Meng_Haoran

Meng Haoran

Meng Haoran

Chinese poet


Meng Haoran (Chinese: 孟浩然; Wade–Giles: Meng Hao-jan; 689/691–740) was a Chinese poet and a major literary figure of the Tang dynasty. He was somewhat an older contemporary of Wang Wei, Li Bai and Du Fu. Despite his brief pursuit of an official career, Meng Haoran spent most of his life in and around his hometown Xiangyang of the Hubei Province living like a hermit, while creating poems inspired by its landscapes and milieu. [1]

Quick Facts Born, Died ...

Meng Haoran was a major influence on both contemporary and subsequent poets of the Tang dynasty due to his excellency in Shanshui poetry and his composed, independent spirit.[1][2] Meng was prominently featured in the Qing dynasty (and subsequently frequently republished) poetry anthology Three Hundred Tang Poems, having the fifth largest number of poems selected for a total of fifteen, exceeded only by Du Fu, Li Bai, Wang Wei, and Li Shangyin. These poems of Meng Haoran were made available in English translations by Witter Bynner and Kiang Kanghu with the publication of The Jade Mountain in 1920. In 2021, a complete translation of all Meng's poems by Paul W. Kroll was published as The Poetry of Meng Haoran, which also contains an introduction of Meng's life and historical contexts of his poetry. [3]

The Three Hundred Tang Poems also collected two poems by Li Bai addressed to Meng Haoran, one in his praise and one written in farewell.

Biography

A city park in the former Xiangyang area, Meng Haoran's home territory.

One of the major poets during a peak era of the Tang Poetry, known as the High Tang, Meng Haoran was born in Xiangyang District, Xiangfan, south of the Han River, in the modern province of Hubei. He remained strongly attached to this area and its scenery throughout his life.

He had the desire to pursue a career in politics in his youth, but never successes in securing an official position. [1] As recorded by the New Book of Tang, he was recommended by his good friend Wang Wei to Emperor Xuanzong, who granted him an audience during which he recited his poem. However, one line therein angered the emperor: "The untalented the wise lord discards" (不才明主棄), which Xuanzong interpreted as a sarcastic complaint for not employing him sooner in the imperial government. Thus, he was sent away from the palace.[4] He received his only quasi-civil service position as an advisor to Zhang Jiuling three years before his death, but resigned after less than a year due to his aloofness and pride. [1] He lived in the Xiangyang area almost all his life, except for a brief trip to the capital city of Chang'an where he was hosted by Wang Wei in 728. The landscape, history and legends of his hometown are the subjects of a majority of his poems. Some particularly prominent landmarks include Nanshan (or South Mountain, his family seat) and Lumen Shan, a temple site, where he briefly lived in retreat.

Works

Meng Haoran is often bracketed with Wang Wei, due to the friendship they shared and their prominence as landscape poets.[5] In fact, Meng composed several poems about Wang and their parting. While Wang's work focused on the natural world, in particular the solitude and reprieve it granted from human life along with the scale of the natural world, Meng's poetry focuses more on foreground details and human life, such as returning villagers waiting at the ferry crossing, fishermen, or (often unseen) mountain hermits dwelling in religious seclusion.

Meng's quatrain "Spring Morning" (春曉) is one of the best known Tang poems, partly due to its inclusion as the opening piece of the Qian-Jia Shi (Poems of a Thousand Masters), a beginner's anthology of verses widely adopted in elementary curriculum since the late Song dynasty. [2]

春眠不覺曉,
處處聞啼鳥。
夜來風雨聲,
花落知多少。


In spring slumber, I am unaware of daybreak,
Though everywhere I hear the tweet of birds.
Last night came the sound of wind and rain;
Who knows how many flowers must have fallen?

Reception and Legacy

His works are generally considered less consistently successful than Wang's;[citation needed] however, the themes and styles of Meng Haoran's poetry helped to set a convention followed by younger poets, such as Wang Wei.

See also


References

  1. Longxi, Zhang (2022-08-30). A History of Chinese Literature (1 ed.). London: Routledge. pp. 109–120. doi:10.4324/9781003164173. ISBN 978-1-003-16417-3.
  2. Mair, Victor H. (2001). The Columbia history of Chinese literature. New York: Columbia University press. p. 294. ISBN 978-0-231-10984-0.
  3. Kroll, Paul W. (2021-07-05). Owen, Stephen (ed.). The Poetry of Meng Haoran. De Gruyter. doi:10.1515/9783110734690. ISBN 978-3-11-073469-0.
  4. 《新唐書·文藝下》:(王)維私邀入內署,俄而玄宗至,浩然匿床下,維以實對,帝喜曰:「朕聞其人而未見也,何懼而匿?」詔浩然出。帝問其詩,浩然再拜,自誦所為,至「不才明主棄」之句,帝曰:「卿不求仕,而朕未嘗棄卿,奈何誣我?」因放還。
  5. Jaroslav Průšek and Zbigniew Słupski, eds., Dictionary of Oriental Literatures: East Asia (Charles Tuttle, 1978): 116.

Further reading

  • Kroll, Paul W. (2021). The Poetry of Meng Haoran Open access icon. De Gruyter Mouton.
  • Bryant, Daniel Joseph (1977). The high T'ang poet Meng Hao-jan: studies in biography and textual history (PhD). Vancouver: University of British Columbia. hdl:2429/21504. Contains English translations of all known poems by Meng Haoran.
  • Nienhauser, William H (ed.). The Indiana Companion to Traditional Chinese Literature. Indiana University Press 1986. ISBN 0-253-32983-3
  • Ma Maoyuan, "Meng Haoran". Encyclopedia of China (Chinese Literature Edition), 1st ed.

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