20210601 culture4
Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15
- Link to return to Course Homepage.
- Link to the other Final Exam paper pages: Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语; Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙; Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇; Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜; Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲.
1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.
2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.
- You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
- In the topic, please write the category, then the topic - your name and student no.
- For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
- Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
- Please also add a list "Terms and Expressions".
- Please add a "Questions" section.
- Please add a "Answers" section.
This is the the first page with the final exam papers.
Please write another chapter of the textbook on any cultural phenomenon in China.
Tāng Huì 汤惠
Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick
Traditional Cuisine: Hotpot - Táng Qǐzhōu 唐启洲 201930096006
Hotpot or hot pot, also known as soup-food or steamboat, is a cooking method that originates from China. While a hotpot full of flavored broth is kept simmering, raw ingredients are placed into the pot, which can be enjoyed without other separate courses like rice or noodles. The cooked food is often eaten with a dipping sauce for additional flavoring. Most raw foods can be cooked in a hot pot, although they may have different cooking times, and must be immersed in the soup and then removed accordingly. Typical ingredients include thinly sliced meat, leaf vegetables, mushrooms, seafood, and so on. At the conclusion of the meal, the broth has acquired many flavors from the added ingredients, and may be served to the diners after turning off the cooking heat source.
History of Chinese Hotpot
Hotpot is a traditional Chinese food with a long history. It was originated from the Warring States Period, when diners among the nobility each had a personal pot made of bronze. Till Song Dynasty, hotpot had become rather popular among ordinary people. In Yuan Dynasty, because of the trade and the war, hotpot was spread to Mongolia. During the Qing dynasty, hotpot came into the palace as a royal court dish and became popular among the emperors. For example, the Qianlong Emperor and Empress Dowager Cixi were very fond of it and would eat it for almost every meal, especially in the winter months.
Categories of Chinese Hotpot
According to the structure of the pots, there are monolithic hotpot, two-flavored hotpot (mandarin duck hotpot), nine-patch hotpot, and so on.
According to the regions, there are seafood hotpot in Guangdong, mushroom hotpot in Yunnan, chrysanthemum hotpot in Zhejiang and Jiangsu , spicy hotpot in Chongqing and Sichuan, mutton hotpot in Beijing, dog meat hotpot in Guizhou, and some other types of famous hotpot.
Hotpot and Chinese Culture
A meal of Chinese hotpot not only brings us enjoyment, but also provides us with a glimpse into Chinese culture.
When having a hotpot, family members or friends usually gather together in a happy and intimate atmosphere. Chinese people believe having hotpot meals helps enhance friendship and unite family members or colleagues. Moreover, people usually talk loudly and enthusiastically while having a hotpot, which indicates Chinese people’s nature of enthusiasm and hospitality.
Chongqing Hotpot
Chongqing hotpot, also known as spicy hotpot or tripe hotpot, is the representative of "Southern style hot pot". It was believed to appear during late Ming Dynasty and early Qing Dynasty. In 2016, Chongqing hotpot was rewarded as the most recognizable symbol of Chongqing culture, and in 2017, the title of “ the capital of hotpot in China” was rewarded to Chongqing.
According to its origin, it can be divided into two categories: the mountain hotpot and the river hotpot. In legend, while a group of lost merchants were resting on the South Mountain, they tried to make some hot soup to keep them warm. However, a careless cook accidentally threw their bags of chili, pepper, and other spices into the boiling water. They did not dare to pick them out from the simmering water, so they just randomly added several other food into the broth. To their surprise, it turned out to be really delicious, and this was believed to be the origin of the mountain hotpot. For the river hotpot, it is said that the bank of the Jialing River used to be the place where Muslim butchers slaughtered the oxen. While the butchers poured the unwanted internal organs into the river, the boat trackers collected them and cooked them with chili and pepper in order to keep warm and to remove the moisture from their bodies, which was believed to be another origin of Chongqing hotpot. Nowadays, the two categories of hotpot are highly similar in all aspects. Even the local residents can hardly tell their differences.
What makes Chongqing hotpot so different from other hotpots is that it contains beef tallow and peppers, which are hardly used in the broth of hotpots in other regions. When having a Chongqing hotpot, you are supposed to add the ingredients into the pot following a certain order: the internal organs, the meat, and lastly the vegetables. A typical dipping sauce contains sesame oil and is mixed with crushed fresh garlic and chopped spring onions.
Overseas Hotpot
Hotpot was invented in China but has been spread all over the world.
In Asian countries like Japan, Thailand and Vietnam, hotpot has been adapted in order to fit their local taste, which is very popular among the people.
In European countries, people eat hotpot in a rather different way. In Switzerland, there are cheese hotpot (fondue au fromage), beef hotpot (fondue bourguignonne), and the newly invented chocolate hotpot (fondue au chocolat). There is also a variation of the traditional Chinese hot pot locally called fondue chinoise (Chinese fondue) as a popular Christmas meal. Various types of meat, fish and vegetables are boiled in a shared pot of broth. Various sauces and pickled condiments are provided on the side. After all the diners have finished cooking, they eat the now well-flavored broth often combined with thin noodles.
Terms and Expressions
broth 浓汤
thinly sliced meat 肉片
royal court dish 宫廷菜
monolithic hotpot 连体式火锅
mandarin duck hotpot 鸳鸯锅
nine-patch hotpot 九宫格火锅
chrysanthemum hot pot 菊花火锅
tripe hotpot 毛肚火锅
the mountain hotpot 陆派火锅
the river hotpot 水派火锅
the South Mountain 南山
the Jiangling River 嘉陵江
boat trackers 纤夫
beef tallow 牛油
sesame oil 香油、芝麻油
crushed fresh garlic 蒜泥
spring onion 香葱
fondue bourguignonne 勃艮第火锅
Questions
1.What are the typical ingredients for a hotpot?
2.When did hotpot become a royal court dish?
3.What nature of Chinese people can be shown in the culture of hotpot?
4.Chongqing hotpot can be divided into which two categories?
5.When taking food in a Chongqing hotpot, what order should be followed?
6.Where does the cheese hotpot come from?
Answers
1.Thinly sliced meat, leaf vegetables, mushrooms, seafood, and so on.
2.Qing Dynasty.
3.Enthusiasm and hospitality.
4.The mountain hotpot and the river hotpot.
5.The internal organs, the meat, and lastly the vegetables.
6.Switzerland.
References
Xu Wenyuan 徐文苑 (2005)《中国饮食文化概论》[Foundations of Chinese Eating Culture] Beijing: Tsinghua University Press 北京：清华大学出版社
Qiu Pangtong 邱庞同 (2001) 《中国菜肴史》[History of Chinese Dishes] Qingdao: Qingdao Publishing House 青岛：青岛出版社
Qi Xu, Zhong Hao [The Significant Visual Symbols Design, Logo Design Study of Chong Qing Hot Pot Brand] *http://en.cnki.com.cn/Article_en/CJFDTotal-YSLL201303018.htm
知乎 火锅的起源与发展，这么多火锅流派你喜欢哪一个呢？*https://zhuanlan.zhihu.com/p/65869415
豆瓣 芝士爱好者的福音：不一样的法式“火锅”*https://www.douban.com/note/743549779
Téng Bìxiá 滕璧霞 Canal Culture：The Grand Canal（The Beijing-Hangzhou Grand Canal）
An Introduction
Grand Canal Culture is also called "Beijing-Hangzhou Grand Canal Culture". It is different from "Canal Culture" because canal culture can generally refer to the artificial canal culture in the world. The Grand Canal culture is a social phenomenon and the product of the creation and formation of the Grand Canal for a long time since its construction. It is also a historical phenomenon, which is the accumulation of social history in the canal basin. It includes the political, economic, military, cultural and other state factors of several Chinese dynasties, and creates the non-state elements such as the history, geography, local customs and cultrue, traditional customs, life style, literature and art, code of conduct, mode of thinking, and values of the multi-ethnic groups in the Grand Canal basin. In a word, the Grand Canal culture is a unique river culture with the Yellow River basin culture as the core, the Haihe River, the Huaihe River,the Yangtze River and the Qiantang River as the common fusion, and closely bearing the culture of the Central Plains.--Root (talk) 06:42, 26 May 2021 (UTC)
Starting from Beijing to Hangzhou, the Grand Canal, about 1794 kilometers, is the longest and largest man-made canal and also one of the oldest canals in the world. Together with the Great Wall and the Karez, it is known as the "Three great projects" in ancient China. It is one of the symbols of Chinese culture. As the crystallization of ancient people's diligence and wisdom, the Grand Canal has played a great role in the economic and cultural development and exchanges between the North and South of China, especially in the industrial and agricultural economic development along the route.
The Composition of the Grand Canal Cultrue
The Grand Canal,a golden waterway in China, second only to the Yangtze River, consists of man-made channels, some rivers and lakes that form seven canal cultural zones:Tonghui Cultural Area, North Canal Cultural Area, South Canal Cultural Area, Qilu Canal Cultural Area, Middle Canal Cultural Area, Li Canal Cultural Area, and Jiangnan Canal Cultural Area (an important river was dug by Qin Shihuang in Jiaxing, laying the direction of Jiangnan Canal in the future). According to the Yue Jue Book, the First Emperor of Qin managed the waterway from Jiaxing to Qiantang, leading to Zhejiang .
The History of the Grand Canal
With a history of more than 2,500 years, The Grand Canal was first built in the Spring and Autumn Period, completed in the Sui Dynasty, flourished in the Tang and Song Dynasties, straightened in the Yuan Dynasty, and dredged in the Ming and Qing Dynasties. In the long years, it went through three major construction processes. Until the last construction it was called the Beijing-Hangzhou Grand Canal.
The canals dug in the Spring and Autumn Period and the Warring States Period were basically for the military operations of conquering other countries. For example, Fu Chai, King of Wu, ordered to dig the Han ditch. The direct purpose was to transport his troops to the north to attack Qi. In Sui Dynasty, the economic development to this period had been an urgent request to strengthen the economic relations between the north and the south. In order to control the vast area of the Yangtze River and to transport the rich materials of the Yangtze River Delta to Luoyang, emperors continued to repair and lengthen the construction of the canal.In the successive dynasties after Sui,the regimes in the unified period to the split period all paid attention to the drainage and improvement of the Great Canal.Their motives were nothing more than economic, political and military aspects, and made full use of the canal transport. The length of the Beijing-Hangzhou Grand Canal in the Yuan, Ming and Qing dynasties was 1,749 kilometers, 900 kilometers less than that in the Sui and Tang dynasties. In order to transport goods from the south to the north, the Yuan Dynasty had to build a new canal. Thus, the new Beijing-Hangzhou Grand Canal was fully opened.The Ming and Qing Dynasties continued to adjust and manage the canal.
The Grand Canal Culture
The Grand Canal not only carries ships from south to north, but also nurtures and nourishes the residents and cities along the riverside. A variety of customs come into being, showing the industrious and pragmatic spirit of the working people. For example, canal boatmen and fishermen in Huaian area of Jiangsu Province formed some unique customs in their production process of boating and fishing, such as "launching ceremony", "pre-flood banquet", "full-laden meeting" and so on.
1.launching ceremony Before the new row of ships put into production, pepole hold the Launching ceremony, commonly known as the "ship bow". At that time, people paste couplets, put colorful flags and hang red silk balls on the ships. They also hang a sieve on the mast in which a mirror is placed to bode well for riding the wind and waves and turning misforture into good forture. When the new ship is launched,people play drums, set off firecrackers and sing together. After the new ship return to the port on its trial voyage, the host family have to entertain relatives and friends.
2.pre-flood banquet Before the fishing season, after the fishing households prepare their fishing gear, boatmen and the main fishermen gather together for a dinner. And meanwhile they analyze the situation of the fish, discuss the production plan and exchange working methods. In order to wish a good harvest, they will drink freely.
3.full-laden banquet In addition, fishermen also do "Full- laden Banquet" before the spring flood. Ships is pulled the white foot flag. Boatmen put on robes, mandarin jackets and incense worship "Dragon King", the boy (divine man) elongates his voice and shoutes "return with fruitful results".
Terms and Expressions
Yellow River basin culture黄河流域文化
Haihe River海河
Huaihe River淮河
Qiantang River钱塘江
The Central Plains中原
Karez坎儿井
Tonghui Canal Cultural Area通惠河文化区
North Canal Cultural Area,北运河文化区
South Canal Cultural Area南运河文化区
Qilu Canal Cultural Area齐鲁运河文化
Middle Canal Cultural Area中运河文化区
Li Canal Cultural Area里运河文化区
Jiangnan Canal Cultural Area 江南运河文化区
Jiangnan Canal 江南运河
Yue Jue Book《越绝书》
Han ditch汉渠
Yangtze River Delta 长江三角洲
Launching Ceremony下水仪式（交船头）
Pre-flood Banquet汛前宴
Full-laden Banquet满载会
Dragon King龙王
Questions
1.Why is the Grand Canal Culture diferent from Canal Culture?
2.How long is the Grand Canal?
3.What are known as three great projects in ancient China?
4.How long is the history of the Beijing-Hangzhou Canal？
5,What do seven canal cultural zones refer to？
6.When was the new Beijing-Hangzhou Grand Canal fully opened？
7.What cultural customs about the Grand Canal have been formed in Huainan area of Jiangsu Province？
Answers
1.Because canal culture can generally refer to the artificial canal culture in the world.
2.It is about 1794 kilometers.
3.They are the Grand Canal, the Great Wall and the Karez.
4.It is more than 2500 kilometers.
5.They refer to Yanzhao Tonghui Cultural Area, North Canal Cultural Area, South Canal Cultural Area, Qilu Canal Cultural Area, Middle Canal Cultural Area, Li Canal Cultural Area, and Jiangnan Canal Cultural Area.
6.It was in Yuan Dynasty.
7.They are launching ceremony, pre-flood banquet and full-laden banquet.
References
Li Yao 李垚.(2013)中国国家地理文化文明——京杭运河分段运载王朝往事[Segmentalized shipping of the Grand Canal in different dynasties] 博物2013年第11期 http://www.dili360.com/nh/article/p5350c3d636a4e68.htm
Wang Cheng王程 Cao Lei曹磊.(2019) 京杭大运河的历史演变和文化遗产核心价值[The historical evolution and the core value of cultural heritage of the Grand Canal]G122
Wáng Chǔyí 王楚仪 Xiang embroidery
I suggest to write my final exam paper about “Xiang embroidery”.
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Terms
Questions
References
Take Su Shi as an example: Relegation Literature in Ancient China - Wáng Jìngyí 王静怡 201930096012
Su Shi is one of the most celebrated giants all over the world but he is also a poet who had three relegated experiences. However, he is admired by descendants because of his very optimistic attitude toward his life and the world. During his relegation, he had created abundant masterpieces of which the style was different from his other works. In other words, Su Shi has made great achievements in relegation literature in ancient Chinese literary arts.
An Introduction of Relegation Literature in Ancient China
A. Definition
Relegation is a special cultural phenomenon in ancient China. Many relegated scholars and poets also made great achievements in the relegation literature of ancient China. In his Cultural Perplexity in Agonized Travel, Yu Qiuyu writes that one of the most glamorous parts of Chinese history can be called "Relegation Culture". When a disgraced official loses favor and is demoted, a sense of loneliness and tragedy creeps into his heart, and he is relegated to the outside world, walking here and there, only to make out with the landscape. In this way, articles and poems are available, and they are often well written.
The concept of "relegation literature" is a multifaceted one that includes a wide range of intertwined issues such as political systems, political events, literati identities, relegated regions, and relegated groups. Professor Shang Yongliang mentions in his article Relegation Culture and Relegation Literature: Focusing on the Deportation of the Five Great Poets and Their Writings in Yuan he period, the Middle Tang Dynasty: The so-called relegation literature is composed of three major parts. The first part is the literary works created by the relegated poets during their relegation, which is the main part of relegation literature; the second and third part is the literary works about relegation created by the relegated poets before and after their relegation, as well as by the non-relegated poets during their farewell and reminiscence, which is the flank of relegation literature." His definition of the concept of relegation literature takes into account both the time period as a dimension and the content as a dimension, and is more comprehensive and accurate in its conceptual definition. (Zhao Yajuan, 2016, 1)
B. Representatives and Their Relegated Works
Qu Yuan (340–278 BC) was a Chinese poet and politician who lived during the Warring States period. He is known for his patriotism and contributions to classical poetry and verses, especially through the poems of the Chu Ci anthology (also known as The Songs of the South or Songs of Chu): a volume of poems attributed to or considered to be inspired by his verse writing. During the early days of King Huai's reign, Qu Yuan was serving the State of Chu as its Left Minister. However, King Huai exiled Qu Yuan to the region north of the Han River, because corrupt ministers slandered him and influenced the king. During his exile, he created many masterpieces, such as The Lament or Encountering Sorrow, The Heavenly Questions or Questions to Heaven.
Liu Zongyuan (773 – 28 November 819) was a Chinese writer, politician, and poet who lived during the Tang Dynasty. Along with Han Yu, he was a founder of the Classical Prose Movement. He has been traditionally classed as one of the "Eight Great Prose Masters of the Tang and Song". In 805, he fell out of favor with the imperial government because of his association with a failed reformist movement. He was exiled first to Yongzhou, Hunan, and then to Liuzhou, Guangxi, where he eventually became the city Governor. A park and temple in Liuzhou are dedicated to his memory. His exile allowed his literary career to flourish: he produced poems, fables, reflective travelogues and essays synthesizing elements of Confucianism, Taoism and Buddhism. Liu's best-known travel pieces are the Eight Records of Excursions in Yongzhou. Around 180 of his poems are extant, of which five have been collected in the anthology Three Hundred Tang Poems. Some of his works celebrate his freedom from office, while others mourn his banishment.
C. Characters
Relegation is a common political phenomenon in ancient China. The phenomenon of relegation in China has continued throughout ancient history, but most frequently in the Tang and Song Dynasties.
The universality and multi-level nature of the target of relegation. Since ancient China entered the era of power and rule, the phenomenon of relegation and exile had been following. Then it became more and more frequent and widespread with the further development of society. "Throughout the Tang Dynasty, it was very common for officials to be aside the emperor in the morning but to be relegated to the wildness in the evening, and there were only a few officials had not been relegated. Therefore, "The banishment and exile of officials departing from the capital was one of the major events in the social and political life of the Tang Dynasty." The composition of the group of people who suffered relegation in the Tang Dynasty was far more extensive than any other era before or after, ranging from the royal family and its reletives, princes and sons, to officials and bureaucrats at all levels. The number of people who suffered from relegation is innumerable.
Uncertainty of the reasons for relegation. From the perspective of the causes of the phenomenon of relegation in ancient times, there are many people whose reasons for relegation are not sufficient and are with great arbitrariness. It can be said that "As the victims of political struggles, many literati were relegated to exile for reasons that were mostly excuses". For example, Jia Yi was expelled in the Han Dynasty because he was accused of "desires to trespass on power and disorderly affairs"; Wang Changling was relegated to the post of Lieutenant named Dragon's Bench because he "did not pay attention to surrounding details in his later years"; "Han Yu was relegated to Yangshan, Lianzhou in the 19th year of Zheng Yuan's reign.In the Song Dynasty, Ouyang Xiu was deported for "not repairing the curtain"; Su Shi got deported for "slandering the imperial government"; Huang Tingjian was accused of "falsely destroying the previous emperor" for his book "The True Records of Emperor Shen". ; Zhu Dunru was deported for his "exclusive dissenting views"; Xin Qiji was deported for his "gathering of wealth"; Lu You was deported in the 16th year of Chunxi for "mocking the wind and moon".
The neutral character in Chinese culture is reflected in the political punitive character of relegation. In essence, “Banishment was a form of punishment for guilty subjects, or an act of coercion against dissidents and rebels.” However, this coercive act was not aimed at their total elimination, but had a corrective intention, i.e., it was meant to be followed. The purpose was to punish those who were relegated by making them feel the great pain of survival, but more importantly, to make them learn a lesson for the future.
The inclusiveness of Chinese culture is reflected in the emotional responses of the deportees and the journey they took in their literary creations. The relegation deals a painful blow to the life of the relegated person, "On the one hand, he carries the burden of the past, and his past life accompanies him day and night; on the other hand, he must face the reality and adapt to the new environment. His survival depends on his ability to solve his dilemma". From the emotional reactions of the deportees, some remained committed to their political ideals, such as Qu Yuan and Jia Yi; some turned to Buddhism and Taoism, such as Bai Juyi, Wang Wei and Su Shi; some turned to secularism, and some turned to Buddhism and Zen. Of course, these turns were not complete, but more often than not, they were the interpenetration of different cultural contents and mutual influences, showing a gesture of mutual integration and unification. (Liu Tiefeng, 2009)
An Introduction of Literary Giant-- Su Shi
Su Shi (8 January 1037 – 24 August 1101), courtesy name Zizhan, art name Dongpo, was a Chinese poet, writer, politician, calligrapher, painter, pharmacologist, and gastronome of the Song dynasty. A major personality of the Song era, Su was an important figure in Song Dynasty politics, aligning himself with Sima Guang and others, against the New Policy party led by Wang Anshi.
Su Shi is widely regarded as one of the most accomplished figures in classical Chinese literature, having produced some of the most well-known poems, lyrics, prose, and essays. Su Shi was famed as an essayist, and his prose writings lucidly contribute to the understanding of topics such as 11th-century Chinese travel literature or detailed information on the contemporary Chinese iron industry. His poetry has a long history of popularity and influence in China, Japan, and other areas in the near vicinity and is well known in the English-speaking parts of the world through the translations by Arthur Waley, among others. In terms of the arts, Su Shi has some claim to being "the pre-eminent personality of the eleventh century." Dongpo pork, a prominent dish in Hangzhou cuisine, is named in his honor.
Su Shi and His Relegated Experiences in the Southern Song Dynasty
A. Relegated to Huangzhou
In the second year of Yuanfeng (1079), Su Shi, who was forty-three years old, was transferred to the governorship of Huzhou. After he took office, he wrote a letter "Huzhou Appreciation Recommendation" to Emperor Song Shen Zong, which was a routine matter, but Su Shi was a poet, and his pen often carried his personal emotion, and even though he wrote an official article, he could not forget to add some personal color, saying that he was "foolish and untimely, and could hardly accompany the newcomers", and that "the old man did not cause any trouble or could shepherd the small people". These words were used by the New Party to say that he was "fooling the court, presumptuous and arrogant", "harboring resentment and anger", "rebuking the public opinion", and "harboring evil intentions". "He also satirized the government, was rash and disloyal to the emperor, and deserved to die for such a great crime. They picked out lines from Su Shi's numerous poems that they thought implied sarcasm, and for a while, the court was filled with voices of anti-Su. On July 28, Su Shi, who had only been in office for three months, was arrested by the officials of the imperial court and sent to the capital, and dozens of people were implicated. This is the famous "Wutai Poetry Case" of the Northern Song Dynasty (Wutai, that is, the imperial court, is called Wutai because of the cypress trees planted on it and the crows inhabiting it all year round).
This huge blow became the turning point of Su Shi's life. The new party was determined to put Su Shi to death, and rescue activities were launched simultaneously in the court and the field. Not only many patriarchs who shared Su Shi's political views wrote to him, but also some knowledgeable people of the Legal Reform School advised Shen Zong not to kill Su Shi. Wang Anshi, who was retired from Jinling at that time, also wrote a letter saying, "How can there be a holy world and kill a talented scholar?" With everyone's efforts, the poetry case was decided by Wang Anshi's "one word", and Su Shi was sentenced to a lighter sentence and relegated to the position of deputy minister of Huangzhou (now Huanggang, Hubei), "to be resettled in this state" and monitored by local officials. Su Shi was imprisoned for 103 days and was nearly killed. Fortunately, Song Taizu Zhao Kuangyin set the state policy of not killing the scholars, he was able to escape a disaster.
Therefore, Su Shi's first remote trip of exile (1080–1086) was to Huangzhou, Hubei. This post carried a nominal title, but no stipend, leaving Su in poverty. During this period, he began Buddhist meditation. With help from a friend, Su built a small residence on a parcel of land in 1081. Su Shi lived at a farm called Dongpo ('Eastern Slope'), from which he took his literary pseudonym. While banished to Hubei province, he grew fond of the area he lived in; many of the poems considered his best were written in this period. His most famous piece of calligraphy, Han Shi Tie, was also written there. In 1086, Su and all other banished statesmen were recalled to the capital due to the ascension of a new government.
During his first exile, he created several most famous pieces: the First and Second Chibifu (The Red Cliffs), Nian Nu Jiao: Chibi Huai Gu (Remembering Chibi, to the tune of Nian Nu Jiao).
B. Relegated to Huizhou
In the first year of Shaosheng (1094), Su Shi was again deported, but on the way, he was deported again and again. After being relegated, reappointed, and re-deported again, Su Shi was obviously more relegated to Huizhou than he was when he first arrived. The climate was hot and humid, and the weather was hot and humid. The climate was hot and humid. The climate of Lingnan, where epidemics are prevalent, is lovely under Su Shi's writing. He wrote about the scenery of Huizhou: "I eat 300 lychees a day, and I do not resign to be a long Southerners." He wrote about the temporary residence: "The sea and mountains are lush and beautiful, and the two rivers The two rivers merge and the vermilion building opens." He wrote about winter: "Luofu is moving in spring, and the clouds and sun have a clear light." On a spring day: "After the burning of the tea gun, the wheat waves are empty in front of the water." The fields of Huizhou In Su Shi's writing, it is even more beautiful: "The east wind shakes the waves and dances the net green, the first day The green of the water is sound and delicate yellow. The spring mud is already knee-deep in water, and the autumn cereals in Heihe are firstly divided into seedlings." While living in exile in Huizhou, Su Shi was still full of enthusiasm for life. He could not choose He could not choose where to live, so he quickly adapted and accepted the reality. With a pair of eye for beauty to look around the environment, and a young heart The time that will never come back. (Yang Yang, 2021)
During his second exile, he wrote One Poem of Huizhou, Butterfly Lovers - Spring Scene and so on.
C. Relegated to Danzhou
In the fourth year of Shaosheng (1097), Su Shi, who was already sixty-two years old, was sent by a lone boat to Danzhou (now Danzhou, Hainan), a desolate place on the island of Hainan. It is said that in the Song Dynasty, the banishment to Hainan was a punishment only one degree less severe than the crime of beheading the whole family. He took Danzhou as his second hometown, "I am originally from Dan'er clan and was born in West Shuzhou". He ran a school here, mediating the learning style, so that many people traveled thousands of miles to follow to Danzhou, from Su Shi learning. In the Song dynasty more than 100 years, Hainan from no one into the scholarship. But Su Shi returned to the north soon, here Jiang Tang Zuo will raise township tribute. For this reason Su Shi inscribed a poem: "the sea has never broken the earth's pulse, the pearl cliff from now on break the sky." People have always regarded Su Shi as the pioneer and sower of Danzhou culture and have deep reverence for him. The Dongpo village, Dongpo well, Dongpo field, Dongpo road, Dongpo bridge, Dongpo hat and so on, which have been handed down in Danzhou, express people's feelings of remembrance, and even the language has a kind of "Dongpo language".
During his third relegation, he created Rainy Night Staying at Jokhang Temple, Entering the Temple.
Appreciation of Su Shi's One of Relegated Masterpieces
Here is a English version of Su Shi's relegated masterpiece, The Red Cliff, translated by Kenneth Rexroth，(1905-1982, Chinese name: Wang Honggong)
The Red Cliff
The River flows to the East Its waves have washed away all The heroes of history. To the West of the ancient Wall you enter the Red Gorge Of Chu Ko Liang of the Days of the Three Kingdoms. The Jagged peaks pierce the heavens. The furious rapids beat At the boat, and dash up in A thousand clouds of spray like Snow. Mountain and river have Often been painted, in the Memory of the heroes Of those days. I remember Long ago, Kung Ch'in newly Married to the beautiful Chiao-siao, shining in splendor, A young warrior, and the other Chu Ko Liang, in his blue cap, Waving his horsetail duster, Smiling and chatting as he Burned the navy of Ts 'ao Ts’'ao. Their ashes were scattered to The four winds. They vanished away In smoke. I like to dream of Those dead kingdoms. Let people Laugh at my prematurely Grey hair. My answer is A wine cup, full of the Moon drowned in the River. (Kenneth Rexroth, 2021/02)
B. Chinese version
念奴娇·赤壁怀古
大江东去，浪淘尽，千古风流人物。故垒西边，人道是：三国周郎赤壁。乱石穿空，惊涛拍岸，卷起千堆雪。江山如画，一时多少豪杰。
遥想公瑾当年，小乔初嫁了，雄姿英发。羽扇纶巾，谈笑间、樯橹灰飞烟灭。故国神游，多情应笑我，早生华发。人生如梦，一尊还酹江月。
C. Appreciation
We can see that such a creative translation can be said to produce another poem from the original. Rexroth is "bold" enough, for example He said that the original poem did not mention Zhuge Liang, but he put in "Zhuge Liang", probably because he knew that the main character of the Battle of Red Cliff in the Romance of the Three Kingdoms was none other than Zhuge Liang. In addition, for some Western readers, they may be more familiar with the mythical "Zhuge Liang" than with "Zhou Yu. Zhuge Liang" than "Zhou Yu. Chinese poets such as Du Fu, whom Rexroth himself admires, have also remembered this sage in verse. So he wants to Through the translation, he wants to bring the Western reader into the "Three Kingdoms era / Zhuge Liang's Red Fjord.
The differences between the translation and the original poem are obvious, but also intriguing. "You enter the age of the Three Kingdoms / Zhuge Liang's red fjord The "you" here is obviously absent from the original poem. This is the "I" of the poem looking at himself (the translated poem returns to the "I" later), which is more important than the original. This is a more important angle than in the original. We should pay attention to this change of personification and perspective in the translation, because it makes it possible to "step out of the self" and to make a We should pay attention to this change of personification and shift of perspective in the translation, because it makes it possible to "step out of the self" and make a self-examination, observation and dialogue of life possible.
As for the specific translation, Su Shi's "Nian Nu Jiao - Huai Gu at the Red Cliff" is a masterpiece for the ages, which poses a challenge to any translation, how to This is the challenge that Rexroth has to face in order to create a poem in English that "matches" the original poem. For example, the original poem In the original poem, for example, famous lines such as "The rocks pierce the sky, the waves beat the shore, and roll up a thousand piles of snow" are astonishing, and the expressive power of the Chinese language has reached an extreme.
In this regard, Rexroth translates "the rocks pierce the sky" as "the jagged peaks pierce the sky", which is more successful, as it also has a strange and powerful feeling, just like "transforming a Song-Yuan ink landscape into a Gothic painting", while aptly presenting the precipitousness of the Chibi mountains.
Of course, reading the English translation and comparing it with the original poem, we are sure that there are many unsatisfactory points. For example, the phrases "The eastward flow of the river, the waves panning out, the people of the past", "The river and the mountain are like a picture, how many great men and women of the past", "The feather fan and the spandex scarf, between laughing and talking, the boom is destroyed" are all famous lines. They have been recited in Chinese for thousands of years, and it is difficult to imagine any English translation that can convey their unique flavor and aphoristic effect. Rexroth has made the best translation he can. If what he has translated is only an "effective English poem", not yet a masterpiece of language, it may not be the translator himself. It may not be entirely the translator's own fault. (Wang Jiaxin, 2021/02)
Terms and Expressions
Relegation Literature 贬谪文学
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References
Wáng Qìnyú 王沁瑜 Feng Shui in Chinese Architecture
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