Sao P oe t ry : t He Lyr i cS of c h u 49As I have noted, spiritual and imaginary journeys (or “flights,” to use David
Hawkes’s term) are essential components of shamanistic rituals. In order to seek
help from the supernatural realm (in finding love, curing the sick, summoning
back the dead, obtaining blessings of spirits, and so on), shamans often would
engage in a performance and depart from their bodies to meet with the spirits.
“The Lord of the Xiang River” and “The Lady of the Xiang River” describe such
journeys. In fact, what we seem to have in this and other passages of “On Encoun-
tering Trouble” is further elaborations on those earlier models. Since, for what-
ever reason, these flights often end in frustration and melancholy, they have a the-
matic affinity with Qu Yuan’s poem—which is about “encountering trouble.” As
we shall see, Qu Yuan takes advantage of this connection and uses it to accentuate
his theme, which is his loneliness and total alienation from the world.
The rich style, fantastic imagery, and great imaginativeness of this section are
unprecedented in the Chinese poetry of Qu Yuan’s time. They make the poems in
the Shijing look sober and restrained in comparison. Many critics, such as Wang
Yi, have tried to tame the poem and its special characteristics through allegorical
readings. Others have found the poem’s style objectionable. Liu Xie, for example,
accused such writing of being “outlandish” and regarded it as an “aberration from
the classics.” However, this poem came to represent one of the Chuci’s most en-
during influences and greatest contributions to Chinese poetry.
Undaunted by his failure to enter heaven, the poet continues his search, but
now he is looking for something different:
The world is muddy, impure and undiscriminating, 世溷濁而不分兮 (shì hùn zhuó ér bù fēn xi)
It seeks always to hide beauty out of jealousy. 好蔽美而嫉妒 (hào bì mĕi ér jí dù)
I decided when morning came to cross the White Water, 朝吾將濟於白水兮 (zhāo wú jiāng jì yú bái shuĭ xi)
And climbed the peak of Lang-feng, and there tied up
my steeds.34 登閬風而緤馬 (dēng làng fēng ér xiè mă)
215 Then I looked about me and suddenly burst out weeping, 忽反顧以流涕兮 (hū făn gù yĭ liú tì xi)
Because on the high hill there was no fair lady. 哀高丘之無女 (āi gāo qiū zhī wú nǚ)
Here I am, suddenly, in this House of Spring,3 5 溘吾遊此春宮兮 (kè wú yóu cĭ chūn gōng xi)
I have broken off a jasper branch to add to my girdle. 折瓊枝以繼佩 (zhé qióng zhī yĭ jì pèi)
Before the flowers have shed their bright petals, 及榮華之未落兮 (jí róng huá zhī wèi luò xi)
220 I shall look for a maiden below to give to. 相下女之可詒 (xiāng xià nǚ zhī kĕ yí)
So I ordered Feng Long to ride off on a cloud,36 吾令豐隆椉雲兮 (wú lìng fēng lóng chéng yún xi)
To seek out the dwelling-place of the lady Fu Fei.3 7 求宓妃之所在 (qiú fú fēi zhī suŏ zài)
I took off my girdle as a pledge of my suit to her, 解佩纕以結言兮 (jiĕ pèi xiāng yĭjié yán xi)
And ordered Jianxiu to be the go-between.3 8 吾令蹇脩以為理 (wú lìng jiăn xiū yĭ wéi lĭ)
225 Many were the hurried meetings and partings, 紛緫緫其離合兮 (fēn zŏng zŏng qí lí hé xi)
All wills and caprices, she was hard to woo. 忽緯繣其難遷 (hū wĕi huà qí nán qiān)
In the evenings she went to lodge in the Qiong-shi Mountain, 夕歸次於窮石兮 (xī guī cì yú qióng shí xi)
In the mornings she washed her hair in the Wei-pan Stream.3 9 朝濯髮乎洧盤 (zhāo zhuó fà hū wĕi pán)
With proud distain she guards her beauty, 保厥美以驕傲兮 (băo jué mĕi yĭ jiāo ào xi)