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Mingfei Qu" and the Poetics of Disagreement Author(S): Yang Xiaoshan Source: Chinese Literature: Essays, Articles, Reviews (CLEAR), Vol

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Mingfei Qu Wang Anshi's "Mingfei qu" and the Poetics of Disagreement Author(s): Yang Xiaoshan Source: Chinese Literature: Essays, Articles, Reviews (CLEAR), Vol. 29 (Dec., 2007), pp. 55- 84 Published by: Chinese Literature: essays, articles, reviews (CLEAR) Stable URL: http://www.jstor.org/stable/25478397 Accessed: 14-08-2017 01:58 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/25478397?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Chinese Literature: essays, articles, reviews (CLEAR) is collaborating with JSTOR to digitize, preserve and extend access to Chinese Literature: Essays, Articles, Reviews (CLEAR) This content downloaded from 66.31.142.119 on Mon, 14 Aug 2017 01:58:38 UTC All use subject to http://about.jstor.org/terms Wang Anshi's "Mingfei qu" and the Poetics of Disagreement Yang Xiaoshan University of Notre Dame This essay reconsiders the controversy surrounding Wang Anshi's two poems on the Wang Zhaojun legend in light of his deliberate use of unconventional rhetoric to shock and awe his audience, especially in poems dealing with historical subjects. It argues that the morally problematic lines in Wang's poems reflect the confluence of his propensity to polemicize against established views through sensational statements and the vogue oifan'an ("case reversal") in Song poetry. In 1059, shortly after arriving in the capital for a position in the central government, Wang Anshi aE$5 (1021-86) wrote his famous "Mingfei qu er shou" $M #? fflUll* (Song of Brilliant Lady: two poems). No. 1 mmji&mnm, mmmgLftmmo i&mm&mm&, Mnmtt&Wo mmrnn^, aiit^^^Wo ****?*/*, nmm^mmo -**&?*?, mmmmn&o seraas*, KW^$t?0 As Brilliant Lady just came out of the Han palace, Her tears moistened spring breeze, her temple locks drooping. Pacing up and down, gazing at her own shadow, so pallid,1 I would like to thank Xiaofei Tian for inviting me to present an earlier draft of this paper at the China Humanities Seminar, Harvard University, October 2004. Thanks also go to those who raised questions and made comments following my presentation, especially Peter Bol, Michael Fuller, Wilt Idema, and Stephen Owen. To the two anonymous reviewers for CLEAR and William Nienhauser, I am deeply grateful for numerous helpful suggestions. My failure to incorporate those suggestions to the fullest reflects nothing but the limits of my ability. 1 The line derives from Fan Ye ??^ (398^45), Hou Honshu \%MM (Beijing: Zhonghua shuju, 1965), 89.2941: "Zhaojun's gorgeous face and alluring make-up shone in the Han palace. As she paced up and down, looking at her own shadow, everybody around was stunned" (HSSS^tS t^? TfeWlll1.'* ilSHlJBh ^ite^fj). The description of Zhaojun pacing up and down while ?Chinese Literature: Essays, Articles, Reviews 29 (2007) This content downloaded from 66.31.142.119 on Mon, 14 Aug 2017 01:58:38 UTC All use subject to http://about.jstor.org/terms 56 Chinese Literature: Essays, Articles, Reviews 29 (2007) She still caused her lord-king to lose control. Turning back, he blamed no one but the painter: When have I ever seen anything like this in my life? Her mien and manner could not be captured in paint, At once causing Mao Yanshou to be wrongly killed. Once she departed, she knew in her heart she would not return; Sadly, she wore out her dresses from the Han palace. She wished to send a messenger to ask about things south of the border, But year after year there were only wild geese flying by. Word came from home ten thousand miles away: Take care in the city of felt tents?don't think on us. Haven't you seen how Ajiao was confined in the nearby Changmen Palace?2 In life's disappointment, there is no south or north. No. 2 w*e#j#n?a, K$5*g??E. fr\mt%mMA, wmmm^muo gazing at her own shadow is common in Song poems. Qin Guan'sHiK (1049-1110) "Wang Zhaojun" ZEBSf^, for example, has the couplet: "Lonely was she with her jade-like face: a flower without an owner / She gazed at her own shadow as she paced up and down, sobbing by the roadside." i#3S^ft*l?, llj?fS[?]&8&HI. See Quan Song shi ?5fct$, comp. Beijing daxue guwenxian yanjiusuo JbSA^ftlfciKffl^^f (Beijing: Beijing daxue chubanshe, 1991-98), [hereafter, cited as QSS], 1068.12151. Similarly, in Wang Tinggui'sigUi (1080-1172) "Ti Luo Choolao jia Mingfei ci Han tu" SJiKI^^M JEJ^glB (QSS, 1453.16734), we read, "She gazed at her own shadow and paced up and down for a long time, / Still hoping that her lord-king would turn around just once." IBi?ftfllI^li?A? jnjXSi?'[?111*. An even closer imitation of Fan Ye's description is the following couplet in Wang Yang's 3E# (10877-1154?) "Mingfei qu" 53#Btt (QSS, 1687.18937): "Pacing up and down, gazing at her own shadow, her flower-like face was winsome, / Her gracefully gorgeous features felt cold in the grand palace." #f@ilf|?#: IMS. &M$S?*K*. Yet another example can be found in Yuan Xie's M^ (1144-1224) "Zhaojun si" BSH^ (QSS, 2146.31000). Wang Anshi uses the same image to describe Chang'e in "Dinglin shi Daoyuan" ^#^itK (QSS, 539.6487): "Chang'e broke a cassia twig; / Gazing at her own shadow, she paced up and down for long." $$tt^fttt> JBfi^ffiflH. Wang also uses the image to depict talented (but somewhat arrogant) horses in "Liang ma chi ju zhuang" j^ J? S^tH: (QSS, 545.6528): "One horse halts on the long avenue, / Gazing at its own shadow while pacing up and down." ?Sjl-RIIj, HJ!^#fiII. Wang's depiction recalls Du Fu's "Congma xing" ULSIff: "So lofty is its daring posture and suave bearing, / As it gazes at its own shadow, neighing arrogantly, proud of being favored." *l29&J8fa*B^? ISf^SSffiS^ft. See Quan Tang shi ?SW, comp. Peng Dingqiu SiS* (1645-1719) (Beijing: Zhonghua shuju, 1960), [hereafter cited as QTS], 216.2264. 2 Empress Chen K (with the nickname Ajiao) was confined in the Changmen (Tall Gate) Palace after she fell into disgrace; see Ban Gu 81 (32-92), Hanshu Mti (Beijing: Zhonghua shuju, 1962), 97A.3948. According to a popular legend, while a child, the future Wu 3? Emperor (r. 140-86 BC) declared that he would keep Ajiao in a golden house if he was able to marry her; see anon., Han Wu gushi 3ISSfe^, in Siku quanshu VHM&Wi, Wenyuange ed. (Shanghai: Shanghai guji chubanshe, 1987), [hereafter, cited as SKQS], 2b. This content downloaded from 66.31.142.119 on Mon, 14 Aug 2017 01:58:38 UTC All use subject to http://about.jstor.org/terms YANG Wang Anshi's "Mingfei qu" 57 3t&#?#A?, ft?it?o ?g#^Bt*S, &?ftA?P@mo ??S?*e?, A???ffl*n<fro pTtWf^BH&, ftfMSM^o When Brilliant Lady was just about to be married to the barbarian fellow, There were a hundred felt-canopied coaches, all with barbarian maids.3 Wishing to talk about feelings, but with absolutely no one to turn to, She conveyed through the pipa what only she knew in her heart. As she plucked the golden plectrum with her hand of spring breeze, She watched the flying geese while playing and called for more barbarian wine. As maids from the Han palace shed tears furtively, Passers-by on the desert couldn't help turning around: Han's favor is shallow and the barbarian's deep; The joy of life is to be with your heart-to-heart intimate. Sadly, Green Mound has disappeared beneath the weeds;4 Still, the sound of the sorrowful strings lingers on to this day.5 3 The number "a hundred" is nominal. The term SM appears in two epithalamiums in the ShijingWfM. (nos. 12, 261) in reference to coaches sent by the groom's side to fetch the bride. 4 Wang Zhaojun'sZEBSf^ (53 BC-18 AD) tomb was called Green Mound, because it was constantly green with grasses in a desert environment; see Yue Shi ^jfc (930-1007), Taiping huanyuji A?*^E (SKQS), 38.11a. 5 QSS, 540.6503. The Wang Zhaojun story is familiar enough not to need rehearsing here. For modem collections of poems on the subject, see Hu FengdanffiJilfl-, Wang Zhaojun aiqing jilEti& ffStffH (Taibei: Wenzheng chubanshe, 1971); Ye Wanzhi WM2-, Zhaojun shiping BSUI$i? (Taibei: Taiwan shangwu yinshuguan, 1976); Lu Ge #5fc, Lidai geyong Zhaojun shici xuanzhu M iXUtftn^i^MMti (Wuhan: Changjiang wenyi chubanshe, 1982). For English translations of selected poems and other writings on Wang Zhaojun from the 3rd to the 20th century (including the two poems by Wang Anshi), see the 30th anniversary special issue of Renditions (no. 59/60, 2003), which has an introductory essay by Eva Hung, "Wang Zhaojun: from History to Legend." For other discussions in Western languages, see Eugene Eoyang, "The Wang Chao chiin Legend: Configurations of the Classic," Chinese Literature: Essays, Articles, Reviews 4 (1982): 3-22; Kwong Ying Foon, Wang Zhaojun: une heroine chinoise de Vhistoire a la legende (Paris : College de France, Institut des Hautes Etudes Chinoises, 1986); Daphne Pi-Wei Lei, "Wang Zhaojun on the Border: Gender and Intercultural Conflicts in Premodern Chinese Drama," Asian Theatre Journal 13.
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