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 ?
It is based on a poem by Bai Juyi in the Tang Dynasty in which water is used metaphorically to mean self-cultivation.
One of the most well-known sequences is depicted through the poem The Song of Everlasting Regret by Bai Juyi.
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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.
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Following the first essay on ancestry, Chen turns to topics as diverse as the legend of Mulan and the linguistic origin of the Chinese unicorn, the relations between kin and the treatment of canines in various Sino-Altaic cultures, the connections between the Huns, the Bulgars, and the Steppe peoples bordering China, Iranian cultural connections, the use of theophoric names in China and their cultural ancestry, and the likely ancestry (both tribal and cultural) of the celebrated Tang dynasty poet Bai Juyi.
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A one-page song by Huang Zi on a very short poem by Bai Juyi (772-846) uses a pentatonic melody for the voice, though the accompaniment remains more or less diatonic in construction.
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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.