In making this book I have tried to avoid poems which have been translated before. A hundred and forty of those I have chosen have not been translated by any one else. The remaining thirty odd I have included in many cases because the previous versions were full of mistakes; in others, because the works in which they appeared are no longer procurable. Moreover, they are mostly in German, a language with which my readers may not all be acquainted.

With some hesitation I have included literal versions of six poems (three of the "Seventeen Old Poems" ("Autumn Wind," "Li Fu jen," and "On the Death
of his Father "), already skilfully rhymed by Professor Giles in "Chinese Poetry in English Verse". They were too typical to omit; and a comparison of the two renderings may be of interest.

Chinese poetry is poetry written, spoken, or chanted in the Chinese language, which includes various versions of Chinese language, including Classical Chinese, Standard Chinese, Mandarin Chinese, Yue Chinese, as well as many other historical and vernacular varieties of the Chinese language. In other words Chinese poetry refers to poetry written or spoken in the Chinese language. The various versions of this type of poetry, as known historically and to the general knowledge of the modern world, include two primary types, Classical Chinese poetry and Modern Chinese poetry.

Chinese poetry has consistently been held in extremely high regard in China, incorporating wonderfully expressive folk influences filtered through the minds of Chinese literati. Within Chinese culture, poetry provides an exceptional platform for both public and private expressions of deep emotion, offering a rare vantage point for students and observers to view the inner life of Chinese writers across more than two millennia. The essential contrasts between the Western world and the independent path struck by Chinese civilization are exemplified in the rich variety of the Chinese poetic tradition, making it an interesting and pleasurable object of study for Westerners.

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