Wind in the Pines cover

Wind in the Pines

Rating 3.2
Word count
94K words
Chapters
170
ISBN
9787551031493

Tags

Summary

Tailored to the cognitive development of primary, middle and high school students and young readers, this series takes the most frequently occurring image keywords in Tang and Song poetry as the basis for its anthologies. For each keyword, poems are selected from Tang poetry, Song poetry and Song ci and gathered into a volume, with commentaries by notable critics who analyze, in delicate prose, the author's state of mind at the time and the cultural connotations the image carries in the poetic works.

Each volume includes author biographies, critical appreciations and anecdotes about the authors, helping readers understand the full context of a poem's creation, its intellectual import and artistic features, and enhancing their literary cultivation.

This volume takes “wind” as its keyword, tracing the origins and classifications of wind in historical records and its historical development as an important image in classical literature. It selects nearly 100 poems by Tang and Song literati and analyzes wind-related sentiments of different writers in different circumstances, with delicate prose and strong literary quality.

Editor's review

This is an anthology of Tang and Song poetry organized around “wind,” and its approach is clear: it first traces the origins and classifications of wind in ancient records, then uses nearly one hundred Tang and Song poems to show the multiple faces of wind as a literary image across different writers and circumstances. Cao Yase and Yan Li balance famous pieces with highly readable works, and their appreciations are delicately written, focusing on the author's state of mind at the time and the cultural connotations wind carries in specific works rather than stopping at literal explanation. Each piece is accompanied by an author biography, appreciation and anecdote, so readers can understand individual works while also following the thread of “wind” to see how the image evolved. The book is aimed at primary, middle and high school students and young readers, but it does not deliberately lower the literary standard; instead, it accommodates the pace of schoolwork through length control, making it suitable for extended poetry reading or accumulating writing material. For language teachers, the book's organization of pieces by image keywords can be directly transferred to classroom teaching on imagery as a thematic topic. One caveat: this is an anthology, not a systematic history of poetry, so readers who want a complete overview of Tang and Song poetry will need to consult other books as well.

Who it's for

A good fit for

  • Primary, middle and high school students who want to expand their reading of Tang and Song poetry by image-themed topics
  • Language teachers who need poetry appreciation material and writing examples
  • Young readers and adults interested in the cultural connotations of classical poetic imagery
  • Reading group leaders preparing poetry-themed sessions who need ready-made selections and commentaries

Not a good fit for

  • Readers who want a systematic study of Tang and Song poetry history and a complete overview
  • Families with young children looking for phoneticized poetry primers
  • Pure readers who want only the original text with brief notes and dislike appreciative commentary

Reading tips

  1. Read the preface's section on the origins and classifications of wind first, then read the poems in table-of-contents order; the imagery thread will be clearer.
  2. After finishing each poem, note in one sentence the emotion or function “wind” serves in that poem, then review and summarize after finishing the book.
  3. Copy favorite appreciation passages into a reading and writing notebook, imitating their analytical angle to build an appreciative sense of language for your own writing.
  4. Teachers can select three to five works on the same image in different circumstances for comparative reading and design a thematic lesson on imagery.

About the publisher

Wenxin Publishing House China · Founded in 1985

Founded in 1985 and named after The Literary Mind and the Carving of Dragons (Wenxin Diaolong), Wenxin Publishing House has long focused on composition textbooks, research on writing, and books on writing knowledge, while extending into classical literature, prose and miscellaneous writings, literary appreciation, and education and examination titles. Among the 188 books in the database, the "Wenxin Reading: Curriculum-Based Classics Series" is particularly prominent, including Chinese and foreign classics such as Water Margin, Journey to the West, Camel Xiangzi, Dawn Blossoms Plucked at Dusk, Jane Eyre, and Common Talks on Classics, serving students' reading and coursework. Its author resources include Shi Nai'an, Wu Cheng'en, Lao She, Lu Xun, Zhu Ziqing, Charlotte Brontë, Gu Zhichuan, and Song Zhaolin, combining original works with curriculum-oriented editions; its publishing character emphasizes reading education and the development of writing skills. Public information is limited, and the above is summarized only from the books in the database.

Contents

  1. 版权信息
  2. 导言
  3. 上篇 唐五代
  4. 李世民
  5. 赐萧瑀
  6. 长孙无忌
  7. 灞桥待李将军
  8. 寒山
  9. 杳杳寒山道
  10. 上官仪
  11. 奉和山夜临秋
  12. 王绩
  13. 登陇坂二首(其二)
  14. 王勃
  15. 咏风
  16. 杨炯
  17. 从军行
  18. 卢照邻
  19. 横吹曲辞·梅花落
  20. 骆宾王
  21. 渡瓜步江
  22. 李峤
  23. 风
  24. 沈佺期
  25. 长门怨
  26. 陈子昂
  27. 感遇三十八首(其三十四)
  28. 刘希夷
  29. 独鹤篇
  30. 贺知章
  31. 回乡偶书二首(其二)
  32. 李白
  33. 上李邕
  34. 三五七言
  35. 王维
  36. 酬张少府
  37. 观猎
  38. 裴迪
  39. 华子冈
  40. 孟浩然
  41. 早寒江上有怀
  42. 夏日南亭怀辛大
  43. 王湾
  44. 次北固山下
  45. 张九龄
  46. 江上遇疾风
  47. 王昌龄
  48. 从军行(其五)
  49. 李颀
  50. 琴歌
  51. 崔颢
  52. 晚入汴水
  53. 王之涣
  54. 凉州词二首(其一)
  55. 高适
  56. 塞上听吹笛
  57. 岑参
  58. 赵将军歌
  59. 杜甫
  60. 茅屋为秋风所破歌
  61. 秋风二首
  62. 皎然
  63. 江上风
  64. 钱起
  65. 省试湘灵鼓瑟
  66. 李益
  67. 竹窗闻风寄苗发司空曙
  68. 韩愈
  69. 洞庭湖阻风赠张十一署
  70. 柳宗元
  71. 汨罗遇风
  72. 刘禹锡
  73. 始闻秋风
  74. 孟郊
  75. 登科后
  76. 李贺
  77. 溪晚凉
  78. 苏小小墓
  79. 白居易
  80. 赋得古原草送别
  81. 凉夜有怀
  82. 元稹
  83. 定僧
  84. 许浑
  85. 咸阳城东楼
  86. 杜牧
  87. 赤壁
  88. 李商隐
  89. 无题
  90. 温庭筠
  91. 忆江南
  92. 薛涛
  93. 风
  94. 冯延巳
  95. 谒金门
  96. 李煜
  97. 虞美人
  98. 下篇 宋代
  99. 王禹偁
  100. 东风解冻诗
  101. 杨亿
  102. 胡马嘶北风
  103. 晏殊
  104. 蝶恋花
  105. 欧阳修
  106. 朝中措·平山堂
  107. 范仲淹
  108. 清风谣
  109. 张先
  110. 千秋岁
  111. 王安石
  112. 泊船瓜洲
  113. 桂枝香·金陵怀古
  114. 柳永
  115. 雨霖铃
  116. 蝶恋花
  117. 梅尧臣
  118. 秋风
  119. 邵雍
  120. 清风短吟
  121. 苏轼
  122. 水调歌头·黄州快哉亭赠张□佺
  123. 定风波
  124. 黄庭坚
  125. 寄黄几复
  126. 陈师道
  127. 回风行
  128. 苏辙
  129. 佛池口遇风雨
  130. 唐庚
  131. 风树吟
  132. 晏几道
  133. 鹧鸪天
  134. 秦观
  135. 望海潮·洛阳怀古
  136. 贺铸
  137. 青玉案
  138. 周邦彦
  139. 六丑·蔷薇谢后作
  140. 陈与义
  141. 阴风
  142. 李清照
  143. 如梦令
  144. 声声慢
  145. 朱敦儒
  146. 相见欢
  147. 岳飞
  148. 题翠岩寺
  149. 送紫岩张先生北伐
  150. 陆游
  151. 夜闻秋风感怀
  152. 钗头凤
  153. 杨万里
  154. 轿中风翻书卷
  155. 范成大
  156. 蝶恋花
  157. 辛弃疾
  158. 青玉案·元夕
  159. 水龙吟·登建康赏心亭
  160. 姜夔
  161. 扬州慢
  162. 浣溪沙
  163. 吴文英
  164. 风入松
  165. 周密
  166. 闻鹊喜·吴山观涛
  167. 野步
  168. 文天祥
  169. 使风
  170. 哭崖山

FAQ

How is this book different from ordinary poetry appreciation books?
It is not arranged by dynasty or poet; instead, it links nearly one hundred Tang and Song poems through the image keyword “wind,” first explaining the records and classifications of wind, then analyzing the meaning of wind in each work. What readers gain is an imagery perspective, not a chronological history of poetry.
Will it be too difficult for primary and middle school students?
The selections take young readers' cognitive development into account and include author biographies, appreciations and anecdotes to help with understanding the creative background and artistic features. Some appreciation passages are literary in style; upper primary students and above should read smoothly, while younger students are advised to read selected pieces with a parent or teacher.
Are the appreciations reliable, or do they overinterpret?
The appreciations stay close to the author's state of mind and the image's function in the work, analyzing from the text and creative background; the prose is delicate but does not depart from the works themselves. Readers can still keep their own feelings and treat the appreciations as one interpretive reference rather than the only answer.
Can it be used to prepare for poetry exams or writing?
It can serve as a reader for accumulating image-based appreciation and writing material; the analysis of wind's multiple meanings can be transferred to reading questions and compositions on similar themes. But it is not a collection of exam points; for exam preparation, use it alongside textbooks and past papers.

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About the author

曹亚瑟 Author

Cao Yase is an author for whom public information is currently limited; neither his nationality, dates of birth and death, nor an English name has been clearly recorded. Four of his works are held in the collection: Moonlight Slanting, Wind Through the Pines, Flowers Not Yet Asleep, and Snow Filling the Mountains. His works are commonly classified under ancient poetry, literary appreciation, classic works, and social culture. Judging from these titles and categories, Cao Yase's writing centers largely on classical poetry and traditional literature. He often takes poetic imagery as his subject matter and combines close reading with cultural interpretation, appreciating classic works while also attending to the social and cultural significance they reflect. Because biographical material is scarce, a complete picture of his life and writing cannot yet be drawn; the above is only a preliminary outline based on the available works. Readers wishing to learn more about his style and concerns may begin with the four works mentioned above.

晏藜 Author

Yan Li is a Chinese-language book author about whom little public information is available. The only work currently confirmed is Feng Ru Song (Wind Through the Pines), usually classified as literary appreciation. This suggests that Yan Li's writing centers on close reading of classical poetry and literary texts, in a style of appreciation aimed at general readers. Feng Ru Song is also the name of a ci tune pattern, hinting that the book may combine ci studies with literary criticism. Since reliable records of birth and death dates, nationality, education, and writing career are lacking, no speculation is offered here. On the available evidence, Yan Li's output is still small, and the influence is confined to the specific field of literary appreciation; the author may be regarded as a writer known for close reading and connoisseurship, pending further public materials.

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