translator's brief notes about the poet and poem, which consist of biographical info, historical or geographical context, and explanations of symbolic words or things the poem was referring to that wouldn't be obvious to the modern Western reader. For instance, there's a line in one poem saying Like oxen on fire we're driven by desire. (The translator uses no commas or periods.) We learn in the notes that in the year 279, a state in China outfitted a herd of oxen with knives on their horns and oil-soaked rushes on their tails, then set fire to the rushes and drove the oxen into a neighboring state, vanquishing it.

For me, the translation and notes are five stars. I've read other translations of these poems, and this is by far the best in my opinion.

The poems themselves are five stars from a historical perspective, but I rate poems on how much I personally enjoy them. They were 3.5 stars for me. I just didn't connect with a lot; maybe if the places and historical events they cover were more familiar, I'd feel differently. Or maybe it's simply the consistent perspective of prominent men being wistful that doesn't give the variety I want.

Which isn't to say I didn't love this book. I did. I had to slow down about half-through and allot myself only three poems each night before I turned out the light in order to make the book last longer. And I'm immediately buying two more Red Pine poetry translations to keep my addiction to these types of poems going.

I read all the poems and maybe half the notes.

Here are two poems with translator's notes.

* "To Chang Hsu after Drinking" by Kao Shih

The world is full of fickle people
you old friend aren't one
inspired you write like a god
drunk you're crazier still
enjoying white hair and idle days
blue clouds now rise before you
how many times will you sleep
with a jug of wine by your bed

Translator's note (condensed slightly): Chang Hsu was one of China's greatest calligraphers and was famous for his cursive script, which became more inspired as he drank. When I was first living in Taiwan, whenever I had to go to Hong Kong to renew my visa I asked my calligraphy teacher if I could bring him back brushes or ink, as people in Taiwan were still forbidden to travel to China. But all he ever asked for was Tachu White Lightning. He said he did his best work before dawn, after a cup or two. Chang also loved to drink and was ranked among the Eight Immortals of Wine. It's said he kept a jug beside his bed so he could drink as soon as he woke up.

* "Falling Flowers" by Chu Shu-Chen

Whenever intertwined branches bloom
The jealous wind and rain strip away their flowers
if only the King of Green could perpetuate his rule
they wouldn't end up scattered across the moss

Translator's note (condensed): Chu Shu-chen grew up in Hangchou in a well-off family and became adept at poetry and painting as a young girl. However, her education far outstripped the needs of her social position, and she spent most of her life in Suchou as the wife of a minor official who was often away on extended assignments and with whom she had little in common. Instead of sewing, she wrote poems and became known throughout the country for her plaintive verses on a woman's unequal place in Chinese society. When she died, Chu's parents burned most of what she had written as an offering to her departed spirit. Still, many of her poems were so well known they survived, in an edition published several decades after her death. The intertwined branches represent the union of lovers, while the King of Green is the god of spring.

[Eddie Watkins · Rating 3 out of 5]

Some wonderful stuff here, and Red Pine as usual provides translations that are very grounded and tangible, and rich commentary filled with personal hand-gathered details; but though this is an anthology of dozens and dozens of poets, most end up sounding too similar to distinguish between, giving the impression of a state sponsored academic-type collection, which perhaps it is. Or maybe Red Pine isn't quite versatile enough as a translator to give each poet a distinct voice. Or maybe I just need to keep reading and rereading it for the distinctions between poets to surface. I'll keep reading and rereading at any rate.

[Eadweard · Rating 5 out of 5]

Meng Hao-jan (689 - 740)

Sleeping in spring oblivious of dawn
everywhere I hear birds
after the wind and rain last night
I wonder how many petals fell
----





Li Pai (701–762)

Before my bed the light is so bright
it looks like a layer of frost
lifting my head I gaze at the moon
lying back down I think of home
-


My white hair extends three miles
the sorrow of parting made it this long
looking in a mirror who would guess
where autumn frost comes from
-


Dark hills stretch beyond the north rampart
clear water circles the city’s east wall
from this place where farewell begins
a tumbleweed leaves on a thousand-mile journey
drifting clouds in a traveler’s thoughts
the setting sun in an old friend’s heart
as we wave and say goodbye
our parting horses neigh
----





Ch’en Tzu-ang (661–702)

As black smoke coils from silver candles
we raise gold cups across silk mats
our thoughts are like zithers in this hall of parting following a path over mountains and streams
the bright moon sinks below tall trees
the River of Stars vanishes at dawn
the road to Loyang leads so far away
what year will it lead back again
----





Tu Fu (712–770)

Visiting my father in East District
I finally looked out from South Tower
clouds stretched beyond Taishan to the sea
barren land spread through Hsu and Chingchou
the outline of the stele of Ch’in was still there
the walls of Lu Palace were rubble
I’ve always been drawn to the past
but this time my heart trembled
----





Wang An-shih (1021–1086)

Firecracker sounds chase the Year away
spring wind infuses herbal wine with warmth
outside countless doorways in the rising sun
new peach prints are pasted over last year’s charms
----





Lin Hung (fl. 1250)

At court the royal robes reflect the sun and moon
banner shadows move like dragons on the inkstones
the length and breadth of rites and music in three thousand words
line the cinnabar steps before the sun goes down
----





Su Shih (1037–1101)

The East Wind gently spreads her celestial glow
the moon slips behind her veil of perfumed mist
afraid this flower won’t stay up much longer
I light a tall candle to view her crimson face
----





Yeh Shao-weng (fl. 1200–1250)

It must be because he hates clogs on his moss
I knocked ten times still his gate stayed closed
but spring can’t be kept locked in a garden
a branch of red blossoms reached past the wall
----





Chu Shu-chen (d. 1233)

Whenever intertwined branches bloom
the jealous wind and rain strip away their flowers
if only the King of Green could perpetuate his rule
they wouldn’t end up scattered across the moss
----





Ts’ai Ch’ueh (1037–1093)

A paper screen a stone pillow a square bamboo bed
a book falls from my hand during a midday dream
I wake up pleased and smile to myself
at the sound of a fisherman’s flute on the waves
----





Lu Mei-p’o (Sung dynasty)

The plum and the snow both claim the spring
a poet gives up trying to decide
the plum must admit the snow is three times whiter
but the snow can’t match a wisp of plum perfume
-

The plum without the snow isn’t very special
and snow without a poem is simply commonplace
at sunset when the poem is done then it snows again together with the plum they complete the spring
----





Huang T’ing-chien (1045–1105)

Peach and plum trees smile on Chingming Day
weed-choked fields and graves can only sigh
thunder wakes the serpents in the earth and sky
rain fills the countryside with tender new plants
one begged for funeral scraps and tried to fool his wife another died in flames rather than be enfeoffed
after a thousand years was the fool or wise man right both share the same bramble-covered hills
----





Kao Chu (fl. 1200)

Hillsides north and south are overrun with graves sweeping rites on Chingming are nothing but a mess paper ashes fly like snow-white butterflies
tears from broken hearts stain azaleas red
foxes sleep in tombs once the sun goes down
children play in lamplight on the way back home
who has wine this life should drink until they’re drunk
no drop has ever reached the ninefold springs below

[Beth · Rating 4 out of 5]

For eight centuries, this anthology of Tang (618 CE - 906) and Sung (960-1278) dynasty poetry has been the most commonly taught and memorized collection of verse in China.

Here are some bits I especially liked:

54: The Meditation Hall Behind Poshan Temple - Ch’ang Chien

I entered an ancient temple at dawn
the rising sun lit the tall trees
a trail led off to a secluded place
to a meditation hall in a flowering wood
where mountain light pleased the heart of birds
and pond reflections stilled men’s minds
the ten thousand noises were hushed
all I heard was a bell

93: Occasional Poem on the Arrival of Spring - Chang Shih
The light is back the year is past ice and frost are rare
plants and trees know spring is in the world
we see the force of life spread before our eyes
The East Wind blowing water ripples green

135: Waking Up in Early Summer - Yang Wan Li

The sour trace of plums squirts between my teeth
The light green of bananas fills my window screen
waking up at noon without a thought or care
I sit and watch my children chasing willow fuzz

163: Reflections While Reading - I - Chu Hsi

A small square pond an uncovered mirror
where sunlight and clouds linger and leave
I asked how it stays so clear
it said spring water keeps flowing in

[Edgar Trevizo · Rating 3 out of 5]

Sospecho de la traducción. Creo que Red Pine debe ser un poeta modesto, o más directamente, mediocre. Sus versiones carecen del brillo sereno que he visto en muchas otras. De ahí solo tres estrellas.

[Wytse Willem · Rating 4 out of 5]

As someone who knows practically nothing about Chinese poetry I still found that a great deal of the poems were beautiful and interesting. All the poets make use of nature to shape their poems, which made them concrete and easy to grasp. Even if there's a complex political aspect to the poem, every reader can still enjoy the natural part. The commentary of Red Pine helps a lot in explaining the poems a bit further.

A poem I enjoyed by Yeh Shao-Weng

"It must be because he hates clogs on his moss
I knocked ten times still his gate stayed closed
but spring can't be locked in a garden
a branch of red blossoms reached past the wall"

[Kevin · Rating 5 out of 5]

If you want to learn how to write eastern poetry (haiku, japanese, chinese styles) read this book. A wealth of information. Well worth the read.

[Tish]

As part of our Chinese curriculum in school we studied (and memorised) a handful of Tang Shi. Some I understood (like 《悯农》), others I now realise I never truly got (like 《春晓》).

Most importantly, I never knew anything about the poets behind the poems, so I find it so valuable that Red Pine has thoughtfully provided background context on events going on in the poets' lives at the time of writing (for example, that 孟浩然 lived a leisurely life that didn't require him to wake before dawn).

Looking forward to revisiting some old friends and discovering new beauties in this classic collection.


Famous Poems I had heard of before
1) 春晓 Spring Dawn
6) 登鹳雀楼 Climbing White Stork Tower


My Favourite Poems
3) ���郭司仓 Seeing Off Supply Director Guo
5) 独坐敬亭山 Sitting Alone on Jingting Mountain
6) 登鹳雀楼 Climbing White Stork Tower
10) 思君恩 On Thinking of My Lord's Grace

[John · Rating 5 out of 5]

Red Pine is a masterful translator, one I trust completely. In this attractive volume, each translated poem is displayed opposite the Chinese original, along with background information on the poet and some commentary — much needed, as the poems are often very allusive, and a reader like me, who is not steeped in Chinese poetic conventions, will miss a lot without the commentary's help.

As in other Red Pine translations (His Cold Mountain Poems is my favorite), I appreciate having the Chinese original available even though I can't read it. I can get some dim idea of the structure and visual art of the originals by looking them over.

[Mary Soon Lee]

This book translates one of the Chinese classics, a collection of 224 poems written, as the title indicates, during the T'ang and Sung dynasties (roughly 600-1300 AD). Each poem is presented first in the original Chinese, then in an English translation, with accompanying explanatory notes. I began the book predisposed to like it, and was not disappointed.

Barriers of time, language, and culture stand between me and the original poems, but Red Pine removes some of the difficulties. His notes give a sense of the poets, the times they lived in, the references in their verse. In some cases, this was sufficient for the translated poems to fully succeed for me as poetry: encapsulating a scene or a mood, moving me or amusing me. In other cases, the translations didn't stir me, but were still of interest as an insight into historical China and the prominent place poetry held within it. It is striking how many of the poets were exiled from the capital.

I note the choice not to include any punctuation in the translated poems, which reflects the original text but sometimes leads to a slightly unnatural effect in English.

The poems are brief, either 4 lines or 8 lines, though on half a dozen occasions several poems form a short sequence. Certain themes repeat: nature, friendship, loneliness, critiques of those in power, echoes of war, wine, music, women. Of the 224 poems, I marked 24 as appealing particularly to me, of which five were by Li Pai (also known as Li Bai or Li Po) and four were by Tu Fu (also known as Du Fu).

Highly recommended to anyone with an interest in either poetry or ancient China.

P.S. For anyone looking for other translations of classical Chinese poetry, I particularly like A Little Primer of Tu Fu by David Hawkes and The Heart of Chinese Poetry by Greg Whincup, both of which also include the original Chinese texts.

About my reviews: I try to review every book I read, including those that I don't end up enjoying. The reviews are not scholarly, but just indicate my reaction as a reader, reading being my addiction. I am miserly with 5-star reviews; 4 stars means I liked a book very much; 3 stars means I liked it; 2 stars means I didn't like it (though often the 2-star books are very popular with other readers and/or are by authors whose other work I've loved).

[Richard Rogers · Rating 5 out of 5]

This is an amazing book and highly recommended.

Usually, I score based on the ridiculously subjective assessment of how fun was it to read? On that scale, I'll admit, this was about 3.5. But it's so well presented and so well broken down for the reader, I have to give it all the points.

This is a collection of 224 poems from Tang and Sung China, first collected in the 13th century and amended a bit afterwards. Part of what's interesting is seeing what contemporary readers (or readers who were at least several hundred years closer to their creation than we are) considered the most important poetry of those times. I'll admit, it's not what I would have chosen. But the original collectors would have taken into account the appropriateness of rhyme and meter and other effects of language that don't survive in translation, and of course I care nothing for that since I don't read Chinese. I prefer poetry with a lot of comprehensible imagery and easily accessed human emotion that one can still connect with. And there is some of that for sure.

But what there is plenty of is support for the English reader. Red Pine is (in my narrow, unsophisticated but unerring opinion) the absolute best at translating the poetry and supplying commentary making the poetry accessible. The fact that this poetry needs so much support is what makes it not my favorite, but having decided to read it, I can say that this is undoubtedly the best English version to get into it. Red Pine gives amazing biographical details, explicates oblique references to poetry we simply don't know, places the poetry in a specific historical context, and supplies all kinds of cultural knowledge that makes the poems make sense. It's a lot.

Ideally, I prefer to read poetry in books with nothing but the poems. You know? Just the words, just the lines. It's so much prettier to look at and more esthetic to experience. But that wouldn't work here at all, so the half-page or so of explanation for each poem is the next best thing.

There are lots of poems by familiar poets like Wang Wei or Tu Fu or Li Bai, but there are many, many more by poets I'd never heard of. Some of them, hopefully, will lead me to collections of their own.

Anyway, lots to enjoy and chew on here. Highly recommended for those making a study of Chinese poetry. Modestly recommended for casual readers like me.

[Liam Hines · Rating 5 out of 5]

This was my first stop for classic chinese poetry.

I found the introduction/annotation to each poem gives you enough information to at least understand the poem—if not connect with it.

It's a compilation of many, many poets and as such not every poem will be your favorite. You may, however, encounter a poet or two who will become among your favorites.

If you're just getting started with this genre of poetry, this is a great choice.

If you aren't fresh to the Genre, I will say that Pine does very good translations in my opinion, and where he differs from other translators he almost always provides extended reasoning for his choice. So for example I've found that while he provides a solid translation for Li Shangyin, I prefer the interpretation of the same poem by Chloe Garcia Roberts. His Li Bai is likewise a high-fidelity translation, yet it isn't quite level with Stephen Owen's handling of the same poet. Pine simply has a steady hand over a broad range of poets.

He excels with hermits, exiles, and the wine poets, so if you were lured to poetry by the beats or NYschool or even minimalists like Kaur (like I think most of us were) he has something to offer that is recognizable and gives you a frame of understanding you can approach chinese poetry with afterwards.

[Ashton Eleazer · Rating 5 out of 5]

This is one of the most beautiful collections of poetry. China carries such a unique tie to from the present landscape to society’s ethereal nature.

“Aboard a Boat on a Moonlit Night
TAI FU-KU
Moonlight fills the boat and floods an empty sky
night air pours across the green and glassy water
ideas for a poem sway in the shadows of the mast
my dream spirit rows to the sound of the scull
stars are scattered on the jade-colored lake
wild geese cry out in the water-pepper wind
a few fishing lanterns mark the ancient shore
dew drips from paulownias on Broken Arch Bridge.”

[Yun Rou · Rating 4 out of 5]

Here's the thing. I am so greatly compelled by the material that I want to gush and give it ten stars. On the other hand, despite having great respect for Red Pine's lifelong commitment to Chinese culture, I don't uniformly love his translations. Some strike my ear as beautiful, others not so much. This is, of course, an entirely subjective business. I wish I had 10% of Bill Porter's (Red Pine's) command of the language. In any case, this one is a worthy addition to a library on the subject.

[Edragone · Rating 5 out of 5]

banger dinguerie 5/5 hâte de les traduire en vers latins pour m'entraîner

[— · Rating 4 out of 5]

This was one of my first forays into Chinese poetry. Superlative short verse. The addition of notes for each poem and poet provides good insight into the period these are from. The stories and commentaries of this point in China's history are quite intriguing. Overall, a very worthwhile addition to anyone's poetry collection.

[Timons Esaias · Rating 5 out of 5]

Reading this volume transitioned it from "a book I'd vaguely heard of" to a place on my shelf of favorite books. [I should say Favorite Books Minus the Dickens, because all the Dickenses are downstairs in the living room.] This is a classic for multiple reasons, and Red Pine's edition is especially accessible.

Here's a brief list of my favorites from the first time through this collection:
"Seeing Off Yuan Er on a Mission to Anhsi" by Wang Wei
"The Frost and the Moon" Li Shang-yin
"In Reply to Ting Yuan-chen" Ou-yang Hsiu
"For Hermit Chu, My Neighbor to the South" Tu Fu
"Winter Scene" Lu K'o-chuang

You can see the poetic traditions that will lead to Bashō in Japan, and which underly much Chinese poetry even today. Stillness and tension abound, and a surprising amount of reflection on civic duty (though never overtly). The latter is not surprising, given that the literary class was largely the bureaucratic class.

Red Pine's notes do a wonderful job of explaining the authors' histories, when we know them, and what symbols are being employed. An excellent balance between brevity and benefit.

This is exceptional.

[Featherbooks · Rating 4 out of 5]

Red Pine spoke here Sunday night and I enjoyed his description of translation as starting out at a dance and not quite being able to hear the music or find your partner at first and then slowly to began dancing. Lovely.

[Nicholas · Rating 3 out of 5]

This anthology of Chinese poetry includes selections from the Tang and Sung dynasties. It is extremely helpful to have a brief overview and background in Chinese poetry from the Tang dynasty when attempting to read The Tale of Genji.

[George · Rating 5 out of 5]

Red Pine is one of our most masterful translators of Chinese poets and hermit monks.

[Marc · Rating 4 out of 5]

A chinese classic. Brief commentary for every poem.

[Joshua]

Another fine set of translations by Red Pine.

[Anne, Unfinished Woman]

2003, Copper Canyon Press, paper
4/07/16, Black Sun; $22.00, New

[Dr. Carl Ludwig Dorsch · Rating 4 out of 5]

空山不見人
但聞人語響
返景入深林
復照青苔上