PUIs- Japanese poets under the influence



Dark of winter, eleventh month,
rain and snow slushing down;
a thousand hills all one color,
ten thousand paths where almost no one goes.
Past wanderings all turned to dreams;
grass gate, its leaves latched tight;
through the night I burn chips of wood,
quietly reading poems by men of long ago.

Burton Watson


The plaintain before my window,
tall, lanky, brushing the clouds, cool: \
writing waka, composing kanshi,
all day long I sit by its side.

Burton Watson



Done with a long day’s begging, 

I head home, close the wicker door,

in the stove burn branches with the leaves still on them, 

quietly reading Cold Mountain poems. 

West wind blasts the night rain, 

gust on gust drenching the thatch. 

Now and then I stick out my legs, lie down—

what’s there to think about, what’s the worry

Burton Watson

Autumn Day Stroll in the Country

Kokan Shiren

Shallow water, soft sand,
one path that angles along;
the clack of a loom, murmur of a grove—
people living there.
Beyond banked clouds of yellow,
white waves rise up:
fragrant stalks of rice ripening,
bounded in buckwheat blossom.

Sailing in the Moonlight
Kokan Shiren

We monks boat in moonlight, circle through the reeds.
The boatman shouts the tide recedes; we must return.
The village folk mistake us for a fishing boat
And scramble to the beach to buy our catch..

Kokan Shiren

Still things moving,
firm become unfirm,
land like ocean waves,
house like a boat—
a time to be fearful,
but to delight as well:
no wind, vet the wind-bells
keep on ringing.


The Shih Ching , usually translated as either The Book of Songs or the Classic of Poetry, is the first great collection of Chinese poetry. Tradition says that it was edited into its present form by the Sage of Sages, Confucius himself. In fact the book was assembled before, during, and after the life of Confucius. Its more than three hundred poems include fragments of works as old as the Shang Dynasty (traditional; dates 1766-1154 BCE) as well as “contemporary” poems from the Chou feudal states written or spoken by both aristocratic court figures and just plain “folks”. A great deal has been said about the origin of many, if not the majority of the poems as oral “folk” art, but it is clear from the artistry of the written language in which they have been handed down that, like the scribes who improved upon the originally oral poetry attributed to “Homer” in the West to create the Iliad and the Odyssey, the people who converted Chou folk songs and court verses into poetry in written Chinese characters clearly thought of themselves as (and were) artists. So the characters used to render simple and direct lyrical utterances of the illiterate peasant folk often honor them with carefully chosen written vocabulary: the heart and soul of folk art remains clearly present, but literary subtleties are introduced. The scribes who created the Shih Ching were poets, not tape recorders. They chose the best of what existed, and they honored it with their own art.

In its present form, the Shih Ching consists of three major sections, the Kuo Feng, or Odes of the States, comprising 160 of the 300 are generally but not always folk songs. The Ya (Elegant Verses) subdivided with no obvious criteria into greater and lesser, include poems 161-265, and the Sung or Temple Odes high ritual songs and bits of dynastic myth, include poems 266-305. The present selection is comes, all but a single longer poem on drinking and its positive and negative consequences from the “Lesser Elegants”, all come from the Kuo Feng Sections.

Knowledge of the Shih Ching poems was a necessity of diplomatic practice around the time of Confucius, when it was a common practice to deliver or at least support the delivery of diplomatic messages among the feudal domains (the “States or Guo of the Guo Feng) by oral presentation of relevant lines from the Classic. From the Han on many of the poems where imbued with very specific allegorical interpretations, but it is clear that later poets, who memorized the book word for word, used it as allusive material in their own poems at least as often for its plain “folk” messages as for its orthodoxly approved allegorical ones.