Po Chü-i

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Po Chü-i

(bô jü-ē), 772–846, Chinese poet. He occupied several important government posts, rising to the presidency of the imperial board of war in 841. He wrote over 3,000 poems, brief, topical verses expressed in very simple, clear language. Perhaps his most noted poem is the Song of Everlasting Regret (806), which recounts the sufferings of Emperor Ming Huang on the murder of his concubine by rebels. The poem figures prominently in The Tale of Genji, the 10th-century Japanese novel by Murasaki Shikibu; Po's work gained wide popularity throughout East Asia. He continued to write despite partial paralysis and enjoyed great fame during his lifetime.


See A. Waley, The Life and Times of Po Chü-i (1949); E. Feifel, Po Chü-i as a Censor (1961).

Po Chü-i


Born, 772; died, 846. Chinese poet. Born into an impoverished aristocratic family.

Po occupied high government posts and was ruler of Chiangchou (present-day Ch’iungchiang). He was famous for being a lover of the people. He wrote about 3,000 poems. The first collection of Po Chü-i’s works was published during his lifetime. Po’s lyrics are characterized by their love of life and of humanity. In his letters, he pointed out the role that literature plays in life. He wrote the famous long narrative poems Song of Unending Sorrow and Lute. Po wrote verse exposes in which he criticized corruption, feudal lawlessness, and war: these included ten poems under the title Ch’in Melodies, and 50 New Popular Songs. Yuan Chen, Liu Yü-hsi, and other outstanding poets gathered around Po. In Chinese poetry he ranks in importance with the great eighth-century poets Li Po and Tu Fu.


In Russian translation: Stikhi. Moscow, 1958.
“Pesn’ o beskonechnoi toske.” In Vostok, collection 1. Moscow, 1935.
“Liutnia.” In Antologiia kitaiskoi liriki VII-IX vv. Moscow-Petrograd, 1923.


Eidlin, L. Z. “Iz tanskoi poezii (Bo Tsziui-i).” Tr. Voennogo in-ta inostrannykh iazykov, 1946, no. 2.


References in periodicals archive ?
Bai Juyi begins this piece with a somber reflection on the demise of his former colleagues, but shifts quickly to an introspective meditation, playful at times, on the unpredictable nature of fate.
For post-Tang authors of "remarks on poetry" the central point of contention was not whether Bai Juyi had truthfully depicted actual events, but something more fundamental: whether the Tuizhi [TEXT NOT REPRODUCIBLE IN ASCII] mentioned in line 5 referred to Han Yu (courtesy name Tuizhi) or someone else entirely.
Bai Juyi simply had to be referring to someone else.
Bai's laughter mentioned in line seven probably refers to the light-hearted way in which Bai Juyi discussed his own inexplicably long life in the second half of "Thinking of Old Friends.
Pipa also often appears in poems of ancient poets, such as "Pipa Player" of Bai Juyi, "Liangzhou Music" of Wang Han and "Dongfengpo" of Su Shi, etc.
There is a beautiful poem written by Bai Juyi during the Tang dynasty: 'When spring flowers wither and fall in the early summer wind, you can still find peach blossoms deep in the mountains in a temple's backyard.
Through the new yuefu of Yuan Zhen and Bai Juyi, a tribute rhinoceros came to represent the failure of Dezong's rule in the late eighth century.
For Yuan Zhen [TEXT NOT REPRODUCIBLE IN ASCII] (779-831) and Bai Juyi [TEXT NOT REPRODUCIBLE IN ASCII] (772-846), the treatment of animals was a means by which to assess government.
Bai Juyi begins with an exclamation about the rhinoceros, highlighting the unusual qualities of the rhinoceros we have seen already: its ability to "communicate with heaven," its fearsome body, and its horn that scares chickens.
This detail would seem to carry a rebuke: Bai Juyi, by showing the emotional response of "barbarians," is pointing out the callousness of his peers.
The book's first chapter focuses on the mid-Tang poet and high official Bai Juyi (772-846) and on his garden and his poems on gardens.
As to Bai Juyi (772-846), evidence is adduced only from his examination practice essays, the significance of which can be disputed.