Appendices and Endnotes

by William Dolby

  This too means the quarters of the king’s second-ranking wives. Ssu-ma Ch’ien 司馬遷 (ca. 147 BC - 90 BC), Historians’ record (Shih-chi 史記), “T’ien-kuan shu”, says: “Of the four stars to the rear of the Heaven-limit Star (i.e. Polar Star) in the Middle Palace constellation, the big star at the back is Main Queen (Cheng-fei 正妃), the other three stars being members of the Rear Palace.”

  53 Wang-mu 王母, Royal Mother, i.e. the Royal Mother of the West (Hsi Wang-mu 西王母), a goddess, sometimes referred to as A-mu 阿丞, Mother, Nanny. Early descriptions show her as a composite, ferocious being. Anon. (early 3rd century BC or earlier) Son-of-Heaven King Solemn (Mu t’ien-tzu chuan 燕天子傳), says: “On the auspicious day chia-tzu, the Son of Heaven was guest at the Royal Mother of the West’s.” A note to this says: “The Royal Mother of the West was like a human, with tiger’s teeth, dishevelled hair, and a jade coronet, and she was skilled at whistling.

  K’ung Ch’iu 孔丘 (551 BC - 479 BC), (attrib. ed.), Bamboo annals (Chu-shu chi-nien 竹書盆年), “Mu-wang 17 nien”, says: “King Solemn journeyed far to the K’un-lun Hills (K’un-lun-ch’iu 崑崙丘) and met Royal Mother of the West.”

  Anon. (1st millennium BC), Mountains-and-seas classic (Shan-hai ching 山海經), makes several mentions of her:

  (i) Jade Mountain is the place where the Royal Mother of the West dwells. The Royal Mother of the West looks like a human-being, has a leopard‘s tail and a tiger‘s teeth, and roars mightily. She lets her hair hang loose and dishevelled, and wears a jade head-dress. She’s in charge of the calendar of Natural disasters, and of the vital-energies of the Five Destructions, executions.

  (ii) The Royal Mother of the West lolls at a small table, and wears a jade head-dress on her head. To her south, there are Three Green Birds, which fetch food for her.

  (iii) Archer Yi besought some Not-dying Medicine from the Royal Mother of the West, and his wife, Constant-charmeuse, stole it and fled to the moon, seeking refuge on the moon, she becoming the Toad, and the Moon Nymph.

  (iv) The Yin dynasty world-ruler Great Wu sent Wang Meng to gather medicinal herbs from where Western Royal Mother was.

  There’s a very full and fascinating account of this goddess given in Suzanne E. Cahill, Transcendence and divine passion: The Queen Mother of the West in Mediaeval China, Stanford: Stanford University Press, 1993. Chapters 5 and 6 concentrate on the T’ang dynasty.

  We note that Anon. (Chou and early Han dynasty), Close exegeses (Erh-ya 爾雅), “Shih-ti”, mentions Hsi Wang-mu as the name of a country: “Ku-chu 觚竹, Pei-hu 北戶, Hsi Wang-mu and Jih-hsia 日下 are called the Four Wild Countries (Ssu-huang 四荒).” A note to that says: “Hsi Wang-mu was in the west.”

  54 Ch’en-hsiang-t’ing 沉香亭, Heavy-scent Pavilion, Eaglewood Pavilion, the name of a pavilion in the T’ang dynasty imperial palace of Emperor Dark-progenitor (Hsȕan-tsung 玄宗).

  Yȕeh Shih 樂史 (930-1007), Preface to separate collected literary works of Plume-forest Academician Li (Li Han-lin pieh-chi Hsü 李翰林別集序), says: “During the reign-period 742 - 756, Li Pai 李白 [701 - 762] was a Plume-forest Academician for Court Service (Kung-feng Han-lin 供奉翰林). At the time, tree peonies (mu-shao-yao 木芍藥) had first come to be prized in the imperial palace, and some were transplanted to the fore of Eaglewood Pavilion by Celebration-rousing Pond (Hsing-Ch’ing-ch’ih 興慶池), and when the flowers bloomed, the emperor went to enjoy them, Yang Grand-truth (Yang T’ai-chen 楊太真) [i.e. Most-prized-empress (Yang Kui-fei 楊貴妃), accompanied him. ‘Enjoying splendid flowers in the presence of my Favourite-empress (fei 妃), how can we use the lyrics of old court-music!’

  He commanded Li Kui-nien 李龜年 [fl. ca. AD 750] to bring Gold-flower Notelets (chin-huan-chien 金花箋), and directed that they be bestowed on Li Pai, for him to compose a three-stanza Pure-level court-music lyric (Ching-p’ing Yȕeh 清平樂詞).,” These events were used for the plot of a Ming dynasty drama, Eaglewood Pavilion by Hsȕeh-so Yü-yin 雪簑漁隱. Heavy Scent/eaglewood (ch’en-hsiang 沉香), Aquilaria agallocha, is a perfumed wood with which no doubt the pavilion or Bower was built or walled.

  55 Han-lin 翰林, the Plume Forest, was an imperial academy. In the Chou dynasty (1122 - 256), the word for “plume” actually meant “red-feathered pheasant”, referring to Phasianus pictus from the Szechwan region. During the Han dynasty (206 BC - AD 220), it was used to mean “long strong feathers”, and by P’an Yȕeh 潘岳 (AD? - AD 300) to mean “the hairs of a writing-brush”, and, by extension, “writing-brush”. The term Plume Forest originated during the Han dynasty, meaning “red pheasants as many as the trees of a forest”, and from the T’ang dynasty (618 - 907) onwards came to be used to refer to “the famous literary mandarins of the imperial court.”

  During the T’ang dynasty, the Plume Forest Academy (Han-lin-yȕan 翰林院) was set up, as an institute initially for any literati and also any medical doctors and other technical people who were awaiting a proper governmental appointment, but during the reign-period 713 - 741 a separate “Academicians’ Institute”, was established at court for which literati were specially selected to become “Plume Forest Academicians”, whereupon they were put in charge of producing imperial documents, decrees, etc. The prestige of such selection grew greatly, the academicians even coming to be referred to as “palace chancellors”. Thus “Plume Forest”, as an abbreviation for “member of the Plume Forest” or “Plume Forest Academician”, came to be usable as a term meaning “court mandarin”, “literatus of high literary renown”.

  56 Li Pai 李白, the name of China’s most famous poet, lived 701 - 762, a bibulous, eccentric, swashbuckling, un-pin-downable character. In the modern West, he’s better known as Li Po and as Li Tai-po. A man of Ch’ing-lien-hsiang 青蓮鄉 in Ch’ang-ming 昌明 in Shu 蜀, modern Szechwan province, his courtesy-name was T’ai-pai 太白, and his cognomen Blue-lotus Recluse (Ch’ing-lien Chü-shih 青蓮居士). He was an outstanding genius, unique in the quality of his poetry, which was soaring and untrammelled. The poet and minister He Chih-chang 賀知章 (659 - 744) in great admiration called him a Banished Immortal (Che-hsien 闕仙), and recommended him to Emperor Dark-progenitor, who appointed him Plume-forest Academician for Court Service (kung-feng Han-lin 供奉翰林).

  The emperor cherished and prized him greatly. One day, in attendance at an imperial feast, in his drunkenness Li Pai commanded the prestigious Eunuch-chamberlain Kao (Kao Li-shih 高力士) to pull off his boots for him. Feeling humiliated by this, Kao quoted lines from Li Pai’s poems Clear-level Mode (Ch’ing-p’ing-tiao 清平調) in order to irritate the emperor’s favourite wife, Most-prized-empress Yang (Yang Kui-fei 楊貴妃) against Li, the upshot of which was that the emperor’s several attempts to appoint Li to a mandarin post were at once blocked by her.

  Later, on some charge, he was banished to Yeh-lang 夜郎 for along time, but eventually pardoned and allowed to return to the capital. When Emperor Gran-progenitor (Tai-tsung 太宗, reigned 763 - 779) ascended the throne, he summoned Li to court to be a Reminder of the Left (tso shih-yi 左拾遺), but by that time, Li had already passsed away. He’s said to have died by drowning when drunk, trying to scoop the moon out of a river. A collection of his works, ‘Collected works of Li T’ai-pai (Li T’ai-pai chi 李太白集)’ was published.

  57Hung Sheng gives the note that this line derives from a poem by Lo Ch’iu 羅沀 [fl. ca. AD 874].

  58 Hung Sheng gives the note that this line derives from a poem by Meng Hao-jan 孟疾然 [689 - 740].

  59 Hung Sheng gives the note that this line derives from a poem by Wan Ch’u 萬楚 [fl. during reign-period 713 - 741].

  60 Ssu-ma Hsiang-ju 司馬相如 (179 BC - 117 BC) was the most famous poet of the Han dynasty, celebrated for his fu-rhapsodies, and through the ages for his romantic life. A man of Ch’eng-tu 成都, his courtesy-name was Ch’ang-Ch’ing 長青. In youth, he was fond of writing calligraphy, and studied swordsmanship. He admired the personality of the
high-minded statesman Lin Hsiang-ju 藺相如 (fl. ca. 280 BC). He stammered, but was a skilled literary writer.

  During the reign of Emperor Mighty (Ching-ti 景帝, reigned 156 BC - 141 BC), he became a Warrior-cavalry Attendant-in-ordinary (wu-chi ch’ang-shih 武騎常侍), but was dismissed on account of illness. Durng the reign of Emperor Warrior (Wu-ti 武帝, reigned 140 BC - 87 BC), because he presented the emperor with much appreciated fu-rhapsodies, he was made a Gentleman Court-attendant (lang 郎). For his achievement in commutating with the Western Yi barbarians (Hsi-yi 西夷), he was shortly appointed Director of Filial-culture Garden (Hsiao-wen-yȕan ling孝文園令), but was soon dismissed, again because of illness. His works include fu-rhapsodies such famous ones as Sir Figment rhapsody (Tzu-Hsü fu 子虛賦), Imperial Forest rhapsody (Shang-lin fu 上林賦), Great Man rhapsody (Ta-ren fu 大人賦), his ornate diction being of wondrous charm, his style and structure powerful, and he was the patriarch of Han dynasty fine literary writing. The great poet Yang Hsiun揚雄 (53 BC - AD 18) said: “Ssu-ma Hsiang-ju’s rhapsodies don’t come from the mortal world, but are brought here by divine magic.”

  Ssu-ma Ch’ien 司馬遷 (ca. 145 BC - ca. 85 BC) in his Historians’ records (Shih-chi), “Ssu-ma Hsiang-ju chuan”) says: “Hsiang-ju once lived in retirement on the excuse of illness. He didn’t yearn for any government post or title of nobility, but was appointed Director of Filial-culture Park. When he resigned on account of illness, he made his home in Mao-ling.”

  61 Hung Sheng gives the note that this line derives from a poem by Li Shang-yin 李商隱 [813 - 858)].

  62Hsi 褉, i.e. Hsiu-hsi 修褉, (the festival of) Cultivating/Holding the Cleansing-sacrificial-service/Evil-removing Blessings-seeking Sacrificial-service. The hsi 褉, like the term fu 祓, means “to remove evil and seek for blessings”. Hsü Shen 許慎 (30 - 124), in his Explaining writing and elucidating characters (Sho-wen chieh-tzu 說文解字), “Yü-p’ien”, produced in AD 100, says: “Fu means ‘to remove disasters and seek/ pray for blessings’.”

  Tso Ch’iu-ming 左丘明 (6th-5th century BC) Discussions of the states (Kuo-yü 國語), “Chou-yü”, says: “Let Your Majesty hold a sacrificial service to the God of Earth and a sacrificial service to remove evil (fu 祓).” A note to that says: “Fu means to carry out purification rites and abstentions (chai-chieh 齋戒) and remove evil (fu-ch’u 祓除).”

  Pan Ku 班固 (32 - 92), Han history (Han-shu 漢書), “Wai-ch’i chuan”), says: “The emperor Removed Evil (fu) on the banks of the River Pa (Pa-shang 灞上).” Meng K’ang 孟康 (Three Kingdoms, Wei dynasty) notes to this: “Fu means ‘to remove’ (ch’u 除). Personally Removing Evil (fu-ch’u) on the banks of the River Pa (Pa-shui 霸水), means Removing Evil (fu-hsi 祓褉) on the day ssu 巳 in the first ten days of the Third Month (shang-ssu 上巳) of the lunar year.”

  Fan Yeh 范曄 (398 - 445) in his Latter Han history (Hou Han-shu 後漢書), “Li-yi chih”, says: “On the day ssu in the first ten days of the Third Month, gentry and ordinary folk all cleanse themselves on the banks of eastwards-flowing streams which is called Washing-and-rinsing and Removing-evil (Hsi-cho Fu-ch’u 洗濯祓除), getting rid of old dirt and afflictions and performing the Great Cleansing (Ta-chieh 大絜).”

  From the Three Kingdoms Wei onwards, the movable day ssu was replaced by the Third Day of the Third Month of the year, as mentioned in Fang Ch’iao 房喬 (T’ang dynasty) et alia (eds.), Tsin history (Chin-shu 晉書), “Li-chih”. During the Republic, in 1929, this was changed again to the fixed solar date of the 3rd of March, for the Day of the Evil-removing Blessings-seeking Sacrificial-service (Hsiu-hsi chih-ch’en 修褉之辰), and the term shang-ssu was abolished.

  In the Chou and Han dynasties, this kind of festival wasn’t in the Third Month. Anon. (late Chou-early Han), Chou rites (Chou-li 周禮), “Ch’un-kuan nü-wu”, says: “They [the female shamans] are in charge of Removing Evil (fu-ch’u) and Body Perfuming and Bathing (Hsin-yü 釁浴) at the seasonal junctures of the year (sui-shih 歲時).”, a note to this saying: “Removing Evil (fu-ch’u) at the New Year, similar to the present-day on the first ssu day in the first ten days of the Third Month (san-yȕeh shang-ssu 三月上巳) on the banks of rivers.” A comment to that says: “Meaning the bathing on the banks of rivers on the Third Day of the Third Month.”

  Sun Yi-jang 孫詒讓 (1848 - 1908), Correct meanings of “Chou rites” (Chou-li cheng-yi 周禮正義), says: “The Removing of Evil of the Chou and Han dynasties wasn’t necessarily in the Third Month, and didn’t have to use the day shang-ssu.” Concerning the hsi 褉, also found written hsi 稧, it’s explained just as “sacrificial service” by Wang Nien-sun’s 王念孫 (1744 - 1832), Explanations and verifications of “Expansions of Close exegeses” (Kuang Ya shu-cheng 廣雅疏證), “Shih t’ien”. Ying Shao 應紹 (fl. ca. AD 178), Compendium of social mores (Feng-su t’ung 風俗通), “Ssu-tien”, says: “This hsi means ‘to cleanse’ (chieh 絜).”

  Ssu-ma Ch’ien 司馬遷 (ca. 145 BC - ca. 85 BC), Historians’ records (Shih-chi 史記), “Wai-ch’i chuan”, says: “Emperor Warrior (Wu-ti 武帝) performed a Cleansing (hsi) on the banks of the River Pa.” P’ei Yin 裴駰 (fl. ca. AD 438) in his Assembled explanations of “Historians’ records” (“Shih-chi” chi-chieh 史記集解), quotes Hsü Kuang 徐廣 (352 - 425) as saying: “Removing Evil (fu-ch’u) by a river on the day ssu of the first ten days of the Third Month is referred to as hsi.” Pan Ku’s 班固 (32 - 92), Han history (Han-shu 漢書), gives fu instead of hsi. Hsü Shen 許慎 (30-124), in his Explaining writing and elucidating characters (Sho-wen chieh-tzu 說文解字), “T’ung-hsȕn ting-sheng”, produced in AD 100, says that hsi means the same as fu.

  The fullest extant dwelling on the festival is Wang Hsi-chih’s 王羲之 (321 - 379) famous Preface to a collection of poems that were composed during a Cleansing celebration at the Orchid Pavilion (Lan-t’ing chi Hsü 蘭亭集序), which writes the hsi with the 禾 radical:

  “At the onset of late spring in the year AD 353, we held a gathering at the Orchid Pavilion of Shan-yin 山陰 in Kui-chi 會稽, for the purpose of celebrating the Cleansing festival. All the great minds, young and old, assembled together there. It’s an area of lofty mountains and soaring ranges, luxuriant groves and tall bamboos, and there are also limpid streams and rapid torrents forming unbroken sashes of sparkle on either side. From these we diverted water to make our winding stream for floating the wine goblets on - as is the custom - and sat lined up along it in order. And even though we lacked any magnificent orchestra of strings and woodwind, we found our one poem per downing of one cup of wine an ample outlet for the full expression of the exquisite sentiments to which we were moved.

  That day, the sky was clear and the air fresh, with a kindly breeze that was mild and relaxing. And as we looked up at the vastness of the universe, and surveyed the abundance of Nature’s things down below, we saw what drew our eyes a-wandering, sent the feelings in our bosoms galloping free, and served to provide us with the utmost pleasure, both visual and auditory, it being truly most enjoyable!

  Yes, when men thus contemplate the whole universe together, sometimes they bring forth what they feel inside and tell it explicitly to all present, and sometimes they are inspired by what they feel to express things in uninhibited physical manner.

  But although choices of expression differ, and people vary in their temperament, as to whether they’re calm or impetuous, when they’re delighted by what they encounter and find satisfaction for a while, in their gratified self-contentment they’re completely oblivious to the old age that lies ahead of them.

  When, however, the pleasure of their pursuit has worn itself out, their feelings alter accordingly, and soulful gloom ensues! What one’s just been enjoying has in a trice become stale stuff, that yet inevitably still continues strongly to affect one’s feelings. Moreover, whether one’s fated to have a long life or a short one, that life’s bound one day to come to an end. The Ancients said, “Life and Death are alike great”,
but the latter of the two certainly is a grievous thought!”

  A calligraphy version of this essay is also referred to as Orchid Pavilion writing-exemplar (Lan-t’ing t’ieh 蘭亭帖), and as Cleansing festival writing-exemplar (Hsi-t’ieh 褉帖). Chou Mi 周密 (1223 - 1298), Miscellaneous records of Kui-hsin Street (Kui-hsin tsa-chih 癸辛雜識), says: “Chao Tzu-ku had just wrapped his wet clothes round him, and was standing in the shallow water, holding in his hand the Cleansing Writing-exemplar (hsi-t’ieh). ‘With Orchid Pavilion here,’ he said, ‘nothing else is worth heeding.’”

  163Ch’ung-pan 崇班, Exalted Ranks, a euphemism for the imperial courtiers.

  64 This is a reference to a passage in Chou 莊周 (368 BC-286 BC), Sir Chuang (Chuang-tzu 莊子), alluding to superbly smooth and successful actions.

  A kitchen man-servant was cutting up an ox into joints of meat for Lord Civil-kindness. Whether he was touching it with his hand, shouldering against it, putting his foot to it or poking it with his knee, the slicing and ringing noises and thumping sounds as he wielded his cleaver were all in a regular musical rhythm, such as would go with the steps of the dance Mulberry grove or fit the metre of the song Ching-shou.

  “Whew! Splendid!” exclaimed Lord Civil-kindness, “How have your skills attained such perfection!?”