Poem Analysis : ' Better Known As Tao Yuanming 陶 ( Styled Yuanliang 元 亮 Essay

Emperor K’ang-hsi was one of the greatest Chinese emperors of all time. Ruling from 1662 to 1722 he was also one of the longest ruling emperors in Chinese history and for that matter the world. K’ang-hsi brought China to long-term stability and relative wealth after years of war and chaos. Jonathan Spence writes from the eyes of K’ang-hsi getting his information from K’ang-hsi’s own writings. Though a little biased towards himself this book still provides important insight into his mind. Emperor of China is divided into six parts; In Motion, Ruling, Thinking, Growing Old, Sons, and Valedictory.

As the rain began to come down in an awkward fashion, as if it were

Richard Blanco is a Cuban- American poet who was given the oppurunity to write an inaugaration poem for Barack Obama's second swearing-in. He wrote a poem titled "One Today" that praised the good and unique things about the United States and also the everyday people who's daily routines help to make America the proud country that it is.

Racist terms can be used positively, but only depending on the preference of the person being addressed. The society that we live in today opposes the use of racist language, but it can be used positively with other people. In her essay “The Meaning of a Word,” Gloria Naylor wants the audience to understand her past experience with the word “nigger.” According to Naylor, the racist term can impact anybody negatively. However, I believe such languages can bring out unity, diversity, and a feeling of acknowledgment. Different races also use racist terms in a funny and friendly way. The common word “nigga” is used almost everywhere in this way. Similarly, Christine Leong’s essay “Being a Chink” discusses how racist terms like “chink” are used in a friendly and compassionate way. From the two essays, I favor Leong’s essay because she states how racist terms can be used as a trend of assimilating everyone together. At the end of the day, racist terms can express unity and diversity.

The relationship between father and son changes over time, and molds along with the people in encapsulates. As in real life, the father and son who inhabit Li-Young Lee’s poem “A Story” experience sudden changes within their relationship as the time passes on. The son’s cries for a story that slowly change into adult conversations throughout the poem indicate that with maturity and age comes both understanding and hostility.

During the Tang Dynasty, Li Po and Tu Fu have reigned the literary world with their poetry. Their writing techniques and themes in their poetry allow them to stand out amongst other poets at the time. With the unique aspects and images these poets write about, they distinguish the similarities between themselves and contain different intensities in their poetry. While Li Po has a more relaxed tone to his poetry, Tu Fu deals with the serious aspects of life such as war, poverty, and suffering.

There are many examples of this with samples of these poems by Qianlong himself throughout the book and pictures of himself, mostly in a propaganda style though. The book gives a great short explanation of how Qianlong ruled the nation and how he lived in his home life. It details his wives and how much he liked them and what he did with them on their many travels together across the Chinese countryside. It goes into detail how much Qianlong was affected by the death of his first wife and how it might have had an affect on how he ruled from thereon. It shows that he was a loving person to his family and he treated his parents with as much respect and care for as he could give. There are descriptions of how Qianlong would go about his daily schedule and how hard it was to be in his position. It stresses how tough this job would be considering the events going on inside the nation and foreign threats. It covers his military campaigning and how he saw himself as a great warlord and giving himself the title “old man of ten perfect victories”. Elliott doesn’t go into extreme detail of each battle or conflict but it does mention all the major ones, especially the ones that Qianlong was most proud of. His international scene is covered very well. It describes how he went about his interactions with all the people that bordered china and those that came from afar. There are descriptions of how he interacted with the many religions of his nation being

Shen Fu and Yun had an unusually deep connection for the duration of their relationship, beginning when they were children; Shen Fu even notes how on their first meeting, he “sighed at [Yun’s] brilliance” (Fu, Six Records of a Floating Life, p. 23) as he read her poetry for the first time. They were so alike and shared so many interests that they didn’t even need to talk to express thoughts to each other. (Fu, p. 40) Also, Fu did not want to hide Yun away at home like most wives, he would rather defy the cultural norm and “travel the whole world together” (Fu, p. 40); Yun even dresses in his clothes so that they could enjoy being outside together (Fu, p. 44). However, their relationship was still very influenced by their society: Yun was

“The mind changes, the word changes, time doesn't stay still, history is a verb, it is ongoing, there is no past tense, future tense, history is constant” Hung Liu told interviewer Rachelle Riechart (Riechart). Hung Liu is a Chinese woman who was born in Changchun, China in 1948. She was born during the age which we call the Chinese Cultural Revolution, which heavily impacted her life. She lived in China for 36 years and then left for the United States. She now resides in Oakland, CA, where she teaches art at Mills College (“A World of Art”). A lot of her artwork is based on photographs and memories she has from China and photographs she’s taken in the United

The Sun of the Revolution by Liang Heng, is intriguing and vivid, and gives us a complex and compelling perspective on Chines culture during a confusing time period. We get the opportunity to learn the story of a young man with a promising future, but an unpleasant childhood. Liang Heng was exposed to every aspect of the Cultural Revolution in China, and shares his experiences with us, since the book is written from Liang perspective, we do not have a biased opinion from an elite member in the Chinese society nor the poor we get an honest opinion from the People’s Republic of China. Liang only had the fortunate opportunity of expressing these events due his relationship with his wife, An American woman whom helps him write the book. When

Mckissick, Floyd. “CORE Endorses Black Power.” In Let Nobody Turn Us Around: Voices of Resistance, Reform and Renewal: An African American Anthology, edited by Marable, Manning, and Leith Mullings. Rowman & Littlefield, 2003.

Complied during the Warring States Period, the Daodejing is widely known as one of China’s famous philosophy literature. This text reflects the general lament of a civilization that has been worn down from war and seeks to find peace by teaching people how to live by “the Way”. From a war-torn perspective, the Daodejing deems war and government corruption as evil and traces them back to greedy and power-hungry motives. As a successor to Confucius, it still carries some of his ethics. Because of its mystical overtones, it has acquired a large variety of interpretations. Its main teaching is if a person does nothing, then peace will be restored; it is the concept of non-action or 无为。When a person does not try to interfere and allows things to

In “The Daodejing,” Laozi, similar to many prominent Chinese philosophers before and after his time, discusses his unique perspective of the “Way.” There is much controversy, however, regarding whether Laozi was the actual author of this text or was even a real person, and “his” work is thought to have been a composite. (For the purpose of clarity, throughout this paper, the author(s) of “The Daodejing” will be mentioned as Laozi.) Laozi’s vision of the “Way” is exceptionally challenging to define using words because of its metaphysical nature. Although this term is somewhat difficult to envision, it is what mankind should aspire and take action to be aligned with. According to Laozi, in “readings in Classical Chinese Philosophy,” the “Way” (or dao) is the “source, sustenance, and ideal state of all things in the world” (Laozi 158). It can be best thought of as the underlying guiding force of all events that occur in the universe, and mankind is closer to the “Way” when they realize that all things are interconnected and have an effect on one another. As might be expected, this vague definition isn’t a foolproof depiction of the eighty-one chapters in the “Daodejing,” but one is able to grasp a basic understanding of Laozi’s ineffable doctrine. Although numerous chapters are meaningful and could provide substantial analysis, this paper will focus in on Chapter Twelve. Ultimately, this chapter adequately and efficaciously compresses the teachings of “The Daodejing” into

The genre of Tang poetry, developed during the Tang dynasty in China, can be split into several different styles, however they all share common themes. Tang poems evoke the mood, scene, and spirit of nature. Li Bo, known as one of the most famous Tang poets, added an extra aspect to Tang poetry by embodying Daoist ideals which gives his poem a free, flowing quality. Li Bo also departed from typical Tang poetry diction and rhyme, which had strict tone patterns, and preferred older poetic forms such as songs or ballads. Li Bo’s poem, "Drinking Alone with the Moon", uses tradition Tang poetic elements to influence the reader to bond with nature and lose one’s human ties, a Daoist philosophy.

In the poem, “Tao Te Ching”, translated by Stephen Mitchell, there were many stanzas that stood out and made recognizable points. Stanza number 79 in specific is a very influential one in the sense that it illustrates a “path of non-interference”. The path of non-interference is also known for wu-wei. It is a saying that states “Do nothing, and nothing will be left undone”. This could be interpreted as to not worry of finishing work when there was never work started in the first place.