Chapter 477

Fanfiction 28: Appreciation Series of Song Shizu’s Poetry — The Little Wolf Under the Stars

Fanfiction 28: Appreciation Series of Song Shizu’s Poetry — The Little Wolf Under the Stars

Preface:

Song Shizu Zhao Jiu (June 21, 1107 – November 9, 1187) was a renowned statesman, military strategist, and literary figure in Chinese history. Also known as Gou, with the courtesy name Deji, he was the tenth emperor of the Song dynasty, the ninth son of Song Huizong Zhao Ji, and a half-brother of Song Qinzong Zhao Huan, born to Empress Xianren, née Wei. Zhao Jiu was born in the first year of the Daguan era (1107), enfeoffed as Duke of Shu, and successively held posts such as Military Governor of Dingwu Army and Chief Censor, soon promoted to Prince of Kang. After the Jingkang Incident (1127), when Jin troops captured Emperors Huizong and Qinzong and took them north, Zhao Jiu, who had been appointed by Song Qinzong as Grand Marshal of All Armies, ascended the throne at Yingtian Prefecture in Nanjing, changing the era name to Jianyan and reestablishing the Song dynasty, historically known as "Shaosong."

After ascending the throne, Zhao Jiu vigorously promoted reforms, sweeping away the accumulated ills since the founding of the Song, pacifying the struggles between the old and new factions, surveying land and reforming the tax system, greatly alleviating social conflicts. Militarily, after twenty years of war, he washed away the shame of the Jingkang Incident, recovered the ancestral lands of the Han and Tang dynasties, and established another great empire after the Han and Tang.

Song lyrics and Tang poetry are regarded as the two great peaks of Chinese culture, and Zhao Jiu’s works are among the most brilliant chapters. His works are predominantly bold and unrestrained, with some graceful and restrained elements. They often express his political ambitions and military life, while reflecting deep sympathy for the suffering of the people. His literary style is majestic in spirit, fervent and sorrowful, sweeping away the ornate delicacy of the earlier Song literary scene, pioneering and flourishing Jianyan literature, leaving a precious spiritual legacy for posterity.

The study of Zhao Jiu’s poetry often takes the Jingkang Incident as a dividing line. As a son of a concubine of Huizong, his early works mainly focused on the luxurious life of leisure and romantic love, with a style that was ornate and soft, of low literary value. After the Jingkang Incident, with his country broken and family lost, Zhao Jiu personally experienced the hardships of the people during his exile, undergoing a great transformation in his thinking, which spurred his rapid growth into an outstanding leader. His poetry also "broadened in vision and deepened in emotion." Although the times were difficult thereafter, his patriotic belief in restoring the Central Plains never wavered; instead, he poured all his passion and concern for the rise and fall of the nation and the fate of the people into his lyrics. Examples include "Green Jade Cup? Lantern Festival Night," "Dream of a Fair Maiden? Yaoshan Pass," "Pure Serene Music? Helan Mountains," and "Indignation." The years after his abdication marked another peak in his creative output, during which Zhao Jiu toured the realm, leaving behind many poems praising the magnificent rivers and mountains of the motherland, as well as reflections on life and worries about the future, such as "Joy of Eternal Union? Recalling the Past at Beigu Pavilion in Jingkou" and "Immortal by the River? Red Cliffs."

One of Zhao Jiu’s major contributions to the history of lyrics was the expansion of content and broadening of subject matter. His extant over one hundred lyrics cover politics, military affairs, philosophy, romantic love, folk customs, daily life, and reading experiences—in short, anything that could be written into any other literary form of the time was incorporated into his lyrics, with a scope even broader than Su Shi’s. As the content, subject matter, and emotional tone changed, the artistic style of Zhao Jiu’s lyrics also varied. Although his lyrics are primarily known for their majestic vigor and powerful force, he was equally adept at writing in the traditional graceful style. Both Zhao Jiu’s and Su Shi’s lyrics are renowned for their broad vision and bold emotions, but the difference lies in this: Su Shi often experienced life with a broad-minded and transcendent view of time and space, frequently expressing philosophical insights. In contrast, Zhao Jiu’s lyrics always embrace life with fervent emotion and lofty ideals, more often displaying the hero’s passion and the hero’s grief. Thus, the intensity of subjective emotion and the persistence of subjective ideals constitute a major feature of Zhao Jiu’s lyrics. Later generations said: "Shizu is the dragon among men, the dragon among lyricists."

With their patriotic content and artistic innovation, Zhao Jiu’s lyrics had a great influence on literary history. In later ages, whenever the nation or people faced crisis, the spiritual power of Zhao Jiu’s lyrics inspired generations of Chinese people.

Poetry Appreciation:

Joy of Eternal Union? Recalling the Past at Beigu Pavilion in Jingkou

[Song] Zhao Jiu

Through the ages, the rivers and mountains remain, yet nowhere is a hero like Sun Zhongmou found (1). The dancing pavilions and singing stages, all their splendor is beaten by wind and rain. In the slanting sun, among the grass and trees, on an ordinary lane, they say the slave once lived. Think back to those years, with golden spears and iron horses, he swallowed a thousand miles like a tiger (2).

The Yuanjia era, hasty and rash, sought to seal the Wolf’s Lair, only to flee north in panic (3). Forty-three years have passed, and in my gaze I still recall the beacon fires on the road to Yangzhou (4). How can I bear to look back? At the Temple of the Buddha’s Son, crows and sacrificial drums fill the air. Who will ask: Lian Po is old, can he still eat well (5)?

Notes:

(1) Sun Zhongmou: Sun Quan, King of Wu during the Three Kingdoms period, courtesy name Zhongmou, once established his capital at Jingkou. Founding emperor of the Wu state during the Three Kingdoms. Second son of Sun Jian, he followed his elder brother Sun Ce in pacifying Jiangdong. After Sun Ce’s early death in 200 AD, the 18-year-old Sun Quan succeeded as lord of Jiangdong.

(2) The slave: Childhood name of Liu Yu, Emperor Wu of the Liu Song dynasty. Liu Yu (April 363 – June 422), courtesy name Deyu, childhood name the slave, founder of the Song dynasty during the Northern and Southern Dynasties, historically known as Emperor Wu of Song. An outstanding statesman and brilliant military strategist and commander in Chinese history. Liu Yu led two northern expeditions, recovering Luoyang, Chang’an, and other areas.

(3) Yuanjia was the reign title of Liu Yilong, Liu Yu’s son. Hasty and rash: reckless. Liu Yilong of the Liu Song dynasty (not the Southern Song) was fond of grandiose achievements and hastily launched a northern expedition, only to be defeated by Tuoba Tao, ruler of the Northern Wei, who led a cavalry force south, reaching the northern bank of the Yangtze River before withdrawing. The elite troops and strong generals left by Liu Yu were all lost in one fell swoop.

(4) The "Battle of Huaishang-Xiacai" that occurred forty-three years ago (the second year of the Jianyan era) was the first victory in the war against the Jin, won by the young Zhao Jiu with remnant troops when the Song dynasty was on the verge of extinction after the Jingkang Incident. Yangzhou Road refers to the road leading to Yangzhou. At that time, the fleeing Song court was preparing to retreat to Yangzhou, but while passing through Xiacai, they ultimately resolved to fight to the end, securing victory in the war.

(5) Lian Po: A famous general of the Zhao state during the Warring States period. According to the "Biographies of Lian Po and Lin Xiangru" in the Records of the Grand Historian, after Lian Po was dismissed from office, he fled to the Wei state. The King of Zhao wanted to employ him again and sent someone to check on his health. Lian Po’s enemy Guo Kai bribed the envoy. When the envoy saw Lian Po, Lian Po ate a bushel of rice and ten catties of meat, then donned armor and mounted his horse to show he was still fit for service. The envoy returned and reported to the King of Zhao: "General Lian Po, though old, still eats well, but while sitting with me, he relieved himself three times in a short while." The King of Zhao, believing Lian Po was too old, did not employ him.

Analysis:

In the forty-fourth year of the Jianyan era, Emperor Wu of Song, Zhao Jiu, toured Jiangnan and arrived at Jingkou. By then, Zhao Jiu had reached the twilight of his life, but the succession remained unresolved, causing undercurrents in the court. Burdened with melancholy, Zhao Jiu climbed Beigu Pavilion and wrote this lyric.

The first stanza describes the two heroes, Sun Quan and Liu Yu. After Sun Ce’s death, the Sun-Wu military group faced internal and external troubles, teetering on the brink. The 18-year-old Sun Quan, upon succeeding, quickly stabilized morale and won the Battle of Red Cliffs, ultimately dividing the realm into three. Liu Yu was determined to launch a northern expedition and successfully recovered Chang’an and Luoyang, which had been lost for a century. Thus, the author heaps praise at the end of the first stanza.

The second stanza takes a sudden turn. Just as the reader is immersed in Liu Yu’s heroic deeds, an unworthy successor causes his efforts to vanish like smoke. The author’s eyes are full of the image of himself at twenty, forty-three years ago, struggling against the enemy on the Huai River. But human life is ultimately limited. Even Lian Po, still valiant in old age, was ultimately abandoned by the King of Zhao. Without finding a suitable successor and comrade, how much longer can he himself hold on?

Green Jade Cup? Lantern Festival Night (1)

Song Zhao Jiu

The east wind blows open a thousand trees of blossoms at night (2). It also blows down stars like rain (3). Precious horses and carved carriages fill the road with fragrance. The sound of phoenix flutes stirs, the jade pot’s light turns, all night the fish and dragons dance (4).

Moth-ornaments, willow-snow, and golden threads (5). With laughter and chatter, their hidden fragrance fades away. Among the crowd, I search for him a thousand times in vain. Suddenly turning back, that person is there, in the fading lamplight (6).

Notes:

(1) Green Jade Cup: A lyric tune name. "Cup" is pronounced wan, third tone, same as "bowl." Lantern Festival Night: The fifteenth day of the first lunar month is the Shangyuan Festival, or Lantern Festival; this night is called Lantern Festival Night or Lantern Night.

(2) "East wind" line: Describes the multitude of lanterns on Lantern Festival night. A thousand trees of blossoms: so many lanterns they resemble a thousand trees in bloom.

(3) Stars like rain: Refers to fireworks falling profusely, like rain. Stars: refers to fireworks. Describes the sky full of fireworks.

(4) Precious horses and carved carriages: Luxurious carriages. Phoenix flutes: A poetic name for flutes. Here refers to the playing of wind instruments like flutes and pipes. Jade pot: A metaphor for the bright moon. It can also be interpreted as referring to lanterns. Fish and dragons dance: Refers to the dancing of fish-shaped and dragon-shaped colored lanterns, like fish and dragons churning the sea.

(5) Moth-ornaments, willow-snow, and golden threads: All refer to various ornaments worn on women’s heads in ancient times. Here, they refer to richly dressed women.

(6) Suddenly: abruptly, all of a sudden. Fading: sparse and scattered.

Background of Creation:

In the early days of the third year of the Jianyan era (1129), Jin troops besieged the emperor at Nanyang and trapped Han Shizhong at Changshe. Du Chong, the Deputy Commissioner of the Eastern Capital, stationed his troops at Yanling, colluded with the enemy, and avoided battle. The emperor, alone with Hu Yin, Lin Jingmo, and Mo Qixie, left Nanyang, secretly crossed the Mishui River, and galloped to spend the night at Yancheng. Claiming to be an imperial envoy, he rode into Du Chong’s camp at dawn and seized his army. While Du Chong was still asleep, the emperor enumerated his crimes and personally executed him. He appointed Yue Fei as general, personally led the campaign to Changshe, defeated the enemy, and beheaded the ten-thousand-household commander Pucha Hubaolu. He sent Yue Fei south to block Wushu and Han Shizhong north to pursue Talan.

On the fifteenth day of the first month, the emperor returned to Bianjing. The remaining two hundred thousand soldiers and civilians all wept, saying, "We never thought we would see the majesty of Han officials again." Entering the city, he met with the Defender of the Eastern Capital, Zong Ze. Zong Ze was gravely ill. The emperor held his hand and wept with him, baring his sincerity, and swore to ultimately recover the Two Rivers. It happened to be the Lantern Festival, and Zong Ze requested a poem, so he composed "Green Jade Cup" as a gift.

————"Shaosong Annals? Basic Annals of Shizu"

In early 1129, the Jin army besieged the Emperor at Nanyang and trapped Han Shizhong at Changshe. Du Chong, then serving as Deputy Defender of the Eastern Capital, stationed his troops at Yanyang, colluded with the enemy, and avoided battle. The Emperor, accompanied only by Hu Yin, Lin Jingmo, and Mo Qixie, slipped out of Nanyang, secretly crossed the Mishui River, and rode post-haste to Yancheng. Claiming to be an imperial envoy, he rode into Du Chong's camp at dawn and seized his army. Du Chong had not yet risen. The Emperor enumerated Du Chong's crimes and personally executed him. He appointed Yue Fei as general, led the imperial expedition to Changshe, routed the enemy, and beheaded the ten-thousand-household commander Pucha Hueblu. He ordered Yue Fei to block Jin Wushu to the south and Han Shizhong to pursue Talan to the north.

The first half of this lyric mainly depicts the night of the Lantern Festival in the Eastern Capital before the Jingkang Incident, with the city full of lanterns and people reveling. The east wind had not yet urged the hundred flowers to bloom, but it first blew open the fiery trees and silver flowers of the Lantern Festival. It not only blew open the lanterns on the ground but also blew down from the sky colorful stars like rain—fireworks that first shot up into the clouds and then fell from the air like a meteor shower. Then it describes the fairyland of carriages, horses, drums, music, lanterns, and the moon intermingling, and the people singing and dancing, with the "social fire" hundred plays of fish and dragons, extremely bustling and lively. The dazzling "precious," "carved," "phoenix," and "jade"—all these beautiful words are only meant to convey the spirit and atmosphere of the lantern-lit night. Perhaps the earthly paradise-like splendor was beyond the power of words to describe, and fortunately, these fine words could serve as a modest aid.

The second half focuses on people. Women with bright ornaments on their heads laugh and talk as they walk, and after they pass, the fragrance of their clothes still lingers in the shadows. These beauties are not the ones the author cares about. He searches among the thousands for someone—but always finds no trace, and it seems hopeless. Suddenly, his eyes light up. In that corner by the remaining lantern, he clearly sees her! It is her! She is here in this desolate place, never having left! The moment of discovery is the condensation and sublimation of the spirit of life, a gratitude and engraving of mixed joy and sorrow. Only at the end does the poet’s ingenious conception become clear: the lanterns, moon, fireworks, flutes, social dances, and the bustling Lantern Festival night of the first half, and the dazzling procession of beautiful women in the second half—all were set up for that one person in his heart. And without that person, everything would have no meaning or interest.

Evaluation:

"Green Jade Cup? Lantern Festival Night" has long been hailed as "the number one Song lyric." This is not only due to the lyric’s own splendor but also because the emotions contained within surge like ocean waves, striking the reader’s soul. This emotion is also what distinguishes this lyric from Zhao Jiu’s pre-Jingkang works, which were equally full of ornate diction.

First, interpreting the lyric on the surface, it is often thought that Zhao Jiu was recalling a stunning encounter during a Lantern Festival in the Eastern Capital when he was still a wealthy prince, while also fully depicting the splendor of the Lantern Festival in the Eastern Capital and the luxurious life of Song dynasty ladies. Later literati often believed that even this layer of pure description of the scene was enough to secure the lyric a top place among Song lyrics.

Second, no matter how beautiful the scenes in the lyric, they exist only in memory. Considering the current state of the Eastern Capital, the ultimate splendor serves to highlight the ultimate sorrow. The Song court, after three years of exile, had just returned to the old capital, while the Eastern Capital, once with a population of nearly one and a half million, now had fewer than two hundred thousand people, and had not seen lanterns for several years. Comparing the two, the more unforgettable the story, the more deeply the pain of national and familial hatred is etched into the bones.

The third layer of meaning: the second half ostensibly writes about women but actually writes about ruler and minister. Since the time of Qu Yuan, the "fair one" has often been used as a metaphor for the bond between ruler and minister. Here, it alludes to the Defender of the Eastern Capital, Zong Ze. When the Song court fled south, Zong Ze, despite his illness, held on to the Eastern Capital, gathered refugees, pacified volunteer armies, and repeatedly petitioned Zhao Jiu for the court to return to the Eastern Capital as soon as possible. At that time, Zhao Jiu was solely focused on fleeing and could not understand Zong Ze’s heartfelt intentions, nor realize what kind of people the nation needed to support it. Instead, he was misled by sycophantic ministers like Kang Lü and Huang Qianshan. By the time Zhao Jiu finally awakened to who was truly the pillar of the state, Zong Ze was already terminally ill with little time left, just as the lyric describes: suddenly turning back, that person is there, in the fading lamplight.

When one finally realizes who is most important to them, that person has already gone far away. This leads to the fourth layer of meaning in the lyric: the author’s regret and guilt. At the beginning of his reign, Zhao Jiu had once lost his faith in resisting the Jin. Within three months, Li Gang was dismissed as chancellor, Zong Ze was abandoned in the Eastern Capital, the defense of Hebei was completely dismantled, and the court prepared to flee to Yangzhou. Although Zhao Jiu eventually changed his mind and persisted in resisting the Jin, his earlier actions had deeply hurt Zong Ze and the feelings of other anti-Jin soldiers and civilians. Thus, this lyric is also an admission of error to Zong Ze and a vow to him that he would recover the Two Rivers in this lifetime. Even Mo Qixie, known for his integrity at the time, praised: "Seeing this lyric, one knows that Defender Zong will let go of the past and depart with ease." And Zong Ze, on his deathbed, also acknowledged Zhao Jiu’s transformation, believing he would become a great emperor.

The final layer of artistic conception in the lyric is full of hope for the future. Although the "fair one" only appears in the fading lamplight, would the revitalized Zhao Jiu and the Song court stand by and watch her walk away? The situation in the resistance against the Jin had improved, and the hope of victory had emerged. Next, Zhao Jiu, together with his nation, would advance toward the dream of making the Song great again. Their goal must be achieved, and their goal can be achieved.

"Green Jade Cup" not only possesses superb technique, splendid words, and abundant prosperity, but also carries the pain of national ruin and family loss, the self-reflection and growth of a great emperor, the understanding and recognition between ruler and minister, and firm faith and hope. This short lyric of just sixty-six characters contains such rich emotion and profound meaning, advancing layer by layer like the Qiantang River tide, stirring the heart. Thus, it has been revered and cherished for thousands of years, ultimately earning the reputation of "the number one Song lyric" and "the number one lyric in the world."

When one finally realizes who is most important to them, that person has already gone far away. This naturally leads to the fourth layer of meaning in this lyric: the author's regret and remorse. In the early days of his succession, Zhao Jiu had once lost faith in resisting the Jin. Within three months, Li Gang was dismissed as Grand Councilor, Zong Ze was abandoned in the Eastern Capital, the defense of Hebei was completely dismantled, and the court prepared to flee to Yangzhou. Although Zhao Jiu eventually changed his thinking and insisted on resisting the Jin, his earlier actions had already deeply wounded the feelings of Zong Ze and other resistance soldiers and civilians. Thus, this lyric also confesses error to Zong Ze and swears to Zong Ze that he will surely recover the Two Rivers in this lifetime. Mo Qixie, who was then renowned for his integrity, also praised it: "Seeing this lyric, one knows that Defender Zong will let go of all past grievances and depart with an open heart." And Zong Ze, on his deathbed, also acknowledged Zhao Jiu's transformation, believing that he would become a great emperor.

The final layer of meaning in the lyric is filled with hope for the future. Although the "beautiful woman" only appears where the lantern light is dim, will Zhao Jiu, who has already regained his spirit, and the Great Song court stand by and watch her walk away? The situation in resisting the Jin has improved, the hope of victory has already appeared. Next, Zhao Jiu, together with his nation, will advance toward the dream of making the Great Song great again. Their goal must be achieved; their goal can certainly be achieved.

Peaks and ridges gather like a crowd, waves and billows rage in anger, within and without the mountains and rivers lies the road to Tong Pass (2). Gazing toward the western capital, my mind hesitates (3).

Grieving over the places where Qin and Han once passed, ten thousand palaces and towers have all turned to dust (4). In prosperity, the people suffer; in ruin, the people suffer (5).

Notes:

(1) Sheep on a Hillside: A lyric tune name. Song Shizu was proficient in music, and this was a new tune created by Zhao Jiu himself.

(2) Peaks and ridges gather like a crowd: Describes the clustering of peaks, layer upon layer. Gather: to converge; to surround.

Notes:

(1) Hillside Sheep: a lyric form; Song Shizu was well-versed in music, and this is Zhao Jiu's own newly created tune.

(2) Peaks clustering together: describes gathered peaks and layered mountain ranges. "Clustering" means gathering together or surrounding.

Waves like rage: describes the surging and turbulent waves of the Yellow River. Rage: refers to the waves being fierce and violent.

"Mountains and rivers" line: mountains outside, rivers inside, describing the perilous terrain around Tongguan. Specifically, it means that outside Tongguan is the Yellow River, and inside is Mount Hua. Exterior and interior: that is, inside and outside.

(3) Western Capital: refers to Chang'an (modern Xi'an, Shaanxi). This is a general reference to the capitals built near Chang'an since the Qin and Han dynasties. The Qin and Western Han built their capitals in Chang'an, while the Eastern Han built its capital in Luoyang, so Luoyang was called the Eastern Capital and Chang'an the Western Capital.

Hesitating: uncertain, wandering, burdened with cares; here it describes surging thoughts, deep emotions sinking into contemplation, indicating an unsettled heart.

(4) Heartbreaking: things that cause grief. Places passed through by the Qin and Han: the Qin capital Xianyang and the Western Han capital Chang'an are both west of Tongguan within Shaanxi Province. Places passed through: the sites passed by. Refers to the ruins of the Qin and Han former capitals.

(5) Rise and fall: refers to the flourishing and decline of dynasties.

Background of creation:

In the early summer of the third year of the Jianyan era, Zhao Jiu had just returned to the old capital not long ago after ending three years of exile. Having experienced the hardships of the common people up close, Zhao Jiu discussed with Grand Councilor Lü Haowen and criticized a highly controversial statement by Wen Yanbo, the Grand Councilor under Emperor Shenzong of Song: "Your Majesty governs the realm with the scholar-officials, not with the common people." He believed that "the Son of Heaven should govern the realm with the common people." Two days later, he entrusted Lü Haowen to present this lyric to Hu Yin, then the Grand Coordinator of Guanzhong.

Analysis:

The entire lyric is divided into three layers: The first layer (first three lines) describes the majestic and perilous terrain of Tongguan. This layer depicts the grand scene of Tongguan vividly and concretely. The first line writes about the overlapping peaks and ridges, with Tongguan surrounded by layers of mountains. The character "gather" makes readers envision Mount Hua rushing forward and the peaks standing clustered; mountains are inherently still, but "like gathering" turns stillness into motion, and the character "gather" expresses the multitude and dynamism of the peaks. The second line writes about the raging, surging Yellow River. The character "rage" depicts the surging and turbulent waves of the Yellow River. The character "rage" also personifies the river water, infusing it with the poet's full grief and indignation arising from mourning the past and lamenting the present. The third line writes that Tongguan is located at the narrow pass where it is surrounded by layers of mountains, with the Yellow River's cold currents flowing through it. At this point, the majestic momentum of Tongguan can be glimpsed. Such a perilous place has been a must-fight battleground for military strategists throughout history, which also triggers the reflections in the following text and sets the sorrowful tone of the entire piece.

The second layer (lines four to seven). The two lines "Gazing at the Western Capital" describe the author's boundless emotions as he looks westward toward Chang'an. Chang'an, the renowned capital of the great Han and Tang empires in history, how many diligent emperors once unfolded their grand plans and established achievements here? And how many tyrannical, debauched rulers once abused their power, slaughtered the people, and became sinners of history here? How much blood and sweat did the common people shed on this land of Chang'an! This is probably the reason and content of the author's "hesitating heart"!

The two lines "Heartbreaking for Qin and Han" describe that both the Qin and Han dynasties have become historical relics. Countless halls and pavilions of the First Emperor of Qin and Emperor Wu of Han have now vanished into smoke and turned to dust. The once-prosperous Qin and Han dynasties, amid the roars of the people, have perished, just like "countless palaces and towers have all turned to earth." How much emotion the author has invested between these lines!

The third layer (last four lines) summarizes the author's painful reflections: the rise or fall of successive dynasties brings only disaster and suffering to the common people. This is a conclusion the author has drawn from the history of the rise and fall of emperors. The three layers are interlinked, deepening layer by layer, with thoughts becoming clearer and emotions stronger, forming a cohesive whole. The entire piece hides emotion within scenery, and there is scenery within emotion, blending scene and feeling.

Evaluation:

"Sheep on a Hillside: Recalling the Past at Tongguan" is also a representative work of Zhao Jiu, fully showcasing the author's political aspirations and great personality, which is why it has been revered by later generations for thousands of years.

The author adopts a method of gradual deepening, moving from scene description to recalling the past, then triggering discussion, perfectly combining the vast scenery, deep emotions, and precise arguments, giving this short lyric a strong appeal. The lines are filled with a sense of historical vicissitude and the spirit of the times, possessing both the characteristics of a nostalgic poem and a unique, somber style.

The two lines "Rise, fall," starting from the author's own experience, coldly point out that whether a dynasty rises or falls, the living standards of the common people do not differ much. Behind the prosperity of the Great Song's "abundance and grandeur" before the Jingkang Incident lay the rulers' endless greed and extravagance, to the point of triggering large-scale popular uprisings even in the prosperous Jiangnan region. And the flames of war after Jingkang burned away the people's last shred of hope. The theme the author extracts from this historical summary is extremely clear and profound, and the questions raised are very important and sharp. It expresses the author's deep sympathy for the people. This ending is indeed refined through a thousand hammers, each word carrying immense weight, with a sharp and striking tone, rich and profound in meaning, serving as a very incisive summary of the entire lyric.

From a historical perspective, Zhao Jiu may be the most special of all emperors. At the moment of national collapse, there were many noble sons and grandsons who fell among the people and tasted hardship, but only he managed to support the country again. It can be said that the experience of falling from the clouds prompted Zhao Jiu's transformation, and when he returned to the center of the stage, he became the only feudal ruler in Chinese history who truly empathized with the lives of the common people and connected their suffering with his own, a seemingly "unqualified" one. Throughout history, there have been many words from princes, generals, and ministers about caring for the people. Before him, the most famous was Emperor Taizong of Tang, Li Shimin's saying, "Water can carry a boat, but it can also overturn it." But this still represents the ruler looking down on the people from a high position, with the sole purpose of stabilizing rule. Only Zhao Jiu's two lines on rise and fall truly start from the people's perspective, fully expressing the pain of the lower-class people. As Lu Xun said, for the people, the rise and fall of a nation is merely the difference between an era when they cannot even be slaves and an era when they can temporarily be stable slaves. Fortunately, the people of that time met Zhao Jiu, and the chaotic times were quickly ended, allowing the people to live in peace. Even more commendable is that Zhao Jiu practiced what he preached. He raised fish and planted mulberry trees within the palace to be self-sufficient, and the palace's expenditures were the lowest of any dynasty. Throughout the Northern Song, imperial family members had to personally cultivate a small plot of land, which also allowed the several emperors before the farming and sericulture activities became ritualistic to have some understanding of the hardships of farming and to levy taxes reasonably.

"Sheep on a Hillside" was a new tune created by Zhao Jiu himself. Before the Jingkang Incident, Zhao Jiu, as a commoner son of Emperor Huizong, had no political prospects. Because his birth mother was of low status, he himself was not valued by Huizong. Therefore, Zhao Jiu studied music and rhythm, both to stay away from the court and avoid the jealousy of the then Crown Prince, later Emperor Qinzong, and also to gain the favor of Huizong, who was proficient in music, in hopes of improving his own situation. But the music learned to curry favor ultimately celebrated the people—perhaps this is the difference between a great emperor and a ruler who lost his kingdom.

Appreciation of Song Shizu's Poetry and Lyrics, Part Four

"Groping for Fish" (1)

By Zhao Jiu of Song

How many more times can it withstand the wind and rain? (2) Spring has hurried away again. Cherishing spring, I always fear the flowers bloom too early, let alone the countless falling petals. Spring, please stay! I've heard that fragrant grass stretches to the horizon, blocking your return path. I resent spring for its silence. I suppose only the diligent spider web under the eaves spends all day catching the drifting catkins (3).

The matter at Changmen Palace (4), the appointed good time is again delayed. A beautiful woman was once envied. Even if I spend a thousand gold to buy Sima Xiangru's ode, to whom can I pour out this deep, silent feeling (5)? Do not dance, my lords! Do you not see that Yang Yuhuan and Zhao Feiyan have all turned to dust (6)? Idle sorrow is the most bitter! Do not lean on the high railing (7); the setting sun is just at the heart-wrenching place of misty willows.

[Notes]

(1) Groping for Fish: name of a lyric tune.

(2) Withstand: endure.

(3) I suppose only diligent: I imagine only the spider web under the eaves diligently catches the drifting catkins, retaining the spring scenery.

(4) Changmen: a palace name from the Han dynasty. Emperor Wu's empress was confined here after losing favor. Sima Xiangru's "Preface to the Ode to Changmen" says: "Empress Chen of Emperor Wu of Han, once favored, was quite jealous. She was separated and placed in Changmen Palace, melancholy and sorrowful. Hearing that Sima Xiangru of Chengdu, Shu Commandery, was the most skilled writer in the empire, she offered a million gold for wine for Xiangru and Zhuo Wenjun, and thus used the words of sorrow, and Xiangru wrote an ode to awaken the sovereign, and Empress Chen regained favor."

(5) Silent and deep: long-lasting and profound.

(6) My lords: refers to those who bring disaster to the state.

Yang Yuhuan and Zhao Feiyan: Yang Yuhuan and Zhao Feiyan, both known for bringing disaster to the state.

(7) High railing: the railing on a tall building.

[Background of Creation]

This lyric was written in the spring of the first year of the Jingkang era of the Southern Song (1126 AD), after the Jin army's first southern invasion had retreated.

At this time, the Southern Song, in a perilous situation, gained a respite, but the Southern Song court did not cherish it. Instead, Emperors Huizong and Qinzong fell into discord again, with endless disputes at court. Within a single year, as many as twenty-six people successively held the position of Grand Councilor, yet none made effective arrangements to resist the Jin. Zhao Jiu, having volunteered to go to the Jin camp as a hostage and rendered great service, gained some prestige, but this also aroused greater suspicion from Emperor Qinzong, Zhao Huan, forcing him to stay away from the court. At this time, Zhao Jiu watched the crisis worsen with his own eyes, powerless to change it, and his inner bitterness could not be spoken openly, so he created this "Groping for Fish."

[Appreciation]

How many more times can it withstand the wind and rain? Spring is about to hurry away again. Cherishing spring, I always fear the flowers bloom too early, let alone the countless falling petals now. Spring, please stay for a while. Haven't you heard that the endless fragrant grass has blocked your return path? Truly hateful that spring is so silent. It seems that only the spider webs on the carved beams and painted rafters, to keep spring, spend all day catching the drifting catkins.

Ah Jiao in Changmen Palace hoped to be summoned again, but the appointed good time was repeatedly delayed. All because of beauty, someone was jealous. Even if I spend a thousand gold to buy Sima Xiangru's famous ode, to whom can I pour out this deep, silent feeling? I advise you not to be complacent. Don't you see that the once-popular Yuhuan and Feiyan have all turned to dust? Idle sorrow is the most tormenting. Do not go up to the tower and lean on the railing to gaze; a setting sun is about to sink at that heart-wrenching place of misty willows.

[Evaluation]

This piece was written in the spring of the first year of the Jingkang era (1126). Zhao Jiu was 18 years old at the time. After being a wealthy prince for many years, the crisis of imminent national subjugation prompted a change in Zhao Jiu's thinking, and he began to consider the future of the country. During the Jin army's first siege of the city, Zhao Jiu volunteered to go to the Jin camp as a hostage, replying to the Jin's insolence with propriety and restraint. Zhao Jiu's performance won the respect of the Jin, but also made the Southern Song ruler and ministers, who were bent on appeasement, lose face. Instead, the author suffered exclusion and setbacks, unable to realize his ambition to save the country from crisis, and his strategies for recovering lost territory were not adopted. Seeing the scene and stirred by emotion, the author used this lyric to express the long-accumulated bitterness in his heart.

On the surface, this lyric writes about the bitterness of a woman who has lost favor, but in reality, it expresses the author's anxiety about state affairs and his heavy mood from repeated exclusion. The lyric expresses strong dissatisfaction with the fatuous and corrupt Southern Song court and the arrogant and rampant appeasement faction.

The first half uses "spring" as a metaphor for the golden opportunity to resist the Jin, writing the complex emotions of cherishing spring, resenting spring, and retaining spring. The lyric begins with "How many more times can it withstand the wind and rain?" On the surface, it is about the spring flowers, but in reality, it worries about how many more blows the endangered Southern Song can endure. Originally, the power balance between Song and Jin was not without a chance to fight, but due to the fatuous and corrupt court and the rampant sabotage of the appeasement faction, the golden opportunity to resist the Jin was wasted in vain. Although there were a few battle opportunities in between, they all failed due to the appeasement faction's informing. The good opportunity to resist the Jin and restore the country passed in a flash, and "spring has hurried away again" is a vivid portrayal of this situation. The great spring of resisting Jin and restoring the country has vanished. How the author clings to this beautiful spring! "Cherishing spring, I always fear the flowers bloom too early." However, reality is merciless: "let alone the countless falling petals!" These two lines, one rising and one falling, show the contradiction between ideal and reality. "Falling petals" are a symbol of spring's passing. They symbolize the decline of state affairs and also contain the author's lament over wasted time and unfulfilled career.

Faced with the disappearance of spring, the author did not sit idly by. On the contrary, out of patriotic indignation, he shouted loudly: "Spring, please stay! I've heard that fragrant grass stretches to the horizon, blocking your return path." These two lines knowingly acknowledge that spring's departure is an irreversible law of nature, but they forcibly try to retain it. On the surface, it writes about "cherishing spring," but in reality, it is a direct remonstrance to the court: only persisting in resisting the Jin is the sole way out; otherwise, the "fragrant grass" in Dongjing City will only wither. From "I resent spring for its silence" to the end of the first half, although the author issues strong calls and serious warnings, the spring scenery is hard to retain, and it is inevitable, so strong "resentment" is unavoidable. But what use is resentment! In helplessness, the author's efforts and shouts only leave a little "drifting catkins" symbolizing spring, like a "spider web," preserving a shred of comfort from resisting the Jin. These four lines intertwine the complex emotions of "cherishing spring," "retaining spring," and "resenting spring," ending with the small "drifting catkins." In the four layers of the first half, there are ups and downs, waves, and pauses in each layer, cleverly reflecting the author's complex and contradictory feelings.

The second half uses the story of Chen Ajiao to write about the bitterness of having nowhere to pour out patriotic deep feelings. This half can be divided into three levels, expressing three different contents. From "The matter at Changmen Palace" to "to whom can I pour out this deep, silent feeling" is the first level. This is the key point of the lyric. The author compares himself to Empress Chen, who lost favor at Changmen Palace. "A beautiful woman was once envied" indicates the author's current situation of repeated cold treatment and lack of important use. The three lines "Do not dance, my lords" are the second level. The author uses Yang Yuhuan and Zhao Feiyan as metaphors for the current rulers who are in power, causing disaster and temporarily triumphant, warning the appeasement faction. "Idle sorrow is the most bitter" to the end of the piece is the third level, using the desolate scene of misty willows and the setting sun to describe the fatuous, corrupt, declining, and precarious reality of the Southern Song court.

This lyric has distinct artistic characteristics. First, through the technique of metaphorical imagery, it creates symbolic images to express the author's love for the motherland and concern for the current situation. The use of personification and allusions is also just right. Second, it inherits the fine tradition of Qu Yuan's "Li Sao," using the relationship between men and women to reflect real political struggles. Third, it is lingering and winding, somber and forceful, presenting a unique lyric style. On the surface, this lyric is written in a "graceful and restrained" style, but in reality, it is extremely mournful and heavy, written with somber and tragic emotion and intricate detail.

In terms of writing technique, the author creatively uses the technique of graceful and restrained lyrics to create a bold and unconstrained lyric, and from both perspectives, it is an excellent work, pioneering a new path and greatly expanding the scope of lyric writing. It also reflects the author's profound literary foundation.

From a content perspective, "Groping for Fish" is Zhao Jiu's first work with substance. The author changes his previous ornate and decadent lyric style and begins to reflect on current events. The profound and heavy thoughts of worrying about the country and the people contained within are clearly the result of long-term reflection. This is also a focus of debate among later generations: Was Zhao Jiu's frivolous and romantic nature before the Jingkang Incident his true nature, or was it self-defilement to avoid suspicion and preserve himself? But regardless, the great tide of the Jingkang era had already prompted Zhao Jiu's transformation, washing him to be more resilient and brave, giving him the ideological awareness to shoulder the world. Therefore, half a year later, when the Jin army invaded south for the second time, Zhao Jiu was again ordered to go to the Jin army as an envoy, but this time he did not comply. Instead, he went alone to Hebei to recruit volunteer troops, beginning his magnificent life.