Reply in Spring
Tags
Summary
Editor's review
Who it's for
A good fit for
- Readers who love Song poetry and wish to encounter poets like Wang Zhou with few surviving works
- General readers interested in spring themes and correspondence themes in classical poetry
- Language learners needing short Song poems as material for recitation or appreciation
- Literature lovers willing to use a short poem as an entry into the everyday social writing of Song literati
Not a good fit for
- Researchers seeking detailed biographical evidence and chronological dating of Wang Zhou's works
- Readers expecting long narrative or rich plot who have limited interest in short poems
Reading tips
- First read the whole poem, clarifying words and sense, then check the seasonal phenomena and correspondence background involved.
- Read "Spring Reply" alongside Song spring-scene and correspondence poems on similar themes, comparing differences in technique.
- Read aloud several times, noting the shifts of tone and feeling, and record one or two lines that move you most.
About the publisher
Jinzhang Book Company (Jinzhang Shuju) was a private publishing and distribution house in Shanghai during the late Qing and early Republican periods, issuing traditional works by lithographic printing. Judging from the 1,194 titles in the collection, its publishing focused on classical poetry, Eastern philosophy, historical reading, traditional Chinese medical texts, and canonical works, along with books on literary appreciation. Representative titles include the poetry and prose collections of Du Fu and Ouyang Xiu; historical works such as the Book of Han and Zizhi Tongjian; classical texts such as the Book of Documents and Mencius; and specialized and literary classics such as Treatise on Cold Damage and Li Sao. Its author resources cover major figures across the ages, including Du Fu, Ban Gu, Sima Guang, Zhang Zhongjing, Qu Yuan, Ouyang Xiu, and Tang Shenwei, reflecting the house's characteristic reliance on traditional scholarship and medical literature while serving general readers. Public information on its early history and operational details is limited, so no conjecture is offered here.
Contents
- 版权信息
- 【山居】颜仁郁
- 卷763_23【春日寓感】王延彬
- 卷763_24【哭徐夤】王延彬
- 卷764_1【塞上】谭用之
- 卷764_2【赠索处士】谭用之
- 卷764_3【别雒下一二知己】谭用之
- 卷764_4【约张处士游梁】谭用之
- 卷764_5【送友人归青社】谭用之
- 卷764_6【送丁道士归南中】谭用之
- 卷764_7【月夜怀寄友人】谭用之
- 卷764_8【闲居寄陈山人】谭用之
- 卷764_9【忆南中】谭用之
- 卷764_10【寄友人】谭用之
- 卷764_11【别江上一二友生】谭用之
- 卷764_12【寄岐山林逢吉明府】谭用之
- 卷764_13【感怀呈所知】谭用之
- 卷764_14【江上闻笛】谭用之
- 卷764_15【寄孟进士】谭用之
- 卷764_16【寄阎记室】谭用之
- 卷764_17【幽居寄李秘书】谭用之
- 卷764_18【贻钓鱼李处士】谭用之
- 卷764_19【河桥楼赋得群公夜宴】谭用之
- 卷764_20【寄左先辈】谭用之
- 卷764_21【贻费道人】谭用之
- 卷764_22【寄许下前管记王侍御】谭用之
- 卷764_23【秋日圃田送人随计】谭用之
- 卷764_24【途次宿友人别墅】谭用之
- 卷764_25【春日期巢湖旧事】谭用之
- 卷764_26【再游韦曲山寺】谭用之
- 卷764_27【寄徐拾遗】谭用之
- 卷764_28【秋宿湘江遇雨】谭用之
- 卷764_29【贻南康陈处士陶】谭用之
- 卷764_30【渭城春晚】谭用之
- 卷764_31【山中春晚寄贾员外】谭用之
- 卷764_32【贻净居寺新及第】谭用之
- 卷764_33【江边秋夕】谭用之
- 卷764_34【送僧中孚南归】谭用之
- 卷764_35【江馆秋夕】谭用之
- 卷764_36【秋夜同友人话旧】谭用之
- 卷764_37【古剑】谭用之
- 卷764_38【寄王侍御】谭用之
- 卷764_39【别何处士陵俊老】谭用之
- 卷764_40【句】谭用之
- 卷765_1【泊姑熟口】王周
- 卷765_2【湖口县】王周
- 卷765_3【岳州众湖阻风二首】王周
- 卷765_4【问春】王周
FAQ
What era was the poet Wang Zhou from?
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What preparation is needed to read "Spring Reply"?
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About the author
Wang Zhou is a Chinese author of classical poetry. His biographical details, such as his courtesy name, native place, dates of birth and death, and life experiences, are limited in publicly available sources and are difficult to verify at present. Two works are currently held in the collection, namely "Chun Da" (Spring Reply) and "Wu Miao" (The Shaman Temple), commonly classified as classical poetry. Judging from these two pieces, Wang Zhou's subjects involve poetic replies and inscriptions on temples; his language is concise, and he is skilled at using scenery and narrative to convey feelings, showing the understated quality typical of traditional literati poetry. "Chun Da" unfolds around the thread of reply, with gentle and subtle sentiments, while "Wu Miao" describes the space of a shrine, creating a secluded and solemn atmosphere. Although the two works are limited in length, they reveal his care and skill in writing regulated verse. Because few works by this author survive, his overall creative output, stylistic development, and literary influence are difficult to assess comprehensively and await further study as more documents and works come to light.