“It saw an unprecedented rise of poetry’s status” wasn’t this always crazy-high, though? What was shi poetry again?
“Each of the five genres has a unique pedigree of subgenres. The pedigree of the shi subgenre is the most complex of all. Owing to an almost uninterrupted development of about two and a half millennia, it had an ever-expanding corpus that continually needed to be reorganized. Tetrasyllabic shi poetry, represented by the Book of Poetry, is the oldest shi subgenre. The Book of Poetry is divided by provenance and function into three groups: airs (feng), odes (ya), and hymns (song)”
So this is fine on the origin and development of the shi, but honestly I still don’t know what differentiates a shi from the other four genres, like, why is a shi a a shi?
feel like 'shi' might be 'everything else' x_x the Hufflepuff of poetry forms. maybe pre-Han shi and Tang shi retain the same name due to historical convention/not being identifiably another category, but actually don't share many features bc of a historical process of drift? if that's what's up I wish the book would just say so tho, rather than going, 'well we all know what shi poetry is, the definition is uuuuuh. a secret. anyway!'
“One was the rise of heptasyllabic poetry (chaps. 9 and 10), a form only sporadically used before the Tang, to compete with the long- dominant pentasyllabic poetry” it’s fairly funny that this is the big innovation. ‘This one goes up—to *eleven*.’
Different way of saying ‘hating separation’ than mdzs
This argument about I and embodiment is a bit sketch
Mention Pound ONE more time. Do it. See what happens.
“or fifty-six words” ?
“The second structural rule is the optional observance of a four-stage progression: qi (to begin, to arise), cheng (to continue, to elaborate), zhuan (to make a turn), and he (to conclude, to enclose).”
If this style of poetry omits ‘I’ though, is it accurate to read it back in, in interpretation?
“Next, we can take the owers and bird to be the subjects of the trisyllabic seg- ments and come up with a third reading of the couplet:
As I feel the wretched time, flowers shed tears, As I hate separation, birds are startled in their hearts.” Doesn’t make a ton of sense to me
“the ancient practice of lighting a fire atop a watchtower to relay the message of an invasion by nomads” Hawkes’ explanation, that it is instead about continuous ‘I’m still here’ signalling, parallels more neatly with ‘letters from home’ for me, which rely on extensive infrastructure to establish the same
The end of this section at the bottom of 168/top of 169 is rushed and blousy
“In collectively developing the lüshi form during the Qi–Liang and the Early Tang periods, Chinese poets, consciously or unconsciously, modeled it on the yin-yang cosmological scheme to such an extent that it practically became a microcosm of that scheme. Indeed, all its syntactic, structural, and metrical rules bear the imprint of the yin-yang operation”
Is poetry comforting to Du Fu in crisis because it is so controlled, representing both an operation of personal agency/skill and the formal constraint being fixed and rewarding, and also because it suggests this larger abiding cosmic order?
I don’t really get the end of poem 8.2
I do not see where the chapter writer’s getting this mountain beak shit from
Li Bai is just. A lot. He’s a fucking lot.
“In stark contrast to Li Bai’s unabashed deification of the self,” Li Bai and Blake would fuck. No questions at this time.
“The greenish haze, once I walk in to see it, disappears.” The fuck does that mean, Wang Wei?
“Wang Wei’s brilliant employment of these four terms in this poem attests to his consummate achievement as a visionary poet. With a touch of genius,” calm down sir
“a sensitive reader may experience some- thing like Buddhist enlightenment” sure.
Ch 8, Pentasyllabic Regulated Verse (Wuyan Lüshi)
What was shi poetry again?
“Each of the five genres has a unique pedigree of subgenres. The pedigree of the shi subgenre is the most complex of all. Owing to an almost uninterrupted development of about two and a half millennia, it had an ever-expanding corpus that continually needed to be reorganized. Tetrasyllabic shi poetry, represented by the Book of Poetry, is the oldest shi subgenre. The Book of Poetry is divided by provenance and function into three groups: airs (feng), odes (ya), and hymns (song)”
So this is fine on the origin and development of the shi, but honestly I still don’t know what differentiates a shi from the other four genres, like, why is a shi a a shi?
Honestly wiki doesn’t help for shit: https://en.wikipedia.org/wiki/Shi_(poetry)
feel like 'shi' might be 'everything else' x_x the Hufflepuff of poetry forms. maybe pre-Han shi and Tang shi retain the same name due to historical convention/not being identifiably another category, but actually don't share many features bc of a historical process of drift? if that's what's up I wish the book would just say so tho, rather than going, 'well we all know what shi poetry is, the definition is uuuuuh. a secret. anyway!'
“One was the rise of heptasyllabic poetry (chaps. 9 and 10), a form only sporadically used before the Tang, to compete with the long- dominant pentasyllabic poetry” it’s fairly funny that this is the big innovation. ‘This one goes up—to *eleven*.’
Different way of saying ‘hating separation’ than mdzs
This argument about I and embodiment is a bit sketch
Mention Pound ONE more time. Do it. See what happens.
“or fifty-six words” ?
“The second structural rule is the optional observance of a four-stage progression: qi (to begin, to arise), cheng (to continue, to elaborate), zhuan (to make a turn), and he (to conclude, to enclose).”
If this style of poetry omits ‘I’ though, is it accurate to read it back in, in interpretation?
“Next, we can take the owers and bird to be the subjects of the trisyllabic seg- ments and come up with a third reading of the couplet:
As I feel the wretched time, flowers shed tears, As I hate separation, birds are startled in their hearts.” Doesn’t make a ton of sense to me
“the ancient practice of lighting a fire atop a watchtower to relay the message of an invasion by nomads” Hawkes’ explanation, that it is instead about continuous ‘I’m still here’ signalling, parallels more neatly with ‘letters from home’ for me, which rely on extensive infrastructure to establish the same
The end of this section at the bottom of 168/top of 169 is rushed and blousy
“In collectively developing the lüshi form during the Qi–Liang and the Early Tang periods, Chinese poets, consciously or unconsciously, modeled it on the yin-yang cosmological scheme to such an extent that it practically became a microcosm of that scheme. Indeed, all its syntactic, structural, and metrical rules bear the imprint of the yin-yang operation”
Is poetry comforting to Du Fu in crisis because it is so controlled, representing both an operation of personal agency/skill and the formal constraint being fixed and rewarding, and also because it suggests this larger abiding cosmic order?
I don’t really get the end of poem 8.2
I do not see where the chapter writer’s getting this mountain beak shit from
Li Bai is just. A lot. He’s a fucking lot.
“In stark contrast to Li Bai’s unabashed deification of the self,” Li Bai and Blake would fuck. No questions at this time.
“The greenish haze, once I walk in to see it, disappears.” The fuck does that mean, Wang Wei?
“Wang Wei’s brilliant employment of these four terms in this poem attests to his consummate achievement as a visionary poet. With a touch of genius,” calm down sir
“a sensitive reader may experience some- thing like Buddhist enlightenment” sure.