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By Peter Min-Liang Chen, Michael Min-Hua Tan, Visit Amazon's Chiu Ming Chan Page, search results, Learn about Author Central, Chiu Ming Chan,

This unique English translation from the chinese language textual content contains 60 poems (85 verses) and 3 prose compositions. It opens a window to the guts and brain of a chinese language student who lived from the past due Qing in the course of the Fifties. It displays the lifetime of a pioneer author of Malayan-Singapore chinese language Literature: his own tragedies, struggles, disappointments and the enjoyment in his relations, pals and his poetry. English factors for plenty of fascinating expressions and allusions utilized in chinese language classical poetry. This name allows an English language reader to benefit from the wealthy and vibrant history of chinese language tradition and language. A spouse version of the publication in chinese language is out there - the unique classical textual content translated into glossy chinese language and profusely annotated through affiliate Professor Dr. Chan Chiu Ming of nationwide Institute of schooling, Singapore.

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Additional resources for A Scholar's Path: An Anthology of Classical Chinese Poems and Prose of Chen Qing Shan, a Pioneer Writer of Malayan-singapore Literature

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1920s). “Heavy does Autumn sit upon your Heart. ” Qing Shan’s two eldest sons standing on left and right respectively: Xi Dong 锡东 and Xi Geng 锡庚, and his daughter Mei Xuan 美璇 at the centre (carried by Qing Shan’s stepmother), soon after Yi Song and the children arrived in China about mid-1931 while Qing Shan remained in Kampar, Malaya. indb 5 5 6/22/2010 3:31:12 PM ahead of himself. The sons were aged about five and four; the daughter was barely one year old. He had no money even for the family’s passage.

This is an allusion to a masterpiece in calligraphy Luo Sheng Fu 洛神赋 written by the great calligrapher and poet Wang Xizhi 王羲之 (303–361) of the Jin 晋 dynasty. By the time of the Southern Song 南宋 (1127–1279) only thirteen lines, comprising 250 words of the original work, were extant. The expression “thirteen lines” has thus become a metaphor for a beautiful piece of calligraphic work. In these two lines, Qing Shan heightens the emotion by again using the technique of sharp contrast between his wife’s “few words scribbled in great hurry” with Wang Xizhi’s “masterpiece in calligraphy”.

This verse ends with a clever play on three Chinese words “Autumn” qiu 秋, “Heart” xin 心, and “Sorrow” chou 愁. The third line of Verse 2 asks rhetorically, in a literal translation, “How many ‘Autumns’ do sit upon your ‘Heart’? 秋在心头知几 许”. The reader of Chinese will immediately recognise that the Chinese word for “Sorrow” is actually made up of the word “Autumn” sitting on top of the word “Heart”. Playing word games or “riddles” such as this is a popular pastime among the Chinese. The final line ends the poem with the declaration, “‘Sorrow’ is a word you have henceforth banished from all your letters 讳将愁字不教书”.

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