dankodes | General Resources and Reading Suggestions

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General Resources and Reading Suggestions

This is a post to drop titles of and links to relevant reading material, be it nonfiction, poetry we might want to collectively hit up in future or read on our own time, or fiction (including trying to hustle up fresh blood for your latest reading/watching obsessions, and information as to where one can find such titles).

We'll talk about poetry and nonfiction as a group before adding it to the Great Plan.

This post will be made public once the privacy discussion is resolved.

Flat | Top-Level Comments Only

Drop and discuss your nonfiction recs and links here.

Edited 2020-10-19 05:06 (UTC)

https://en.wikipedia.org/wiki/Classic_of_Poetry

Kind of a basic beginning, I know, but gotta start somewhere. Just some notes and questions on this:

'Whether the various Shijing poems were folk songs or not, they "all seem to have passed through the hands of men of letters at the royal Zhou court".[13] In other words, they show an overall literary polish together with some general stylistic consistency.' This is interesting bc it really parallels what happened with the collection of fairy tales&folk songs during the big heyday of 19th century romantic nationalism in Europe, the collection and streamlining/prettification (sometimes outright invention) of texts, with a 'vox populi' authority attached to them.

'Characteristically, the parallel or syntactically matched lines within a specific poem share the same, identical words (or characters) to a large degree, as opposed to confining the parallelism between lines to using grammatical category matching of the words in one line with the other word in the same position in the corresponding line; but, not by using the same, identical word(s).'

I'm not exactly following this?

'Disallowing verbal repetition within a poem would by the time of Tang poetry be one of the rules to distinguish the old style poetry from the new, regulated style.' okay, so this is a change we should see as we move from this to the Tang material. I wonder if in part it's to do with a transition from collected sung Odes to primarily-written/encountered first in writing poetry?

'The works in the Classic of Poetry vary in their lyrical qualities, which relates to the musical accompaniment with which they were in their early days performed. The songs from the "Hymns" and "Eulogies", which are the oldest material in the Poetry, were performed to slow, heavy accompaniment from bells, drums, and stone chimes.[9] However, these and the later actual musical scores or choreography which accompanied the Shijing poems have been lost.' interesting to keep in mind for fic in canons like MDZS where music is super important--though the Fantasy China, BCE with Potatoes timeline does make locating anything in this tradition kind of a crime of opportunity.

Oh cool--basically as early as the Ming dynasty Chinese scholars realised phonology changed significantly over time due to Classic of Poetry no longer working quite right.

So mostly it seems we don't know who wrote these, but a lot are in female PoV (which may or may not indicate female authorship).

The 'textual history' stuff is particularly interesting.

The Confucian allegory section is VERY interesting, kind of similar to the baroque 'how many angels on the head of a pin' over-reading I associate with some scholastic and kabbalistic interpretive practices. Since we've had 8 centuries now of '...really?', maybe we won't even run into these readings in nonfiction materials.

Should maybe comb this bibliography later for good guides/broadening texts.

Edited 2020-10-20 09:51 (UTC)

https://ses.library.usyd.edu.au/bitstream/handle/2123/1527/02whole.pdf;jsessionid=5F91A3A7DE9445D0BF6F3E3E7146664A?sequence=2

Includes a section on 'Understanding Weirdness: A Hermeneutic Strategy for Complex xing and Ritual Imagery in the Shi Jing'

With a 'focus on three poems from the Guo Feng: Juan Er 卷耳, “The Cocklebur”
(Mao 3), You Hu 有狐, “There is a fox” (Mao 63) and Nan Shan 南山, “The Southern Mountain” (Mao 101).'

Edited 2020-10-20 14:05 (UTC)

Download Link: https://b-ok.cc/book/2635704/1def1c
Online: https://www.abirus.ru/user/files/Ebooks/1cai_zong_ed_how_to_read_chinese_poetry_a_guided_anthology.pdf

In this "guided" anthology, experts lead students through the major genres and eras of Chinese poetry from antiquity to the modern time. The volume is divided into 6 chronological sections and features more than 140 examples of the best shi, sao, fu, ci, and qu poems. A comprehensive introduction and extensive thematic table of contents highlight the thematic, formal, and prosodic features of Chinese poetry, and each chapter is written by a scholar who specializes in a particular period or genre. Poems are presented in Chinese and English and are accompanied by a tone-marked romanized version, an explanation of Chinese linguistic and poetic conventions, and recommended reading strategies. Sound recordings of the poems are available online free of charge. These unique features facilitate an intense engagement with Chinese poetical texts and help the reader derive aesthetic pleasure and insight from these works as one could from the original.

Edited 2020-10-20 13:05 (UTC)

In a note on how to use this anthology, I’m not really getting this: ‘In Chinese poetry, the prescribed rhythm of sounds does not merely yield musical pleasure and “an echo to the sense,” as Alexander Pope said about English poetry, but it is the sense itself because it dictates how words are arranged to generate meaning.’?

Introduction:
'The world of the imagination is the venue for two other important themes:“Imagined Journey to the Celestial World” and “Remembrances.” Transcendentalroaming (youxian), a theme rst found in ancient shamanistic songs (C2.1–3), isof perennial interest to literati poets. It enables them to fantasize a solitary escapefrom the mundane world into a pure land of eternal bliss. It also furnishes themwith an e ective means of ridiculing all worldly attachments.'

This is SO reminiscent of Western Romances' uses of otherworlds as Aisling Byrne explores them in her book of the same name

'“The Wandering Man” (youzi) is an enduring theme about the world of culture and politics. It comprises a broad array of depressing topos and motifs: the physical hardships of travel on o cial duty, the unreliability of political patrons, the treach- erousness of court politics, the spectacle of famine and exploitation, the incessant frontier wars, the prolonged introspection of an insomniac man, the departure of a beloved friend, and, above all, the constant homesickness of a scholar-o cial.'

ah yes the PhD bitching genre of poetry

'shattered dreams of officialdom'

the extent to which you could write 'what classic chinese poetry can teach us about academia' is embarrassing

'There are far fewer ending con-sonants in Chinese than in English: n and ng in Chinese of all periods'

only just noticed this is SUCH a common word-ending in chinese. why is this a thing??

I'm not grasping Semantic Rhythm (p 36)

How to Read Shi Poetry:"Finally, it has been argued that theremay originally have been some signi cance to the sequence of these three hun-dred–plus poems. Whether such signi cance existed or can be seen in the extanttext is di cult to determine. Yet it is clear that reading one poem in the context ofanother, often contiguous text proves useful."

oh that's interesting

'here the persona may be seen either as a subject who admireshis lord greatly or as a young woman praising her intended. This ambiguity of thispair (subject to lord or female to male lover) is one commonly seen in later Chi-nese verse and turns on the term junzi, which means literally “lord” but can also beused to refer to a “lordly man”—that is, a husband, a lover, or someone the personaadmires greatly.'

slight trace of Gals Being Pals-ism, but go off. I don't think that's definitively What's Up, but not even entertaining a POSSIBILITY there is as academically childish as it is common.

It strikes me that something v like Helen Vendler's treatment of Shakespeare's sonnets would be very useful and welcome in Anglo-crit of these poems, if such a thing doesn't already exist?

'This kind of progression in the Book of Poetry has come to be called incrementalrepetition. In “I Beg of You, Zhong Zi,” there are two such repetitions: Zhong Ziphysically crashing through barriers and tree branches to reach his beloved, juxta-posed to the singer’s widening mental picture of those who will object to his woo-ing. The result is a chiasmatic (the inversion of word order of similar phrases inan a-b-b-a pattern) tension: Zhong Zi approaching in increments, and the e ectsthereof distancing themselves beyond the singer’s control—or so she imagines it,her emotions crossing in parallel to the chiasmatic repetitions in her song.'
That's super interesting

'the gathering-plant imagery of lines 1–2 and 5–6, which is often asso-ciated with male–female relations.'

“on the mountains there is X,” for ex-ample, was usually employed in songs about separation. [...] Parallelism, especially in stock phrases such as “on the mountains there is X, / in the lowlands there is Y,” is common"

"another rhetorical device, the linking of lines 6 and 7 throughthe repetition of “vermilion stalk” and the doubled “beautiful” that links line 11 toline 12 (a device known in Chinese as lianzhu [linking pearls] and in English as anadiplosis)."

'The River has branches that leave and return—
When this person returned home,
He did not take me,
He did not take me,
And afterward he will regret it!'
the river has branches, and I will beat his ass with them

'When this person returned home,
He did not stop by to see me,
He did not stop by to see me,
His wailing will become my song.'
oh my GOD Ling, chill /out/

Confucius picking 300 poems for the Canon from 3000: oh yeah, gotta include 'He Didn't Text Me Back', that one's a *banger*

In conclusion, Confucius would certainly have canonised 'Bitch Better Have My Money', had he only had the opportunity to do so--

"This poem has also been interpreted as the lament of a young female relative ofa bride who has left the relative behind as the bride headed o to be married (line 2of each stanza could also be read, “She has gone to be married,” as in “Tao yao”).It was a common practice for a bride to take along several young women of herfamily, who became the husband’s secondary wives or concubines. This readingcomes no doubt in part because this poem immediately follows a related poem,“Xiao xing” (Little Stars [Mao no. 21]):"

Some people are gay, kid. Also now I get the xiao xingchen thing, I seeeeeee.

"The oriole seems to symbolize the return from the martial life on campaign to thedomestic world of the family" 'reflecting the excited state of mind of the persona, a state of mind weall share before setting out on a journey, especially a journey home to our parents.'
sure, jan

'But egrets are elegant birds and are used metaphorically todescribe courtiers'

"The beating of the work drums could not keep up!" You DO have work songs! I thought so.

"Woven and unbroken are the gourds, large and small."
how and why you gonna weave a gourd, fam?

"The reading of these poems as allegories, or the attempts to contextualizethem in the complex history of pre-Qin China, dominated the understanding ofall three hundred of the poems from the time the poems were rst written downin the middle of the rst millennium b.C.e. through the early Song dynasty (mid-eleventh century). These traditional interpretations were often quite explicit. The“Xiao xu” (Little Preface) of the Han dynasty, for example, read “I Beg of You,Zhong Zi” not as a love poem (as I did earlier) but as a criticism of the failure byDuke Zhuang of Zheng (r. 743–701 b.C.e.) to restrain his mother. If this correla-tion seems forced to us moderns, it was nevertheless accepted by most traditionalreaders until the Song dynasty scholars of the eleventh century began to arguefor more literal interpretations of these songs."

Need to check whether any of these worth looking into:

Allen, Joseph R. “Postface: A Literary History of the Shijing.” In The Book of Songs: The Ancient Chinese Classic of Poetry, translated by Arthur Waley, edited by Joseph R. Allen, 336–383. Rev. ed. New York: Grove Press, 1996.

Karlgren, Bernhard, trans. The Book of Odes. Stockholm: Museum of Far Eastern Antiquities, 1950.

Loewe, Michael. Shih chin. In Early Chinese Texts: A Bibliographic Guide, edited by Michael Loewe, 414–423. Berkeley: Society for the Study of Early China and the Institute of East Asian Studies, University of California, 1993.

Owen, Stephen. “The Classic of Poetry.” In An Anthology of Chinese Literature: Beginnings to 1911, translated and edited by Stephen Owen, 10–74. New York: Norton, 1996.

Riegel, Je rey. “Eros, Introversion, and the Beginnings of Shijing Commentary.” Harvard Journal of Asiatic Studies 57, no. 1 (1997): 143–177.

Saussy, Haun. The Problem of a Chinese Aesthetic. Stanford, Calif.: Stanford University Press, 1993.

Schaberg, David. “Song and the Historical Imagination in Early China.” Harvard Journal of Asiatic Studies 59, no. 2 (1999): 305–361.

Van Zoeren, Steven. Poetry and Personality: Reading Exegesis, and Hermeneutics in Traditional China. Stanford, Calif.: Stanford University Press, 1991.

Waley, Arthur, trans. The Book of Songs: The Ancient Chinese Classic of Poetry. Edited by Joseph R. Allen. Rev. ed. New York: Grove Press, 1996.

Wang, C. H. From Ritual to Allegory: Seven Essays in Early Chinese Poetry. Hong Kong: Chinese University Press, 1988.

Shih ching. In The Indiana Companion to Traditional Chinese Literature, edited by William H. Nienhauser Jr., 1:692–694. Bloomington: Indiana University Press, 1986.

Edited 2020-10-21 13:59 (UTC)

Here are some links to some of the poems discussed being read out:

https://cup.columbia.edu/extras/sound-files-for-how-to-read-chinese-poetry

This is a really fascinating link for me, I memorized bits and pieces of the Tang 300 as any child does, but reading and examining them as literature was quite beyond me.

The resource is appreciated!

Allegory, Allegoresis, and The Classic of Poetry: Pauline R. Yu
https://www.jstor.org/stable/2719105

If you make a free JStor account you'll have access to 100 articles a month, including this 36 page one. It has a lot to say about the early poems in The Classic, and seems decent.

Reading the Conflicting Voices: An Examination of the Interpretative Traditions about "Han Guang" https://www.jstor.org/stable/43490142?read-now=1&seq=1#page_scan_tab_contents

Repetition, Rhyme, and Exchange in The Book of Odes https://www.jstor.org/stable/2719486?read-now=1&seq=1#page_scan_tab_contents

“An Examination of Mountains and Streams in the Odes” https://static1.squarespace.com/static/57e18fad46c3c4fc309a7725/t/5c9518c5a4222fc9502aa113/1553275077429/Haun-Saussy_Odes_EN.pdf

Annotations to the Book of Songs: 20 Juan (some notes on material manuscripts)
https://www.wdl.org/en/item/17846/

"SHI JING" SONGS AS PERFORMANCE TEXTS: A CASE STUDY OF "CHU CI" (THORNY CALTROP)
https://www.jstor.org/stable/23354274?seq=1

THE BOOK OF ODES: A CASE STUDY OF THE 2600 YEARS CHINESE HERMENEUTIC TRADITION
http://chemsites.chem.rutgers.edu/~kyc/pdf/Shijing.new%20copy.pdf

'CITATIONS OF THE SHIJING IN EARLY CHINESE TEXTS: AN ANALYSIS WITH THREE EXAMPLES', https://eprints.soas.ac.uk/29434/1/10731590.pdf (but I wasn't getting a lot out of it, personally.)

Edited 2020-10-20 14:04 (UTC)

https://core.ac.uk/download/pdf/41887334.pdf

The Ideal Image of Man of Ancient Chinese in Shi Jing
https://www.koreascience.or.kr/article/JAKO201016637927174.pdf

Authenticity and Goodness of Love——The Exploration of Ye You Si Jun in South of Shao, Book of Poetry
http://en.cnki.com.cn/Article_en/CJFDTotal-YLGD201703021.htm (can't get a working link)

Zouyu (No, Probably Not That Zouyu)
https://en.wikipedia.org/wiki/Zouyu

Not Straying: Mao tradition interpretations of Shijing love poems. (BA Thesis)
https://mbchinese.com.au/wp-content/uploads/2020/01/Michael-Broughton-Chinese-Honours-Thesis.pdf

The Homeric Epics and the Chinese Book of Songs: Foundational Texts Compared
https://www.cambridgescholars.com/the-homeric-epics-and-the-chinese-book-of-songs

I don't have a download link for this one, but I thought I'd mention its existence in case relevant to someone's interests.

The Book of Odes as a Source for Women’s History, Anne Behnke Kinney
https://www.academia.edu/11370883/The_Book_of_Odes_as_a_Source_for_Women_s_History

Shijing 詩經 or Maoshi 毛詩
http://www.chinaknowledge.de/Literature/Classics/shijing.html

诗经・国风・邶・式微 | Classic of Poetry | Chinese Calligraphy | Kraftlligraphy #4
https://www.youtube.com/watch?v=NBJyfpA5bZM&list=PLTw2XFwxzmIrwaYuhCxUKp-ahbHGYFSi4 someone doing calligraphy of the Classic of Poetry

Guqin compositions about specific poems
https://open.spotify.com/album/2xikmgKcDQBZjf5BWjzO4b?highlight=spotify:track:77PqL7db1wdItx7PvcBL0h

Righting, Riting, and Rewriting the Book of Odes (Shijing): On “Filling out the Missing Odes” by Shu Xi
https://eastasian.ucsb.edu/wp-content/uploads/2019/06/Mazanec-Thomas-Righting-Riting-and-Rewriting-the-Book-of-Odes-Shijing-On-Filling-out-the-MIssing-Odes-by-Shu-Xi.pdf

Geese in Chinese poetry
https://en.wikipedia.org/wiki/Geese_in_Chinese_poetry
(a note on Pao You Ku Ye)

The Book of Songs
http://www.readchina8.com/2009/1109/5.html

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre, Jia Jinhua
https://www.jstor.org/stable/4140621?seq=1

The Duke of Zhou's Retirement in the East and the Beginnings of the Ministerial-Monarch Debate in Chinese Political Philosophy
https://www.cambridge.org/core/journals/early-china/article/duke-of-zhous-retirement-in-the-east-and-the-beginnings-of-the-ministerialmonarch-debate-in-chinese-political-philosophy/B91B1CF57F85144E44D1D384CF929F1D

Edited 2020-10-26 12:11 (UTC)

Not exactly a piece of reading material, but I think some of the poems benefit from being listened to (for the rhyme, though of course some of them no longer rhyme in modern Mandarin) -- if you copy paste the poem into google translate, there is a little audio icon that you can click and it will read it in robot voice. It's not perfect; I don't think it does even basic tone sandhi. But it's something

A really fun list of nonfiction books about historical China from Forestofglory.

https://ladybusiness.dreamwidth.org/2020/11/17/chinese-history-books.html

The Book of Odes as a Source for Women’s History
https://www.academia.edu/11370883/The_Book_of_Odes_as_a_Source_for_Women_s_History

Poems of Depravity: A Twelfth Century Dispute on the Moral Character of the "Book of Songs"
http://oson.ca/cpoetry/poems.php?poem_id=681&o=%E8%80%8C%E6%97%A0&l=1

Reading the Conflicting Voices: An Examination of the Interpretative Traditions about "Han Guang"
https://www.jstor.org/stable/43490142?seq=1

Repetition, Rhyme, and Exchange in The Book of Odes
https://www.jstor.org/stable/2719486?seq=1

On Reading Xiehou 邂逅 (“Chance Meeting”) as Xing hou 邢侯 (“Marquis of Xing”)
https://brill.com/view/journals/bsms/2/1/article-p1_1.xml

Change in Shijing Exegesis: Some Notes on the Rediscovery of the Musical Aspect of the "Odes" in the Song Period

https://www.jstor.org/stable/4528599?seq=1

a few thoughts on poems and quinces.

https://medium.com/@chowleen/a-poem-a-day-translated-day-very-loosely-defined-this-being-an-very-occasional-series-7570bc69649a

Baidu on Mu Gua
https://wenku.baidu.com/view/9efed52fb4daa58da0114ad8.html

A child reciting Mu Gua
https://www.youtube.com/watch?v=IihapR5KS0Q

On the Emotional Equivalence of Ezra Pound’s Translation of Shu Li
https://francis-press.com/papers/1308

The Cow and the Goat Descend theMountain: Fighting Modernity withPoems

https://core.ac.uk/download/pdf/223178362.pdf

The Book of Songs

http://www.readchina8.com/LiteratureItems.php?PassId=D31BB6EF-184D-421A-A59D-FFDFEF4043C1

The Poem “Yang Zhi Shui” in Odes of Tang of Book of Songs Reconsidered
https://www.academia.edu/33177819/The_Poem_Yang_Zhi_Shui_in_Odes_of_Tang_of_Book_of_Songs_Reconidered_%E8%A9%A9%E7%B6%93_%E5%94%90%E9%A2%A8_%E6%8F%9A%E4%B9%8B%E6%B0%B4_%E6%96%B0%E8%AB%96

Seeing beauty in a face: a framework for poetry translation & its criticism

https://core.ac.uk/display/47221

on Cai Ge
https://www.tfzx.net/en/article/383414.html

On the evolution of character usage of classical Chinese poetry

https://arxiv.org/pdf/1509.04556.pdf

Qiu Zhong You Ma is mentioned on p 355 of The Homeric Epics and the Chinese Book of Songs: Foundational Texts Compared
https://books.google.co.uk/books?id=GlWCDwAAQBAJ&pg=PA355&lpg=PA355&dq=Qiu+Zhong+You+Ma+poem&source=bl&ots=bU9OZ_4p2m&sig=ACfU3U2Pp7cMqnoe5Y4GqADv0LidQsF-ng&hl=en&sa=X&ved=2ahUKEwjxkf_Ok6ztAhXuSxUIHTSiB6wQ6AEwDHoECAQQAg#v=onepage&q=Qiu%20Zhong%20You%20Ma%20poem&f=false in a chapter on recurrent themes in the Shi Jing

Edited 2020-12-01 06:31 (UTC)

Superborb brought my attention to:

An Artist’s Ode to Ancient China
Photographer Sui Taca spent years crisscrossing the Chinese countryside, trying to capture scenes from the nation’s classic poetry on film.

http://www.sixthtone.com/news/1006490/an-artists-ode-to-ancient-china

Shuo Shu poem
https://webofproceedings.org/proceedings_series/ESSP/IEESASM%202020/WHYD048.pdf

Fa Tan Poem
http://www.itcn.nl/serendipity/archives/127-The-pit-and-the-drum.html

Zun da lu is included in Classical Chinese Literature https://www.worldcat.org/title/classical-chinese-literature/oclc/33665984 , and it's possible there could be some commentary in there.

***

Shan You Fu Su

(I played with using Google Books, and pulled a little bibliography here, but the fact of the matter is these texts aren't very accessible online. They may only be brief mentions, as well. This would be a useful strategy if someone was properly doing an anthology write up, but for the book club's purposes has but limited utility.)

A passage on Shan You Fu Su in Interpretation and Intellectual Change: Chinese Hermeneutics in Historical Perspective, p 142.
Spanish fanart for the poem? ?? https://www.facebook.com/1416339355162820/photos/el-poema-se-llama-%E5%B1%B1%E6%9C%89%E6%89%B6%E8%8B%8F-shan-you-fu-su-es-un-poema-de-amor-parte-del-shijing-el-c/1609427049187382/

Literary History: Towards a Global Perspective - Volume 2 - Page 97
Anders Pettersson, ‎Gunilla Lindberg-Wada, ‎Margareta Petersson · 2006
https://books.google.co.uk/books?id=2muIgoqGR1kC&pg=PA97&dq=Shan+You+Fu+Su+poem&hl=en&newbks=1&newbks_redir=1&sa=X&ved=2ahUKEwim4NrgmLXuAhVzRhUIHZFcB-EQ6AEwAnoECAcQAg

Poetics Today - Volume 23, Issue 2 - Page 274. 2002
https://books.google.co.uk/books?id=HDxXAAAAYAAJ&q=Shan+You+Fu+Su+poem&dq=Shan+You+Fu+Su+poem&hl=en&newbks=1&newbks_redir=1&printsec=frontcover&sa=X&ved=2ahUKEwim4NrgmLXuAhVzRhUIHZFcB-EQ6AEwA3oECAkQAg

The Compositionality of Meaning and Content - Volume 2 - Page 120
Markus Werning · 2005
https://books.google.co.uk/books?id=b29sAAAAIAAJ&q=Shan+You+Fu+Su+poem&dq=Shan+You+Fu+Su+poem&hl=en&newbks=1&newbks_redir=1&printsec=frontcover&sa=X&ved=2ahUKEwj128PRmbXuAhXzSxUIHaL7CjQ4ChDoATACegQIABAC

Hua i Hsüeh Chih - Page 208
https://books.google.co.uk/books?id=KOgMAQAAMAAJ&q=Shan+You+Fu+Su+poem&dq=Shan+You+Fu+Su+poem&hl=en&newbks=1&newbks_redir=1&printsec=frontcover&sa=X&ved=2ahUKEwj128PRmbXuAhXzSxUIHaL7CjQ4ChDoATADegQIARAC

***

Yang Zhi Shui

a mention in Comments on the Poetry (Shilun) and the Poetry (Shi), Li Xueqin (https://www.tandfonline.com/doi/abs/10.2753/CSP1097-1467390401?needAccess=true&journalCode=mcsp20)

***

Chu Qi Dong Men

POETRY, “THE METAL-BOUND COFFER,” AND THE DUKE OF ZHOU Published online by Cambridge University Press: 28 November 2018 Kuan-yun Huang https://www.cambridge.org/core/journals/early-china/article/abs/poetry-the-metalbound-coffer-and-the-duke-of-zhou/D96807C5184ADAB79BBD11D9E6E35859

Record of Daily Knowledge and Collected Poems and Essays: Selections By Yanwu Gu
https://books.google.co.uk/books?id=5wwmDQAAQBAJ&pg=PA52&lpg=PA52&dq=Chu+Qi+Dong+Men+poem&source=bl&ots=eXMAFH_-eQ&sig=ACfU3U2ughWXeyiXjxKLxuJXJrJqh4U_Vg&hl=en&sa=X&ved=2ahUKEwiMjr3EzLXuAhWEtHEKHWzSB_o4ChDoATAEegQICxAC#v=onepage&q=Chu%20Qi%20Dong%20Men%20poem&f=false
(just a mention about the poem containing 'no admiration of beauty)

***

Ye You Man Cao

a sung version of the poem? https://www.echinesesong.com/ye-you-man-cao-%E9%87%8E%E6%9C%89%E8%94%93%E8%8D%89-wild-with-creeping-weed-lyrics-%E6%AD%8C%E8%A9%9E-with-pinyin-by-jing-ran-%E9%9D%99%E7%84%B6/

***

This came up, and while it doesn't seem directly pertinent, it's germane to the group mission statement:

The Gay Love Letters of Bo Juyi to Yuan Zhen and others
Excerpts from My Dear Boy: Gay Love Letters through the Centuries (1998), Edited by Rictor Norton
http://rictornorton.co.uk/bojuyi.htm

Edited 2021-01-24 22:38 (UTC)

An overview of the Shijing as a whole: http://self.gutenberg.org/articles/eng/Shijing#Modern_scholarship

A whole paper on Bi Gou (104): https://www.jstor.org/stable/41412898?seq=1

a mention of Bi Gou in here: https://www.jstor.org/stable/2719105?seq=1

A character named after Dong Fang Wei Ming: https://nibiru.fandom.com/wiki/Dongfang_Weiming

General:
THREE MILLENNIA OF CHINESE POETRY (an overview)
https://www.scielo.br/scielo.php?pid=S2596-304X2020000300103&script=sci_arttext

Xi Shuai:
“XI SHUAI” 蟋蟀 (“CRICKET”) AND ITSCONSEQUENCES: ISSUES IN EARLYCHINESE POETRY AND TEXTUALSTUDIES
https://pdfs.semanticscholar.org/a473/a46b7e8ead40f21aa0deb97279842d18d429.pdf

It seems Martin Kern has also given recent related lectures, https://literature.yale-nus.edu.sg/news-events/speaker-series/poems-and-manuscripts-in-early-china-questions-and-perspectives/, here and elsewhere.

Mastering Caution amidst Hermeneutic Acrobatics
https://languagelog.ldc.upenn.edu/nll/?p=44835

THE BOOK OF ODES: A CASE STUDY OF THE 2600 YEARSCHINESE HERMENEUTIC TRADITION
http://chemsites.chem.rutgers.edu/~kyc/pdf/Shijing.new%20copy.pdf

A First Reading of the Anhui University Bamboo-Slip Shi Jing(material history piece?)
https://brill.com/view/journals/bsms/4/1/article-p1_1.xml?rskey=ogwL08&result=3

Shan You Shu:

Transforming Oriental classics into Western canon
https://link.springer.com/article/10.1007%2Fs11702-009-0015-8

Yang Zhi Shui:

Apparently somebody in Water Margin is named after this.

Comments on the Poetry (Shilun) and the Poetry (Shi)
https://www.tandfonline.com/doi/abs/10.2753/CSP1097-1467390401?needAccess=true&journalCode=mcsp20

Jiao Liao:

The Explanation of The Word“Jiao”in Book of Songs ——And the Interpretation of the Poem According to Meaning of Words
https://en.cnki.com.cn/Article_en/CJFDTotal-LSSZ201402013.htm

Chou Mou:

On Reading Xiehou 邂逅 (“Chance Meeting”) as Xing hou 邢侯 (“Marquis of Xing”)
https://brill.com/view/journals/bsms/2/1/article-p1_1.xml

Gao Qiu:

someone named after this poem?
Gao Qiu - Wikipediaen.wikipedia.org › wiki › Gao_Qiu

Bao Yu:
a character is named this in Dream of the Red Chamber: for this poem?

You Di Zhi Du:

Chinese Literary Criticism of the Ch’ing Period (1644–1911)
https://books.google.co.uk/books?id=ANGw20TeBRsC&pg=PA141&lpg=PA141&dq=You+Di+Zhi+Du+poem&source=bl&ots=5rfPBmNpIc&sig=ACfU3U1wcICOzePtS-NQ0z96lr6zmSHPVw&hl=en&sa=X&ved=2ahUKEwiYiv-FwOzuAhVHQ0EAHRRSD4c4ChDoATADegQIBRAC#v=onepage&q=You%20Di%20Zhi%20Du%20poem&f=false

Ge Sheng:

The affection of "Green Clothes" and "Ge sheng" to "Mourns Poem" by Pan Yue
https://en.cnki.com.cn/Article_en/CJFDTotal-YCSB201102026.htm

Edited 2021-02-15 18:37 (UTC)

Not Straying: Mao tradition interpretations of Shijing love poems
https://mbchinese.com.au/wp-content/uploads/2020/01/Michael-Broughton-Chinese-Honours-Thesis.pdf

Poems of Depravity: A Twelfth Century Dispute on the Moral Character of the "Book of Songs"
https://www.jstor.org/stable/4528453?seq=1

Si Tie:

On Stanzaic Inversion in the Qin feng 秦風 Ode “Sitie” 駟驖 (Iron-Black Horses) in the Anhui University Bamboo Manuscript of the Shi jing 詩經 (Classic of Odes)
https://brill.com/view/journals/bsms/4/1/article-p149_5.xml?rskey=qgADHA&result=5

Jian Jia:

On Poetry Translation
https://www.ccjk.com/on-poetry-translation/

Interpretations of the Ancient Poem, "Reeds"
https://www.pressreader.com/china/beijing-english/20180111/281487866752880

Aesthetics in Chinese Poems Translation: Ideas for Traanslate Love Poems in Chinese Book of Songs
https://minds.wisconsin.edu/bitstream/handle/1793/65898/LiKe.pdf?sequence=5&isAllowed=y

Vocabulary flashcards for Jian Jia:
https://quizlet.com/177441254/shi-jing-poem-jian-jia-flash-cards/

Huang Niao:

vocabulary flashcards:
https://quizlet.com/6439320/shijing-poems-flash-cards/

The Homeric Epicsand the Chinese Book of Songs:
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

Edited 2021-02-22 05:45 (UTC)

- James Legge's Metrical "Book of Poetry"
https://www.jstor.org/stable/620770?seq=1

- Chu Ci
https://en.wikipedia.org/wiki/Chu_Ci

- THE SONG OF SONGS (IR HAIRIM) AND THE BOOKOF SONGS (SHIJING): AN ATTEMPTIN COMPARATIVE ANALYSIS*Marián GÁLIKInstitute of Oriental and African Studies, Slovak Academy of Sciences,Klemensova 19, 813 64 Bratislava, SlovakiaFor Professor Wu-chi Liu at his 90th birthday on July 22, 1997
https://www.sav.sk/journals/aas/full/aas197d.pdf

the above paper reads almost like a racist insult in places, and is HEAVILY assumptive, dependent on a translation it presumes is far more definitive than it is, especially on matters of gender

TO LEAVE OR NOT TO LEAVE: THE CHU CI 楚辭 (VERSES OF CHU) AS RESPONSE TO THE SHI JING 詩經 (CLASSIC OF ODES)
https://www.cambridge.org/core/journals/early-china/article/abs/to-leave-or-not-to-leave-the-chu-ci-verses-of-chu-as-response-to-the-shi-jing-classic-of-odes/5C9E66453BC61F6F1A6ABC9803FBAEAE

New Explanation of xi you chang chu
https://www.semanticscholar.org/paper/New-Explanation-of-xi-you-chang-chu-Xiang-rong/db3ac58fa2492230c9435c29be1bd825714088b3

The Shijing as China's Epic
https://core.ac.uk/download/pdf/48547893.pdf

Shijing 詩經 or Maoshi 毛詩
http://www.chinaknowledge.de/Literature/Classics/shijing.html

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621?seq=1

Nineteen Old Poems
https://en.wikipedia.org/wiki/Nineteen_Old_Poems
http://www.chinaknowledge.de/Literature/Poetry/gushishijiushou.html
http://www.chinaknowledge.de/Literature/Poetry/tangshi.html (related)

Edited 2021-03-08 14:36 (UTC)

Fu-Bi-Xing: A Metatheory of Poetry-MakingMing Dong Guhttps://www.jstor.org/stable/495087?seq=1

A Second Look at the Great Preface on the Way to a New Understanding of Han Dynasty Poetics
(mentions chi xiao)https://www.jstor.org/stable/495245

"SHI JING" SONGS AS PERFORMANCE TEXTS: A CASE STUDY OF "CHU CI" (THORNY CALTROP) (mentions qi yue)
https://www.jstor.org/stable/23354274

The poem Lang Ba gets a mention and Yellow Bird is extensively discussed in The Halberd at Red Cliff: Jian'an and the Three Kingdoms, which looks v good: https://www.google.co.uk/books/edition/The_Halberd_at_Red_Cliff/QfgFEAAAQBAJ?hl=en&gbpv=0

Lu Ming:
Deer Callshttp://www.silkqin.com/02qnpu/37lxyy/lx04lm.htm

Huang Huang Zhe Hua:https://torguqin.wordpress.com/2009/08/20/the-shijing-can-be-sung/

"The poem begins with his flight to the “tribal Chu” (Jingzhou), the “Difficulties andBarriers” (titles of two Yi jing hexagrams) he suffered, and a eulogy on the extraordinary feats of Cao Cao, whom he calls “Brilliant Flowers” (huanghua 皇華)." [...] "This is an abbreviation of the title of the Shi jing poem “Huanghuang zhe hua” 皇皇者華 (Brilliant Are theFlowers, no. 163), which was performed to escort a king’s envoy according to the Mao commentary. For the commentary, see Mao shi zhengyi, 9b.8a (318-2). By calling Cao Cao “Brilliant Flowers,” Wang Can implies thatCao Cao led the army in the name of the emperor, like an envoy sent by the royal house."

https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/23343/Shin_washington_0250E_11629.pdf?sequence=1

Tian Bao:

NATURE AND RELIGION IN ANCIENT CHINESE POETRY
https://www.jstor.org/stable/41933321?seq=1

"SHI JING" SONGS AS PERFORMANCE TEXTS: A CASE STUDY OF "CHU CI" (THORNY CALTROP)
https://www.jstor.org/stable/23354274?seq=1

Some musical adaptations of Cai Wei:
http://www.xinhuanet.com/english/2019-05/07/c_138040045.htm
https://changan-moon.tumblr.com/post/108551733973/classical-dance-of-han-chinese-lyrics-are
https://www.youtube.com/watch?v=WUKcJ-bfzz8 (this feels like a weird karaoke set-up?)

Edited 2021-03-23 10:35 (UTC)

The semantic of Jia (“fortune”) and the “fortunate guests”in ancient Chinese ritualism.
MARIA KHAYUTINA

http://www.sinits.com/research/happyguests.pdf

"IV. Fair / fortunate (food for the treatment of spirits or guests).The most frequently (8 times) the character jia in the Shijing isused to define the food provided by a descendant to his ancestorsas sacrificial offer, or by a host of the ritual feast to his relativesand guests as a treatment.The Nan you jia yu (II.II.IV, Nan Yu Chia yu, In theSouth There Are Lucky Fish) says:“In the South there are lucky (jia) fish ,In their multitudes they leap” (Waley. P. 145).Indeed, when the fish is referred to as “lucky” or “fortunate”, itdoes not concern the fate and feelings of the fish. The fish, asother “fortunate” food, is regarded as bringing fortune to the men.But whom does it bring the fortune? Is the food fortunate for the“lucky” guests mentioned two lines lower: “Our lord has wine; Hislucky guests shall feast and rejoice” (Waley. P. 145)? Let us leavethe guests aside for a while and see how did the food assured the fortune."

Nan Shan You Tai performed
https://www.youtube.com/watch?v=hHe8RBHE8Pg

Love, Justice, and Autonomy: Philosophical Perspectives
https://books.google.co.uk/books?id=S_gPEAAAQBAJ&pg=PT247&lpg=PT247&dq=Nan+Shan+You+Tai+poem&source=bl&ots=KKdv7ZzgB_&sig=ACfU3U1JKylUHly3iMbjxBiWJzmhqiZnZA&hl=en&sa=X&ved=2ahUKEwiKxc2im9XvAhVWQkEAHaDSDYwQ6AEwFHoECA8QAw#v=onepage&q=Nan%20Shan%20You%20Tai%20poem&f=false
mentions Nan Shan You Tai

Edited 2021-03-29 09:53 (UTC)

Liu Yue:

a brief mention in an earlier-cited text: The next line, "In harmony and delight we restore the past loss ("和樂隆所缺"), alludes to the Mao preface to "Liu Yue" 六月 ("The Sixth Month") in the Shijing: "When 'Luming' is abandoned, harmony and delight will be in want" (鹿鳴廢則和樂缺矣).

http://www.silkqin.com/02qnpu/37lxyy/lx04lm.htm

An announcement of another book in the 'How to Read Chinese Poetry' series:

https://www.facebook.com/HowtoReadChinesePoetryZongqiCai/posts/i-am-pleased-to-announce-that-how-to-read-chinese-poetry-poetic-culture-from-ant/1226216147448303/

Some related groups that might be of interest:

https://www.facebook.com/HowtoReadChinesePoetryZongqiCai
https://www.chinesepoetryforum.org/?fbclid=IwAR2MmHwoO4b8VoYo3NXPoRC0isY3cr1tBaNlsE68UJDe-8rLOAe7k9ab3mA

Hong Yan:

"One appearance of the Shijing geese is as an allusion for society. In the poem "Wild Geese" ("鴻雁" - "Hong Yan" [小雅 - Lesser Odes, 彤弓之什 - Decade Of Tong Gong]), the geese appear as an allusion to a people wandering with woeful cries, seeking for a home (Murck, 74; and, note 6, 312). Translated by James Legge (1815 – 1897) [...Poem translation] Other translations differ, in certain points, but the general imagery of wild geese, forlornly crying during their quest for a home to rest is clear. Alfreda Murck points out the contrast between the geese here landing in the marsh, and the later Xiaoxiang poetry convention of geese and the level sand (80)."

(https://en.wikipedia.org/wiki/Geese_in_Chinese_poetry)

He Ming

Cranes Cry in Nine Marshpools
http://www.silkqin.com/02qnpu/07sqmp/sq31hmjg.htm

Edited 2021-04-07 00:04 (UTC)

Wo Xing Qi Ye:

Editor’s Preface, Comparative Poetics in the Raw by Martin Svensson Ekström
http://130.241.151.208/digitalAssets/1700/1700640_4.-mse-comparative-poetics-in-the-raw.pdf

Jie Nan Shan:

A Study on the Theme of “ Jie Nan Shan”of the Book of Poetry and Related Issues in the View of New Chu Bamboo Slips
http://en.cnki.com.cn/Article_en/CJFDTotal-HSXX201802016.htm

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

Studies of the Shi jing or Classic of Poetry have long been primarily concerned with how to read the text (or how the text has been read by others), and many of these discussions have contributed greatly to Chinese notions of reading in general. However,there has been rather less attention to how the Poetry may have been written in the first place (or the second or third place). There are several individual poems in the two Ya 雅sections that explicitly mention the “making” (zuo 作) of the poem within the poem itself,some of these also mentioning the maker by name,1 and there are a few other poems that address unique and identifiable historical events in ways that reflect their making.

Shi Yue Zi Jiao:

"I have had occasion in the past to mention the suggestion of Pang Sunjoo 方善柱 that the famous mention of a tenth-month (shi yue 十月) solar eclipse in the poem “Shi yue zhi jiao” 十月之交(Mao 193) isa graphic error for a “seventh-month” (qi yue 七月) eclipse, the archaic character for “seven” (xx) being essentially identical with the clerical script form of the character for “ten” (xx); see Fang Shanzhu, “XiZhou niandai xue shang de jige wenti” 西周年代學上的幾個問題, Dalu zazhi 大陸雜誌 51.1 (1975):"

Edited 2021-04-12 13:06 (UTC)

Chu Ci:

"SHI JING" SONGS AS PERFORMANCE TEXTS: A CASE STUDY OF "CHU CI" (THORNY CALTROP)
https://www.jstor.org/stable/23354274?seq=1

Xin Nan Shan:

mentioned in Reading Du Fu: Nine Views
https://books.google.co.uk/books?id=UJ4MEAAAQBAJ&pg=PA180&lpg=PA180&dq=Xin+Nan+Shan+poem+shi+jing&source=bl&ots=K_33wPx3K-&sig=ACfU3U0UoKbPvyaU5dotnYGfHbKedkk5Kw&hl=en&sa=X&ved=2ahUKEwiMocTKlZvwAhU_QEEAHRQZA6kQ6AEwEnoECBwQAw#v=onepage&q=Xin%20Nan%20Shan&f=false

mentioned in Oracle Poems: Ritual Awareness, Symbolism and Creativity in Shi Jing Poetics
(https://ses.library.usyd.edu.au/bitstream/handle/2123/1527/02whole.pdf;jsessionid=E7081EE192786EA4A97D28B571C0F4F5?sequence=2):
"The use of wine in specific ritual contexts is also evidenced in the Shi Jing. The poems Chu Ci 楚茨,“Thorny Caltrop” (Mao 209)98 and Xin Nan Shan 信南山, “Truly the southern hills” (Mao 210)99, for instance, recount a formal context for the use of wine as a religious libation."

Fu Tian:

mentioned in NATURE AND RELIGION IN ANCIENT CHINESE POETRY
https://www.jstor.org/stable/41933321?seq=1

Zhan Bi Luo Yi:

mentioned in Sui Yangdi and the Building of Sui-Tang Luoyang
https://www.jstor.org/stable/2059145?seq=1

Chang Chang Zhe Hua:

mentioned in Comments on the Poetry (Shilun) and the Poetry (Shi)
https://www.tandfonline.com/doi/abs/10.2753/CSP1097-1467390401?needAccess=true&journalCode=mcsp20

Exemplary Women of Early China: The Lien zhuan of Liu Xiang
https://books.google.co.uk/books?id=VterAgAAQBAJ&pg=PA201&lpg=PA201&dq=Chang+Chang+Zhe+Hua+poem&source=bl&ots=m_LtvWsPSJ&sig=ACfU3U27GH_rHYt2E31Qwg9Z24YxHhfqEQ&hl=en&sa=X&ved=2ahUKEwiLtvvLmZvwAhXRnVwKHWhQCpEQ6AEwEXoECBYQAw#v=onepage&q=Chang%20Chang&f=false

Kui Bian:

mentioned in The Confucian Four Books for Women: A New Translation of the Nü Sishu and the Commentary of Wang Xiang

https://books.google.co.uk/books?id=DaRTDwAAQBAJ&dq=Kui+Bian+poem+shi+jing

Che Xia:

mentioned in Record of Daily Knowledge and Collected Poems and Essays: Selections

https://books.google.co.uk/books?id=5wwmDQAAQBAJ&pg=PA53&lpg=PA53&dq=Che+Xia+poem&source=bl&ots=eXNzAG01bM&sig=ACfU3U3YiqcrisjJGmVqGt8gMhOPYU8WWA&hl=en&sa=X&ved=2ahUKEwiFsNmo4KzwAhXvSRUIHWHmD50Q6AEwEnoECAsQAw#v=onepage&q=Che%20Xia%20poem&f=false

Qing Ying:

mentioned in Migration and Membership Regimes in Global and Historical Perspective

https://books.google.co.uk/books?id=ufOZAAAAQBAJ&pg=PA172&lpg=PA172&dq=Qing+Ying+poem+shi+jing&source=bl&ots=URU6bG3-g2&sig=ACfU3U14zQtHH_u4BS3eeXwhV9qvamDBxg&hl=en&sa=X&ved=2ahUKEwi4qNeU4azwAhVDtXEKHSPJAAoQ6AEwEnoECBYQAw#v=onepage&q=Qing%20Ying%20poem%20shi%20jing&f=false

Bin Zhi Chu Yan:

mentioned in Repetition, Rhyme, and Exchange in The Book of Odes

https://www.jstor.org/stable/2719486?seq=1

Suspended Music: Chime-Bells in the Culture of Bronze Age China

https://books.google.co.uk/books?id=ve1h53NTNW0C&pg=PA29&lpg=PA29&dq=Bin+Zhi+Chu+Yan+poem+shi+jing&source=bl&ots=6ZJCw4L_NW&sig=ACfU3U244Rd_r1KCNO7hImODsQBBGS_BVQ&hl=en&sa=X&ved=2ahUKEwjqiIzH5KzwAhVfQRUIHa58CGsQ6AEwEXoECBEQAw#v=onepage&q=Bin%20Zhi%20Chu%20Yan%20poem%20shi%20jing&f=false

Duke Wu of Wey

https://en.wikipedia.org/wiki/Duke_Wu_of_Wey

Educational Memory of Chinese Female Intellectuals in Early Twentieth Century

https://books.google.co.uk/books?id=961qDwAAQBAJ&pg=PA71&lpg=PA71&dq=Bin+Zhi+Chu+Yan+poem&source=bl&ots=4V3FmOa7Jg&sig=ACfU3U2WRWuABQpfrg_lIX5P2WxPdTbc8Q&hl=en&sa=X&ved=2ahUKEwiFwYTS5KzwAhVyRBUIHcYUACgQ6AEwD3oECAYQAw#v=onepage&q=Bin%20Zhi%20Chu%20Yan%20poem&f=false

Food, Sacrifice, and Sagehood in Early China

https://books.google.co.uk/books?id=Q2ygZMdf2YYC&pg=PA100&lpg=PA100&dq=Bin+Zhi+Chu+Yan+poem&source=bl&ots=puB1qjvL-_&sig=ACfU3U3XCjYvBQNhOemAclxh2rj6ZanQHw&hl=en&sa=X&ved=2ahUKEwiFwYTS5KzwAhVyRBUIHcYUACgQ6AEwEHoECAQQAw#v=onepage&q=Bin%20Zhi%20Chu%20Yan%20poem&f=falseChinese Culture of Intelligencehttps://books.google.co.uk/books?id=xN-GDwAAQBAJ&pg=PA226&lpg=PA226&dq=Bin+Zhi+Chu+Yan+poem&source=bl&ots=u842VthUGZ&sig=ACfU3U0T2m0h6icAfhY0xiRvfwbAnidgdA&hl=en&sa=X&ved=2ahUKEwiFwYTS5KzwAhVyRBUIHcYUACgQ6AEwEXoECAoQAw#v=onepage&q=Bin%20Zhi%20Chu%20Yan%20poem&f=false

In the Shadows of the Dao: Laozi, the Sage, and the Daodejing

https://books.google.co.uk/books?id=kUWUCgAAQBAJ&pg=PA121&lpg=PA121&dq=Bin+Zhi+Chu+Yan+poem&source=bl&ots=nd-FhEFgeP&sig=ACfU3U2Irdmf8iJJfE_XS08SWMpHPSJHiA&hl=en&sa=X&ved=2ahUKEwiFwYTS5KzwAhVyRBUIHcYUACgQ6AEwEnoECAUQAw#v=onepage&q=Bin%20Zhi%20Chu%20Yan%20poem&f=false

Yu Zhao:

mentioned in Written at Imperial Command: Panegyric Poetry in Early Medieval China

https://books.google.co.uk/books?id=ZZtfynSaBgcC&pg=PA134&lpg=PA134&dq=Yu+Zao+poem&source=bl&ots=xlANpEja56&sig=ACfU3U1FYBSs9qxKfga8iRnRMbyOmA9vvQ&hl=en&sa=X&ved=2ahUKEwirv8Sr6KzwAhUYTxUIHWOyCZ0Q6AEwEnoECBkQAw#v=onepage&q=Yu%20Zao%20poem&f=false

Jiao Gong:

The Analects of Dasan, Volume III: A Korean Syncretic Reading

https://books.google.co.uk/books?id=4fhyDwAAQBAJ&pg=PA99&lpg=PA99&dq=Jiao+Gong+poem&source=bl&ots=NeBYwM7Nrq&sig=ACfU3U2skJUsKUspMPyWMbLduz6wdbiFHw&hl=en&sa=X&ved=2ahUKEwjzh4OH66zwAhU3UhUIHZyQALUQ6AEwEXoECBAQAw#v=onepage&q=Jiao%20Gong%20poem&f=false

Reading Philosophy, Writing Poetry: Intertextual Modes of Making Meaning in Early Medieval China

https://books.google.co.uk/books?id=9fYFEAAAQBAJ&pg=PA123&lpg=PA123&dq=Jiao+Gong+poem&source=bl&ots=4T9yBUs3X9&sig=ACfU3U2qZAZQQxdGZ-shTo1mBlYVlhYceA&hl=en&sa=X&ved=2ahUKEwjzh4OH66zwAhU3UhUIHZyQALUQ6AEwEnoECBEQAw#v=onepage&q=Jiao%20Gong%20poem&f=false

The Book of Songs: Poems that helped shape Chinese thought
https://www.bbc.com/culture/article/20180525-the-book-of-songs-poems-that-helped-shape-chinese-thought

Du Ren Shi:

extensive mention in Rewriting Early Chinese Texts
https://books.google.co.uk/books?id=jWCMTyYjIicC&pg=PA54&lpg=PA54&dq=Du+Ren+Shi+poem&source=bl&ots=ee2nUGITOG&sig=ACfU3U0XVvTP1NGDXP302DEUNsLq2_de1g&hl=en&sa=X&ved=2ahUKEwjQl5aCksLwAhXMX8AKHQ3xBQwQ6AEwEXoECAcQAw#v=onepage&q=Du%20Ren%20Shi%20poem&f=false

THE CONCEPT OF DECADENCE IN THE CHINESE POETIC TRADITION
https://www.jstor.org/stable/40727391?seq=1

Cai Lu:

The Hong Kong Modernism of Leung Ping-kwan
https://books.google.co.uk/books?id=407ADwAAQBAJ&pg=PA37&lpg=PA37&dq=Cai+Lu+poem&source=bl&ots=DD2PGqBx-L&sig=ACfU3U0rje4EvZZynGF02xQh__FUguRNAQ&hl=en&sa=X&ved=2ahUKEwjYqf28k8LwAhWqgVwKHaXdCmAQ6AEwEHoECBEQAw#v=onepage&q=Cai%20Lu%20poem&f=false

Citations of the Shi Jing in Early Chinese Texts: https://eprints.soas.ac.uk/29434/1/10731590.pdf

"There are similar expressions delivering the gather’s worrying mind in the Shijing. The poem"Cailu" (226) reads: ^ or the whole morning gathering lu plant, it doesnot fill my handful amount, and ^ or the whole morning gathering the indigoplant, it does not fill my skirt."

Oracle Poems:Ritual Awareness, Symbolism and Creativity in Shi Jing Poetics
https://ses.library.usyd.edu.au/bitstream/handle/2123/1527/02whole.pdf?sequence=2

This poem thencorroborates the Yi Jing evidence of ritual in which gathering plants and placing them in the squarebasket is related plays some role in readying a woman for marriage. Arthur Waley explains thesignificance of another pre-marriage harvesting poem (albeit one not featuring baskets) thus: “In [CaiLü 采綠, “Gathering green” (Mao 226)76 ] a girl, about to be married, goes to gather plants withwhich to make green and blue dyes for her trousseau-dresses. She fails to fill her basket, which is a bad omen. Sure enough, the man does not turn up on the wedding-day.”77 Waley identifies thenegative resonance of the failed gathering and gives a literal context for the act of gathering.However, as I will go on to demonstrate, the activity of gathering plants before marriage may, at baselevel, have a less pragmatic association than collecting dyes for the wedding dress.

Shu Miao:

Written at Imperial Command: Panegyric Poetry in Early Medieval China
https://books.google.co.uk/books?id=ZZtfynSaBgcC&pg=PA226&lpg=PA226&dq=Shu+Miao+poem&source=bl&ots=xlANwHn627&sig=ACfU3U3pAIFswniaKrcIEmwEJF0BXr-rsw&hl=en&sa=X&ved=2ahUKEwi235-NlcLwAhWJSsAKHYjjAZIQ6AEwEHoECBUQAw#v=onepage&q=Shu%20Miao%20poem&f=false

The Sinitic Civilization Book Ii: A Factual History Through the Lens of Archaeology, Bronzeware, Astronomy, Divination, Calendar and the Annals
https://books.google.co.uk/books?id=Nay8DwAAQBAJ&pg=PA58&lpg=PA58&dq=Shu+Miao+poem&source=bl&ots=MDjDdrDmGe&sig=ACfU3U1uY5-GQseQECczJVeqa8N3Xkt9xQ&hl=en&sa=X&ved=2ahUKEwi235-NlcLwAhWJSsAKHYjjAZIQ6AEwEnoECBIQAw#v=onepage&q=Shu%20Miao&f=false

Comments on the Poetry (Shilun) and the Poetry (Shi)
https://www.tandfonline.com/doi/abs/10.2753/CSP1097-1467390401?needAccess=true&journalCode=mcsp20

Xi Sang:

The Book of Songs
http://www.readchina8.com/2009/1109/5.html

There are also love poems, let’s take “隰桑，xi sang, Mulberry on the Lowland”:

Beautiful mulberry trees on the low land,
Its leaves full and round.
Now I see my man,
I’m filled with delight.

Beautiful mulberry tres on the low land,
Its leaves fertile and soft.
Now I see my man,
With joy I feel wild.

Beautiful mulberry trees on the low land,
Its leaves deeply green.
Now I see my man,
When talk about love there is no end.

I love you by heart,
Why I dare not mention it?
I burry it deep in heart,
On which day can I forget?

I think you would agree that the feeling this poem projected is very sincere and we know that the girl will never forget her love.

The Hong Kong Modernism of Leung Ping-kwan(ibid.)

Bai Hua:

Reading Philosophy, Writing Poetry: Intertextual Modes of Making Meaning in Early Medieval China
https://books.google.co.uk/books?id=9fYFEAAAQBAJ&pg=PA122&lpg=PA122&dq=Bai+Hua+poem+shi+jing&source=bl&ots=4T9yIXw0Ve&sig=ACfU3U0VTiz0vvpMfTYlM3Xm1oLUFb9_qQ&hl=en&sa=X&ved=2ahUKEwjw07GfmMLwAhWVoFwKHVQoB_YQ6AEwEnoECAcQAw#v=onepage&q=Bai%20Hua%20poem%20shi%20jing&f=false

Tiao Zhi Hua:

From Skin to Heart: Perceptions of Emotions and Bodily Sensations in Traditional Chinese Culture
https://www.google.com/search?q=Tiao+Zhi+Hua+poem&safe=off&rlz=1C5CHFA_enGB728GB731&sxsrf=ALeKk01AuJwVVKzgtftWum5ivaykxTFZtw%3A1620757046077&ei=NsqaYNeuBM_4gQampKjwCw&oq=Tiao+Zhi+Hua+poem&gs_lcp=Cgdnd3Mtd2l6EANQ7fQEWN35BGD0-wRoAHAAeACAAbABiAHlApIBAzEuMpgBAKABAqABAaoBB2d3cy13aXrAAQE&sclient=gws-wiz&ved=0ahUKEwjXof6_nsLwAhVPfMAKHSYSCr4Q4dUDCA4&uact=5

He Cao Bu Huang:

Oracle Poems: Ritual Awareness, Symbolism and Creativityin Shi Jing 詩經 Poetics
https://ses.library.usyd.edu.au/bitstream/handle/2123/1527/02whole.pdf?sequence=2

野 But neither are we rhinos or tigers, who navigate this windsweptwilderness哀我征夫朝夕不暇 Alas for us campaigning soldiers, day and night we have no rest有芃者狐率彼幽草 The bushy [tailed] fox, he navigates these thick plants有棧之車行彼周道 But we have bamboo carts and trudge on the circuit road.The fox in this poem is presented without the details which I have previously discussed - namely,binome suisui or the location near a river. The fox (together with the rhinos and tigers), and its easein the thick plants of the wilderness, is juxtaposed with the situation of the campaigning soldiers inwhose voice the poem is spoken, they who are unaccustomed to the harsh surroundings. While theatmosphere of the poem is one of difficulty and arduousness, this is not a result of the fox image.Indeed, the fox and the other animals are seemingly able to transcend the difficulty of the situation.This treatment is significantly different from that found in either You Hu or Nan Shan, in which thefox imagery is inextricably linked to the human emotive atmospheres, not contrasted to it. He CaoBu Huang thus demonstrates that foxes do not, per se, necessitate a traditional anthropomorphicreading or symbolic association.

Foxes can evidently be exploited in the Shi Jing for figurative purposes, divorced from their ritualassociations, which are inscribed in particular accompanying phrases and scenes. In this poem, therole of the fox image is to act in juxtaposition with the human world, emphasising the differencebetween the situation of an animal which is naturally suited to the conditions and that of soldiers forwhom the harsh winter is foreign and unfamiliar. The figure, located from the initial couplet of thepoem, where xing imagery is usually found, is, if you will, an anti-analogy, a foil to the human world,which negates similitude. This is in direct opposition to the way in which the fox imagery operates inthe opening xing lines of You Hu and Nan Shan, where it is clear (and accepted) that the fox’ssituation has some sort of metaphorical or analogous connection to the human world (partly as aresult of its very presence in each poem’s opening lines).

[...]

This clear difference in treatment demonstrates that fox imagery in You Hu and Nan Shan isexploited for other implications, and that there must be other meaningful elements to the treatmentin those poems. As we have observed, that extra meaningful information is provided by a connectionto a ritual context - a contention that the negative evidence of He Cao Bu Huang would appear toconfirm, in that it provides a context which appears unconnected with ritual. Logically speaking,there would seem no obvious function for a ritual recalling the privations of a military campaign.The song does not display ritual echoes such as distinct repeatable physical actions, nor is its form(with five interrogative phrases in the first stanza and none in the second) evocative of repetitive andbalanced ritual diction. He Cao Bu Huang shows how an unadorned fox image in a poem without(actual or imitated) ritual resonances does not summon up the key notions of liminality or frustratedachievement. Those meanings are only accessible through connection to the imagery of foxes whichis found in the divinatory ritual tradition, and which is accompanied by a particular apparatus ofattendant detail (including the river and/or the suisui binome)

Philosophy and Religion in Early Medieval China
https://books.google.co.uk/books?id=RkOJ_3tjp8IC&pg=PA19&lpg=PA19&dq=He+Cao+Bu+Huang+poem&source=bl&ots=MFw0zvac9P&sig=ACfU3U1jlYKOBUTj3z2hPsLb4KBBshoFaw&hl=en&sa=X&ved=2ahUKEwj6r53en8LwAhWUFMAKHdQqClUQ6AEwEnoECA0QAw#v=onepage&q=He%20Cao%20Bu%20Huang%20poem&f=false

Wen Wang:

Songs of King Wen
http://www.silkqin.com/02qnpu/10tgyy/tg09wwq.htm

The Homeric Epicsand the ChineseBook of Songs:Foundational Texts Compared
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

The “Major Court Hymns” display a particular focus on King Wen,with two hymns, “King Wen” (Mao 235 “Wen wang”) and “King WenHas Fame” (Mao 244 “Wen wang you sheng”), entirely devoted to hispraise. In addition, another five hymns have been read as a set recallingthe story of King Wen.29 Here again, we may be witnessing less a setof discrete poems than a large repertoire of verse from which to recallthe origin of the Zhou.“King Wen,” the first of the “Major Court Hymns,” unfolds as follows, including shared lines with five other poems, among them “ClearTemple,” the first of the “Eulogies of Zhou”:King Wen is on high, / oh, shining in Heaven. / Though Zhou is an oldstate, / its mandate, it is new. / With Zhou, he was greatly illustrious, /God’s mandate was greatly timely. / King Wen ascends and descends /to God’s left side and right.Vigorous, vigorous was King Wen, / his good fame never ceases. / Arrayed are the bestowals on Zhou, / extending to King Wen’s line of descendants. / King Wen’s line of descendants / grows as root andbranches for a hundred generations. / All the officers of Zhou / shall begreatly illustrious in each generation.Across generations greatly illustrious / reverently, reverently are theyin their plans. / Admirable are the many officers, / they are born in thisland of the king. / The king’s land is able to give birth to them, / andthey are the supporters of Zhou. / Dignified, dignified are the many officers, / King Wen, by them, is at ease.Solemn, solemn was King Wen, / continuously bright and reverent. /Great indeed is Heaven’s mandate, / from Shang’s line of descendants./ Shang’s line of descendants / were in number a hundred thousand. /[But] God on high gave the mandate, / making them subjects of Zhou.They were made subjects of Zhou / [but] Heaven’s mandate is not constant. / The officers of Yin are eagerly serving, / now conducting libations in the capital [of Zhou]. / When rising to conduct the libations, / they don the customary robes and axe-patterned caps. / Chosen subjects of the king, / never forget your ancestors!Never forget your ancestors, / display and cultivate their virtue! / Forever strive to conjoin with the mandate, / bringing manifold blessingsupon yourself. / When Yin had not yet lost the multitudes, / they wereable to conjoin with God on high. / Take [the fate of] Yin as your mirror, / the lofty appointment is not easy [to keep]!The mandate is not easy [to keep], / may it not cease with you! /Spread and make bright your good fame, / take your measure from andrely on Heaven! / [Yet] the doings of Heaven above / are withoutsound, without smell— / model yourself on King Wen, / and the myriad states will submit in trust.According to the sequence of the poems in the Mao Poetry and thecomments in their prefaces, the first eighteen hymns praise Kings Wen,Wu, and Cheng (r. 1042/35-1006 BCE); the next five reprehend KingLi (r. 857/53-842/28 BCE); the next six praise King Xuan (r. 827/25-782 BCE); and the final two reprehend King You (r. 781-771 BCE).The hymns are thus believed to reflect significant moments in the development of the Western Zhou dynasty, beginning with an initial“golden age” and ending with the dynastic collapse under King You,the prototypical “bad last ruler” (and mirror image of the last ruler ofShang).

Traditionally, the hymns, mostly attributed to anonymous court officials, have been regarded as witnesses to, and compositions of, theseinflection points; yet they may just as well be products of retrospectiveimagination. None of the more than ten thousand Western Zhou inscribed bronze vessels, bells, weapons, and other artifacts shares asingle couplet with any of the hymns. In the Zuo Tradition, one line offour characters from “King Wen” is first quoted in an entry nominallydated to 706 BCE,30 and another line from the same song appears in anentry dated to 688 BCE.31 The next recitations of, or short quotationsfrom, “Major Court Hymns” appear only from 655 BCE onward, andeven then only very sparingly until about the mid-sixth century BCE,when they begin to occur in somewhat higher frequency.32 Altogether, only twenty of these thirty-one poems are either mentioned by title orquoted. None is quoted in full, and the only quotation of a full stanzaof forty-eight characters appears in the entry for the year 514 BCE.33Moreover, quotations or recitations mentioned under particular years inthe Zuo Tradition did not necessarily take place during these times butmay have been inserted when the text was compiled some time in thelate fourth century BCE; the same may be true of the eleven “MajorCourt Hymns” quoted in the Conversations of the States.34 Even if allthese references were made on the historical occasions attributed tothem, the traces of “Major Court Hymns” in texts from before or during Kongzi’s lifetime would still be scant. Aside from a single stanzalength quotation, the textual record contains no more than a few dozenwords, beginning in 706 BCE and, hence, post-dating the reigns of theearly Zhou kings by more than three centuries.

God through the Book of Poetry: The Ancient Chinese and Their Loss of Theistic Faith
https://baylor-ir.tdl.org/bitstream/handle/2104/10239/Thesis.pdf?sequence=2&isAllowed=y

The being of Tian 天 (Heaven) is the same as that of God discussed in Chapter 1.When the Zhou dynasty came into power, they conflated Shangdi with Heaven, theirhighest god; centuries later, the Romans would do the same thing after their capture ofGreece. As with Jupiter and Zeus, Shangdi and Heaven were essentially the same beingin ancient Chinese religion; hence, He is the same being as God. For identificationpurposes, however, Tian will be translated as “Heaven” within the poem but referred toas God without.

His virtue was also passed down to his descendants, as seen in Wei Tian Zhi Ming維天之命:維天之命 “The Commandments of Heaven”維天之命 The commandments of Heaven10於穆不已 Are profound and unceasing.於乎不顯 Oh, how luminous 文王之德之純 Is King Wen’s virtue and purity!假以溢我 His virtue overflows to us;我其收之 We humbly receive it.駿惠我文王 Submit to our wise King Wen;曾孫篤之May his farthest descendants be whole-heartedly likehim.11This poem, along with the following Wo Jiang 我將, speaks of one of the great rulers ofthe Zhou: Ji Chang 姬昌, more commonly known as Zhou Wen Wang 周文王 (KingWen of Zhou), born in 1152 BC. Although a king of the Zhou people, King Wen did notrule during the Zhou dynasty, as the Western Zhou began in 1046 BC and King Wen diedin 1056 BC. However, he was instrumental in the downfall of the previous Shang dynastyby forming alliances with the neighboring Shi 士, or chiefs, during his tenure as Xi Bai西伯 (Lord of the West). This helped to build up the military strength necessary tooverthrow the Shang dynasty, an act accomplished by King Wen’s son.

Chinese Imperial City Planning
https://books.google.co.uk/books?id=in68DmD8YVoC&pg=PA32&lpg=PA32&dq=Wen+Wang+poem+shi+jing&source=bl&ots=50tvqRHtKJ&sig=ACfU3U1IahFn1v3V44BujtzqBDW3ZxhO5Q&hl=en&sa=X&ved=2ahUKEwiEm_-c0tPwAhWONcAKHVxODR8Q6AEwCXoECAsQAw#v=onepage&q=Wen%20Wang%20poem%20shi%20jing&f=false

Da Ming:

Couldn't find anything good.

Mian:

Couldn't find anything good.

Yu Pu:

mentioned in The Halberd at Red Cliff: Jian'an and the Three Kingdoms
https://books.google.co.uk/books?id=QfgFEAAAQBAJ&pg=PA438&lpg=PA438&dq=Yu+Pu+poem+shi+jing&source=bl&ots=IBcgdlvdi1&sig=ACfU3U2X9cEhtWDYsj9gn43-6wJFZWdGyA&hl=en&sa=X&ved=2ahUKEwi2_u2W19PwAhWwgVwKHY_iD2QQ6AEwEnoECBIQAw#v=onepage&q=Yu%20Pu%20poem%20shi%20jing&f=false

Han Lu:

Couldn't find anything good.

Si Zhai:

Poetic Transformations: Eighteenth-Century Cultural Projects on the Mekong Plains
https://books.google.co.uk/books?id=TfcFEAAAQBAJ&pg=PA68&lpg=PA68&dq=Si+Zhai+poem+shi+jing&source=bl&ots=qSkIT5XD_a&sig=ACfU3U2Bw3GavnS9NSBo0fSo9Kr3e4sRRA&hl=en&sa=X&ved=2ahUKEwiB3OWR2NPwAhUMZMAKHV3jDr8Q6AEwE3oECCAQAw#v=onepage&q=Si%20Zhai%20poem%20shi%20jing&f=false

Huang Yi:

The Homeric Epicsand the ChineseBook of Songs:Foundational Texts Compared
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

"Yet, the heavy burden placed on the cultural and historical meaning
of the Poetry reveals an acute problem: while, in general, the Poetry is
believed to contain earlier and later layers of text, with the earliest
poems possibly dating from the eleventh and tenth centuries BCE, the
textual record up to the Han anthology is extremely fragmentary. In the
Mao Poetry, the longest poem, “The Closed Temple” (Mao 300 “Bi
gong”), contains 492 characters, and several others are nearly as extensive. However, the longest quotation of any poem in any early text outside the anthology itself contains merely forty-eight characters: one
of eight stanzas of “Great indeed!” (Mao 241 “Huang yi”) as quoted in
the Zuo Tradition (Zuozhuan), the grand pre-imperial work of historiography probably dating from the fourth century BCE.9
The only quotation of an entire poem is of “Grand Heaven Had Its Accomplished
Mandate” (Mao 271 “Haotian you cheng ming”), a text of merely 30
characters quoted in The Conversations of the States (Guoyu), another
work of early historiography possibly contemporaneous with the Zuo
Tradition."

Ling Tai:

I can't quite work out of this pertains: The Sinitic Civilization Book I: A Factual History Through the Lens of Archaeology, Bronzeware, Astronomy, Divination, Calendar and the Annals

https://books.google.co.uk/books?id=m5F2DwAAQBAJ&pg=PT398&lpg=PT398&dq=Ling+Tai+poem+shi+jing&source=bl&ots=yjIp3DkxSt&sig=ACfU3U3zkSRNCoxzdMouAac-jwZHyF1cog&hl=en&sa=X&ved=2ahUKEwjMi_fW2dPwAhWNYsAKHWbKBA8Q6AEwEnoECB0QAw#v=onepage&q=Ling%20Tai%20poem%20shi%20jing&f=false

Xia Wu:

Repetition, Rhyme, and Exchange in The Book of Odes
https://www.jstor.org/stable/2719486?seq=1

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

propose instead to
examine one other poem of the Da Ya section of the Poetry that has never attracted the
sort of attention that “Jiang Han” has, but which, I believe, is best understood only in
comparison with certain bronze inscriptions of the mid to late Western Zhou period.
According to the Mao Preface, the poem “Xia Wu” 下武 (Mao 243) is an encomium to
Zhou Wu Wang (r. 1049/45-1043 B.C.), the son of the nominal founder of the Zhou
dynasty, Zhou Wen Wang (d. 1050 B.C.), though there has also long been a suggestion
that the poem should pertain to Wu Wang’s son Cheng Wang (r. 1042/35-1006 B.C.) or
even a later king.18 The poem includes six stanzas of four phrases each. I present it here
with the translation of Arthur Waley following below it:19
“Xia Wu” 下武 (Mao 243)
下武維周，世有哲王。三后在天，王配于京。
王配于京，世德作求。永言配命，成王之孚。
成王之孚，下土之式。永言孝思，孝思維則。
媚茲一人，應侯順德。永言孝思，昭哉嗣服。
昭茲來許，繩其祖武。於萬斯年，受天之祜。
受天之祜，四方來賀。於萬斯年，不遐有佐。

Zhou it is that continues the footsteps here below.
From generation to generation it has had wise kings.
Three rulers are in Heaven,
And the king is their counterpart in his capital.
He is their counterpart in his capital,
The power of generations he has matched;
Long has he been mated to Heaven’s command
And fulfilled what is entrusted to a king.
Has fulfilled what is entrusted to a king,
A model to all on earth below;
Forever pious toward the dead,
A very pattern of piety.
Loved is this One Man,
Meeting only with docile powers;
Forever pious toward the dead,
Gloriously continuing their tasks.
Yes, gloriously he steps forward
Continuing in the footsteps of his ancestors.
“For myriads of years
May you receive Heaven’s blessing!
Receive Heaven’s blessing!”
So from all sides they come to wish him well.
“For myriads of years
May your luck never fail.”
As have most commentators, Waley understands this poem as a praise of one or another
Zhou king. He focuses on the line San hou zai tian 三后在天 (“Three rulers are in
Heaven,” in his translation) to suggest that it may pertain to Zhou Kang Wang (r.
1005/03-978 B.C.), though he suspects it is later than his time. Others have seen in the
last line of the second stanza and first line of the third stanza, Cheng wang zhi fu 成王之
孚, the title of Zhou Cheng Wang 成王, whereas Waley’s translation, “And fulfilled what
is entrusted to a king,” which, it should be noted, accords with the traditional reading of
the line, takes the word cheng 成 as a verb meaning “to complete, to fulfill,” with wang
王 “king” as part of its direct object. I think the proper noun (i.e., Cheng Wang)
interpretation is by far the easier reading of this line, but it is not, I think, the key to
understanding the poem. For that we need to look to its fourth stanza, and especially the
second line of it: ying hou shun de 應侯順德, which Waley has translated, more or less in
accord with the traditional interpretation, as “Meeting only with docile powers.” Here
too, it is easy (indeed, far easier, I would suggest) to read the two two graphs ying hou 應侯 as a proper noun, “the lord of Ying,” than as two verbs, as the traditional interpretation
does. 20 According to the Mao zhuan 毛傳, ying 應, which usually means “to respond,”
here means dang 當 “to match; to serve as; to be,” while hou 侯, which is almost always
a noun indicating a social rank (traditionally translated as “marquis,” though now more
commonly rendered as simply “lord”) here is to be understood as wei 維 “to be.” As far
as I know, there is no support anywhere else in the early Chinese literary tradition for this
latter reading, but even if there were the clause as a whole would still not make any sense,
either grammatically (the king cannot “be” virtue) or conceptually (it is very strange to
describe the king as being “compliant” or “docile” [i.e., shun 順]). It is only when we
realize that there was a state called Ying 應 that was ruled by “lords” (hou 侯), and which
had a close and very special relationship with the Zhou royal family, that we can begin to
understand this line and, indeed, the entire poem.

(There's a fair amount of further analysis of this poem herein.)

Wen Wang You Sheng:

Repetition, Rhyme, and Exchange in The Book of Odes
https://www.jstor.org/stable/2719486?seq=1

Songs of King Wen
http://www.silkqin.com/02qnpu/10tgyy/tg09wwq.htm

The Homeric Epics and the Chinese Book of Songs: Foundational Texts Compared
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

Reading Philosophy, Writing Poetry: Intertextual Modes of Making Meaning
https://books.google.co.uk/books?id=9fYFEAAAQBAJ&pg=PA123&lpg=PA123&dq=Wen+Wang+You+Sheng+poem+shi+jing&source=bl&ots=4T9zEXy3Rd&sig=ACfU3U1e7zAhMKFTZCTuy-7l52QnCjqDIA&hl=en&sa=X&ved=2ahUKEwjYjoHr29PwAhUVoVwKHXMuC_wQ6AEwEnoECAgQAw#v=onepage&q=Wen%20Wang%20You%20Sheng%20poem%20shi%20jing&f=false

Chinese Imperial City Planning
https://books.google.co.uk/books?id=in68DmD8YVoC&pg=PA32&lpg=PA32&dq=Wen+Wang+You+Sheng+poem+shi+jing&source=bl&ots=50tvqRJzII&sig=ACfU3U055LAzFdITwua3gdPoYKFPkB435A&hl=en&sa=X&ved=2ahUKEwjYjoHr29PwAhUVoVwKHXMuC_wQ6AEwEXoECBAQAw#v=onepage&q=Wen%20Wang%20You%20Sheng%20poem%20shi%20jing&f=false

Writing and Literacy in Early China: Studies from the Columbia Early China Seminar
https://books.google.co.uk/books?id=63oUCgAAQBAJ&pg=PA488&lpg=PA488&dq=Wen+Wang+You+Sheng+poem&source=bl&ots=BUUuhSJdxR&sig=ACfU3U1bKD9PnQjHkoLS7cpsnhv9ioLrTg&hl=en&sa=X&ved=2ahUKEwiC46CC3NPwAhVylFwKHTfFDDkQ6AEwEHoECBUQAw#v=onepage&q=Wen%20Wang%20You%20Sheng%20poem&f=false

The Sinitic Civilization Book I: A Factual History Through the Lens of Archaeology, Bronzeware, Astronomy, Divination, Calendar and the Annals
https://books.google.co.uk/books?id=m5F2DwAAQBAJ&pg=PT126&lpg=PT126&dq=Wen+Wang+You+Sheng+poem&source=bl&ots=yjIp3DkDVr&sig=ACfU3U1B3K1YUuZQ16lWcJTJYAQWvBaWTw&hl=en&sa=X&ved=2ahUKEwiC46CC3NPwAhVylFwKHTfFDDkQ6AEwEnoECAcQAw#v=onepage&q=Wen%20Wang%20You%20Sheng%20poem&f=false

Dang:

Nothing of note

Yi:

Nothing of note

Sang Rou:

Writing and Authority in Early China
https://books.google.co.uk/books?id=8k4xn8CyHAQC&pg=PA152&lpg=PA152&dq=Sang+Rou+poem&source=bl&ots=tH5YUw6kPg&sig=ACfU3U3i_QJkSrSqg0prDPMBSh95Fz0XBg&hl=en&sa=X&ved=2ahUKEwiAsdeIuvTwAhXNOuwKHXvZAUMQ6AEwE3oECBgQAw#v=onepage&q=Sang%20Rou%20poem&f=false

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

The Sinitic Civilization Book I: A Factual History Through the Lens of Archaeology, Bronzeware, Astronomy, Divination, Calendar and the Annals
https://books.google.co.uk/books?id=m5F2DwAAQBAJ&pg=PT596&lpg=PT596&dq=Sang+Rou+poem+shi+jing&source=bl&ots=yjIq4GfBUu&sig=ACfU3U3CbfubzoCu43wsWHUK5u2Wvjvmiw&hl=en&sa=X&ved=2ahUKEwiok4eZuvTwAhXHGuwKHS_WACsQ6AEwEXoECB4QAw#v=onepage&q=Sang%20Rou%20poem%20shi%20jing&f=false

Reading Du Fu: Nine Views
https://books.google.co.uk/books?id=UJ4MEAAAQBAJ&pg=PA180&lpg=PA180&dq=Sang+Rou+poem&source=bl&ots=K_4YwWv1L0&sig=ACfU3U2tGEwsVKW7hmVz7imQXwD-Qo0VGw&hl=en&sa=X&ved=2ahUKEwiAsdeIuvTwAhXNOuwKHXvZAUMQ6AEwEnoECBkQAw

Yun Han:

The Cambridge History of Ancient China: From the Origins of Civilization to 221 BC
https://books.google.co.uk/books?id=cHA7Ey0-pbEC&pg=PA336&lpg=PA336&dq=Yun+Han+poem+shi+jing&source=bl&ots=Y1Fsnv9e_D&sig=ACfU3U3wS7mVhnS0LpeVQiMJxa8lKfgKoA&hl=en&sa=X&ved=2ahUKEwiivubuxPTwAhWNlqQKHUBPDGQQ6AEwEnoECBwQAw#v=onepage&q=Yun%20Han%20poem%20shi%20jing&f=false

Song Gao:

Authorship and the Shijing | Fate and Heroism in Early Chinese Poetry
https://journals.openedition.org/annuaire-cdf/1785

Curiously, the most visible statements on authorship in these songs are not in the “Airs of the States” (guofeng) that speak intensely, and often emotionally, of personal experience. Instead, they are found mostly in the “Major Court Hymns” (daya) that arose within the ritual institutions of the Zhou royal court. In particular, songs 259 (“Song gao”) and 260 (“Zheng min”) both conclude with a statement that “Jifu made a recitation” in order to influence a named historical figure. These two songs are understood as compositions by Yin Jifu (“Overseer Jifu”), a high Western Zhou official and military leader from around 900 BC who is briefly mentioned also in other sources. In each song, the final quatrain that mentions Jifu as the “reciter” is taken to define the entire text as Jifu’s personal expression. In addition, since Han times the next two songs in the Shijing – 261 (“The Jiang and the Han”) and 262 (“Han yi”) – have been likewise attributed to him. While the authorship of songs 261 and 262 was questioned by later imperial scholars, that of “Song gao” and “Zheng min” remains universally accepted.A close analysis of the four texts raises doubts about Jifu as the author of any of the four songs. With regard to “Song gao” and “Zheng min,” one observes: first, in both songs, the concluding claim about Jifu is formally distinct from the preceding text, separated by a different rhyme; second, in each song, the concluding claim about Jifu as “reciter” (not to mention author) is not related to anything else in the preceding lyrics; third, the songs have no coherent voice but are composite structures of different voices and idioms, including direct royal speech, proverbs, language from administrative documents, poetic phrases found elsewhere in the Shijing, and narrative prose; fourth, while each text is a composite structure of such different voices, the two texts are also considerably different in nature and do not suggest a common author; fifth, both songs show a number of parallels especially to “The Jiang and the Han” and “Han yi”, two texts that are even more densely modeled on administrative documents; sixth, while quotations of “Song gao” and “Zheng min” abound in early texts, these quotations never include the final quatrains; seventh, no early reference to the texts mentions Jifu as author; eighth, when Jifu is mentioned in other sources, he appears as a military leader but never as an author of texts; and ninth, self-referential notions of authorship are exceedingly rare in Shijing – and in pre-imperial sources altogether – suggesting that authorship was not an integral property of such poetry.
Taken together, these observations make a compelling case against Jifu as the author of “Song gao” and “Zheng min,” not to mention “The Jiang and the Han” and “Han yi.” But what do they tell us about the raison d’être for the final quatrains in “Song gao” and “Zheng min”? First, it may be that “Jifu has made a recitation” does not refer at all to authorship but to the mere recitation (song) of the text. Second, the final quatrains are most likely later (if still pre-imperial) additions to the two songs: instead of marking authorship, they merely connect exemplary – and highly non-individual – court compositions with the voice of an exemplary official of high status. As such, the final quatrains of the two songs are retrospective constructions of remembrance and interpretation; they reveal how a later audience imagined the performance of ritual communication at the Western Zhou royal court.

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

These poems are “Si mu” 四牡 (Mao 162), “Jie nan shan” 節南山 (Mao 191), “He ren si” 何人斯 (Mao199), “Xiang bo” 巷伯 (Mao 200), “Si yue” 四月 (Mao 204), “Juan e” 卷阿 (Mao 252), “Sang rou” 桑柔(Mao 257), “Song gao” 崧高 (Mao 259), and “Zheng min” 烝民 (Mao 260), of which “Jie nan shan,”“Xiang bo,” “Song gao” and “Zheng min” mention their “makers” by name (Jiafu 家父 in the first case,Mengzi 孟子 in the second, and Jifu 吉甫 in the last two cases).

... Even though this inscription is perhaps not the most representative ofWestern Zhou bronze inscriptions to compare with the form of the poem “Jiang Han,”there is more reason than just its date and similar content to consider it: there is somereason to believe that the patron of the vessel, referred to within the inscription variouslyas Xi Jia 兮甲 or as Xibo Jifu 兮伯吉父, is the same figure as the Jifu 吉甫 who takescredit for “making” the two Poetry poems “Song gao” 崧高 (Mao 259) and “Zheng min”烝民 (Mao 260).15

The Sinitic Civilization Book I: A Factual History Through the Lens
https://books.google.co.uk/books?id=m5F2DwAAQBAJ&pg=PT608&lpg=PT608&dq=Song+Gao+poem+shi+jing&source=bl&ots=yjIq4HjAUu&sig=ACfU3U0D-2C95PWhpkE292aIsKfqyVadyQ&hl=en&sa=X&ved=2ahUKEwiDr6j97fTwAhWSPewKHXrSA38Q6AEwEnoECAoQAw#v=onepage&q=Song%20Gao&f=false

Zheng Min:

Writing and Rewriting the Poetry

http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

Authorship and the Shijing | Fate and Heroism in Early Chinese Poetryhttps://journals.openedition.org/annuaire-cdf/1785

(see above excerpt from ibid.)

Han Yi:

The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685?seq=1

Authorship and the Shijing | Fate and Heroism in Early Chinese Poetry
https://journals.openedition.org/annuaire-cdf/1785
(see above excerpt from ibid.)

An Ever-contested Poem: The "Classic of Poetry"'s "Hanyi" and the Sino-Korean History Debate
https://www.jstor.org/stable/23263430?seq=1

Jiang Han:

The Homeric Epics and the Chinese Book of Songs: Foundational Texts Compared
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

(Extensive discussion.)

Authorship and the Shijing | Fate and Heroism in Early Chinese Poetry
https://journals.openedition.org/annuaire-cdf/1785

Chang Wu:

TO LEAVE OR NOT TO LEAVE: THE CHU CI 楚辭 (VERSES OF CHU) AS RESPONSE TO THE SHI JING 詩經 (CLASSIC OF ODES)
https://www.cambridge.org/core/journals/early-china/article/abs/to-leave-or-not-to-leave-the-chu-ci-verses-of-chu-as-response-to-the-shi-jing-classic-of-odes/5C9E66453BC61F6F1A6ABC9803FBAEAE

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

Zhan Yang:Eunuch and Emperor in the Great Age of Qing Rule
https://books.google.co.uk/books?id=XAFiDwAAQBAJ&pg=PA239&lpg=PA239&dq=Zhan+Yang+poem+shi+jing&source=bl&ots=u4pyjc82vs&sig=ACfU3U1OtJVC7TRV_rreoc58rOVmZ4T09g&hl=en&sa=X&ved=2ahUKEwif6InjgPzwAhWNQUEAHUcjB6YQ6AEwEXoECBIQAw#v=onepage&q=Zhan%20Yang%20poem%20shi%20jing&f=false

Literary History: Towards a Global Perspective: Volume 1: Notions of Literature Across Cultures
https://books.google.co.uk/books?id=WEcz6xGYW40C&pg=PA87&lpg=PA87&dq=Zhan+Yang+poem+shi+jing&source=bl&ots=91FTPiByTx&sig=ACfU3U0H45LD7p1PyXGyq__B5BC5949KiA&hl=en&sa=X&ved=2ahUKEwif6InjgPzwAhWNQUEAHUcjB6YQ6AEwEnoECBEQAw#v=onepage&q=Zhan%20Yang%20poem%20shi%20jing&f=false

Shao Min:

The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685?seq=1

Words and Images: Chinese Poetry, Calligraphy, and Painting
https://books.google.co.uk/books?id=wJFbPBjj6ucC&pg=PA274&lpg=PA274&dq=Shao+Min+poem&source=bl&ots=JefagT1RS-&sig=ACfU3U0LSGBJCp46uNHvEPaFUEC202oafQ&hl=en&sa=X&ved=2ahUKEwiSnY-bgvzwAhWOSsAKHUHiD_EQ6AEwEXoECBEQAw#v=onepage&q=Shao%20Min%20poem&f=false

A Dialogue between Haizi's Poetry and the Gospel of Luke: Chinese Homecoming and the Relationship with Jesus Christ
https://books.google.co.uk/books?id=zGZjDwAAQBAJ&pg=PA24&lpg=PA24&dq=Shao+Min+poem&source=bl&ots=6qBO8YPv57&sig=ACfU3U3aMi7SgNC-HdOMaxpj11qBobz42Q&hl=en&sa=X&ved=2ahUKEwiSnY-bgvzwAhWOSsAKHUHiD_EQ6AEwEnoECBIQAw#v=onepage&q=Shao%20Min%20poem&f=false

General:

Across the Gateless Barriers: Hyperlinked Farming Poetry in the Shi jing, by Hsiang-Lin Shih
https://hilo.hawaii.edu/jpact/issues/volume-4-2021/hyperlinked-farming-poetry.php

Qing Miao:

Shijing 詩經 or Maoshi 毛詩
http://www.chinaknowledge.de/Literature/Classics/shijing.html

Wei Tian Zhi Ming:Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

James Legge's Metrical "Book of Poetry"
https://www.jstor.org/stable/620770

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA259&lpg=PA259&dq=Wei+Tian+Zhi+Ming+poem+shi+jing&source=bl&ots=o4Wv94EcsZ&sig=ACfU3U2O5GQbezZQE9gREfkE0LMq3eEAAQ&hl=en&sa=X&ved=2ahUKEwjA4Ynsw47xAhVOhRoKHUl2A9gQ6AEwEHoECBQQAw#v=onepage&q=Wei%20Tian%20Zhi%20Ming%20poem%20shi%20jing&f=false

The Cambridge History of Ancient China: From the Origins of Civilization
https://books.google.co.uk/books?id=cHA7Ey0-pbEC&pg=PA332&lpg=PA332&dq=Wei+Tian+Zhi+Ming+poem+shi+jing&source=bl&ots=Y1FtmucfYC&sig=ACfU3U3ji8LCRJhgIG99lmhIhTm1DnWY_g&hl=en&sa=X&ved=2ahUKEwjA4Ynsw47xAhVOhRoKHUl2A9gQ6AEwEXoECAUQAw#v=onepage&q=Wei%20Tian%20Zhi%20Ming%20poem%20shi%20jing&f=false

History of Chinese Philosophy in the Ming Dynasty
https://books.google.co.uk/books?id=iGwrEAAAQBAJ&pg=PA314&lpg=PA314&dq=Wei+Tian+Zhi+Ming+poem+shi+jing&source=bl&ots=RW2cgzELir&sig=ACfU3U3qwJDFxl4HHrzLdwXNvRaQqyo8tQ&hl=en&sa=X&ved=2ahUKEwjA4Ynsw47xAhVOhRoKHUl2A9gQ6AEwEnoECAQQAw#v=onepage&q=Wei%20Tian%20Zhi%20Ming%20poem%20shi%20jing&f=false

The Mandate of Heaven: The Men Who Governed Han China
https://brill.com/view/book/9789047413363/BP000015.xml

Writing and Authority in Early China
https://books.google.co.uk/books?id=LnMpI8H_rREC&pg=PA419&lpg=PA419&dq=Wei+Tian+Zhi+Ming+poem&source=bl&ots=T54GNKEZbK&sig=ACfU3U35aBCrnAPX6T1Dru5dc3dJbnESHQ&hl=en&sa=X&ved=2ahUKEwj_2I-ExI7xAhUDuRoKHS7QCoAQ6AEwEnoECAYQAw#v=onepage&q=Wei%20Tian%20Zhi%20Ming%20poem&f=false

Wei Qing:

Nothing useful.

Lie Wen:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA253&lpg=PA253&dq=Lie+Wen+poem+shi+jing&source=bl&ots=o4Wva-C9xZ&sig=ACfU3U0wTPn_Dh9i88T9wKlOL81s5yY3AA&hl=en&sa=X&ved=2ahUKEwibq4zd9Y_xAhXNTsAKHcn4CiEQ6AEwEXoECAQQAw#v=onepage&q=Lie%20Wen%20poem%20shi%20jing&f=false

Hao Tian You Cheng Ming:

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621

The Homeric Epicsand the ChineseBook of Songs:Foundational Texts Compared
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

In theMao Poetry, the longest poem, “The Closed Temple” (Mao 300 “Bigong”), contains 492 characters, and several others are nearly as extensive. However, the longest quotation of any poem in any early textoutside the anthology itself contains merely forty-eight characters: oneof eight stanzas of “Great indeed!” (Mao 241 “Huang yi”) as quoted inthe Zuo Tradition (Zuozhuan), the grand pre-imperial work of historiography probably dating from the fourth century BCE.9 The only quotation of an entire poem is of “Grand Heaven Had Its AccomplishedMandate” (Mao 271 “Haotian you cheng ming”), a text of merely 30characters quoted in The Conversations of the States (Guoyu), anotherwork of early historiography possibly contemporaneous with the ZuoTradition.1

God through the Book of Poetry: The Ancient Chinese and Their Loss of Theistic Faith
https://baylor-ir.tdl.org/bitstream/handle/2104/10239/Thesis.pdf?sequence=2&isAllowed=y

This had implications for the descendants of Wen and Wu, as revealed by HaoTian You Cheng Ming 昊天有成命. 14昊天有成命 “High Heaven Made a Command”昊天有成命 High Heaven made a command,13二后受之 The two kings14 received it.成王不敢康 King Cheng did not dare to stay idle,夙夜基命宥密 Day and night working diligently and benevolently.於緝熙 Oh, how glorious,單厥心 Doing his utmost,肆其靖之 Consolidating and giving stability to the world.Upon the sudden death of King Wu in 1043 BC, three years after he ascended the throne,kingship passed to his son Ji Song 姬誦, later known as Zhou Cheng Wang 周成王 (KingCheng of Zhou). As Cheng (1060 – 1021 BC) was still young at the time, his uncle JiDan 姬旦, the Zhou Gong 周公 (Duke of Zhou), acted as regent for seven years, afterwhich he ceded power to Cheng. Under the rule of King Cheng, the Zhou dynastyconsolidated its power and became a stable power in Northern China.Here again, the influence of the Mandate of Heaven is present. The “command”of Heaven was given to Kings Wen and Wu and implied to be passed on to King Cheng.The following line then says, “King Cheng did not dare to stay idle 成王不敢康,”followed by a recounting of his diligence and hard work. According to his father Wu, Heaven had given the Zhou people the right to rule because of the lack of virtue in theprior Shang dynasty; conversely, this meant that if any of the succeeding kings in theZhou line strayed from Heaven’s directives, someone more deserving would alsooverthrow them. Thus Cheng, as king, had an obligation of moral goodness. He and hisson, mentioned in the following poem, both carried out this duty so well that there was noneed for corporal punishment for forty years.

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA251&lpg=PA251&dq=Hao+Tian+You+Cheng+Ming+poem+shi+jing&source=bl&ots=o4Wva0Cfw4&sig=ACfU3U1IAfPbBfCZ8xYorbWIUkWG7e0ccg&hl=en&sa=X&ved=2ahUKEwjKzZKanZDxAhUbRUEAHckgCAUQ6AEwEHoECAQQAw#v=onepage&q=Hao%20Tian%20You%20Cheng%20Ming%20poem%20shi%20jing&f=false

Shījīng 詩經 INTRODUZIONE GENERALE E TRADUZIONE DEGLI “INNI ANCESTRALI DI ZHOU”
https://www.academia.edu/40316677/Sh%C4%ABj%C4%ABng_%E8%A9%A9%E7%B6%93_INTRODUZIONE_GENERALE_E_TRADUZIONE_DEGLI_INNI_ANCESTRALI_DI_ZHOU_

“XI SHUAI” 蟋蟀 (“CRICKET”) AND ITS CONSEQUENCES: ISSUES IN EARLY CHINESE POETRY AND TEXTUAL STUDIES
https://www.cambridge.org/core/journals/early-china/article/abs/xi-shuai-cricket-and-its-consequences-issues-in-early-chinese-poetry-and-textual-studies/72AB72BACB8D29953E9EF7296D9010A1

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621

Ideology of Power and Power of Ideology in Early China
https://books.google.co.uk/books?id=PiRACgAAQBAJ&pg=PA63&lpg=PA63&dq=Hao+Tian+You+Cheng+Ming+poem&source=bl&ots=gTOZRdSgWa&sig=ACfU3U1dvBqCaBPvSUtH8CnYcrQf8WPHdg&hl=en&sa=X&ved=2ahUKEwivzoetnZDxAhWJsBQKHQs4DoMQ6AEwEnoECAQQAw#v=onepage&q=Hao%20Tian%20You%20Cheng%20Ming%20poem&f=false

Wo Jiang:

The Sinitic Civilization Book Ii: A Factual History Through the Lens of
https://books.google.co.uk/books?id=P1h7DwAAQBAJ&pg=PA91&lpg=PA91&dq=Wo+Jiang+poem&source=bl&ots=ya2Xb8qHKn&sig=ACfU3U2P0xHfRDfd530UQEfyl1Sqo7NrcQ&hl=en&sa=X&ved=2ahUKEwjOpdvOpJDxAhUSFRQKHdCRC0wQ6AEwEnoECA4QAw#v=onepage&q=Wo%20Jiang%20poem&f=false

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621

Shi Mai:

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA257&lpg=PA257&dq=Shi+Mai+poem&source=bl&ots=o4Wva0F8A0&sig=ACfU3U21ttil3bv7VLR8bCft31CL4cr5WA&hl=en&sa=X&ved=2ahUKEwiVroX0pZDxAhWaAmMBHYBbATMQ6AEwEXoECA4QAw#v=onepage&q=Shi%20Mai%20poem&f=false

Zhi Jing:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA254&lpg=PA254&dq=Zhi+Jing+poem+shi+jing&source=bl&ots=o4Wva0FgwY&sig=ACfU3U1yrmCSPpS_psrq89PpXjnWW2N6FA&hl=en&sa=X&ved=2ahUKEwi_v6rcqJDxAhXC4uAKHemeCi0Q6AEwEnoECAUQAw#v=onepage&q=Zhi%20Jing%20poem%20shi%20jing&f=false

Si Wen:

Nothing useful.

Chen Gong:

The Bloomsbury Research Handbook of Early Chinese Ethics and Political Philosophy
https://books.google.co.uk/books?id=oxGEDwAAQBAJ&pg=PT99&lpg=PT99&dq=Chen+Gong+poem+shi+jing&source=bl&ots=jT8SB1TlOQ&sig=ACfU3U1MkuZlbMZC0VtYYDzpXBxpTaRyRQ&hl=en&sa=X&ved=2ahUKEwjsltnCx5rxAhVJwKQKHU5RCkQQ6AEwEnoECBEQAw#v=onepage&q=Chen%20Gong%20poem%20shi%20jing&f=false

Yi Xi:

Nothing of note.

Zhen Lu:

Nothing of note.

Feng Nian:

The Economic History of Remote Antiquity Period and The Three Dynasties
https://books.google.co.uk/books?id=7NaJDwAAQBAJ&pg=PT164&lpg=PT164&dq=Feng+Nian+poem&source=bl&ots=Ig3IHI9Jdv&sig=ACfU3U0iyFcFYIZMHGYJaBK4DuJTS1psDw&hl=en&sa=X&ved=2ahUKEwj31ujnyJrxAhXGzqQKHWKtDzMQ6AEwEXoECBEQAw#v=onepage&q=Feng%20Nian%20poem&f=false

The Classic of Changes in Cultural Context
https://books.google.co.uk/books?id=oJjumAkVfM8C&pg=PT223&lpg=PT223&dq=Feng+Nian+poem&source=bl&ots=otGiejl1DK&sig=ACfU3U3336eB6stiyKk5z7-jTWcfkD99gw&hl=en&sa=X&ved=2ahUKEwj31ujnyJrxAhXGzqQKHWKtDzMQ6AEwEnoECBIQAw#v=onepage&q=Feng%20Nian%20poem&f=false

Change in Shijing Exegesis: Some Notes on the Rediscovery of the Musical Aspect of the "Odes" in the Song Period
https://www.jstor.org/stable/4528599

The Homeric Epicsand the ChineseBook of Songs
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

"Almost all “Eulogies of Zhou” are very short: of the thirty-one poems, eight have between 18 and 30 characters; nine between 31 and 40;four between 41 and 50; six between 51 and 60; and only the remaining four hymns have 62, 64, 92, and 124 characters. It is not certainthat, originally, these poems existed as discrete, self-contained textualunits: first, in the Zuo Tradition account quoted above, the eulogiesrelated to King Wu’s conquest form a single unit of several sections orstanzas (zhang) while in the Mao Poetry, they are divided into individual poems with separate titles.18 Second, a hymn of just 18 words,accompanied by music and dance, was probably not considered (orperformed as) a text of its own. Third, some “Eulogies of Zhou” areclosely interrelated: they share entire lines or even couplets with oneanother but not with other poems, marking them as a single larger unitof text.19 Thus, of the thirty components of characters of “Year ofAbundance” (Mao 279 “Feng nian”), sixteen are verbatim identical toverses in “Clear Away the Grass” (Mao 290 “Zai shan”). At the sametime, “Clear Away the Grass” also shares three more lines with “GoodPloughs” (Mao 291 “Liang si”), and additional individual lines withfour other neighboring texts.20 One may, thus, think of the texts of the“Eulogies of Zhou” not as individually authored texts but as variationsof material taken from a shared poetic repertoire. This repertoire waslargely confined to the “Eulogies” themselves (from which later court hymns then borrowed the occasional line), operating within the formaland semantic constraints of ritual utterances. In the performance of theancestral sacrifice, they represented configurations of what Jan Assmann calls “identity-securing knowledge” that is “usually performed inthe form of a multi-media staging which embeds the linguistic textundetachably in voice, body, miming, gesture, dance, rhythm, andritual act … By the regularity of their recurrence, feasts and rites grantthe imparting and transmission of identity-securing knowledge andhence the reproduction of cultural identity.” 21 Not surprisingly, the“Eulogies” are only one arena where this repertoire of memory of theZhou foundational narrative becomes realized and staged in varioustextual forms; another place is the sequence of several “harangues” (shi)in the Classic of Documents where King Wu’s conquest is recalled invarious speeches attributed to him, with the king staged as speaker.22 "You Gu:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA261&lpg=PA261&dq=You+Gu+poem+shi+jing&source=bl&ots=o4Wvd6ydr4&sig=ACfU3U3ghO_ovZkTQeYa_UJr02rjZHwoVQ&hl=en&sa=X&ved=2ahUKEwiW2IW9yprxAhVD6qQKHbqhBT0Q6AEwEHoECBMQAw#v=onepage&q=You%20Gu%20poem%20shi%20jing&f=false

Qian:

Nothing of note.

Yong:

Nothing of note.

Zai Jian:

The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685

Declarations of the Perfected, PART ONE
https://books.google.co.uk/books?id=mGasBQAAQBAJ&pg=PA161&lpg=PA161&dq=Zai+Jian+poem+shi+jing&source=bl&ots=uQLGFahp-t&sig=ACfU3U1cOT21G07bbBkOFiquh6t2wX0KsQ&hl=en&sa=X&ved=2ahUKEwjPwODQy5rxAhUymVwKHaBWAmYQ6AEwEnoECBEQAw#v=onepage&q=Zai%20Jian%20poem%20shi%20jing&f=false

You Ke:

Nothing of note.

Wu:

Nothing of note.

Min Yu Xiao Zi:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA257&lpg=PA257&dq=Min+Yu+Xiao+Zi+poem&source=bl&ots=o4Ww84C8y_&sig=ACfU3U391rNWiD41R0mDq80zeHw4SnkmVQ&hl=en&sa=X&ved=2ahUKEwjY5cTy06jxAhWGC2MBHTyYDBMQ6AEwEXoECAUQAw#v=onepage&q=Min%20Yu%20Xiao%20Zi%20poem&f=false

The Imperial Patronage of Labor Genre Paintings in Eighteenth-Century China
https://books.google.co.uk/books?id=qMocEAAAQBAJ&pg=PT91&lpg=PT91&dq=Min+Yu+Xiao+Zi+poem&source=bl&ots=sTafLDf05Q&sig=ACfU3U09lSZxhJz2okJhrGRZ-Z_vNOgyxA&hl=en&sa=X&ved=2ahUKEwjY5cTy06jxAhWGC2MBHTyYDBMQ6AEwEnoECAQQAw#v=onepage&q=Min%20Yu%20Xiao%20Zi%20poem&f=false

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

Some of the Song 頌 or Hymns also seem to derive from or comment on particular events at the royal or regional courts, suggesting perhaps that they would have been composed by the contemporary secretaries of the courts. (Footnote: See, for instance, the discussion by Fu Sinian 傅斯年 associating the poems “Min yu xiaozi” 閔予小子(Mao 286), “Fang luo” 訪落 (Mao 287) and “Jing zhi” 敬之 (Mao 288) of the Zhou Song section with theinstallation of Kang Wang (r. 1005/03-978 B.C.) as the Zhou king; Fu Sinian quanji 傅斯年全集 (Taibei:Lianjing shuban shiye gongsi, 1980), Vol. 1, pp. 218-20. )

The world's most beautiful poem. The Book of Songs: Ode (the essence of this)(Chinese Edition)
https://www.amazon.co.uk/worlds-most-beautiful-poem-Songs/dp/731104409X

Fang Luo:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA257&lpg=PA257&dq=Min+Yu+Xiao+Zi+poem&source=bl&ots=o4Ww84C8y_&sig=ACfU3U391rNWiD41R0mDq80zeHw4SnkmVQ&hl=en&sa=X&ved=2ahUKEwjY5cTy06jxAhWGC2MBHTyYDBMQ6AEwEXoECAUQAw#v=onepage&q=Min%20Yu%20Xiao%20Zi%20poem&f=false

Writing and Rewriting the Poetry
http://cccp.uchicago.edu/archive/2009BookOfOdesSymposium/2009_BookOfOdesSymposium_EdShaughnessy.pdf

Writing and Authority in Early China
https://books.google.co.uk/books?id=8k4xn8CyHAQC&pg=PA419&lpg=PA419&dq=Fang+Luo+poem+shi+jing&source=bl&ots=tH5_SvakSl&sig=ACfU3U2mbm-lSx3_ue3A-zTwqRayBE0E8A&hl=en&sa=X&ved=2ahUKEwidsZKv1ajxAhVTAWMBHbroDwwQ6AEwEHoECA8QAw#v=onepage&q=Fang%20Luo%20poem%20shi%20jing&f=false

Jing Zhi:

The Collection of Book of Songs and Its Selection of Jing Zhi from Zhou Gong Zhi Qin Wu——Answer to Mr.Xu Zhengying
http://en.cnki.com.cn/Article_en/CJFDTotal-ZZXK201602027.htm

Xiao Bi: The Age of Courtly Writing: Wen Xuan Compiler Xiao Tong (501-531) and His Circle
https://books.google.co.uk/books?id=QUFXoT6HwuQC&pg=PA297&lpg=PA297&dq=Xiao+Bi+poem+shi+jing&source=bl&ots=XVPoGMp7JA&sig=ACfU3U27FKOIog0zl0QOWWnvV_vDfW5okw&hl=en&sa=X&ved=2ahUKEwjtwdKu2KjxAhUGDWMBHRcbCe8Q6AEwEnoECB8QAw#v=onepage&q=Xiao%20Bi%20poem%20shi%20jing&f=false

Rhetoric in Ancient China, Fifth to Third Century, B.C.E
https://books.google.co.uk/books?id=72QURrAppzkC&pg=PA99&lpg=PA99&dq=Xiao+Bi+poem+shi+jing&source=bl&ots=lOdODwmTq9&sig=ACfU3U1C36BoXwAi8plq1qStLzDecgbttg&hl=en&sa=X&ved=2ahUKEwjtwdKu2KjxAhUGDWMBHRcbCe8Q6AEwEXoECB4QAw#v=onepage&q=Xiao%20Bi%20poem%20shi%20jing&f=false

Mentions that this and songs like it are about "portraying the king as a noble, virtuous and moral ruler, were sung by the king himself expressing his determination to ward off evil and self-corruption as well as his sincerity in seeking wise counsel from his ministers and officials."

Zai Shan:NATURE AND RELIGION IN ANCIENT CHINESE POETRY
https://www.jstor.org/stable/41933321

The Homeric Epics and the Chinese Book of Songs
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

Third, some “Eulogies of Zhou” are closely interrelated: they share entire lines or even couplets with one another but not with other poems, marking them as a single larger unit of text. Thus, of the thirty components of characters of “Year ofAbundance” (Mao 279 “Feng nian”), sixteen are verbatim identical to verses in “Clear Away the Grass” (Mao 290 “Zai shan”). At the same time, “Clear Away the Grass” also shares three more lines with “Good Ploughs” (Mao 291 “Liang si”), and additional individual lines with four other neighboring texts.20 One may, thus, think of the texts of the“Eulogies of Zhou” not as individually authored texts but as variations of material taken from a shared poetic repertoire.

Liang Si:

The Homeric Epics and the Chinese Book of Songs
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf

Si Yi:

Nothing of use.

Zhou:

An Interpretation of the Term fu 賦 in Early Chinese Texts: From Poetic Form to Poetic Technique and Literary Genre
https://www.jstor.org/stable/4140621

Huan:

Nothing of use.

Lai:

Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA257&lpg=PA257&dq=Lai+poem+shi+jing&source=bl&ots=o4Ww9Zycx-&sig=ACfU3U1M24KDbIKRTrfV_wgVDxFBcyzcxw&hl=en&sa=X&ved=2ahUKEwiVpLCatqnxAhUIlRQKHfw9AxEQ6AEwEHoECBYQAw#v=onepage&q=Lai%20poem%20shi%20jing&f=false

Ban:

Written at Imperial Command: Panegyric Poetry in Early Medieval China
https://books.google.co.uk/books?id=ZZtfynSaBgcC&pg=PA234&lpg=PA234&dq=Ban+poem+shi+jing+296&source=bl&ots=xlARsCn293&sig=ACfU3U1W9c99BIKw-nA-i0qgtPFQzUfJRA&hl=en&sa=X&ved=2ahUKEwjC-OfRvKnxAhUrBGMBHcHwAQwQ6AEwDnoECA4QAw#v=onepage&q=Ban%20poem%20shi%20jing%20296&f=false

Jiong:

Poems of Depravity: A Twelfth Century Dispute on the Moral Character of the "Book of Songs"
https://www.jstor.org/stable/4528453

CITATIONS OF THE SHIJING IN EARLY CHINESE TEXTS:AN ANALYSIS WITH THREE EXAMPLES
https://eprints.soas.ac.uk/29434/1/10731590.pdf

The meaning of the phrase "si wu xie" which appears in Jiong ® (Mao # 297) has been argued.The first character of the phrase, si, in the poem is commonly understood to be a meaninglessparticle or exclamation, but in the Analects it could be used as the original meaning of the worditself, "thought" or "to think." So Confucius’ meaning of the phrase in Analects might be"unswerving in the thoughts."

Zhu Xi’s Moralistic View of Poetry
https://core.ac.uk/download/pdf/229422091.pdf

A typical example lies in his second reflection onConfucius’ conclusive remark: “In The Book of Poetry are three hundredpieces in number. They can be summed up in one sentence—‘Have nodepraved thoughts (si wu xie).’” 19 This overgeneralization is conduciveto misconception. It is often taken for a moralized summary of thegeneral theme or subject matter of the three hundred poems or so.People tend to get confused when reading the love songs that represent,implicitly or explicitly, the romantic sentiments and erotic deedsbetween young lovers. They find quite a number of the love songsfalling short of the expectation of “having no depraved thoughts” ifviewed from a moralized perspective. So they cannot help but wonder what Confucius really means by this line (‘Having no depravedthoughts’) cited from a hymn of Lu entitled the Jiong (Horses).

Not Straying: Mao tradition interpretations of Shijing love poems.
https://mbchinese.com.au/wp-content/uploads/2020/01/Michael-Broughton-Chinese-Honours-Thesis.pdf

This passage occurs in the poem Jiong 駉 number 297 in the traditional numbering of the poems in theanthology. Writing in the early-mid nineteenth century, Chen Huan (1786 - 1863) was possibly one of the first scholars to notice that the si in this passage acted as a grammatical word, see Shi Maoshi zhuanshu, vol. 2, section7, p. 49. However Legge’s translation, completed by 1871, continues to translate si as ‘thoughts’ suggesting thatthis reading was still dominant in the later nineteenth century. See Legge Chinese Classics, vol.4, pp. 611 - 613. Both Karlgren and Waley maintain readings of si as grammatical, see, Karlgren, “Glosses on the Ta Ya and SungOdes,” p. 174. Waley, The Book of Songs, pp. 274 - 275

You Bi:

Nothing useful.

Pan Shui:

Words Well Put: Visions of Poetic Competence in the Chinese Tradition
https://books.google.co.uk/books?id=v_YFEAAAQBAJ&pg=PA311&lpg=PA311&dq=Pan+Shui+poem&source=bl&ots=4umPw5HmvC&sig=ACfU3U2QN6qQrlMizNtjn7clcMWH1py3Lw&hl=en&sa=X&ved=2ahUKEwi1-v_Usb3xAhULgVwKHUFnA58Q6AEwEnoECCEQAw#v=onepage&q=Pan%20Shui%20poem&f=false

Bi Gong:

The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685

The Sinitic Civilization Book I: A Factual History Through the Lens of
https://books.google.co.uk/books?id=m5F2DwAAQBAJ&pg=PT711&lpg=PT711&dq=Bi+Gong+poem+shi+jing&source=bl&ots=yjIs9GlCXt&sig=ACfU3U1oqmUKdESJTeJFgRdcSYNyQKAivg&hl=en&sa=X&ved=2ahUKEwidwuWgsr3xAhWRunEKHfy4CUoQ6AEwEXoECAUQAw#v=onepage&q=Bi%20Gong%20poem%20shi%20jing&f=false

The Homeric Epics and the Chinese Book of Songs: Foundational Texts Compared
https://books.google.co.uk/books?id=GlWCDwAAQBAJ&pg=PA276&lpg=PA276&dq=Bi+Gong+poem+shi+jing&source=bl&ots=bUbM_68u4s&sig=ACfU3U0cQJJc0Ln4C-3FOZcLCOcU1d3VIA&hl=en&sa=X&ved=2ahUKEwidwuWgsr3xAhWRunEKHfy4CUoQ6AEwEnoECAQQAw#v=onepage&q=Bi%20Gong%20poem%20shi%20jing&f=false

Na:

Nothing useful.

Lie Zu:

The Bloomsbury Research Handbook of Early Chinese Ethics and Political
https://books.google.co.uk/books?id=nxGEDwAAQBAJ&pg=PA106&lpg=PA106&dq=Lie+Zu+poem+shi+jing&source=bl&ots=rPhsHoPRDy&sig=ACfU3U21y6wssKCikOYfu_PzdIfuRphdpg&hl=en&sa=X&ved=2ahUKEwiqquOks73xAhXoQUEAHbLFCl4Q6AEwEXoECCAQAw#v=onepage&q=Lie%20Zu%20poem%20shi%20jing&f=false

Xuan Niao:

The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685

Love and War in Ancient China: Voices from the Shijing
https://books.google.co.uk/books?id=4_T9TsrjXU4C&pg=PA131&lpg=PA131&dq=Xuan+Niao+poem+shi+jing&source=bl&ots=6uTNGi8h4a&sig=ACfU3U2bymcQgVPpaLvE7naJpLzhq87WVQ&hl=en&sa=X&ved=2ahUKEwjTm-3Fs73xAhWPN8AKHXY0AvgQ6AEwEXoECA4QAw#v=onepage&q=Xuan%20Niao%20poem%20shi%20jing&f=false

Ancient History of the Manchuria: Redefining the past
https://books.google.co.uk/books?id=LaMwAAAAQBAJ&pg=PT239&lpg=PT239&dq=Xuan+Niao+poem+shi+jing&source=bl&ots=UUT0UdBNKN&sig=ACfU3U19nUCQ7jGZfUs6quzQjGeA6I2IEA&hl=en&sa=X&ved=2ahUKEwjTm-3Fs73xAhWPN8AKHXY0AvgQ6AEwEnoECA8QAw#v=onepage&q=Xuan%20Niao%20poem%20shi%20jing&f=false

Birds in Chinese mythology, art and life
http://www.csstoday.com/Item/5781.aspx

Birds played a prominent role in the mythology surrounding the origins of human among the ancient Chinese tribes. The legends of the Shang Dynasty (1600?-1046? BCE) associated its antecedents with a mythical bird called Xuan Niao. According to the Records of the Grand Historian, Qi, the predynastic founder of the Shang lineage, was miraculously conceived when Jian Di, one of the Emperor Ku’s wives, swallowed an egg dropped by a Xuan Niao.

NATURE AND RELIGION IN ANCIENT CHINESE POETRY
https://www.jstor.org/stable/41933321

The meaning of the topos of being dark
https://www.academia.edu/37997463/chi122essay_3.docx

The first proposed meaning of this dark topos is that darkness expresses a goodomen. Can being dark be a good omen? If one observes the Shijing poem xuan niao玄鸟,it can be seen that perhaps being dark is a good omen. In the poem xuan niao玄鸟, WuDing, a king of the Shang dynasty, is mentioned. In the poem, there is emphasis that WuDing reaches the four directions. Wu Ding was also called Gao Zong (Cheng Junying).Wu Ding was a great ruler of the Shang dynasty. Given that this poem was written toeulogize Wu Ding, the twenty-second king of the Shang dynasty, who ruled from 1250 to1192 BC, one could infer that perhaps the author wanted to write it in an auspiciousmanner (Wikipedia). Perhaps, “dark bird” is a more auspicious name for the swallow. Itis perhaps a euphemism for the name of a common bird. This pattern can be seen in thenext poem, poem 304 of the Shi jing, where “dark king” is used to portray Wu Ding. Onecan infer that because the event of the swallow leaving its egg for Jian Di to swallow wasa good event, perhaps calling the swallow “dark” is a good appellation.Because Wu Dingwas an important and influential king, calling him the “dark king” is also a goodappellation.On the other hand, perhaps calling the swallow a “dark bird” is merely habit: xuan niao shi gu ren dui yan zi de cheng hu, yin yan zi tong ti hei se ‘玄鸟’是古人对燕子的称呼，因燕子通体黑色 (Baidu).

Philosophy and Religion in Early Medieval China
https://books.google.co.uk/books?id=RkOJ_3tjp8IC&pg=PA19&lpg=PA19&dq=Xuan+Niao+poem&source=bl&ots=MFw4Bybi9O&sig=ACfU3U3gqf6gh0RmU8dV-Dn70swKDHCR4g&hl=en&sa=X&ved=2ahUKEwjhuYDWs73xAhUiQUEAHSHoDGIQ6AEwEXoECAUQAw#v=onepage&q=Xuan%20Niao%20poem&f=false

Chang Fa:

Nothing useful.

Yin Wu:

Nothing useful.

The Origin and Nature of the "Nineteen Old Poems"
https://books.google.co.uk/books/about/The_Origin_and_Nature_of_the_Nineteen_Ol.html?id=ATVkAAAAMAAJ&redir_esc=y

Classical Chinese poetry
https://pennyspoetry.fandom.com/wiki/Classical_Chinese_poetry

From Syntactic to Structural Pi-Hsing: An Important Link Between the Shih Ching and the "Nineteen Old Poems"
https://scholarsarchive.byu.edu/wcaaspapers/vol1/iss31/1/

古诗十九首 Nineteen Old Poems (in Chinese)
https://ankiweb.net/shared/info/1568154824

The Origin and Nature of the “ Nineteen Old Poems ”
https://www.semanticscholar.org/paper/The-Origin-and-Nature-of-the-%E2%80%9C-Nineteen-Old-Poems-%E2%80%9D-Hsieh-Mair/5d7405bf3432af5c65b3c65b7cfc12a167e12226

Woman in the Tower: “Nineteen Old Poems” and the Poetics of Un/concealment
https://dash.harvard.edu/bitstream/handle/1/11130514/tian_womantower.pdf?sequence=1
(some full translations in here)

Pentasyllabic Shi Poetry: The "Nineteen Old Poems"
https://experts.illinois.edu/en/publications/pentasyllabic-ishi-ipoetry-the-nineteen-old-poems
https://scholars.ln.edu.hk/en/publications/pentasyllabic-shi-poetry-the-nineteen-old-poems

Chinese Lyricism (Burton Watson) – has a lot of quality translations and analysis.
http://www.amazon.co.uk/gp/product/0231034652?ie=UTF8&tag=easasistu-21&linkCode=as2&camp=1634&creative=19450&creativeASIN=0231034652
(h/t East Asia Studies Blog for this and the next resource)

Popular Songs and Ballads of Han China (Anne Birrell) – more general insight into verse from this period.
http://www.amazon.co.uk/gp/product/0044400373?ie=UTF8&tag=easasistu-21&linkCode=as2&camp=1634&creative=19450&creativeASIN=0044400373

A German translation:
http://www.barbara-maag.de/Gushi/shijiu%20shou1.htm

Flat | Top-Level Comments Only

General Resources and Reading Suggestions

Nonfiction

Classic of Poetry wiki article

Oracle Poems Ritual Awareness, Symbolism and Creativity in Shi Jing 詩經 Poetics (MA Thesis)

How to read Chinese poetry : a guided anthology Cai, Zong-qi

Some notes on the preface, introduction and Tetrasyllabic Shi Poetry sections

Re: How to read Chinese poetry : a guided anthology Cai, Zong-qi

Re: How to read Chinese poetry : a guided anthology Cai, Zong-qi

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