Selected Poems of Qian Qianyi -- Classical Poetry Masters

Author: Pei Shijun
Publisher:
Publish Date: 2005-01-01
Features: Qian Qianyi was the leader of the late Ming poetry scene, learning from Du Fu and Li Shangyin, and mastering their essence. His poems, imbued with depth and passion, exhibit exquisite craftsmanship, greatly influencing Qing Dynasty poets. This book is the first comprehensive collection of Qian's poems from mainland China, selecting 196 poems with detailed annotations and explanations. It not only allows readers to appreciate his poetry but also provides insights into Qian Qianyi the person and his era.
Qian Qianyi (1582–1664) was a prose writer and poet of the late Ming and early Qing dynasties. He styled himself Shouzhi, was known as Muzhang, and later as Mengsuo and Dongjian Yila. Born in Changshu (now part of Jiangsu Province), he passed the imperial examination in 1610 and was appointed as a compiler. Soon after, he returned home for his father's mourning and participated in the Donglin Party. During the Tianqi era, he served as the chief lecturer at the imperial court and as the deputy director of the Zhanjiu Mansion. In 1628, he became the assistant minister of rites and academician of the Hanlin Academy, but was dismissed after a conflict with Wen Tiyan and Zhou Yanru as cabinet ministers. Under the Southern Ming Hongguang regime, he served as the minister of rites. After the Ming fell, he became the assistant minister of rites and director of the Secretariat Institute, and later served as the deputy editor-in-chief of the Ming Shi (History of the Ming Dynasty). In 1646, he resigned and returned home. In 1647, he was arrested in connection with the Huang Yuqi anti-Qing case but was released and pardoned in 1656, returning to his hometown to write until his death. His home, the Jianshun Tower, was renowned for its vast collection of books but was destroyed by fire in 1650.
Qian Qianyi was a scholar of great erudition, extensively reading classics, history, literature, and Buddhist texts. He opposed the imitation of the "Neo-Confucian Revivalists," the narrowness of the "Jingling School," and the superficiality of the "Gong'an School." On one hand, he advocated for "authentic emotion" and "sincerity in expression" to counter imitation; on the other, he emphasized rigorous scholarship to combat emptiness. Thus, he argued: "Literature is the essence of the universe, formed by the interaction of human spirit and nature" (Preface to Li Junshi's Tainizhai Collection), yet also maintained: "Rooted in ambition, overflowing in words, guided by classics and history, and woven by rules—thus is the full measure of literary achievement" (Preface to Zhou Xiaoyi's Manuscripts). His overarching principle was that writing must combine "unique nature, diverse emotions, and profound learning" (Preface to Feng Dingyuan's Poems), "deep emotions accumulated within, extraordinary encounters met without, intricate patterns emerging" (Preface to the Yushan Poetry Collection), and then expressed. He sought to blend "scholarly writing" with "literary writing," resulting in works that were both expansive and expressive, often intertwining scholarly depth with emotional expression. His style was grand and varied, capable of revitalizing the declining Ming literary landscape and reviving the literary trends of the late Ming and early Qing dynasties. Examples include "Preface to Tang Yiyong's Collected Works," "Record of a Trip to Huangshan," "Biography of Sun Gong, Grand Secretary of the Ministry of War," "Eulogy for Yang Gong, the Loyal and Righteous," "Biography of Xu Xiake," "Letter to Tang Yude on Literature," "Reading Su Shangyi's Writings," "Preface to the Newly Printed Collection of Zhenchuan Master," "Preface to Mei Village Master's Poetic Collection," and "Preface to the Brief Account of the Lengyan Zhi Lüe."
Qian Qianyi's poetry initially drew from the Tang Dynasty, later learning from various masters of the Tang and Song dynasties, embracing diverse styles. He studied Du Fu and Yuan Haowen to strengthen his poetic foundation, Su Shi and Lu You to enhance his expressive flow, and Li Shangyin and Han Shizhong to refine his diction and imagery. With his dual talents and abundant creativity, he often composed lengthy series of poems. His poems after the fall of the Ming Dynasty reflect his life's hardships, blending sorrowful beauty with a sense of desolation, particularly distinctive. Representative works include "Five Poems on Xuzhou," "Thirty Poems from Prison," "Four Poems on a Late-Night Banquet in the Jiyou Year," "Four Poems Inspired by Qian Qianyi's Poems," "Twenty Poems on West Lake," "A Hundred and Ten Lines on Crying for Jiaxuan," "Song for the Portrait of Zuo Ningnan by Liu Jingting," and "Thirteen Repetitions of the Autumn Meditations" (104 lines).
His major works include Chuxueji (110 volumes), Youxueji (50 volumes), Toubiji (2 volumes), Kuhaiji (1 volume), and various other collections. These are now available in annotated editions by Shanghai Guji Press. Additionally, he compiled Qian's Annotations on Du Fu's Poetry (20 volumes) and edited Liechao Jipin (77 volumes, later expanded to 81 volumes during the Shunzhi era). Wuyaji (1 volume) is another of his compilations. Qian Luzhan also excerpted Qian Qianyi's biographies of poets into Liechao Jipin Xiaozhuan, published separately.