端午節 (Dragon Boat Festival)

Yesterday was 端午節 (Duanwujié, commonly known as Dragon Boat Festival) for 2019. 端午 Duanwu takes place on the fifth day of the fifth month (午月) in Chinese lunar calendar. There are many different theories on the origin of this holiday. I will stay with the version that is familiar to most Chinese children.

屈原 (Qu Yuan, c. 340-278 BC) was a nobleman of the State of Chu (楚國) during China’s Warring States period. He was a poet and an influential member of the court of King Huai (懷王).[1] Unfortunately, he became the victim of power struggles both within the court and between Chu and neighboring states, and was banished to remote regions multiple times. As the powerful Qin State gaining the control of Chu’s capital city, Qu Yuan committed suicide, drowning himself in Miluo (汨羅) River, holding a heavy rock. When locals learned of the tragedy, they beat drums and rolled out boats to drive away fish and evil spirits; they dropped rice into the river so fish would not harm the Qu Yuan’s body. Thus began the traditions of dragon boat races and eating rice dumplings (zongzi, 粽子).[2]

The main ingredient for 粽子is sweet sticky rice. There are many regional varieties. They can be savory or sweet. Usually, they are wrapped in dried bamboo leaves and tied up with twine. Mom learned to make central-Taiwanese style zongzi from our neighbor Mrs. Lee. The ingredients included braised pork belly, shiitake mushrooms, peanuts and chestnuts. (Sounds labor-intensive already, doesn’t it?) Occasionally, mom would add salted duck egg yolks. Although it’s fun to watch mom wrapping the ingredients with rehydrated bamboo leaves, I loved even more helping her prepare the sticky rice. Finely chopped shallots, dried shrimp and pickled Daikon radish were fried in hot oil. Pre-soaked and drained rice would then be added to the wok. To prevent the rice from sticking to the wok, one must stir the rice mixture constantly while gradually adding broth/sauce. (Chinese risotto, anyone?)

We used to wait for eating zongzi once a year. Nowadays, freshly made zongzi are available all-year-round at night markets, from street vendors, and even in the frozen food section of grocery stores. Fewer people take on the time-consuming task of making them at home. I missed walking down the streets when very family was busy preparing zongzi. The smell of sticky rice and bamboo leaves would come through every kitchen window, sweet and warm.

It was a common practice in Taiwan to eat eggplant and long string beans on Duanwu. Mom always cited the idiom: “吃茄會超騰,吃豆吃到老”[3] (“Eating eggplants makes one energetic and lively; eating beans will bring longevity.”) In Taiwanese, 茄 (eggplant) is pronounced “kio, ㄍㄧㄡˊ;” rhyming with 超騰 “chio—tio, ㄑㄧㄡ/ㄊㄧㄡˊ.;” 豆 (bean, dou; ㄉㄠˇ), rhyming with 老 (old, lau; ㄌㄠˊ). I always loved vegetables. Unfortunately, mom’s blanched eggplants and beans on Duanwu were always plain. The addition of sesame oil and soy sauce didn’t help much. Perhaps mom thought that, with the flavorful zongzi, she could go light on the veggies.

In southern China, salted duck eggs with red yolks are part of the celebratory food tradition. Some people believe that, because of the positions of sun and earth on Duanwu, it is possible to balance fresh chicken eggs upright on flat surface (立蛋). It brings one good fortune throughout the year.

In Chinese culture, Duanwu marks the arrival of summer, when venoms become active. People hang bundles of 艾草 (artemisia), 蒼蒲 (acorus calamus), and 香茅 (lemongrass) on the door to keep evil spirits away.[4] They drink realgar wine (雄黃酒) for disease-prevention.[5] Sometimes, the liquor is rubbed on the forehead of children too young to consume alcoholic drinks. (It is very similar to the practice of worshipers receiving ashes on their forehead on Ash Wednesday.)

Kids are also given perfume pouches (香包) made of colorful fabric in all shapes and forms[6] filled with perfuming spices for protection. At school, we made zongzi-shaped perfume packages with craft paper or cardstock and wrapped them with multi-colored silky threads. Later, I learned to make pouches with leftover fabrics and kept them in my drawers and closets. The practices of using herbs and spices for protection might have started with superstitions. But it makes perfect sense to strengthen one’s immune system as the hot summer months arrives, and to use natural insect repellents.

Like all children, I loved Duanwu for the smell of zongzi, for the beautiful perfume pouches and for the excitement of dragon boat races. Like all children, I also knew that the school year would soon be over. Happy summer months were in sight.


[1] Qu Yuan’s literary works are collected in the anthology 楚辭 (Chu Ci), representative of early poetic writing of southern China. Chu_Ci_: Wiki
Among them was the epic poem 離騷 (Li Sao), in which Qu Yuan expressed his political ideal and despair. Li_Sao: Wiki
Contrasting to the anonymous works in 詩經 (Shijin, Classic of Poetry), representative of the northern style, Qu’s approach was personal and romantic. The two anthologies became the foundation of Chinese poetic writing. Classic_of_Poetry_Chinese: Wiki
[2] Life-in-Taiwan-dragon-boat-festival
[3]A variant of the phrase is “食茄吃到會搖,吃豆吃到老老”
[4]Garlic and additional herbs are added according to regional preferences and practices.
[5]Realgar_wine: WikiSince realgar contains arsenic sulfide, despite it being an effective insect repellent, it is probably not a great idea to consume realgar wine.
[6]Images of perfume pouches

Life and death— “Vissi d’arte”

I often point out grammatical errors that I heard on radio and/or TV shows to friends. One of them always responds: “Only people that had to study the language would notice these things.” It is very true that, being a non-native speaker, I try my best to use the language properly.

There is no such a thing as “verb tenses” in Chinese language. (On the other hand, there are many words and phrases that can reflect the timing of events and actions.) When I first started studying English, it annoyed me a great deal to have to learn the conjugation of strong verbs and to understand tenses. Italian is a language twice remote from my linguistic roots and, like any Romance language, it has a complicated system of verb tenses.

In Act II of Puccini’s Tosca, Scarpia, chief of the secret police, pressures the protagonist to give into his sexual advances, in exchange for the life and freedom of Cavaradossi, her lover and a supporter of revolutionary movement. At the moment of extremity, Tosca sings “Vissi d’arte.”[1]

Vissi d’arte; vissi d’amore
I used to live for arts; I used to live for love.

Non feci mai
male all’anima viva
I never did evil thing to any living soul.

Con man furtiva,
Quante miserie conobbi aiutai
With furtive hand,
I helped many people in misery as I knew.

Sempre con fè sincera
Always with sincere faith,

la mia preghiera
ai santi tabernacoli salì.
rose my prayer to the holy tabernacles.

Sempre con fè sincera
Always with sincere faith,

diedi fiori agl’altar.
I gave flowers to the altars.

Nell’ora del dolore
In the hour of sorrow

perchè, perchè, Signore,
perchè me ne rimuneri così?
Why, o why, Lord,
Why do you remunerate me so?

Diedi gioielli
della Madonna al manto,
I gave jewelries for the mantle of Madonna,

e diedi il canto
agli astri, al ciel,
che ne ridean più belli.
I also sent my singing to the stars, to the sky,
So, because with it, they would shine more beautifully.

Nell’ora del dolor
In the hour of sorrow,

perchè, perchè, Signor,
Ah, perchè me ne rimuneri così?
Why, why, Lord,
Ah, why do you remunerate me so?

When I first studied the aria, I noticed that almost all the verbs were in passato remoto (remote past).[2] It is a tense often associated with historical writing or storytelling, describing things that happened in the past and will not recur. The very first word “vissi” is first person/singular/passato remoto of “vivere” (to live). It is rarely used as it actually says, “Once upon a time, I lived.”

Tosca could have said, heroically, “Vivo d’arte; vivo d’amore” (“I live for art; I live for love”). She could even have said, “Sono vissuta. . .”[3] (“I have lived. . .”), giving a sense of how life had been and how it might continue. Clearly, she was distancing herself from the past, saying “I used to live for art; I used to live for love. . .”. Unfortunately, the desperation of cutting off one’s present realities from the past does not come through in English translation. Most singers are either ignorant of the complexity or simply setting it aside.

In all these years, I searched for the reason that the librettists[4] chose such strong tense. I addressed the questions to every soprano that passed through my door. I asked many reputable professionals. No answers.

Early last week, while working with a wonderful playwright/actress/singer on Tosca, I brought up the subject again. Her reaction was immediately different than most people. She asked a key question: “Did Tosca sing the aria before or after she caved in to Scarpia’s demands?” AFTER. Suddenly, it was clear to both of us that the moment of her surrender was a point of departure: A life of art, love, devotion and sincerity was no more. Tosca was eulogizing her own life and begging for a reason from the Lord.

I am a firm believer of the dramatic power of words, especially when combined with music. Since every language has its characteristics, in order to release such power, the interpreters must truly appreciate the choices of words as well as the construct of the text. Linguistic study could be a challenging task. Nonetheless, it is paramount for serious musicians.


[1]Vissi d’arte: Maria Callas
[2]The verb “rimuneri” (you remunerate) is in present tense.
[3]In conjugation of the verb “vivere,” auxiliaries “avere” (to have) and “essere” (to be) are both used. When associate with location, i.e. “Ho vissuto in Italia per un anno” (I have lived in Italy for a year), the auxiliary “avere” is used. When indicating being alive, “essere” should be used.
[4] Giuseppe Giacosa and Luigi Illica collaborated on the libretto of Tosca. They also cowrote the libretti of La Bohème.