In lieu of an abstract, here is a brief excerpt of the content:

225  Taking Leave of a Friend  [送 友 人] So Yu Jin Taking leave of a friend [Taking Leave of a Friend] [1] [青 山 橫 北 郭] Sei zan O hoku Kaku h2 Blue3 Mt. lie North side of walled city horizontally The {Where} blue Mt. peaks are visible toward the Northern Suburb [Blue mountains to the north of the walls,] [2] [白 水 遶 東 城] Haku sui gio to jo rhyme White water4 encircle East castled town And white water flows encircling the East of the city, [White river winding about them;] [3] [此 地 一 為 別] Shi chi ichu i betsu This place once make separation ground At this place we have for once to separate [Here we must make separation] ⎫ ⎪ ⎪ ⎬ ⎪ ⎪ ⎭ 226 Cribs for Cathay & Other Poems [4] [孤 蓬 萬 里 征] Ko ho ban ri Sei rhyme Solitary rootless 10000 miles5 go away plant dead grass (moxa6 ) Like solitary {dead} grass (blown by autumn wind) the departing/one goes through 1000 miles [89] [And go out through a thousand miles of dead grass.] [5] [浮 雲 遊 子 意] Fu wun yu shi i Floating cloud | 7 wanderer mind8 His (or your) mind will {may} be that of a floating cloudlike wanderer. [Mind like a floating wide cloud.] [6] [落 日 故 人 情] Raku jitsu Ko jin jo rhyme Falling sun old acquaintance10 emotion {setting} (As for me) the Sorrow of parting with an old acquaintance is/Comparable to the setting of the sun— [Sunset like the parting of old acquaintances] [7] [揮 手 自 兹 去] Kĭ shu ji ji Kiŏ Shaking hands from this away11 Brandishing place Wringing hands in despair{ing} from resolution/from this place it is away! (we {have} decide {d} to separate) [Who bow over their clasped hands at a distance.]12 ⎫ ⎪ ⎪ ⎬ ⎪ ⎪ ⎭ Taking Leave of a Friend 227 [8] [蕭 蕭 斑 馬 鳴] “Sho Sho” ham ba mei rhyme onomatopeia13 for a solitary horse neighing separating horse14 neigh15 (We men have so decided) and yet our very horses/separating, neigh Sho sho. [Our horses neigh to each other as we are departing.]16 Notes TAKINGLEAVEOFAFRIEND(101–4236,MS3390:87v–89r,Pound’s#47;TSSC7:1b-2a;LTBQJ 2:837; TSX 57ff), by Li Bo. With Mori & Ariga, July 3, 1900. This poem is one of only three in Cathay (along with “Leave-Taking at Shoku” and “The City of Choan”) whose original was written in the conventional eight-line lüshi 律詩 or “regulated verse” style which rose to prominence in the Tang dynasty. The form consists of four couplets with interlocking rhymes (typically AB CB DB EB) and a strict tonal meter in either “pentasyllabics” (wuyan 五言) or “heptasyllabics” (qiyan 七言). It is also characterized by “antithetical parallelism” within the middle two couplets, which calls for an exact correspondence of conceptual categories and grammatical forms between characters in matching positions in the lines. The tonal meter works roughly on the same general principle of parallelism, contrasting one tonal category with the other in matching character positions of the line. Comparable to a sonnet, the regulated verse poem typically introduces a topic in the first couplet, expands obliquely on the emotions of that topic through a description of external objects in the second and third couplets (which are dense and parallel), and then ends with a dramatic statement that returns explicitly to the topic of the poem in the final couplet. Indeed, in an early lesson with Fenollosa, Hirai discussed the similarity of the lüshi 律詩 to the sonnet (MF 3376:57f). It is convenient to call this strict and popular Tang poetic form a “Chinese sonnet,” but considering that it was invented a millennium before Petrarch, it would make more sense to call Shakespeare’s sonnets, for example, “English lüshi.” See note 1. The poem is included in Mori’s own annotated edition of the Tangshixuan 唐詩選 (Selection of Tang Poetry). 1. Ritsū: lü 律, short for lüshi [risshi] 律詩 (regulated verse). The point of the following note is that whereas normally in regulated verse only the second and third couplets are parallel (i.e., the third and fourth lines, and the fifth and sixth lines, as noted here), in this poem Li Bo makes his first couplet parallel (the first and second lines). In other words, instead of putting the parallel couplets in the “middle” of the poem, he puts one at the beginning by swapping the parallelism for the first and second couplets. Adding parallelism to the first couplet was a standard variation (thus making three of the four couplets parallel), but it is rarer to swap the parallelism between the first and second couplets. In fact, the second couplet here is also mostly parallel, but not strictly so (at the...


Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.