View source for Urban Literature and the Fall of the Southern Song

== <i><u>Urban Development During The Southern Song</u></i> ==
During the late Northern Song there was a tremendous growth of cities, with one city - Bianliang (Kaifeng) - with a population of one million people, about 30 cities had a population of 40,000 - 100,000 or more each, sixty cities with a population of around 15,000, and approximately 400 county capitals with populations ranging from 4,000 to 5,000 each. A conservative estimate of 5% of China's total population were living in urban environments. The capital of Southern Song, Hangzhou, had a population of 1,500,000. Other cities, especially those port cities were equally important due to trade.(533)

Although most of the population resided within urban areas, their relationship with rural life was still crucial. Often, Chinese cities contained elements of rural life and there may be small urban groupings in outlying areas. People were free to travel as they wished between these two worlds. Everyone lived in accordance with the agrarian lunar calendar, which set the festivals and holidays throughout the year. (534) Of those, the major festivals were New Year, The Clear And Bright (Qingming), which occurred on the third day of the third month for people to sweep graves of their ancestors and relatives, the Double Fifth (Duanwu), when boat races were held, The Ghost Festival, when the Buddhist and Daoist temples performed services for the ghosts on the fifteen of the seventh month, and so on. On these major holidays, special foods were prepared and specific activities were carried out. People would come from the countryside to sell the special foods and necessary products for celebration. This pattern of openness between urban and rural areas, established during Song times, continued into subsequent dynasties. (534)

== <i><u>Urban Life</u></i> ==
*There was a huge and varied amount of entertainments to be had in the cities' Pleasure Quarters and would have included: comedy, dancing, singing, musical performances, narrative ballads, dressing up as students, spirits or ghosts, foot and hand tricks, shadow and puppet plays, acrobatics, boxing and wrestling, pole climbing, tightrope walking, telling jokes, storytelling (secular and religious,) riddles and puns, stave fighting, magic, football, training animals, flea circus and more. (Lin, 540)

* Also in the Pleasure Quarters were large theaters, featuring drama evolved from storytelling.  Traditional Chinese theater appeared in the late Northern Song: <i>zaju</i> or variety play and <i>zhugondiao</i> or medley play. No primary texts exist from either of those Northern dramatic forms. The text <i>A Record of the Millet Dream</i> reports that a variety play "Maudgalyayana Rescues His Mother From Hell" was performed during the Ghost Festival in Kaifeng.

* An especially important group of entertainers in Song cities were the storytellers. "The storytellers included narrators of history, of stories from Buddhist sutras, of legends, romances, court cases, stories of heroes and of people who moved from rags to riches. Storytelling... reached a Golden Age in the Southern Song period." (Lin, 542) The audience for these stories were often uneducated, and so the language was a simple vernacular.

* Also mixing among the performers and patrons were fortunetellers and vendors of medicinal herbs, clothing, arts and crafts, and many varieties of foods and drinks.

== <i><u>Urban Life In Poetry</u></i> ==
The growth and importance of cities is reflected in the works of lyrics and poems:<br>
<center><i>A supreme spot in the southeast,<br>
The metropolis in all of the Wu region,<br>
Qiantang has flourished from old.<br>
Misty Willows and painted bridges,<br>
Green curtains and windscreens - <br>
There are a hundred thousand households of all sizes.<br>
<b>....</b><br>
In the Markets, pearls are displayed,<br>
Houses brimming with silks,<br>
Vying with each other for extravagance.<br></i></center>

<center><b>****</b><br>
<i>Wugui's a romantic place -<br>
The houses are exquisite,<br>
High and low, built by water's edge and on hilltop;<br>
With jade terraces and crimson gates,<br>
This could be Fairy Hill.<br>
With a myriad wells, a thousand alleys, and a rich populace,<br>
It surpasses all thirteen provinces.<br>
Everywhere you see black-browed girls in painted boats,<br>
And rouged and powdered women in red mansions.</i><br></center>

<center><b>- Liu Yong</b><br></center>

(Qiantang was the old name of Hangzhou, and Wugui refers to the city of Suzhou.) These pieces by Liu Yong describe the cities as flourishing, grandiose places of irresistible attraction. During the Southern Song, "urban life became far more extravagant and ostentatious." (535) Some people were critical of the decadent behavior witnessed around them, of course, but generally the poetry of the day reflected a beautiful, ethereal quality:
<center><i>Hills beyond hills, and mansions beyond mansions,<br>
Singing and dancing on West Lake - when will they ever end?<br>
The warm breeze fumes revelers till they are drunk,<br>
Simply taking Hangzhou as the capital Bianliang.<br></i></center>
<center><b> - Lin Sheng </b></center><br>

As with all lovely dreams, they must end. The poets of the Southern Song all agreed they were living in a marvelous time, a Golden Age, and all were aware of how lucky they were to be alive in such an era, but were under no illusion that this way of life was to last forever.

== <i><u>Urban Life In Prose</u></i> ==

[[File:West Lake.jpg|thumb|center|West Lake by Nat Krause.]]

<b><u>5 Texts</u></b><br>

There are five texts which recount details about urban life and customs. "They constitute... a new genre of prose, a sort of journal or notebook devoted to recording the splendors and pleasures of the city." (537) There are three points that all five texts have in common: First, all seem to have been written by authors late in their lives. Second, all texts contain records of events the author has either witnessed firsthand or heard while living in the subject city. And, third, all contain the idea of "dream" or the word is used explicitly to describe events or the general quality of life during these times. The direct relation of a dream experience was not found prior to the late Song dynasty.

<i>The Eastern Capital: A Record of the Dreamland</i> (Dongjing menghua) by Meng Yuanlao was dated to ca. 1147. This volume was the only one written about Kaifeng and was the first of the capital city texts. Later writers would compare contemporary events nostalgically with Kaifeng, wistful about the "good old days."<br>

<i>A Record of the Capital City's Splendors</i> (Ducheng jisheng) by The Old Man Of Forbearance Who Irrigates His Garden was dated ca. 1235. Portions of this text were found to have been copied in Wu Zimu's text. This was one of the two texts that did not use the word "dream" specifically.<br>

<i>The Old Man of West Lake's Record of Innumerable Splendors</i> (Xihu laoren fansheng lu) by (of course) The Old Man of West Lake ca. 1235, after the above text was written. Also does not mention "dream" directly, but "it might not be far-fetched to say that the fear that the glories and splendors of Hangzhou would soon fade like dreams," (538) prompting the authors to record for posterity the beauty of their city.<br>

<i>A Record of the Millet Dream</i> (Mengliang lu) by Wu Zimu was possibly written just before the fall of Hangzhou in 1276. This text contained portions of <i>A Record of the Capital City's Splendors</i> copied verbatim, but scholars still believe the text contained significant direct experiences of the author. Although the exact date is unknown, this text is believed to have been written before the Mongols captured Hangzhou, but with the foresight of impending doom for the glorious urban life Wu had known.

<i>Old Events at the Martial Forest</i> (Wulin jiushi) by Zhou Mi was estimated to have been written sometime between 1280 and 1290, after the fall of the Song dynasty. Wulin or "Martial Forest" was another name for Hangzhou. Zhou Mi was the only scholar, poet, and writer of repute among the authors of the five texts and when he recounted his past he recalls "it was like a dream."

==<i><u>The Fall of the Southern Song</u></i>==

The Southern Song and the Jin were able to coexist more or less peacefully with only a few military skirmishes to disrupt that harmony. Treaties between the Jin and the Southern Song were adjusted following failed campaigns on both sides, but military actions were short-lived and almost entirely ignored by the general populace. While the Jin and the Southern Song lived in peace, around the beginning of the 13th century a new confederation was being forged that would eventually spell the end for both the Jin and Southern Song.<br>
<br>
<b>The Khan and the Mongol Confederation</b><br>
<u>Chinggis (Ghengis) Khan:</u> Temüjin of the nomadic Borijin clan was a ruthless military genius who was responsible for the creation of the Mongol confederation. A great tribal assembly was held in 1206 and Temüjin was confirmed in the title <i>Chinggis Khan</i> or "Universal Ruler." Once all of the Mongol tribes were united under his leadership, there was virtually nothing to stand in the way. Within twenty years, almost all of the kingdoms and empires of the inner Eurasian continent, Mongolia, and Manchuria were conquered by the death of Chinggis Khan in 1227, laying the foundation for a vast new empire. (Lin, 543)
[[File:KhubilaiOnTheHunt.jpg|thumb|Kubilai Khan on the hunt]]
Because the Jin dynasty in the north served as a buffer zone, the Southern Song did not fall to the Mongol invasion in this first wave. While the Mongols under Chinggis Khan were being consolidated into the "invincible war machine" they were to become, the Southern Song was entering into its golden era of brilliance. The conquest of the Jin was eventually to be completed by the son of Chinggis Khan, Ögödei, who became the Great Khan in 1229. Ögödei concentrated his efforts in Sichuan on the western borders of the Song. The invasion of Song China began after Möngke, a grandson of Chinggis, became the Great Khan in 1251. in 1253 Möngke ordered his second brother, Khubilai to invade western China. When Möngke fell ill and died in 1259, all military action against Song China was suspended.

<u>Khubilai (Kublai) Khan:</u> After the death of his brother Möngke, Khubilai declared himself his successor. A younger brother, Arigh Böke contested this claim and also declared himself to be the new leader of the confederation. A civil war ensued until Khubilai's army prevailed in 1264. Khubilai Khan restarted his invasion of the Southern Song two years after Arigh Böke died in captivity in 1268. A change in strategy was necessary due to the fact that the Mongol cavalry was not used to the terrain (rivers, mountains, canals, densely populated areas) and so the Mongol takeover was a bit slower than previous campaigns and it was more than 10 years before the last of the Southern Song's resistance fell. (Lin, 544)

<br>
<b>Literati Warriors</b><br>
After the fall of the Southern Song and the creation of the subsequent Yuan dynasty, the elite began to withdraw from society. They chose instead to privately pursue their interests in the arts, literature, and scholarship. (545) Some of the elite literati, however, were not content with passive resistance.<br>
<br>
<u>Wen Tianxiang</u> was the most famous of the Literati turned warriors. When the Mongols were approaching Hangzhou, the Song court asked all local leaders for assistance in defending the state. Wen quickly gave up all of his family property for military use and recruited at least 10,000 soldiers from his prefecture of Ganzhou. (546) Wen was eventually promoted to grand councilor and was captured in 1278 and sent to the Yuan capital at Yan. For three years Wen refused offers to serve the Mongols and was executed in 1283. The poetry of Wen Tianxing was referred to as "mediocre" before he found his passion in patriotic writing. Wen's most famous work is "Song of the Righteous Breath of Life" which he wrote while imprisoned.

==<i><u>Presentation Upload & Works Cited</u></i>==

Kang-i Sun Chang, Stephen Owen, eds., The Cambridge History of Chinese Literature 2 volume set (Hardcover), 1704 pages, Cambridge University Press; 1st ed. March 31, 2010. "The Pleasures of the City," and "The fall of the Southern Song," Shuen-fu Lin.

[[Media:Southern Song & Urban Lit by Jenny_R.pptx]] Powerpoint by Jenny R