A popular form of Chinese poetry is the four-line poem called the stop-short, in which the sense is supposed to continue after the poem has stopped. But even in the longer poems that is almost universally the method. It is the hum of reverberations, after the poem has been read, that is sought for. And even such a narrative poem as Po Chü I’s Everlasting Wrong, one of the famous “long” poems of the language (though it runs only to few pages), is constructed in accordance with this instinct, and is, therefore, really a sequence of lyrics.
—Conrad Aiken, “Arthur Waley,” A Reviewer’s ABC: Collected Criticism of Conrad Aiken from 1916 to the Present (Meridian Books, 1958)