Poetry of the late Tang: Jueju Quatrains of Du Mu and Li Zhong
Jueju (絕句), or ‘cut-off verses’, are the shortest form of Chinese poem. Though precursors can be found in earlier poetry, they were developed during the Tang dynasty, and persisted thereafter right up until modern times. Their nearest equivalent in Western verse is the quatrain, consisting of four lines. They are further divided into two types of jueju, those in which each line consists of five words or characters, wuyan (五言), and those consisting of seven, qiyan (七言).
Though, like all Chinese poetry, there are definite rules governing the number and arrangement of the words in each line, based on tone and rhyme, they were nevertheless considered the most informal type of Chinese verse, particularly suited to capturing a scene, or a fleeting emotion, or usually a mixture of the two, and lie somewhere between a poem, in the more formal sense, and a mental image or pictorial ‘snapshot’.
Despite their brevity, they were also good at expressing the very varied styles of different poets, exuded a sense of elegance and playfulness, and were often exchanged among poets and friends. Their closest equivalent is the Japanese tanka, though they share little in common with the even shorter haiku, derived later on from the tanka.
There are vast numbers of jueju, numbering in the thousands, and they were to become particularly popular in the late Tang, during the ‘five dynasties and ten kingdoms’ (a transition period between the Tang and Song), and in the early (Northern) Song.
Two writers associated with jueju are Du Mu (杜牧) and Li Zhong (李中). Du Mu (ninth century) is extremely famous in China, being often paired with another poet Li Shangyin, in much the same way that Du Fu and Li Bai, from an earlier period, are paired, Du Fu and Li Bai being known collectively as ‘big Du-Li’ and Du Mu and Li Shangyin as ‘little Du-Li’. However, it is difficult to find the poetry of Du Mu in English translation, though a few examples exist.
Li Zhong from a century later (tenth century, the period of the ‘five dynasties’) is virtually unknown outside China, and never yet translated as far as I’m aware. There is very little information about him, except that he was obsessed with poetry from a young age, describing himself as ‘poetry mad’, and seems to have lived the life of a wanderer, frequently visiting temples, caves and shrines, and playing chess with the monks! His whimsical style deserves to be better known.
Below are my translations of six poems, three by Du Mu, and three by Li Zhong. The language of these poems is ultra sparse, even by the standards of classical Chinese, and it almost always requires a fair amount of interpretation and modification to render them in suitable English.