Gems of Chinese Literature/Su Tung-P‘o-The Red Wall: Summer

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Gems of Chinese Literature (1922)
translated by Herbert Allen Giles

The Red Wall: Summer by Su Tung-P‘o

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SU TUNG-P‘O.

a.d. 1036-1101

[An almost universal genius, like Ou-yang Hsiu, this writer is even a greater favourite with the Chinese literary public. Under his hands, the language of which China is so proud may be said to have reached perfection of finish, of art concealed. In subtlety of reasoning, in the lucid expression of abstractions, such as in English too often elude the faculty of the tongue, Su Tung-P‘o is an unrivalled master. On behalf of his honoured manes I desire to note my protest against the words of Mr. Baber, recently spoken at a meeting of the Royal Geographical Society, and stating that “the Chinese language is incompetent to express the subtleties of theological reasoning, just as it is inadequate to represent the nomenclature of European science.” I am not aware that the nomenclature of European science can be adequately represented even in the English language; at any rate, there can be no comparison between the expression of terms and of ideas, and I take it the doctrine of the Trinity itself is not more difficult of comprehension than the theory of “self abstraction beyond the limits of an external world,” so closely reasoned out by Chuang Tzŭ. If Mr. Baber merely means that the gentlemen entrusted with the task have proved themselves so far quite incompetent to express in Chinese the subtleties of theological reasoning, then I am with him to the death.

There is one more point in regard to which I should be glad to cleanse the stuffed bosoms of some from a certain perilous stuff―the belief that Chinese sentences are frequently open to two and even more interpretations. No theory could well be more mischievous than this. It tends to make a student readily satisfied with anything he can get out of an obscure paragraph rather than push on laboriously through the dark passages of thought until the real sense begins to glimmer ahead, and finally to shine brightly upon him. I wish to place it on record, as my opinion, after the arduous task of translation now lying completed before me, that the written language of China is hardly more ambiguous than English; and that an ordinary Chinese sentence, written without malice aforethought, can have but one meaning, though it may often appear at the first blush to have several. There are exceptions, of course; but the rule remains unchanged. I have frequently been trapped myself, and may be again; trapped into satisfaction with a given rendering which I subsequently discovered to be wrong, and which I could then feel to be grammatically wrong though I had previously accepted it as right. The fault in such cases, I venture to suggest, should be sought for outside the text. (I leave this to stand as it stood in 1884, merely suggesting that it is the extreme difficulty of the book-language which is mistaken for ambiguity.)

To revert to the subject of this note, Su Tung-P‘o shared the fate of most Chinese statesmen of the T'ang and Sung dynasties. He was banished to a distant post. In 1235 he was honoured with a niche in the Confucian temple, but his tablet was removed in 1845. After six hundred years he might well have been left there in peace.]

Su Tung-P‘o1524170Gems of Chinese Literature — The Red Wall: Summer1922Herbert Allen Giles

In the year 1081, the seventh moon just on the wane, I went with a friend on a boat excursion to the Red Wall. A clear breeze was gently blowing, scarce enough to ruffle the river, as I filled my friend’s cup and bade him troll a lay to the bright moon, singing the song of the Modest Maid.

By-and-by, up rose the moon over the eastern hills, wandering between the Wain and the Goat, shedding forth her silver beams, and linking the water with the sky. On a skiff we took our seats, and shot over the liquid plain, lightly as though travelling through space, riding on the wind without knowing whither we were bound. We seemed to be moving in another sphere, sailing through air like the Gods. So I poured out a bumper for joy, and, beating time on the skiff’s side, sang the following verse:―

With laughing oars, our joyous prow
⁠Shoots swiftly through the glittering wave―
⁠My heart within grows sadly grave―
Great heroes dead, where are ye now?

My friend accompanied these words upon his flageolet, delicately adjusting its notes to express the varied emotions of pity and regret, without the slightest break in the thread of sound which seemed to wind around us like a silken skein. The very monsters of the deep yielded to the influence of his strains, while the boat-woman, who had lost her husband, burst into a flood of tears. Overpowered by my own feelings, I settled myself into a serious mood, and asked my friend for some explanation of his art. To this he replied, “Did not Ts‘ao Ts‘ao say:―

The stars are few, the moon is bright,
The raven southward wings his flight.

“Westwards to Hsia-k‘ou, eastwards to Wu-ch‘ang, where hill and stream in wild luxuriance blend,―was it not there that Ts‘ao Ts‘ao was routed by Chou Yü? Ching-chou was at his feet: he was pushing down stream towards the east. His war-vessels stretched stem to stern for a thousand li: his banners darkened the sky. He poured out a libation as he neared Chiangling; and sitting in the saddle, armed cap-à-pie, he uttered those words did that hero of his age. Yet where is he to-day?

“Now you and I have fished and gathered fuel together on the river eyots. We have fraternized with the crayfish: we have made friends with the deer. We have embarked together in our frail canoe; we have drawn inspiration together from the wine-flask―a couple of ephemerides, launched on the ocean in a rice-husk! Alas, life is but an instant of Time. I long to be like the Great River which rolls on its way without end. Ah, that I might cling to some angel’s wing and roam with him for ever! Ah, that I might clasp the bright moon in my arms and dwell with her for aye! Alas, it only remains to me to enwrap these regrets in the tender melody of sound.”

“But do you forsooth comprehend,” I enquired, “the mystery of this river and of this moon? The water passes by but is never gone: the moon wanes only to wax once more. Relatively speaking, Time itself is but an instant of time; absolutely speaking, you and I, in common with all matter, shall exist to all eternity. Wherefore then the longing of which you speak?

“The objects we see around us are one and all the property of individuals. If a thing does not belong to me, not a particle of it may be enjoyed by me. But the clear breeze blowing across this stream, the bright moon streaming over yon hills,―these are sounds and sights to be enjoyed without let or hindrance by all. They are the eternal gifts of God to all mankind, and their enjoyment is inexhaustible. Hence it is that you and I are enjoying them now.”

My friend smiled as he threw away the dregs from his wine-cup and filled it once more to the brim. And then, when our feast was over, amid the litter of cups and plates, we lay down to rest in the boat: for streaks of light from the east had stolen upon us unawares.

Gems of Chinese Literature/Su Tung-P‘o-The Red Wall: Summer

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