清明時節雨紛紛 (Drizzling rain lingers during the time of Quingming)

Friday, April 5 was 清明Quingming Festival—the day when Chinese people visit their ancestral burial grounds. It falls on the first day of the fifth solar term (節氣) of Chinese lunar calendar on the 15th day after Spring Equinox. In most years, it falls on April 4 or 5 in Western calendar.

Chinese almanac explains the naming of this solar term: “Fifteen days after Spring Equinox, the handle of the Big Dipper points to the south. It is Quingming: when all things are clean, organized, pure and bright. During this period, air is pure (清) and scenery is bright (明), all lives appear, hence it was named.”[1] Clearly, it is the perfect time for spring outings, visiting nature and picnics. The festivities were depicted in some of the greatest Chinese paintings.[2]

At the same time, while people visit and clean ancestral tombs, melancholic sentiments are also felt during this period. The most vivid descriptions are found in Du Fu’s poem:

清明時節雨紛紛,路上行人欲斷魂。借問酒家何處有,牧童遙指杏花村。

Drizzling rain lingers during the time of Quingming,
Along the road, travelers feel as if their hearts would be broken.
Asking where there might be a tavern,
Shepherd boy points toward the village where apricot flowers are blooming.[3]

Last Friday, it rained all day. Several friends mentioned the coincidence of the weather matching the festival. I looked out of the window while traveling toward Newark. The marshland was misty and gray, slow to recover from long winter months. The dreary scenery reminded me that it had been thirty-six years since dad’s passing.

Dad passed on April 3, 1883 after long illness. Quietly, dad guided me in my formative years. He was one that encouraged me to trust my instincts and to follow my dreams. After all these years, I can still hear his voice directing me. His image never faded in my mind. Both my brother and I are often away from home during Quingming. When we are there at the same time, we try to visit dad’s grave—most often during summer months. This for many people are unorthodox. Yet, it is important for us.

I think that the true meaning of sweeping ancestral graves is to be reminded of traditions and to carry them on from generation to generation. And, the spirit of spring—regenerate and growth—is also important for all people.


[1] 《曆書》:「春分後十五日,斗指丁,為清明,時萬物皆潔齊而清明,蓋時當氣清景明,萬物皆顯,因此得名。」
[2]River Qingming;
Along the River During the Qingming Festival__Wiki
[3] 杜甫 Du Fu, Du Fu Wikipedia. I intend to reflect to the real meaning of the verses instead of formative structure.

Er ist’s

Natural light is a rare commodity in the city, especially in winter months.  Finally, the sun peeked through my windows.  I took a walk up the hill to Fort Tryon Park.  The blue sky, the gentle breeze and the blooming spring bulbs all reminded me of the beautiful verses of Eduard Mörike:

Er ist’s

Frühling läßt sein blaues Band
Wieder flattern durch die Lüfte;
Süße, wohlbekannte Düfte
Streifen ahnungsvoll das Land.
Veilchen träumen schon,
Wollen balde kommen.
Horch,
von fern ein leiser Harfenton!
Frühling, ja du bist’s!
Dich hab’ ich vernommnen!

It is him!

Spring lets its blue ribbon
Fluttering in the air again;
Sweet, familiar scents
Touch the land tenderly full of presage.
Violets, already dreaming,
Wish to bloom soon.
Listen!
from afar the faint sound of a harp!
Spring, yes, it is you!
It’s you I’ve heard!

Originally part of Maler Nolten, a romantic novel, this poem is simple yet full of actions. The narrator sees the bright color, smells the sweet air, senses the flowers eagerness to come out and hears the heavenly sound of the harp. It has inspired numerous composers. The most well-known and frequently performed musical settings were by Robert Schumann and Hugo Wolf.[1]

Both composers let the piano carry out the fluttering blue ribbon: Schumann with a dotted descending scale, shaking gently by the repeating chords in the right hand; Wolf with weaving triplets which lasted throughout the main section of the song. Schumann’s melody has a folk-like character, while Wolf’s vocal line forms a longer and more sustained ribbon floating above the piano part. Interestingly, both composers chose to extend the celebratory acclamation with a long coda. Schumann repeated the final verses with quicker motion. Wolf simply let the piano run free with excitements.[2]

Er ist’s! I will let the music and photos tell the story.


[1] Schumann’s 1849 setting was included in his Liederalbum für die Jugend (Songbook for the Young), Op. 79. The collection also contains songs such as “Marienwürmchen” (“Ladybird”) and “Der Sandman” (“The sandman”). Wolf’s 1888 setting was the sixth piece in Gedichte von Eduard Mörike (Poems of Eduard Mörike).
[2] Er ist’s; Robert Schumann: Barbara Bonney, soprano; Vladimir Ashkenazy, piano;
Er ist’s; Hugo Wolf: Diana Damrau, soprano; Stephan Matthias Lademann, piano