1 — Another way to describe the world
Introduction
Chinese poetry is not just a literary art: it's a way of perceiving the world. It often aims less to explain than to suggest, evoke, and resonate with an experience.
A poetry of suggestion
In classical Chinese poetry, the meaning is not always explicit: a few characters, a natural image, a fleeting moment are enough to open an inner space for the reader.
A moon, a mountain, a nightly silence:
the poem does not describe, it invites you to see.
The Chinese language as poetic material
Classical Chinese (文言 ) allows for great density:
- few explicit grammatical marks (tense, gender)
- possible omission of the subject
- characters carrying images and cultural associations
A poetry to be read slowly
Reading a Chinese poem is accepting the silence between words, the implicit, and the plurality of interpretations: poetry is not just « understood, » it is contemplated.
2 — Image, emotion and landscape: the heart of Chinese poetry
Landscape and interiority
In Chinese poetry, the landscape is not a backdrop: it is often the mirror of the poet's inner state. Mountains, rivers, moon, mist, autumn wind: each natural element can carry an emotional and symbolic value.
The fundamental principle: 情景交融
This idea can be translated as: 'fusion of emotion (情 ) and landscape (景 )'. The poet does not necessarily say 'I am sad': they present an image that gives rise to emotion in the reader.
An aesthetics of brevity
Chinese poetry values brevity, concentration, and economy of words: in a few lines, a poem can set a place, a moment, an emotion, and a reflection.
Reading between the lines
Reading implies an active reader: the unsaid is as important as what is said. Understanding a poem is learning to inhabit the silences.
3 — Rhythm, form and rules: freedom within constraint
A highly codified poetry
Contrary to a common belief, classical Chinese poetry can be very structured, particularly in Tang poetry:
- fixed number of characters per verse (often 5 or 7)
- syntactical parallelisms (对仗 )
- tonal alternation (平仄 )
Constraint as a creative engine
The rule is not a limitation: it is a framework for excellence. Originality arises from mastery of forms and the precision of lexical choices.
Poetry, calligraphy and music
Traditionally, poetry is linked with:
- calligraphy (书法 ): the gesture and visual presence
- recitation (朗诵 ): the voice and scansion
- musicality: rhythm and sound echoes
Why teach Chinese poetry today?
Because it teaches us to slow down, to observe, and to feel without over-explaining: in a world saturated with discourse, it offers an ethics of attention.
