Sao P oe t ry : t He Lyr i cS of c h u 47
One,” and in the historical and shamanistic dimensions of Peng Xian. We will see
more such examples later in the poem.
In lines 97–128 (omitted), Qu Yuan continues to emphasize his alienation from
society. He also repeats his determination to follow his principles and not to com-
promise his integrity, even though it means the sacrifice of his life. But in lines 111
and 112, Qu Yuan seems to indicate another, less radical solution to his dilemma.
If he cannot help his king (jin [ literally, to enter] is often used to refer to gaining
a post in the government), he might as well retire (tui [to retire or withdraw]) so
that he can pursue his love and cultivation of beauty and virtue—that is, become
a recluse: “I could not go in to him for fear of meeting trouble, / And so, retired, I
would once more fashion my former raiment” (lines 111–112).
Up to now, there has been little movement in the poem. What we have had so
far is a long speech or monologue of the poet. Starting from this section, however,
the poet becomes increasingly restless, trying to decide what step to take next. We
find him... halted, intending to turn back again—
To turn about my chariot and retrace my road
Before I had advanced too far along the path of folly. (lines 107–109)
At one point, he “suddenly turned back” to let his “eyes wander,” and “resolved to
go and visit all the world’s quarters” (line 121). The text is signaling to us that more
dramatic passages will follow.
The woman was fearful and clung to me imploringly,23 女嬃之嬋媛兮 (nǚ xū zhī chán yuán xi)
130 Lifting her voice up in expostulation: 申申其詈予 (shēn shēn qí lì yú)
“Gun in his stubbornness took no thought for his life, 曰鯀婞直以亡身兮 (yuē gŭn xìng zhí yĭ wáng shēng xi)
And perished, as result, on the moor of Feather Mountain.2 4 終然殀乎羽之野 (zhōng rán yāo hū yŭ zhī yĕ)
Why be so lofty, with your passion for purity? 汝何博謇而好脩兮 (rŭ hé bó jiăn ér hào xiū xi)
Why must you alone have such delicate adornment? 紛獨有此姱節 (fēn dú yŏu cĭ kuā jié)
135 Thorns, king grass, curly ear fill the palace chambers now, 薋菉葹以盈室兮 (cí lù shī yĭ yíng shì xi)
You alone stand aloof and refuse to wear them. 判獨離而不服 (pàn dú lí ér bù fú)
You cannot go from door to door convincing everybody; 眾不可戶說兮 (zhòng bù kĕ hù shuì xi)
No one can say to others: ‘Look into my mind!’ 孰云察余之中情 (shú yún chá yú zhī zhōng qíng)
People band together and like to have companions, 世并舉而好朋兮 (shì bìng jŭ ér hào péng xi)
140 Why must you be so aloof? Why not heed my counsel?” 夫何煢獨而不予聽 (fú hé qióng dú ér bù yú tīng)
This passage further develops and emphasizes one of the dominant themes of
the poem: the poet’s alienation from society. However, inasmuch as it is cast in
the form of a speech by a sympathetic woman, it allows us to see the alienation
from another perspective. It demonstrates that it is not just his king and political
enemies who do not understand him; even those who are clearly concerned with
the poet’s well-being have misgivings about his principles. The woman’s advice
for Qu Yuan to follow society’s tides is similar to that given to him by a fisher-
man, as recorded by Sima Qian in his biography of the poet. At another level, the