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 (VII): Tang poetry

This entry is part 12 of 35 in the series Chinese Art Song

Peace and prosperity

After over three centuries of turmoil, China was reunified by Emperor Wen of the Sui Dynasty in 581 AD. His administration oversaw numerous social and economic reforms, the construction of the Grand Canal and the establishment of imperial service examination.[1] Unfortunately, plagued by infighting, the dynasty lasted only for thirty-seven years, too brief to have real impact on cultural development.[2] Nonetheless, it ushered in one of the high points of Chinese history—the Tang Dynasty (618 – 907 AD), during which political unification stimulated societal stability, economic growth, and territorial expansion. Peace and prosperity brought forth cultural progress.

A network of trade roads connecting China with Central Asia, Middle East, and Europe, known as the Silk Road, was instrumental in facilitating the economic and cultural advancements. These roads were initially developed during the reign of Emperor Wu of the Western Han Dynasty in the late second century BC. As the imperial power declined later in the Eastern Han, the roads were closed to prevent invasions from the nomadic tribes. Centuries later, the network reopened and expanded in the Tang Dynasty, with its western end reaching Constantinople and beyond.[3]

Along with exotic commodities, travelers and explorers brought in new musical instruments, dances, religions, and ideas. In an environment often described as the second Pax Sinica, cosmopolitan attitudes contributed to artistic exuberance and philosophic sophistication. Rich productions of high-quality works contributed to the golden age of Chinese arts and literature.

Popularization

Poetry writing was a required skill for candidates of the imperial service exams during the Tang Dynasty. Scholars who wished to pursue careers in civil services and politics had to be proficient in versification.[4] No longer an elitist art form, poetry became an integral part of literacy for the commoners, and, gradually, a part of social life. Quan Tangshi (Complete Tang Poetry) 全唐詩, compiled in 1705 by the commissioned of the Kangxi Emperor of the Qing Dynasty, included over forty-eight thousand and nine hundred works by more than twenty-two hundred poets.[5] Although the authenticity and the authorship of some works remain debatable, the collection attests the popularity of poetic writing in the Tang Dynasty.

Around 1763, retired official and scholar Sun Zhu 孫洙, with the help of his wife Xu Lanying 徐蘭英, compiled and edited three hundred and eleven Tang poems. In his introduction, Sun communicated his desire to create a collection which would be suitable for the education of young readers. Three Hundred Tang Poems have since made popular some of the best works of the period. Among the most celebrated poets were: Wan Wei 王維, Li Bai 李白 and Du Fǔ 杜甫, all of the High Tang (c. 712-756).[6]

Forms and style

Intended to cover all varieties of poetry, Sun Zhu organized his anthology by formal and stylistic characters:

33 Five-character gushi (ancient verses) and 7 yuèfǔ
28 Seven-character gushi and 14 yuèfǔ
80 Five-character lühsi (eight-line regulated verses)
50 Seven-character lüshi and 1 yuèfǔ
29 Five-character jueju (four-line regulated verses) and 8 yuèfǔ
51 Seven-character jueju and 9 yuèfǔ[7]

This layout reflected prosodic evolution during the Tang Dynasty.

The term “ancient verses” referred to poems in the style of Han and Jian’an poetry: no set number of verses, no restrictions on pairing and tonal structures, and loose in rhyming. Five-character verses were first developed in the Eastern Han Dynasty, while seven-character verses could be traced back to Cao Wei of Jian’an Era.[8] Yuèfǔ poems also attested to traditions of previous centuries. Suitability for singing separate them from the other poems.

Regulated verses were new style poems of the Tang Dynasty, appropriately named jintishi 近體詩— “modern styled poems” at the time.[9] The majority of regulated verses could be divided into two groups: lüshi—eight-line verses, and jueju—four-line verses. Although verses in jueju did not have to be paired, those in lüshi were grouped into four couplets. In addition to these short verses, there were long-form poems called “pailü,” made up of series of couplets. All regulated verses had strict rules in rhyming and tonal organizations. These rules were based on the phonological characters of Middle Chinese, prescribed in Qieyun 切韻, a rhyme dictionary of the Sui Dynasty[10]

There four tones in Middle Chinese: level (平 píng), rising (上 shǎng), departing (去 ) and entering (入 ). The three non-level tones are designated as oblique (仄 ) tones. Poetic verses were constructed with fixed tone patterns alternating between level and oblique tones. Verses in each couplet would have opposite tone patterns.[11]

Chinese, like all other languages, continued to change throughout its long history. Regional variants further complicated its evolution. Lu Fayan 陸法言 in Qieyun using the fanqie method associated words by their initial and final sounds. The book not only solidified literary pronunciations of each character but also set foundation for a precise rhyming system.

Legacy

The legacy of Tang poetry went far beyond the tremendous collection of literary works, the richness of their subjects, and the eloquence of their content. The maturing of versification during the Tang Dynasty had great impact on poetic developments of the following centuries. Regulated tonal patterns and rhyme schemes heightened musicality in Chinese verses. Increasingly, poetry became integrated with music and theatrical arts.


[1] Imperial_examination/Wiki
[2] Sui_dynasty/Wiki
[3] The name “Silk Road,” coined by German geographer Ferdinand von Richthofen in 1877, is misleading on several fronts. Instead of a single corridor linking two sides of the world, there was an intricate network consisted of three main sections, each with three branches. Although silk was among the commodities, a great variety of goods were traded intercontinentally.
Commercial trade between China and the outside could be traced back to the bronze age. In 139 BC, Emperor Wu of the Han Dynasty dispatched Zhang Qian 張騫 as an envoy, traveling westwards, to search for commodities and to establish connections. During his thirteen-year journey, Zhang reached several regions in Transoxiana (today’s Central Asia). In addition to reporting the locations and civilizations of various countries and territories, Zhang also brought back new animals and agricultural goods. Silk_Road/Wiki; Zhang_Qian/Wiki
[4] In his “Concise Guide to Three Hundred Tang Poems” 唐詩三百首指導大概, twentieth-century poet Zhu Ziqing 朱自清 remarked that, during the Tang Dynasty, candidates of the civil service examination often had their poetic compositions evaluated by high level officials prior to the exams. High praises would indicate positive outcome.
Prosodic composition was eliminated from the examination in the Song Dynasty but reinstated in the Qing Dynasty. As a result, there was a renewed interest in poetry in the late eighteenth century.
[5] Quan_Tangshi/Wiki
[6] Three_Hundred_Tang_Poems/Wiki, 唐詩三百首/zh.Wikisource/Wiki
[7] Some later editions grouped all the yuèfǔ into a separate chapter.
[8] Gushi_(poetry)/Wiki
[9] Regulated_verse/Wiki
[10] Qieyun 切韻, Lu Fayan 陸法言 in 601. Qieyun/Wiki
[11] The four tones in Middle Chinese are not compatible with ones in Mandarin Chinese.The “entering” or “checked” tone which ends with a glottal stop only exists in a few regional dialects today. While most characters with tones 1 and 2 in Mandarin are found in the “level” tone groups in the rhyme dictionaries, and tone 3 and 4, in the “oblique,” there are many exceptions. Four_tones_Middle_Chinese/Wiki, Checked_tone/Wiki