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[personal profile] x_los posting in [community profile] dankodes
This is week 5/7 on David Hawkes' Little Primer of Du Fu. I'll replicate the poems themselves here, but this book contains considerable exegesis, so I do advise you to grab this copy.

 

This week we're reading poems 21 through 25, inclusive.

 

How to Read Chinese Poetry has two chapters on forms Du Fu uses extensively:

 

Ch 8, Recent Style Shi Poetry, Pentasyllabic Regulated Verse (Wuyan Lüshi

Ch 9, Recent Style Shi Poetry, Heptasyllabic Regulated Verse (Qiyan Lüshi

 

Three other chapters on other verse forms Du Fu sometimes employs, or which people quoting Du Fu employ, also mention him:

 

Ch 10,  Recent Style Shi Poetry, Quatrains (Jueju): some mention of Du Fu’s “Three Quatrains, No. 3”

Ch 14, Ci Poetry,  Long Song Lyrics on Objects (Yongwu Ci): some mention of Du Fu's “Beautiful Lady” (Jiaren)

Ch 18, A Synthesis:  Rhythm, Syntax, and Vision of Chinese Poetry: some mention of Du Fu’s poem “The Jiang and Han Rivers” 

 

Additional Reading for this Week: Chapter 10

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From: [personal profile] superborb
If you recall, middle Chinese had different tones than modern -- four, but a different four than modern Mandarin -- and level vs oblique (the other three) is the important distinction for poetry rhyme patterns.

This is a different jun. Someday you'll start learning characters and it will be all downhill from there.

"Door" is a metonym for a family/household. As qing no longer has 'cold' as a top level meaning, the modern Chinese equivalent (per Baike) is 寒门, "cold-door".

Regret to inform that the pinyin version is of O is E. :)

Per baike's gloss, the nine heavens is referring to the palace, and the ancients thought horses over 8 chi became dragons. Baike's vernacular says "for a moment, the dragon-horse of the heavens appeared on the silk"

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