Here’s another invidious comparison. Confucian poetry, unlike most of ours, deliberately chooses lexical anchors that can be rapidly translated to other languages (and cultures). This appears limiting since the deliberation is a constraint, for most of us. Nonetheless, the strategy presumes no hip readership needed to follow the broadly universal meanings. (Historically the cool or hip presumption behind a specifically cultural trope is encapsulated by the universal — coolness segregated within the hegemonic radius over the long run, clocking in with a short (2, 1, close to minus and counting) shelf life for the art product and reception over time. The surface warrant to the comparison, perhaps: Overspecification evolves into ‘period’ quaintness.