Li Bai () and also pronounced Li Bo and called by his courtesy name of Taibai (太白) lived 701–762: he was a Chinese poet acclaimed as one of the best and most important poets of the Tang dynasty, and even in the whole of Chinese poetry. He and his friends such as Du Fu (712–770) were among the prominent figures in the flourishing of Chinese poetry of the Tang dynasty, often called the "Golden Age of Chinese Poetry". The expression "Three Wonders" denotes Li Bai's poetry, Pei Min's swordplay, and Zhang Xu's calligraphy.[The New Book of Tang 文宗時，詔以白歌詩、裴旻劍舞、張旭草書為「三絕」]
Around 1,000 poems attributed to Li are extant. His poems have been collected into the most important Tang dynasty collection, Heyue yingling ji,[河岳英靈集] compiled in 753 by Yin Fan. Thirty-four of Li Bai's poems are included in the anthology Three Hundred Tang Poems, which was first published in the 18th century.
Li Bai's poems became models for celebrating the pleasures of friendship, the depth of nature, solitude, and the joys of drinking. Among the most famous are "Waking from Drunkenness on a Spring Day" (Chinese: 春日醉起言志), "The Hard Road to Shu" (Chinese: 蜀道难),
Much of Li's life is reflected in his poems, which are about places he visited; friends whom he saw off on journeys to distant locations, perhaps never to meet again; his own dream-like imaginings, embroidered with shamanic overtones; current events of which he had news; descriptions of nature, perceived as if in a timeless moment; and more. However, of particular importance are the changes in China during his lifetime. His early poems were written in a "golden age" of internal peace and prosperity, under an emperor who actively promoted and participated in the arts. This ended with the beginning of the rebellion of general An Lushan, which eventually left most of Northern China devastated by war and famine. Li's poems during this period take on new tones and qualities. Unlike his younger friend Du Fu, Li did not live to see the end of the chaos. Li Bai is depicted in the Wu Shuang Pu (無雙譜, Table of Peerless Heroes) by Jin Guliang.
Names
|
| 李白 |
| Lǐbaí or Li Bo |
| Taìbaí (Tai-pai; 太白) |
| Qinglian Jushi (Ch'ing-lien Chu-shih; ) |
Shixian ()
The Poet Saint
Immortal Poet |
Li Bai's name has been romanized as Li Bai, Li Po, Li Bo (romanizations of Standard Chinese pronunciations), and Ri Haku (a romanization of the Japanese pronunciation).
He is also known by his art name ( Art name) Qīnglián Jūshì (居士]]), meaning Householder of Azure Lotus, or by the nicknames "Immortal Poet" (Poet Transcendent; Wine Immortal (), Banished Transcendent (), Poet-Knight-errant (, or "Poet-Hero").
Life
The two "Books of Tang",
The Old Book of Tang and
The New Book of Tang, remain the primary sources of bibliographical material on Li Bai.
[Obata, Part III] Other sources include internal evidence from poems by or about Li Bai, and certain other sources, such as the preface to his collected poems by his relative and literary executor, Li Yangbin.
Background and birth
Li Bai is generally considered to have been born in 701, in
Suyab (碎葉) of ancient Chinese Central Asia (present-day
Kyrgyzstan),
[Beckwith, 127] where his family had prospered in business at the frontier.
[Sun, 20] Afterwards, the family under the leadership of his father, Li Ke (李客), moved to
Jiangyou (江油), near modern
Chengdu, in
Sichuan, when the youngster was about five years old. There is some mystery or uncertainty about the circumstances of the family's relocations, due to a lack of legal authorization which would have generally been required to move out of the border regions, especially if one's family had been assigned or exiled there.
Background
Two accounts given by contemporaries
Li Yangbing (a family relative) and Fan Chuanzheng state that Li's family was originally from what is now southwestern Jingning County, Gansu. Li's ancestry is traditionally traced back to
Li Gao, the noble founder of the state of Western Liang.
[Obata, 8] This provides some support for Li's own claim to be related to the Li dynastic royal family of the Tang dynasty: the Tang emperors also claimed descent from the Li rulers of West Liang. This family was known as the
Longxi County Li lineage (). Evidence suggests that during the
Sui dynasty, Li's own ancestors, at that time for some reason classified socially as commoners, were forced into a form of exile from their original home (in what is now Gansu) to some location or locations further west.
[Wu, 57–58] During their exile in the far west, the Li family lived in the ancient
Silk Road city of Suiye (
Suyab, now an archeological site in present-day Kyrgyzstan), and perhaps also in Tiaozhi (), a state near modern
Ghazni, Afghanistan.
[Elling Eide, "On Li Po", Perspectives on the T'ang (New Haven, London: Yale University Press, 1973), 388.] These areas were on the ancient
Silk Road, and the Li family were likely merchants.
[Eide (1973), 389.] Their business was quite prosperous.
[Sun, 1982, 20 and 21]
Early years
In 705, when Li Bai was four years old, his father secretly moved his family to
Sichuan, near
Chengdu, where he spent his childhood.
[Wu, 58] Currently, there is a monument commemorating this in
Zhongba Town,
Jiangyou, Sichuan province (the area of the modern province known then as Shu, after a former independent state which had been annexed by the Sui dynasty and later incorporated into the Tang dynasty lands). The young Li spent most of his growing years in Qinglian (青莲; lit. "Blue also Lotus"), a town in Chang-ming County, Sichuan, China.
This now nominally corresponds with Qinglian Town (青蓮鎮) of
Jiangyou County-level city, in
Sichuan.
The young Li read extensively, including Confucian classics such as The Classic of Poetry (Shijing) and the Classic of History (Shujing), as well as various astrological and metaphysical materials which Confucians tended to eschew, though he disdained to take the literacy exam.
Before he was twenty, Li had fought and killed several men, apparently for reasons of chivalry, in accordance with the knight-errant tradition ( youxia).
In 720, he was interviewed by Governor Su Ting, who considered him a genius. Though he expressed a wish to become an official, he never took the civil service examination.
Marriage and family
Li is known to have married four times. His first marriage, in 727, in
Anlu, Hubei, was to the granddaughter of a former government minister.
His wife was from the well-connected Xu (许) family. Li Bai made this his home for about ten years, living in a home owned by his wife's family on Mt. Bishan (碧山). In 744, he married for the second time in what now is the Liangyuan District of
Henan. This marriage was to another poet, surnamed Zong (宗), with whom he both had children
[Sun, 24, 25, and 166] and exchanges of poems, including many expressions of love for her and their children. His wife, Zong, was a granddaughter of
Zong Chuke (宗楚客, died 710), an important government official during the Tang dynasty and the interregnal period of
Wu Zetian.
On the way to Chang'an
Leaving Sichuan
In his mid-twenties, about 725, Li Bai left Sichuan, sailing down the
Yangzi River through
Dongting Lake to
Nanjing, beginning his days of wandering. He then went back up-river, to
Yunmeng, in what is now
Hubei, where his marriage to the granddaughter of a retired prime minister,
Xu Yushi, seems to have formed but a brief interlude.
[Wu, 58–59] During the first year of his trip, he met celebrities and gave away much of his wealth to needy friends.
In 730, Li Bai stayed at Zhongnan Mountain near the capital Chang'an (Xi'an), and tried but failed to secure a position. He sailed down the Yellow River, stopped by Luoyang, and visited Taiyuan before going home. In 735, Li Bai was in Shanxi, where he intervened in a court martial against Guo Ziyi, who was later, after becoming one of the top Tang generals, to repay the favour during the An Shi disturbances.[Wu, 59] By perhaps 740, he had moved to Shandong. It was in Shandong at this time that he became one of the group known as the "Six Idlers of the Bamboo Brook" or the Seven Sages of the Bamboo Grove (Rong Qiqi's inclusion was anachronous), an informal group dedicated to literature and wine.
At Chang'an
Wu Yun's praise of Li Bai led Emperor Xuanzong (born Li Longji and also known as Emperor Minghuang) to summon Li to the court in Chang'an. Li's personality fascinated the aristocrats and common people alike, including another Taoist (and poet),
He Zhizhang, who bestowed upon him the nickname the "Immortal Exiled from Heaven".
Indeed, after an initial audience, where Li Bai was questioned about his political views, the Emperor was so impressed that he held a big banquet in his honor. At this banquet, the Emperor was said to show his favor, even to the extent of personally seasoning his soup for him.
[Obata, 201]
Emperor Xuanzong employed him as a translator, as Li Bai knew at least one non-Chinese language.
the emperor ordered Li Bai to the palace, he was often drunk, but quite capable of performing on the spot.
Li Bai wrote several poems about the Emperor's beautiful and beloved Yang Guifei, the favorite royal consort.[Wu, 60] A story, probably apocryphal, circulates about Li Bai during this period. Once, while drunk, Li Bai had gotten his boots muddy, and Gao Lishi, the most politically powerful eunuch in the palace, was asked to assist in the removal of these, in front of the Emperor. Gao took offense at being asked to perform this menial service, and later managed to persuade Yang Guifei to take offense at Li's poems concerning her.[Wu, 61] After leaving the court, Li Bai formally became a Taoist, making a home in Shandong, but wandering far and wide for the next ten some years, writing poems.
Meeting Du Fu
He met
Du Fu in the autumn of 744, when they shared a single room and various activities together, such as traveling, hunting, wine, and poetry, thus established a close and lasting friendship.
[Sun, 24 and 25] They met again the following year. These were the only occasions on which they met, in person, although they continued to maintain a relationship through poetry. This is reflected in the dozen or so poems by Du Fu to or about Li Bai which survive, and the one from Li Bai directed toward Du Fu which remains.
Letters for political patronage
A somewhat lesser known capital of Li Bai's life are the letters he wrote to various officials. In most of them, his aim was to seek political patronage. The famous letter to Han Jing Zhou (韩荆州) is maybe the most known example of his writing. Li Bai's style in his letters was very exaggerated, sometimes arrogant too. Contrary to what was the common practice at the time, I. e. self – depreciating tone for one's self and a praising tone for the candidate patron, Li Bai ornates his own personal image very vividly. Victor H. Mair translated some notable letters of Li Bai. An excerpt from the letter to Han Jing Zhou (与韩荆州书, pin yin: yǔ hán jīng zhōu shū), which Mair dates around 734 CE, illustrates Li Bai's perception of himself:
" At fifteen, I was fond of swordsmanship and ranged broadly in search of employ- ment 131 with various lords. At thirty, I became an accomplished litterateur and contacted successively a number of high officers. Although I am not quite a six- footer I am braver than ten thousand men. Princes, dukes, and high ministers admit that I have moral courage and high principles. This, then, has been my past spiritual biography. How could I venture not to explain it fully to Your Lordship ?"
War and exile
At the end of 755, the disorders instigated by the rebel general
An Lushan burst across the land. The Emperor eventually fled to Sichuan and abdicated. During the confusion, the Crown Prince opportunely declared himself Emperor and head of the government. The An Shi disturbances continued (as they were later called, since they lasted beyond the death of their instigator, carried on by
Shi Siming and others). Li Bai became
Mufu to Prince Yong, one of
Ming Huang's (Emperor Xuanzong's) sons, who was far from the top of the primogeniture list, yet named to share the imperial power as a general after Xuanzong had abdicated, in 756.
However, even before the empire's external enemies were defeated, the two brothers fell to fighting each other with their armies. Upon the defeat of the Prince's forces by his brother the new emperor in 757, Li Bai escaped, but was later captured, imprisoned in Jiujiang, and sentenced to death. The famous and powerful army general Guo Ziyi and others intervened; Guo Ziyi was the very person whom Li Bai had saved from court martial a couple of decades before.[Sun, 26 and 27] Upon General Guo Ziyi's offering to exchange his official rank for Li Bai's life, Li Bai's death sentence was commuted to exile: he was consigned to Yelang.[Sun, 26 and 27 and 318]
Return and other travels
When Li received the news of his imperial pardon, he returned down the river to
Jiangxi, passing on the way through
Baidicheng, in
Kuizhou Prefecture, still engaging in the pleasures of food, wine, good company, and writing poetry; his poem "" records this stage of his travels, as well as poetically mocking his enemies and detractors, implied in his inclusion of imagery of monkeys. Although Li did not cease his wandering lifestyle, he then generally confined his travels to
Nanjing and the two
Anhui cities of
Xuancheng and Li Yang (in modern
Zhao County).
His poems of this time include nature poems and poems of socio-political protest.
Eventually, in 762, Li's relative
Li Yangbing became magistrate of
Dangtu, and Li Bai went to stay with him there.
In the meantime, Suzong and Xuanzong both died within a short period of time, and China had a new emperor. Also, China was involved in renewed efforts to suppress further military disorders stemming from the Anshi rebellions, and Li volunteered to serve on the general staff of the Chinese commander
Li Guangbi. However, at age 61, Li became critically ill, and his health would not allow him to fulfill this plan.
[Sun, 26–28]
Death
The new
Emperor Daizong appointed Li Bai as a court counsellor in January 764, but by the time the imperial edict arrived in
Dangtu County, Li Bai had already been reported dead for more than a year. Local authorities, however, were only able to ascertain that he died sometime in 762, with the date and cause of his death lost to history.
Later writers speculated about Li's death. The ninth-century Tang poet Pi Rixiu suggested in a poem that Li had died of chronic thoracic suppuration (pus entering the chest cavity).
Calligraphy
Li Bai was a skilled calligrapher. One surviving piece of his calligraphy work in his own handwriting exists today.
[ The piece is titled Shàng yáng tái ( Going Up To Sun Terrace), a long scroll (with later addition of a title written by Emperor Huizong of Song and a postscript added by the Qianlong Emperor); the calligraphy is housed in the Palace Museum in Beijing, China.]
Surviving texts and editing
Even Li Bai and Du Fu, the two most famous and most comprehensively edited Tang poets, were affected by the destruction of the imperial Tang libraries and the loss of many private collections in the periods of turmoil (An Lushan Rebellion and Huang Chao Rebellion). Although many of Li Bai's poems have survived, even more were lost and there is difficulty regarding variant texts. One of the earliest endeavors at editing Li Bai's work was by his relative Li Yangbing, the magistrate of Dangtu, with whom he stayed in his final years and to whom he entrusted his manuscripts. However, the most reliable texts are not necessarily in the earliest editions. Song dynasty scholars produced various editions of his poetry, but it was not until the Qing dynasty that such collections as the Complete Tang Poems made the most comprehensive studies of the then surviving texts.[Paul Kroll, "Poetry of the T'ang Dynasty," in Victor H. Mair, ed., The Columbia History of Chinese Literature. (New York: Columbia University Press, 2001). ), pp. 278–282, section "The Sources and Their Limitations" describes this history.]
Themes
Critics have focused on Li Bai's strong sense of the continuity of poetic tradition, his glorification of alcoholic beverages (and, indeed, frank celebration of drunkenness), his use of persona, the fantastic extremes of some of his imagery, his mastery of formal poetic rules—and his ability to combine all of these with a seemingly effortless virtuosity to produce inimitable poetry. Other themes in Li's poetry, noted especially in the 20th century, are sympathy for the common folk and antipathy towards needless wars (even when conducted by the emperor himself).[Sun, 28–35]
Poetic tradition
Li Bai had a strong sense of himself as being part of a poetic tradition. The "genius" of Li Bai, says one recent account, "lies at once in his total command of the literary tradition before him and his ingenuity in bending (without breaking) it to discover a uniquely personal idiom..."[Paul Kroll, "Poetry of the T'ang Dynasty," in Victor H. Mair, ed., The Columbia History of Chinese Literature. (New York: Columbia University Press, 2001; ), p. 296.] Burton Watson, comparing him to Du Fu, says Li's poetry, "is essentially backward-looking, that it represents more a revival and fulfillment of past promises and glory than a foray into the future."[Watson, 141] Watson adds, as evidence, that of all the poems attributed to Li Bai, about one sixth are in the form of yuefu, or, in other words, reworked lyrics from traditional folk ballads.[Watson, 141–142] As further evidence, Watson cites the existence of a fifty-nine poem collection by Li Bai entitled Gu Feng, or In the Old Manner, which is, in part, tribute to the poetry of the Han and Wei dynasties.[Watson, 142] His admiration for certain particular poets is also shown through specific allusions, for example to Qu Yuan or Tao Yuanming, and occasionally by name, for example Du Fu.
A more general appreciation for history is shown on the part of Li Bai in his poems of the huaigu genre,[Watson, 145] or meditations on the past, wherein following "one of the perennial themes of Chinese poetry", "the poet contemplates the ruins of past glory".[Watson, 88]
Rapt with wine and moon
John C. H. Wu observed that "while some may have drunk more wine than Li Bai, no-one has written more poems about wine."[Wu, 66] Classical Chinese poets were often associated with drinking wine, and Li Bai was part of the group of Chinese scholars in Chang'an his fellow poet Du Fu called the "Eight Immortals of the Wine Cup." The Chinese generally did not find the moderate use of alcohol to be immoral or unhealthy. James J. Y Liu comments that zui in poetry "does not mean quite the same thing as 'drunk', 'intoxicated', or 'inebriated', but rather means being mentally carried away from one's normal preoccupations ..." Liu translates zui as "rapt with wine".[James J.Y. Liu. The Art of Chinese Poetry. (Chicago: University of Chicago Press, 1962; ), p. 59.] The "Eight Immortals", however, drank to an unusual degree, though they still were viewed as pleasant eccentrics.[William Hung. Tu Fu: China's Greatest Poet. (Cambridge,: Harvard University Press, 1952), p 22.] Burton Watson concluded that "nearly all Chinese poets celebrate the joys of wine, but none so tirelessly and with such a note of genuine conviction as Li Bai".[Watson, 143]
The following two poems, "Rising Drunk on a Spring Day, Telling My Intent" and "Drinking Alone by Moonlight", are among Li Bai's most famous and demonstrate different aspects of his use of wine and drunkenness.
Fantastic imagery
An important characteristic of Li Bai's poetry "is the fantasy and note of childlike wonder and playfulness that pervade so much of it".
Nostalgia
Literary critic James J.Y. Liu notes "Chinese poets seem to be perpetually bewailing their exile and longing to return home. This may seem sentimental to Western readers, but one should remember the vastness of China, the difficulties of communication... the sharp contrast between the highly cultured life in the main cities and the harsh conditions in the remoter regions of the country, and the importance of family..." It is hardly surprising, he concludes, that nostalgia should have become a "constant, and hence conventional, theme in Chinese poetry."[James J.Y. Liu. The Art of Chinese Poetry. (Chicago: University of Chicago Press, 1962; ) p. 55.]
Liu gives as a prime example Li's poem "A Quiet Night Thought" (also translated as "Contemplating Moonlight"), which is often learned by schoolchildren in China. In a mere 20 words, the poem uses the vivid moonlight and frost imagery to convey the feeling of homesickness. This translation is by Yang Xianyi and Dai Naidie:
Use of persona
Li Bai also wrote a number of poems from various viewpoints, including the of women. For example, he wrote several poems in the Zi Ye, or "Lady Midnight" style, as well as Han folk-ballad style poems.
Technical virtuosity
Li Bai is well known for the technical virtuosity of his poetry and the mastery of his verses.
Burton Watson comments on Li Bai's famous poem, which he translates "Bring the Wine": "like so much of Li Bai's work, it has a grace and effortless dignity that somehow make it more compelling than earlier treatment of the same."[Watson, 144]
Li Bai's yuefu poems have been called the greatest of all time by Ming dynasty scholar and writer Hu Yinglin.[Shisou(Thickets of Poetic Criticism)]
Li Bai especially excelled in the Gushi form, or "old style" poems, a type of poetry allowing a great deal of freedom in terms of the form and content of the work. An example is his poem "蜀道難", translated by Witter Bynner as "Hard Roads in Shu". Shu is a poetic term for Sichuan, the destination of refuge that Emperor Xuanzong considered fleeing to escape the approaching forces of the rebel General An Lushan. Watson comments that, this poem, "employs lines that range in length from four to eleven characters, the form of the lines suggesting by their irregularity the jagged peaks and bumpy mountain roads of Sichuan depicted in the poem."
Li Bai was also noted as a master of the jueju, or cut-verse.[Watson, 146] Ming-dynasty poet Li Pan Long thought Li Bai was the greatest jueju master of the Tang dynasty.[Selections of Tang Poetry]
Li Bai was noted for his mastery of the lüshi, or "regulated verse", the formally most demanding verse form of the times. Watson notes, however, that his poem "Seeing a Friend Off" was "unusual in that it violates the rule that the two middle couplets ... must observe verbal parallelism", adding that Chinese critics excused this kind of violation in the case of a genius like Li.[Watson, 147]
Influence
In the East
Li Bai's poetry was immensely influential in his own time, as well as for subsequent generations in China. From early on, he was paired with Du Fu. The recent scholar Paula Varsano observes that "in the literary imagination they were, and remain, the two greatest poets of the Tang—or even of China". Yet she notes the persistence of "what we can rightly call the 'Li-Du debate', the terms of which became so deeply ingrained in the critical discourse surrounding these two poets that almost any characterization of the one implicitly critiqued the other". Li's influence has also been demonstrated in the immediate geographical area of Chinese cultural influence, being known as Ri Haku in Japan. This influence continues even today. Examples range from poetry to painting and to literature.
In his own lifetime, during his many wanderings and while he was attending court in Chang'an, Li Bai met and parted from various contemporary poets. These meetings and separations were typical occasions for versification in the tradition of the literate Chinese of the time, a prime example being his relationship with Du Fu.
After his lifetime, Li Bai's influence continued to grow. Some four centuries later, during the Song dynasty, for example, just in the case of his poem that is sometimes translated "Drinking Alone Beneath the Moon", the poet Yang Wanli wrote a whole poem alluding to it (and to two other Li Bai poems), in the same gushi, or old-style poetry form.[Frankel, 22]
In the 20th century, Li Bai even influenced the poetry of Mao Zedong.
In China, his poem "Quiet Night Thoughts", reflecting a nostalgia of a traveller away from home,[ How to read Chinese poetry: a guided anthology By Zong-qi Cai p. 210. Columbia University Press [1]] has been widely "memorized by school children and quoted by adults".[Speaking of Chinese By Raymond Chang, Margaret Scrogin Chang p. 176 WW Norton & Company [2]]
He is sometimes worshipped as an immortal in Chinese folk religion and is also considered a divinity in Vietnam Caodaism.
In the West
Austrian composer Gustav Mahler used German language adaptations of four of Li's poems as texts for four of the songs in his song-symphony Das Lied von der Erde in 1908. American composer Harry Partch based his Seventeen Lyrics by Li Po (early 1930s, his earliest surviving acknowledged work) for intoning voice and Adapted Viola (an instrument of Partch's own invention) on texts in The Works of Li Po, the Chinese Poet translated by Shigeyoshi Obata.[Obata, Shigeyoshi (1923). The Works of Li Po, the Chinese Poet (J.M. Dent & Co, ). ] Around the same time (1931), Swiss composer Volkmar Andreae set eight poems as Li-Tai-Pe: Eight Chinese songs for tenor and orchestra, op. 37. In Brazil, the songwriter Beto Furquim included a musical setting of the poem "Jing Ye Si" in his album "Muito Prazer".[(2008, ISRC BR-OQQ-08-00002)]
Ezra Pound
Li Bai is influential in the West partly due to Ezra Pound's versions of some of his poems in the collection Cathay,[Pound, Ezra (1915). Cathay (Elkin Mathews, London). .]
Gustav Mahler
Gustav Mahler integrated four of Li Bai's works into his symphonic song cycle Das Lied von der Erde. These were derived from free German translations by Hans Bethge, published in an anthology called Die chinesische Flöte ( The Chinese Flute),[Bethge, Hans (2001). Die Chinesische Flöte (YinYang Media Verlag, Kelkheim, Germany). . Re-issue of the 1907 edition (Insel Verlag, Leipzig).] Bethge based his versions on the collection Chinesische Lyrik by Hans Heilmann (1905). Heilmann worked from pioneering 19th-century translations into French: three by the Marquis d'Hervey-Saint-Denys and one (only distantly related to the Chinese) by Judith Gautier. Mahler freely changed Bethge's text.
Reference in Beat Generation
Li Bai's poetry can be seen as having an influence on Beat Generation writer Gary Snyder during Snyder's years of studying Asian culture and Zen. Li Bai's style of descriptive writing contributed to the diversity within the Beat writing style.[Beat Generation]
Translation
Li Bai's poetry was introduced to Europe by Jean Joseph Marie Amiot, a Jesuit missionary in Beijing, in his Portraits des Célèbres Chinois, published in the series Mémoires concernant l'histoire, les sciences, les arts, les mœurs, les usages, &c. des Chinois, par les missionnaires de Pekin. (1776–1797).[
D'Hervey de Saint-Denys (1862). Poésies de l'Époque des Thang (Amyot, Paris). See Minford, John and Lau, Joseph S. M. (2000). Classic Chinese Literature (Columbia University Press) .]
Joseph Edkins read a paper, "On Li Tai-po", to the Peking Oriental Society in 1888, which was subsequently published in that society's journal.[Obata, p. v.] The early sinologist Herbert Allen Giles included translations of Li Bai in his 1898 publication Chinese Poetry in English Verse, and again in his History of Chinese Literature (1901).[Obata, v–vi] The third early translator into English was L. Cranmer-Byng (1872–1945). His Lute of Jade: Being Selections from the Classical Poets of China (1909) and A Feast of Lanterns (1916) both featured Li's poetry.
Renditions of Li Bai's poetry into modernist English poetry were influential through Ezra Pound in Cathay (1915) and Amy Lowell in Fir-Flower Tablets (1921). Neither worked directly from the Chinese: Pound relied on more or less literal, word for word, though not terribly accurate, translations of Ernest Fenollosa and what Pound called the "decipherings" of professors Mori and Ariga; Lowell on those of Florence Ayscough. Witter Bynner with the help of Kiang Kang-hu included several of Li's poems in The Jade Mountain (1939). Although Li was not his preferred poet, Arthur Waley translated a few of his poems into English for the Asiatic Review, and included them in his More Translations from the Chinese. Shigeyoshi Obata, in his 1922 The Works of Li Po, claimed he had made "the first attempt ever made to deal with any single Chinese poet exclusively in one book for the purpose of introducing him to the English-speaking world."[Obata, v] A translation of Li Bai's poem Green Moss by poet William Carlos Williams was sent as a letter to Chinese American poet David Rafael Wang where Williams was seen as having a similar tone as Pound.
Li Bai became a favorite among translators for his straightforward and seemingly simple style. Later translations are too numerous to discuss here, but an extensive selection of Li's poems, translated by various translators, is included in John Minford and Joseph S. M. Lau, Classical Chinese Literature (2000).[Ch 19 "Li Bo (701–762): The Banished Immortal" Introduction by Burton Watson; translations by Elling Eide; Ezra Pound; Arthur Cooper, David Young; five poems in multiple translations, in John Minford and Joseph S. M. Lau, eds., Classical Chinese Literature (New York; Hong Kong: Columbia University Press; The Chinese University Press, 2000), pp. 721–763.] For a more recent publication, see the selection of Li Bai's poetry in Chinese and in English translation, with biographical context and commentary, in Susan Wan Dolling's My China in Tang Poetry, Book 1: Superstars (2024).[.]
In popular culture
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Portrayed by Wong Wai-leung in the 2000 television series The Legend of Lady Yang
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An actor playing Li Bai narrates the Wonders of China and Reflections of China films at the China Pavilion at Epcot
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Li Bai's poem 'Hard Roads in Shu' is sung by a Chinese singer AnAn in a Liu Bei trailer for a game
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He appears as a "great writer" in the game Civilization VI
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He appears as the main character in the 2023 Light Chaser Animation Studios Movie Chang'an
See also
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Classical Chinese poetry
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Classical Chinese poetry forms
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Guqin
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Jiangyou
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Modernist poetry in English
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Monkeys in Chinese culture#Literature
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Poetry of Mao Zedong
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Shi (poetry)
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Simians (Chinese poetry)#In Baidicheng, back from the way to exile
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Tang poetry
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List of Three Hundred Tang Poems poets
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Tomb of Li Bai
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Xu Yushi
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A Quiet Night Thought
Notes
Translations into English
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Cooper, Arthur (1973). Li Po and Tu Fu: Poems Selected and Translated with an Introduction and Notes (Penguin Classics, 1973). .
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Dolling, Susan Wan (2024). My China in Tang Poetry, Book 1: Superstars (Hong Kong: Earnshaw Books). .
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David Hinton (2008). Classical Chinese Poetry: An Anthology. New York: Farrar, Straus, and Giroux.
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David Hinton (1998). The Selected Poems of Li Po (Anvil Press Poetry, 1998).
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Keith Holyoak (translator) (2007). Facing the Moon: Poems of Li Bai and Du Fu. (Durham, NH: Oyster River Press).
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Obata, Shigeyoshi (1922). The Works of Li Po, the Chinese Poet. (New York: Dutton). Reprinted: New York: Paragon, 1965. .
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Ezra Pound (1915). Cathay (Elkin Mathews, London).
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Smith, Kidder and Zhai, Mike (2021). Li Bo Unkempt. Punctum Press.
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Stimson, Hugh M. (1976). Fifty-five T'ang Poems. Far Eastern Publications: Yale University.
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Vikram Seth (translator) (1992). Three Chinese Poets: Translations of Poems by Wang Wei, Li Bai, and Du Fu. (London: Faber & Faber).
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Eliot Weinberger. The New Directions Anthology of Classical Chinese Poetry. (New York: New Directions, 2004). . Introduction, with translations by William Carlos Williams, Ezra Pound, Kenneth Rexroth, Gary Snyder, and David Hinton.
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Burton Watson. Chinese Lyricism: Shih Poetry from the Second to the Twelfth Century. New York: Columbia University Press.
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Sun, Yu 孫瑜, translation, introduction, and commentary (1982). Li Po-A New Translation 李白詩新譯. Hong Kong: The Commercial Press,
Background and criticism
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Joseph Edkins (1888). "Li Tai-po as a Poet", The China Review, Vol. 17 No. 1 (1888 Jul) [5]. Retrieved from [6], 19 January 2011.
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Eide, Elling (1973). "On Li Po", in Perspectives on the T'ang. New Haven, London: Yale University Press, 367–403.
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Frankel, Hans H. (1978). The Flowering Plum and the Palace Lady. (New Haven and London: Yale University Press) .
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Kroll, Paul (2001). "Poetry of the T'ang Dynasty," in Victor H. Mair. ed., The Columbia History of Chinese Literature. (New York: Columbia University Press, 2001). , pp. 274–313.
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Stephen Owen 'Li Po: a new concept of genius," in Stephen Owen. The Great Age of Chinese Poetry : The High T'ang. (New Haven Conn.: Yale University Press, 1981). .
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Varsano, Paula M. (2003). Tracking the Banished Immortal: The Poetry of Li Bo and its Critical Reception (University of Hawaiʻi Press, 2003). , [7]
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. Lists and evaluates scholarship and translations.
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Arthur Waley (1950). The Poetry and Career of Li Po (New York: MacMillan, 1950).
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Wu, John C.H. (1972). The Four Seasons of Tang Poetry. Rutland, Vermont: Charles E. Tuttle.
Further reading
External links
Online translations (some with original Chinese, pronunciation, and literal translation):
target="_blank" rel="nofollow"> Archive) (PhD thesis). Ohio State University, 2004.
