Chinese Poetry (X): The Great River Flows Eastwards 大江東去

This entry is part 15 of 35 in the series Chinese Art Song

蘇軾  Su Shi
念奴嬌 “Niàn-Nú jiāo”
[“The delightfulness of Niàn-Nú”]
赤壁懷古  Reminiscence of the Legends at Red Cliffs

大江東去,浪淘盡,千古風流人物。
The Great River flows eastwards.
Its roaring waves sweep away legendary figures of thousand-year past.
故壘西邊,人道是,三國周郎赤壁。
West of the ancient fortress,
Was said to be, Red Cliffs where young master Zhou of the Three Kingdoms led the battle.
亂石穿空,驚濤拍岸,捲起千堆雪。[1]
Jagged rocks pierce the sky,
Astonishing waves thrash the banks, hurling up massive snow-like foams.
江山如畫,一時多少豪傑。
Picturesque landscape of river and mountains,
Once inspired innumerable greats.

* * * * * * * * *

遙想公瑾當年,小喬初嫁了,雄姿英發,
I reminisce: Zhou Gongjin in his prime,
Newly espoused to the younger Qiao, radiant, majestic in bearing.
羽扇綸巾,談笑間,檣櫓灰飛煙滅。[2]
Holding a feather fan, donning a silk headscarf,
While he conversed casually, fleets of his enemies dispersed into smoke and ashes.
故國神遊,多情應笑我,早生華髪。
My thoughts meander through ancient dynasties.
Folks shall tease me for being overly sentimental, turning gray prematurely.
人生如夢,一尊還酹江月。
Life is like a dream.
Let me make an offering of wine to the reflection of the moon in the river.[3]

* * * * * * * * *

The Poet

Su Shi 蘇軾 (1037-1101), courtesy name Zizhan 子瞻, pen name Dongpo 東坡 , was one of the leading poets of the Song Dynasty. Born into a literary family in today’s Sichuan Province, Su Shi showed great interest and talent in writing at a young age. Before turning twenty, he successfully ranked jinshi 進士 in the imperial civil examination and qualified for government appointments. His mother’s death in the same year, however, put a pause to the initiation of his administrative career. In 1061, with impeccable performance, Su Shi passed the decreed exam, held periodically by the imperial order seeking exceptional talents in specified area. In the following decades, he held various official positions. Unfortunately, towards the end of the Northern Song Dynasty, the imperial court was plagued by partisan conflicts. Su’s straightforwardness often placed him in vulnerable politcal positions. Twice he was forced into exile.[4]

Most respected for his poems, he was also admired for his prose writing, painting, and calligraphy. Collectively, Su Shi, his father Su Xun 蘇洵, and his younger brother Su Zhe 蘇轍 were known as “The Three Sus” 三蘇. They were among the Eight Prose Giants of the Tang and Song Dynasties 唐宋八大家, advocating “classical prose” in plain and clear language, against the highly stylish yet esoteric pianwen 駢文 (parallel prose).[5]

A prolific poet, Su Shi was equally accomplished in shi, ci, and . Nevertheless, he was most influential in the development of ci. With wide range of subjects, eloquence, and authenticity, he further elevated the literary quality of the genre. Later critics would characterize his works as “vivid,” “open-minded,” “profound,” and “passionate.” He and Xin Qiji 辛棄疾 were recognized as the leaders of the hoafang 豪放 (magnificent and free-spirited) school of ci.[6]

The Tune

Niàn-Nú 念奴 was believed to be the name of a songstress in the Tang Dynasty, beloved by Emperor Xuanzong. Jiāo 嬌 refers to a feminine deportment, submissive yet delightful. Consisting of one hundred characters/words, “Niàn-Nú jiāo” is also called “bǎi-zì lìnɡ” 百字令 (“Hundred-word-tune”). In reference to Su Shi’s setting, the tune is commonly known as “dà jiāng dōng qù” 大江東去, “Chìbì cí” 赤壁詞, and “lèi jiāng yùe” 酹江月 (or “lèi yùe” 酹月).[7]

The standard structure of “Niàn-Nú jiāo” is of two stanzas.[8] There are ten verses in each stanza. Verses 3, 5, 8 and 10 are rhymed. The same rhyme, most often in “entering tone,” is used throughout. Prosodic patterns of verses 4 to 10 are identical in both stanzas. As poets took the liberty of breaking and combining verses, the number and length of verses were often varied.

Battle of Chìbì 赤壁之戰

At the end of the Han Dynasty, Cao Cao 曹操 controlled the territory north of the Yangtze River while Lui Bei 劉備 and Sun Quan 孫權 rivaled in the south. In 208 AD, with the intention of unifying the nation, Cao Cao commanded his army southwards. After initial successes, Cao and his troops advanced along the river, forcing Liu and Sun to form an alliance.

In the winter of the same year, the alliance forces traveling upstream confronted Cao’s navy at Chìbì 赤壁. Numerically, Cao’s force had overwhelming dominance. Yet, the majority of them were from the northen plain and not used to naval warfare. Afflicted by exhaustion, low morale and disease, they retreated to Wulín 烏林 on the north shore.

Across the river, a combined force of well-trained fighters prepared for battle. At the same time, led by Sun’s chief commander Zhou Yu, a strategic plot was developed: Huang Gai, a subordinate of Zhou, noticed that Cao Cao’s battleships were linked together—perhaps, to ease seasickness of his men. Huang proposed to destroy them by fire.

Following a staged confrontation between Zhou and Huang, a messenger was sent to Cao’s camp delivering a letter indicating Huang’s intention to surrender. Ten battle ships loaded with incendiaries were to be followed by small boats. Midway across the river, Huang ordered his fleet to raise their oars shouting, “We surrender!” As the Cao navy was distracted by the cries, Huang’s sailors set fire to the battleships while backing onto the small boats. Aided by southeastern wind, the unmanned fire ships quickly reached the Cao camp and burned the chained ships.[9]

A small number of Sun-Liu’s men continued to assault the remnant of Cao’s troops along the river and on land. Defeated and concerned about the security of the home front, Cao eventually returned to the north and never attempted to invade the south again. Despite the victory, the Sun’s force was weakened during the battle. On the other hand, Liu Bei, having conquered parts of the strategic stronghold Jing Province 荊州 in 208, gained a negotiating advantage.[10]

As the Eastern Han Dynasty fell, Cao, Sun and Liu divided the nation. Cao’s State “Wei” 魏 occupied the northern region. Liu’s “Shu Han” 蜀漢 covered the midstream Yangtze—today’s Sichuan Province, as well as Yunnan, Guizhou, and northern Guangxi. “Sun Wu” 孫吳 ruled the lower Yangtze basin—today’s southeastern provinces. The Three Kingdom period lasted from 220 to 280.[11]

Earliest accounts of the Battle of Chìbì were included in The Records of the Three Kingdoms 三國志 written by Chen Shou 陳壽 (233-279). Sima Guang (1019-1086), a historian of the Song Dynasty, gave detailed descriptions of the battle in chapter 65 of ZiZhi Tongjian 資治通鑑 (published in 1084). Nonetheless, it was the vivid storytelling in the historical novel Romance of the Three Kingdoms 三國演義 by Luo Guanzhong 羅貫中 (1320? – 1400?) that captured the hearts and minds of generations of Chinese readers.[12]

Zhou Yu 周瑜

Zhou Yu (175-210), courtesy name Gongjin 公瑾, was born into a prestigious family of high-ranking officers. He first served under Sun Quan’s brother Sun Ce 孫策. Similar in age, Sun Ce and Zhou Yu established a close relationship. At the age of 24, they married the beautiful Qiao sisters: Sun married the older sister (“Da Qiao”) and Zhou, the younger one (“Xiao Qiao”). In the following year, Ce was assassinated. Zhou began advising Ce’s younger brother Quan. Most historical sources credited Zhou Yu for leading and winning the Battle of Chìbì.

A military man, Zhou was known to have great musical intuition. It was said that, even after three rounds of drinks, he was able to detect any musical mistakes and would throw a look at the musician.[13] He was said to have a very handsome appearance and was nicknamed “Mei Zhou Lang” (“Beautiful Young Master Zhou”). He was also praised for his noble character.

In 210, Zhou Yu proposed to invade Yi Province 益州, governed by Liu Zhang 劉璋, and then, annex the Hanzhong 漢中 region, controlled by Zhang Lu 張魯. The goal was to force a north-south power balance between Cao and Sun. During the preparation for the new campaign, on his way to Jiangling 江陵, he died at Baqiu 巴丘.[14]

Reminiscence of the Legends at Red Cliffs 赤壁懷古

Due to sarcasm in his poems and partisan conflicts at the imperial court, Su Shi was exiled between 1080 and 1086 in Huangzhou 黃州.[15] In the autumn of 1082, he took a boat trip with a few friends to nearby Chìbì Ji 赤壁磯. The excursion inspired the creations of “Former Ode to the Red Cliffs” 前赤壁賦 and “Niàn-Nú jiāo—Reminiscence of the Legends at Red Cliffs” 念奴嬌, 赤壁懷古.[16] Calligraphy for the Ode in the poet’s hand is preserved at National Palace Museum in Taipei.[17]

Chìbì 赤壁 means “red cliffs.” There are multiple locations in China named Chìbì. The location of the Battle of Chìbì had long been in dispute. The most widely accepted place is northwest of today’s Chìbì City, between Wuhan and Yuèyán, on the south shore of the Yangtze River, facing Wulin on the north shore. Huangzhou Chìbì Ji 黃州赤壁磯 where Su Shi visited is also called Chìbí Ji 赤鼻磯 “Red Nose Rock.”[18] It is several hundred miles downstream from Wulin. Whether or not Su Shi mistook Huangzhou Chìbì as the ancient battlefield, associating the scenery with the legendary event clearly allowed him the freedom to express his feelings.

The stupendous flow of the river was strong enough to wash away thousand-year-old legends; the protrusive cliffs and the thrashing waves, destructive even to the sky and the rocky shores. By guiding the readers into the astonishing landscape and allowing them to imagine the challenges of the battle in such treacherous location, Su Shi avoided gruesome description of the war.

Confident in winning the war, Zhou Yu, dressed casually, was in the company of his beautiful wife. No need for swords and combat, Zhou chatted with ease holding a feather fan. Such was the image that Su Shi created for his hero.

Yet, while the magnificent landscape stood the test of time, mortal lives were transient—regardless of their talents and achievements. Futile pursuits of worldly gains only led to distress. Enlightened, the poet made a toast to the unattainable reflection of the moon.

Su Shi was influenced by Buddhism as well as Taoism since childhood. His parents were both devoted Buddhists. While at a young age, he was sent to a school headed by a Taoist priest. However, a bon vivant,[19] he never led a religious life. In “Niàn-Nú jiāo,” sentiments of escapism are palpable—arguably from impacts from Su’s political tribulation.

The Great River Flows Eastwards . . ..


[1] Another version of this verse reads: “亂石崩雲,驚濤裂岸” “Jagged rocks rupture the clouds, astonishing waves smash the banks.”
[2] “綸巾” guānjīn is a casual headdress made of green silk (青絲). However, the word 青 (green) could also mean “black.” “檣櫓” qiánglǔ (masts and oars) sometimes appears in the homophonous term “強虜” (strong enemies).
[3] 赤壁懷古 chì bì huái gǔ
大江東去,浪淘盡, dà jiāng dōng qù , làng táo jìn 。
千古風流人物。 qiān gǔ fēng liú rén wù 。
故壘西邊,人道是, gù lěi xī biān , rén dào shì ,
三國周郎赤壁。 sān guó zhōu láng chì bì 。
亂石穿空,驚濤拍岸, luàn shí chuān kōng , jīng tāo pāi àn ,
捲起千堆雪。 juàn qǐ qiān duī xuě 。
江山如畫,一時多少豪傑。 jiāng shān rú huà , yī shí duō shǎo háo jié !
遙想公瑾當年,小喬初嫁了, yáo xiǎng gōng jǐn dāng nián , xiǎo qiáo chū jià liǎo ,
雄姿英發, xióng zī yīng fā ,
羽扇綸巾,談笑間, yǔ shàn guān jīn , tán xiào jiān ,
檣櫓灰飛煙滅。 qiáng lǔ huī fēi yān miè 。
故國神遊,多情應笑我, gù guó shén yóu , duō qíng yīng xiào wǒ ,
早生華髪。 zǎo shēng huá fā 。
人生如夢,一尊還酹江月。 rén jiān rú mèng , yī zūn huán lèi jiāng yuè 。
[4] Su_Shi_Wiki
[5] Eight-great-prose-masters-of-tang-song_youngchinatravel.com, Pianwen_Wiki
[6] Xin_Qiji_Wiki
Haofang_School_chinesethought.cn_EN
[7] Other alternate names of “Niàn-Nú jiāo” include “hú zhōng tiān” 壺中天, “xiāng yuè” 湘月, “xìng huā tiān” 杏花天, etc.
[8] “Píng gāo tiào yuǎn” 憑空眺遠, another setting by Su Shi, is often used as the model for the standard form of Niàn-Nú jiāo.
[9] 資治通鑑/卷 65: 「瑜等在南岸,瑜部將黃蓋曰:「今寇眾我寡,難與持久。操軍方連船艦,首尾相接,可燒而走也。」乃取蒙沖鬥艦十艘,載燥荻、枯柴、灌油其中,裹以帷幕,上建旌旗,預備走舸,繫於其尾。先以書遺操,詐雲欲降。時東南風急,蓋以十艦最著前,中江舉帆,餘船以次俱進。操軍吏士皆出營立觀,指言蓋降。去北軍二里餘,同時發火,火烈風猛,船往如箭,燒盡北船. . .. 」
[10] Lopez, Vincent. “Fanning the Flames of War: Considering the Military Value of the Three Kingdoms Period in Chinese History at the Battle of Chi Bi.” American Journal of Chinese Studies 17, no. 2 (2010): 145-54. Accessed June 9, 2021. http://www.jstor.org/stable/44288933.
[11] Three_Kingdoms_Wiki
[12] Records_of_the_Three_Kingdoms_Wiki, Zizhi_Tongjian_Wiki
Romance_of_the_Three_Kingdoms_Wiki
[13] 三國志/卷 54: 瑜少精意於音樂。雖三爵之後,其有闕誤。瑜必知之,知之必顧,故時人謠曰:「曲有誤,周郎顧。」
[14] Zhou_Yu_Wiki
[15] Su Shi’s mentor Ouyang Xiu 歐陽修 was among the officials convicted during the incident known as “Crow Terrace Poetry Trial” 烏臺詩案. Clearly a case of “guilt by association,” Su was exiled as the government of Huangzhou. Crow_Terrace_Poetry_Trial_Wiki
[16] The introduction of the Ode opened with the date of the excursion: “Autumn of Renxu, in the seventh month after the full moon”—August 18, 1082 in the Gregorian calendar.
[17] Image_Su_Shi-Former_Ode_on_the_Red_Cliff_Wiki
[18] Battle_of_Red_Cliffs#Location_Wiki
Chibizhen-Wulinzhen-Hubei_Google_map
Dongpo-Red-Cliffs_Goolgle_map
To differentiate the two locations, Huangzhou Chìbì is often called Dongpo Red Cliffs or Literary Chìbì 文赤壁; the town in Jiayu County, Military Chìbì 武赤壁.
[19] Su Shi enjoyed sightseeing, tea tasting and wine. An epicurean, many Chinese dishes are named after him.

Chinese Poetry (XI): Autumn Sentiments 聲聲慢

This entry is part 16 of 35 in the series Chinese Art Song

Lǐ Qīngzhào李清照
Shēng-shēng-màn聲聲慢
Autumn Sentiments 秋情[1]

尋尋覓覓,冷冷清清,淒淒慘慘戚戚。
Seek, seek; search, search;
Chill, chill; still, still;
Grim, grim; bleak, bleak; grief, grief.
乍暖還寒時候,最難將息。
Scarcely warming, the air is yet cold—
‘Tis the hardest, acclimating to such a season.
三杯兩盞淡酒,怎敵他、晚來風急?
How could two, three cups of light wine fend off the rapid night wind?
雁過也,正傷心,卻是舊時相識。
Wide geese flew over, deepening my sorrow,
As they were my acquaintances from seasons past.

* * * * * * * * *

滿地黃花堆積,憔悴損,如今有誰堪摘?
Yellow chrysanthemums strewed all over the ground.
Now, withered and damaged, who would desire to pick them?
守著窗兒,獨自怎生得黑!
Leaning against the windows, alone, how could I tolerate the darkness?
梧桐更兼細雨,到黃昏點點滴滴。
Light rain falling on the leaves of parasol trees,
Drip, drip; drop, drop. . .’til dusk.
這次第,怎一個愁字了得!
All these, one after another, . . .
How could a single word— “sorrow”—suffice?

* * * * * * * * *

__Lǐ Qīngzhào李清照 (1084-1155)

In The Burden of Female Talent: The Poet Li Qingzhao and Her History in China, Ronald Egan wrote:

“When we think of Li Qingzhao today, we think of her as the greatest woman poet in Chinese history, and iconic figure in the Chinese literary tradition, celebrated both for her poetic talent and for the combination of that talent with her identity as a woman.  There is no woman before her in literary history (and few if any) after as prominent and widely discussed.”[2]

Li Qingzhao[3] was born into a family of literary traditions. Her father was a well-respected writer and the vice-director of the Ministry of Rite. Her mother was a descendant of a prominent family of scholars and high officials. Since young age, she was not only offered good education but also permitted to express herself freely. A setting of “rú mèng lìng” 如夢令 (“dream-like tune”), written when she was sixteen years old, brought her instantaneous recognition among the elites.[4]

In 1101, she married Zhao Mingcheng 趙明誠, a student at the Imperial Academy. Coming from similar family backgrounds, and sharing many common interests, their marital life, lasted for almost three decades, was harmonious and productive. Both of them were passionate about epigraphy. Their efforts in collecting and studying inscriptions resulted in the publication of Jīn Shí Lù金石錄 (Records of Metals and Stones Inscriptions). The book was divided into thirty chapters. The first ten were chronological catalogues of thousands of rubbings, some dated back to the ancient time. The following chapters were critical commentaries on historical and written records of the inscriptions[5]

Li’s seemingly idyllic life turned tragic after the Jingkang Incident (1125-1127) when Jurchen-Jin tribe invaded the Song capital Bianjing 汴京. In early 1127, Zhao’s mother passed away in Jiankang 建康, today’s Nanjing. The couple rushed south for the funeral, leaving behind a large portion of their belonging in Qingzhou 青州. The Jin force took over the town in the twelfth month of the same year and destroyed their home.

In 1129, they travel westward on the Yangzi River, hoping to relocate in the Gan River 贛江 region. In the fifth month of the year, two months after they arrived in Chiyang 池陽, Zhao was appointed a new post in Huzhou 湖州 and was summoned to appear at the imperial court in Jiankang. He departed alone so Li could settle down in Chiyang. At the end of the seventh month, Li received news that her husband was gravely ill. Despite her hurrying to his bedside, he died within weeks.

As a widow, Li continued to travel unaccompanied from place to place seeking protection among relatives. Despite her best efforts and intentions, she was not able to protect most of her collections of books, and rubbings from predators and wartime chaos. In 1132, she remarried to a minor official named Zhang Ruzhou 張汝舟. This marriage last very briefly and ended in divorce. Ultimately, she settled in the new capital of the Southern Song Lin’an 臨安, today’s Hangzhou.

In the summer of 1133, Emperor Gaozong appointed the Commissioner of the Military Affairs Han Xiaozhou 韓肖冑 and the Minister of the Public Work Hu Songnian 胡松年 envoys to the Jin court. Upon hearing the news, Li presented two poems to the emissaries. In both poems, while seemingly praised the greatness of the emperor and the lords, by referencing historical figures, she skillfully expressed her oppositions to negotiation with the Jin.[6] She ended the first poem with: “This widow’s ancestors were born in Qi and Lu. Though low in their official status, they had excellent reputation among their peers. . . In recent years, their descendants crossed the river to the south, drifting among the refugees. Over the mountains and the river, I wish to spread my blood-stained tears on the soil of East Mountain of Lu.”

In the following year, Li wrote an “Afterword” to Jīn Shí Lù 金石錄後序, in which she recalled her life with Zhao Mingcheng: How they would forgo worldly pleasure in exchange for rare inscriptions, calligraphies, and paintings by great artists; how they, for ten years, lived frugally in her hometown Qingzhou. They found pleasure in investigating their collections and challenging each other’s knowledge. Those were the days that she wished could have lasted forever.

She also documented the tumultuous years after the Jin invasions in great details. They knew early on that they would not be able to keep their voluminous collection. Nonetheless, they could not have anticipated all the misfortunes ensued. She described Zhoa’s final departure to Jiankang: “On the thirteenth day of the sixth month, having unloaded his belongings and debarked [our] boat, he sat on the bank. Wearing hemp clothing, with his headscarf rolled up, he was vigorous like a tiger. Gazing with his brilliant eyes, he bid farewell toward the boat. . ..” Two months later, this high-spirited man died without leaving any post-life instructions.

Li’s works of her later years—reflections of her tumultuous experiences—were full of melancholy. An advocate of beauty and truth, Li led an unconventional life. She died childless. Her wish to return to her homeland was never fulfilled.

According to historical records, collections of Li Qingzhao’s works were printed and circulated during the Song Dynasty but lost in the following centuries.[7] Individual works by her, on the other hand, continued to appear in various anthologies. Siku Quanshu of the Qing Dynasty included a selection Shùyù ci《漱玉詞》by Li, based on a compilation by Mao Jin 毛晉 (1599-1659).[8] By tracing various sources, Egan listed 75 credible ci by her.[9] In addition, a few of her shi poems and prose essays are also in existence.

__The Tune

Structurally, “shēng-shēng-màn” 聲聲慢 belongs to the category of chángdiào 長調 (long tunes, verses over 90 words). In the standard form, there are 97 words, divided into two stanzas 雙調, each with four rhymed verses 四韻. Based on the rhyming-tones—level tone 平韻and oblique tone 仄韻, there are two sub-categories of versifications, each with multiple variations. Li Qingzhao’s setting was a modification of the oblique-tone style.

To understand the history and character of “shēng-shēng-màn,” one needs to appreciate the word “màn” 慢. Literally, it means “slow.” In classification of ci, it refers to the slow-moving chángdiào.[10] Extended sounds and infrequent rhymes—fewer interruptions, mànci 慢詞 were the best vehicles for delivery of meandering thoughts.

Zhao Buzhi 晁補之 (1053-1110) of the Northern Song Dynasty created a poem reflecting on the departure of a songstress Rúngnú 榮奴 from his household and named the tune “shēng-shēng-màn” 勝勝慢. “勝” could be interpret as “surpass.” By saying that his tune lingered further than other mànci, Zhao professed the incessantness of his feelings.[11]

In his setting of “shēng-shēng-màn —Autumn Sounds” 勝勝慢—秋聲, Jiǎng Jié 蔣捷 (1245-1301) repeated the end-rhyme “shēng 聲” (sounds): “秋聲” autumn sounds, “風聲” wind sounds, “更聲” sounds of night watch, “鈴聲” bell sounds, “笳聲” sounds of reed whistles, “砧聲” sounds of striking stone-block, “蛩聲” sounds of crickets, and “雁聲” sounds of geese.[12] Henceforth, 勝勝慢 became known as 聲聲慢. Although this change happened long after Li Qingzhao’s death, her setting had become synonymous with 聲聲慢, more widely known by readers of later periods.

__Autumn Sentiments

As a young poet, Li Qingzhao wrote an essay tracing the development of musical verses from the Tang Dynasty onward, in which she criticized several well-known scholars/poets, including Su Shi, her father’s mentor, on their ci writing:

“. . . with their all-encompassing knowledge, writing little lyrics, should be as easy as using a gourd dipper to ladle water out of an ocean. However, [their ci] were all merely unpolished shi, and often incompatible with the tunes.

Why so? Because words in shi are divided into level or oblique tones, while in ci, they are defined by five pitches, then five tones, then six modes; further, there are voiceless and voiced, light and heavy sounds. Also, in recent era, tunes such as “shēng-shēng-màn,” “yǔ-zhōng-huā,” and “xǐ-qiān-yīng” not only can rhyme on level tone but also on entering tone; “yù-lóu-chūn,” originally rhymes on level tone, then added rising-tone and departing-tone rhymes, as well as entering-tone. Tunes using oblique rhymes might sound harmonious in rising-tone rhymes. However, it would be unsingable in using entering-tone rhymes.”[13]

Decades later, no longer a proud and strong-willed young woman, Li composed “Autumn Sentiments,” expressing her profound loneliness. Even though the original musical sound of shēng-shēng-màn is no longer in existence, there should be little doubt that Li practiced what she preached.[14]

The opening reiterations are probably the most memorable and memorized fourteen words in Chinese literature. Word-doubling 疊字 is a common practice in Chinese language, used to intensify the meaning of the words. Li’s words led the readers into a surrounding, empty, cold, and silent. Yet, there were the sounds of rapid night wind, of geese, and of the unceasing rain—crescendo and decrescendo.

There were movements: The briskness of the wind brought only misery and coldness that a few cups of wine could not fend off. Wild geese flew over. Did they bring any news from the north? The rain, drip, drop. When would it stop?

Withered chrysanthemums lost their brightness. Leaves of parasol trees seemed greener under the rain. Nightfall, alas, would soon drape darkness over everything.


Sheng -sheng-man, Li Qingzhoa, narrated by Dashan

[1]文津閣四庫全書本《漱玉詞》, 題作「秋情」.
[2]Ronald C. Egan, The Burden of Female Talent: The Poet Li Qingzhao and Her History in China, 44. Harvard-Yengching Institute Monograph Series 90, Harvard University Press, 2014.
[3] In her writings, she used the self-chosen title: Yi’an 易安.
[4] 昨夜雨疏風驟,濃睡不消殘酒。試問卷簾人,卻道海棠依舊。知否,知否?應是綠肥紅瘦。
[5] https://www.fieldmuseum.org/node/4986
[6] 趙彥衛《雲麓漫鈔》, 卷十四. In the introduction, she mentioned the connections between her family and Han’s distinguished ancestors. Citing the declination of her family and her lowly status, she would not presume to send off the emissaries. Instead, she wrote the poems to deliver her humble thoughts. The first poem was in the style of gushi (ancient style), divided into two major sections: 46 verses of 5-character lines, focusing on Han Xiaozhou’s devotion to the court and the significance of his mission, followed by 34 verses of 7-character lines, praising Hu’s virtue and valor. The second poem was a 7-character lüshi.
[7] Two collections of Li Qingzhao’s works, Yi’an Jushi wenji 易安居士文集and Yi’an ci 易安詞were listed in the literary catalogues of History of Song, chapter 208 宋史藝文志, 卷208, 藝文志7 (1346).
[8] Siku Quanshu, Chapter 198. 毛晉, 汲古閤, 詩詞雜俎. The original version of Shùyù ci were lost. The term 漱玉 refers to the tinkling sound of stream water washing over rocks, as if striking jade. (謂 “泉流漱石,聲若擊玉.”) It is believed that Shùyù ci was named after a spring in Li’s hometown. 漱玉泉_Wiki_zh-tw; Baotu_Spring#Other_springs_in_the_Baotu_Group_Wiki.
[9] Egan, The Burden of Female Talent, 91-105.
[10] The term chángdiào only indicates the length of the verses but not the tempo.
[11] 晁補之《家妓榮奴既出有感》. 勝 can be pronounced as [shēng] in level tone or [shèng] in departing tone.
[12] 黃花深巷,紅葉低窗,淒涼一片秋聲。豆雨聲來,中間夾帶風聲。疏疏二十五點,麗譙門、不鎖更聲。故人遠,問誰搖玉佩,檐底鈴聲。
彩角聲吹月墮,漸連營馬動,四起笳聲。閃爍鄰燈,燈前尚有砧聲。知他訴愁到曉,碎噥噥、多少蛩聲。訴未了,把一半、分與雁聲。
[13]李清照_詞論_Wikisource
李清照 《詞論》: “. . . 至晏元獻、歐陽永叔、蘇子瞻,學際天人,作為小歌詞,直如酌蠡水於大海,然皆句讀不葺之詩爾,又往往不協音律者。何耶?蓋詩文分平仄,而歌詞分五音,又分五聲,又分六律,又分清濁輕重。且如近世所謂『聲聲慢』、『雨中花』、『喜遷鶯』,既押平聲韻,又押入聲韻;『玉樓春』本押平聲韻,又押上去聲韻,又押入聲。本押仄聲韻,如押上聲則協,如押入聲則不可歌矣。”
The five pitches in a pentatonic scale are: gōng shāng jué zhǐ yǔ 宫商角徵羽. The five tones in Middle Chinese are dark-level, bright-level, rising, departing, and entering 陰平、 陽平、上、 去、入. There are twelve modes in Chinese music. “Lù” 律, strictly speaking refers to the six odd-number modes.
[14] In theory, shēng-shēng-màn should be sung in xiānlǔ diào 仙吕调, a mode of refreshing sound and lingering expression. 周德清《中原音韻》: “仙呂宮清新綿邈.”