The Poetics of Sovereignty
Page 67
fusal of the sacrifice becomes a gesture towards corporeal sublation, an
election to pursue virtuous rulership. It is in this way that Taizong may
lay claim to the legacy of the sagely past, a legacy that includes the per-
formances of the same sacrifices by the sage-kings. The thought of his
physical body and its desires is removed from the equation, and in the de-
nial of his corporeality, all that remains is the pure intention of ascetic vir-
tue.
Cao Pi once argued that literature was “a flourishing thing that does
not decay,” and we might hear in this a counterpoint to the undying body
that Qin Shihuang and Han Wudi sought to realize. Though Taizong did
not want to be remembered only for his poetry, dismissing the flattery of
his courtiers who sought to have his writings collected, there is neverthe-
less some truth in how his poetry has shaped his legacy. For Taizong, po-
etry allowed for the translation of corporeal desire to textual representa-
tion, for the rhetorical performance of virtue, which could not always be
successfully enacted in life. It was through poetry that Taizong could im-
agine a reign of sagely exemplarity, thereby transforming the problematic
realities of empire into something pure and flawless.
Yet it is significant that Taizong needed recourse to a poetics of sover-
eignty, that he had to represent his moral intentions within poetic form.
The sage-kings did not, to be sure, need to write poetry to realize their in-
tentions; they inhabited a world in which ritual was sovereignty, in which
each gesture was adequate to communicate and enact the ethical trans-
formation of the populace. Latter-day rulers, however, would have to
show what was on their minds, to manifest their aims and intentions,
since the world of empire was a fallen one. For Taizong, it was poetry that
allowed him not simply to justify his reign, but more importantly, to im-
agine it, and in the act of imagination, to shape both the reign’s historical
reality and himself. The poet and critic Allen Grossman once wrote, “The
function of poetry is to obtain for everybody one kind of success at the
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384
Conclusion
limits of the autonomy of the will.”9 Like Cao Pi, Grossman is speaking of
poetic immortality, which is one kind of immortality that can be realized
in a temporal world. For Taizong, poetry was the means by which he
could restore the legacy of the sage-kings—or at least, represent himself as
doing so—since it was only in poetry that the flaws of history could be
negated and transformed. Taizong, having secured the throne through vi-
olence, could only inherit the echoes of Yun and Ting by an act of imagi-
native revision, and yet these echoes of a sagely time were themselves only
ever real within the space of literary imagination.
—————
9. Grossman, “Summa Lyrica,” in Grossman with Mark Halliday, The Sighted Singer, p. 209.
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