When the substance of a composition, trunk of a tree, is by Truth sustained,
Style aids it to branch into leafy boughs and bear fruit.
Indeed, feeling and expression should never fail to correspond,
As each emotional change wears a new complexion on a sensitive face.
Thought that swells with joy bursts into laughter;
When grief is spoken, words reverberate with endless sighs;
No matter if the work be accomplished in one flash on the page,
Or is the result of the most deliberate brush.
—Lu Chi (261- 303), “The Working Process,” Essay on Literature (translated by Shih-Hsiang Chen), Anthology of Chinese Literature: from early times to the fourteenth century (Grove Press, 1965), edited by Cyril Birch. [This essay was written in rhymed-prose and was composed three years before Lu Chi was executed during a power struggle of the Chin court.]
Showing posts with label brush. Show all posts
Showing posts with label brush. Show all posts
9.10.2025
trunk of a tree
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3.24.2025
lives of the poets
I thought of Chiang Yen who dreamed that Kuo P’o, long
dead, appeared and asked for his writing brush back, and
after he awoke Chiang Yen never wrote poems again.
-
I thought of Tsu Yung who, at his examination, wrote a
a poem of only four lines. Questioned by the examiner, he
replied: “That was all I had to say.”
—Eliot Weinberger, The Life of Tu Fu (New Directions, 2024)
[More excerpts over at Tramp Freighter.]
dead, appeared and asked for his writing brush back, and
after he awoke Chiang Yen never wrote poems again.
-
I thought of Tsu Yung who, at his examination, wrote a
a poem of only four lines. Questioned by the examiner, he
replied: “That was all I had to say.”
—Eliot Weinberger, The Life of Tu Fu (New Directions, 2024)
[More excerpts over at Tramp Freighter.]
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eliot weinberger,
lives of the poets,
short poem,
tu fu
3.22.2022
least and slight
He was afraid he’d become one of those poets who could compose something from the least wisp of thought, a slight wind brushing the skin.
1.28.2019
limited but unlimited
Another point made by the Institutionalists is that poetry should try to produce its effect by suggestion rather than direct statement or description. Yen Yü said that ‘poetry that does not concern itself with principles nor falls into the trammel of words is the best’, and that great poetry ‘has limited words but unlimited meaning’. It follows that the poet should not heap up too many realistic details but attempt to capture the spirit of things with a few quick strokes of the brush.
—James J. Y. Liu, The Art of Chinese Poetry (Univ. of Chicago Press, 1966)
—James J. Y. Liu, The Art of Chinese Poetry (Univ. of Chicago Press, 1966)
Labels:
brush,
chinese poetry,
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words
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