dynasty, when a wave of pedantry swept over China. At that period his poetry was considered vulgar, because it was not erudite; and prosaic, because it was not rhetorical. Although they valued form far above content, not even the Ming critics can accuse him of slovenly writing. His versification is admitted by them to be "correct."
Caring, indeed, more for matter than for manner, he used with facility and precision the technical instruments which were at his disposal. Many of the later anthologies omit his name altogether, but he has always had isolated admirers. Yüan Mei imitates him constantly, and Chao I [died 1814] writes: "Those who accuse him of being vulgar and prosaic know nothing of poetry."
Even during his lifetime his reputation had reached Japan, and great writers like Michizane were not ashamed to borrow from him. He is still held in high repute there, is the subject of a Nō Play and has even become a kind of Shintō deity. It is significant that the only copy of his works in the British Museum is a seventeenth-century Japanese edition.
It is usual to close a biographical notice with an attempt to describe the "character" of one's subject But I hold myself absolved from such a task; for the sixty poems which follow will enable the reader to perform it for himself.
