In imperial China, Li Qingzhao is the only female poet known to all admirers of traditional Chinese poetry. At that time, there were other poetesses, but their work was known only to narrow circles of specialists, and Qingzhao’s lyric poetry has remained recognized for many centuries, is still quoted, and is the object of research on many issues. The passages of Li Qingzhao’s works are different in style of presentation of thought, but the connection can be traced in the special subtle understanding of the author’s life, which was embodied in her works.
Li is an innovator in her new distinctive writing style. Several of her essays have been recognized as masterpieces of literary criticism, such as “On Song Lyrics.” The way she speaks about her predecessors looks very bold from a woman’s side. She critically evaluates the work of poets, pointing out the shortcomings, playing with the narrative, using ridicule and sarcasm. These essays are viewed as Li Qingzhao’s “attempt to assert her special understanding of the poetic genre for which she would become best known.” (Allen 55) Although the essay and the author were condemned for harsh remarks by later critics, such an analysis is one of a kind and attracts attention.
The Fisherman Is Proud contains the poet’s reflections on the purpose of existence and the end of the path. The personification of “the sky joins billowing cloud-waves,” metaphors “the Lord of Heaven’s place,” “Isles of Immortals,” and epithets “dreaming soul”, “startling lines” allows to more clearly feel the moment when the soul turns to God. It can be assumed that thoughts about the end of the path and their significance are characteristic of a person at the end of life. “Lines are produced in vain,” the author reflects on her place in this world and what she will leave behind. Turning to the wind, the author asks to send her boat to the “Isles of Immortals,” these words signify the readiness to exit this world, leaving the wisdom embodied in verse for generations.
On Top of Phoenix Tower, Recalling Flute Music reflects grief over the loss of a significant person. Affective images of everyday objects complement the descriptions of human pain, which is reflected in inaction and the loss of all meaning in life. Parallelism in the lines “not from sickness over wine, not from sadness over autumn” focuses on the reason why the author cannot live fully and experiences the torments of longing and loneliness. Repetition “no more, no more” focuses on movement, or rather on its absence, shows how monotonous life becomes when someone leaves it again. The metaphors “the Wuling man,” “clouds lock shut the tower in Qin” that frame the fact that the man has left this world draw attention to the manner of the storytelling. The time intervals during which the author will also wait in the wings also set the tone for the poem, and Li notes that “a layer of sorrow” will be added to her life.
To conclude, the analyzed excerpts represent different types of works: poetry and prose. Prose work mostly contains a critical analysis of the work of predecessors, here the author resorts to the genre of prose – essays. Poems are an expression of the author’s feelings through affective images. It would seem that the purpose of the analysis is completely unrelated kinds of literature, but the expression by the author of certain inner experiences, which can be traced in all creativity, can be similar. The poetic text is inseparable from the author, his worldview, life experience, emotions; therefore, thoughts that can be traced in passages are a raft of experienced emotions and certain life difficulties. The work is filled with completely different feelings that the author experienced at different times. This does not exclude a similar unique vision of the world and how it should be embodied in writing.
Work Cited
Allen, Sarah M., et al. The Works of Li Qingzhao. De Gruyter, 2019.