Wen Fu 9 [文赋九] “The Whip” by Lu Ji [陆机] [w/ Audio]

Language can be complex, reason may sprawl,
And words don't always seem to point the way.
Extremes aren't always clear and distinct.
Overhauls are not always an upgrade.
The gist may dwell in a key phrase or two --
Those words the whip that make it race or stay.
Though multitudinous words are in place
They must do more than roar, hiss, or bray.
Overuse of the whip exhausts the horse --
Keep the impulse to whip too much at bay.

The original lines in Simplified Chinese are:

或文繁理富,    而意不指适。
极无两致, 尽不可益。
立片言而居要,乃一篇之警策。
虽众辞之有条,必待兹而效绩。
亮功多而累寡,故取足而不易。

Wen Fu 8 [文赋 八] “Edits” by Lu Ji [陆机] [w/ Audio]

Maybe the first lines constrain the last;
Maybe ends insist on openings;
Maybe some truths escape all words;
Maybe dulcet lines tell no truths.
One may need to keep separated --
Beauty and truth -- to avoid wounds.
Inspect and haggle over each word --
Distinctions maybe finer than a hair;
Weigh each edit upon a scale;
Ensure each cut serves its purpose.

Original poem in Simplified Chinese:

或仰逼于先条,或俯侵于后章。
或辞害而理比,或言顺而义妨。
离之则双美, 合之则两伤。
考殿最于锱铢,定去留于毫芒。
苟铨衡之所裁,固应绳其必当。

Wen Fu 6 [文赋六] “Modes of Writing” by Lu Ji [陆机]

Poetry is poignant and ornate;
Essays are deep and content-centric.
Stele entries are true to the essence;
Paeans, moving and melancholic.
Inscriptions are concise and kindly;
Telltales have a logic and cadence.
Odes show great grace and refinement;
Op-eds are unrepressed and intense.
Music 's penetrating and stately;
Speeches must sparkle with cleverness.
Though there ever so many forms,
All thwart evil and allow release:
Expression, sans pride overweening,
With no waste of words or lost meaning.

Original in Simplified Chinese:

诗缘情而绮靡,赋体物而浏亮。
碑披文以相质,诔缠绵而凄怆。
铭博约而温润,箴顿挫而清壮。
颂优游以彬蔚,论精微而朗畅。
奏平彻以闲雅,说炜晔而谲诳。
虽区分之在兹,亦禁邪而制放。
要辞达而理举,故无取乎冗长。

Wen Fu 5: “Writing Styles” [文赋五] by Lu Ji [陆机] [w/ Audio]

Among ten thousand writing styles,
There's no one standard or measure.
The styles: many, muddled, and free --
Form, the unattainable treasure.
Talent in word-wrangling shows skill.
Idea conveyance shows craft.
Writers strive 'twixt have and have not --
Unyielding in shallow or deep draught.
An escape artist of fine lines --
Yet time and space consume in kind.
Intricacy excites the eye,
But frugality soothes the mind.
One of few words is not confined.
Verbose writers drift the Undefined.

The original in Simplified Chinese:

体有万殊,物无一量。
纷纭挥霍,形难为状。
辞程才以效伎,意司契而为匠。
在有无而黾勉,当浅深而不让。
虽离方而遯员,期穷形而尽相。
故夫夸目者尚奢,惬心者贵当。
言穷者无隘,论达者唯旷。

“Poetry Is a Destructive Force” by Wallace Stevens [w/ Audio]

That's what misery is,
Nothing to have at heart.
It is to have or nothing.

It is a thing to have,
A lion, an ox in his breast,
To feel it breathing there.

Corazón, stout dog,
Young ox, bow-legged bear,
He tastes its blood, not spit.

He is like a man
In the body of a violent beast.
Its muscles are his own. . .

The lion sleeps in the sun.
Its nose is on its paws.
It can kill a man.

Wen Fu 4: “Ekstasis” [文赋四] by Lu Ji [陆机]

It's all the amusing matters
That sages admire without bounds.
Writers find their way through the void --
Knock on silence to find its sound.
Silk scroll messages from afar,
The bard's words surge forth from the heart.
Words and ash grow to overflow --
Thoughts transcend depths to become art.
Flowery fragrance pungently sprawls;
Plants shoot forth verdant greenery.
The brush winds swirl to whirlwinds
Clouds climb above the academy.

Note: I previously posted other translators’ (Barnstone and Chou) version of this poem as The Joy of Words @ https://berniegourley.com/2024/12/31/the-joy-of-words-by-lu-ji-w-audio/

Original poem in Simplified Chinese:

伊兹事之可乐,固圣贤之所钦。
课虚无以责有,叩寂寞而求音。
函绵邈于尺素,吐滂沛乎寸心。
言恢之而弥广,思按之而逾深。
播芳蕤之馥馥,发青条之森森。
粲风飞而猋竖,郁云起乎翰林。

BOOKS: “Be Funny or Die” by Joel Morris

Be Funny or Die: How Comedy Works and Why It MattersBe Funny or Die: How Comedy Works and Why It Matters by Joel Morris
My rating: 5 of 5 stars

Author Site

Release date: Sept 4, 2025 [paperback, hardcover is already out]

This is a comedy writer’s guide to how humor is crafted. It’s a bit popular psychology and a bit of a how-to guide. If one is expecting, because it’s on comedy and humor, a book that is a laugh riot on every page, this isn’t the book for you. That’s not so say Morris doesn’t pepper the book with witty commentary and humorous examples, but it’s ultimately a book about how the sausage gets made and is, thus, somewhat analytic — if in a readable style.

At the core of Morris’s theory of comedy is a three-component structure: construct, confirm, and confound. Other major ideas are the fundamental tribalism of comedy and the connections between comedy and music. It wouldn’t be a present-day book on comedy if there wasn’t some discussion of the idea of offense and the “limits” of what can be said.

I can’t say all of Morris’s ideas found immediate resonance with me, but even when I didn’t fully buy the argument, I did find the presentation thought-provoking. For example, I don’t know that I buy Morris’s argument about the importance of tribality to comedy. I do agree that one needs a common language and some overlap of experience, but all of humanity has a domain of overlap of experience. Yes, one may have an easier time the more extensive that overlap is, but ease doesn’t necessarily mean one can’t get big laughs from an audience whose worldviews and experience are radically different from one’s own. [Of course, I may just be being overly sensitive as a traveler in a tribal world.]

For writers, the end of the book has a few chapters that are more about story than comedy – per se, and – while these chapters compare and contrast comedy and drama writing – they provide information useful to any writer engaged in storytelling.

I’d highly recommend this book for any readers interested in comedy writing, be it of standup material, scripts, or other content.

View all my reviews

Wen Fu 3 [文赋三]: “The Writing Process” by Lu Ji [陆机] [w/ Audio]

After choosing one's scope of thought,
Turn the words and note their order.
Embrace the hot ones, feel their burn;
Knock on lines and hear their timbre.
Use the branches to shake the leaves,
And waves can be traced to their source.
Make the hidden come visible;
Make the difficult seem simple.
A tiger's transformation startles --
Birds take flight on sight of dragons.
Sometimes words nest into each other;
Sometimes, jaggedly, they won't mesh.
With a clear, contemplative mind
Hordes filter through to easy speech.
Heaven and Earth contained within:
All things flow from the brush with ease.
Starting timidly with dry mouth,
Ending with a wandering brush.
Meaning is borne by a stout trunk,
Language hangs like leaf and fruit.
Make words and intended meaning match
As moods show clearly on a face.
When happiness comes, laugh & smile,
And with sorrow let loose a sigh.
At times words flow spontaneously;
At times one bites one's brush, musing.

The Original in Simplified Chinese:

然后选义按部,考辞就班。
抱暑者咸叩, 怀响者毕弹。
或因枝以振叶,或沿波而讨源。
或本隐以之显,或求易而得难。
或虎变而兽扰,或龙见而鸟澜。
或妥帖而易施,或岨峿而不安。
罄澄心以凝思,眇众虑而为言。
笼天地于形内,挫万物于笔端。
始踯躅于燥吻,终流离失所于濡翰。
理扶质以立干,文垂条而结繁。
信情貌之不差,故每变而在颜。
思涉乐其必笑,方言哀而已叹。
或操觚以率尔,或含毫而邈然。

BOOKS: “Troublesome Words” by Bill Bryson

Bryson's Dictionary of Troublesome Words: A Writer's Guide to Getting It RightBryson’s Dictionary of Troublesome Words: A Writer’s Guide to Getting It Right by Bill Bryson
My rating: 5 of 5 stars

Publisher Site – Penguin Books

This is a guide to English words (and loanwords) that challenge even professional writers. It’s organized as a dictionary, and – in fact – the earliest edition of the book was entitled The Penguin Dictionary of Troublesome Words. However, the entries are far from mere definitions, and typically include examples of grammatical, stylistic, or spelling offenses, examples that are sometimes humorous (as are Bryson’s explanations.)

The most common classes of troublesome words are those that are redundant (or otherwise fail to add information) and pairs or groups of words that are frequently confused because of similar spellings or close — but not identical — meanings. That said, there are many other varieties of linguistic challenges confronted by the book, such as spelling mistakes and migrating meanings.

The book is dated. For some readers, that will make the book obsolete, but students of language may find it’s even more useful in showing the evolution of the language. This can be seen with respect to migrating meanings, words whose meanings started out being one thing but against the efforts of grammarians and other linguistic guardians were dragged into an alternate meaning by the force of mass usage. There are some instances where Bryson advises one to honor the original meaning and other cases where he points out that the ship has sailed and to just go with the flow. I’m sure these positions would shift if this book were to be updated again. (Originally written in the 1980’s, the book was revised and update in the early 2000’s, but language has continued to shift in these 20+ years.) In several cases words for which he suggests we stick to the original meaning have now completed their slide. (And many of the words he tells us to accept the changed meaning of are now so far past that original meaning that few readers will be aware the word ever meant something different.)

That being said, the book isn’t completely obsolete. As mentioned above, one of the most common classes of offenses are redundant and meaningless words, and these are almost all still relevant to writers today.

Bill Bryson has a unique relationship to the language, being both British and American, and one nice feature of the book is that he points out differences in spelling and usage that exist between the two countries.

There is an appendix discussing proper punctuation, a bibliography, and a glossary of linguistic terms.

If you’re reading this out of an interest in language, I’d recommend it. It’s light and humorous. However, if you’re in the market for a reference guide, you can surely find a more up to date (if less humorous) guide.

View all my reviews

BOOK: “The Short Story: A Very Short Introduction” by Andrew Kahn

The Short Story: A Very Short Introduction (Very Short Introductions)The Short Story: A Very Short Introduction by Andrew Kahn
My rating: 4 of 5 stars

Publisher Site – OUP

This guide provides an overview of the short story, particularly literary short stories (though it’s not without mention of genre fiction.) The book is well organized and offers some fascinating food for thought, particularly regarding the psychology of character and the distinctions between short stories and novels. (The former are not to be thought of as pared down versions of the latter.)

I will say that, for a concise introduction, the book does occasionally get into the weeds on specific issues, potentially losing the non-specialist reader who this series is ostensibly geared toward.

I found the book’s organization to be logical and productive to its task. After an introduction that explores the advent and history of the short story, most of the chapters deal with structural or compositional aspects of story, including: openings, voice, setting, plot, irony / reversal, and endings. One chapter (Ch. 6) stands out as a bit different in that it zooms in on Chekhov and his influence on the short story as we’ve come to know it. While this could be said to demonstrate the author’s tendency to zoom in the specificity more than is usual for such a guide, I did find the chapter interesting and enlightening.

If one is interested in the short story (as a reader, writer, or both) one will find this guide worth one’s attention.

View all my reviews