Giles Herbert Allen
A History of Chinese Literature
Yang Chu seems to have carried his egoism so far that even to benefit the whole world he would not have parted with a single hair from his body.
“The men of old knew that with life they had come but for a while, and that with death they would shortly depart again. Therefore they followed the desires of their own hearts, and did not deny themselves pleasures to which they felt naturally inclined. Fame tempted them not; but led by their instincts alone, they took such enjoyments as lay in their path, not seeking for a name beyond the grave. They were thus out of the reach of censure; while as for precedence among men, or length or shortness of life, these gave them no concern whatever.”
Mo Ti, on the other hand, showed that under the altruistic system all calamities which men bring upon one another would altogether disappear, and that the peace and happiness of the Golden Age would be renewed.
TA HSÜEH AND CHUNG YUNG
In the Ta Hsüeh, or Great Learning, which forms Sect. xxxix. of the Book of Rites, and really means learning for adults, we have a short politico-ethical treatise, the authorship of which is unknown, but is usually attributed partly to Confucius, and partly to Tsêng Ts’an, one of the most famous of his disciples. In the former portion there occurs the following well-known climax: —
“The men of old, in their desire to manifest great virtue throughout the empire, began with good government in the various States. To achieve this, it was necessary first to order aright their own families, which in turn was preceded by cultivation of their own selves, and that again by rectification of the heart, following upon sincerity of purpose which comes from extension of knowledge, this last being derived from due investigation of objective existences.”
One more short treatise, known as the Chung Yung, which forms Ch. xxviii. of the Book of Rites, brings us to the end of the Four Books. Its title has been translated in various ways.2 Julien rendered the term by “L’Invariable Milieu,” Legge by “The Doctrine of the Mean.” Its authorship is assigned to K’ung Chi, grandson of Confucius. He seems to have done little more than enlarge upon certain general principles of his grandfather in relation to the nature of man and right conduct upon earth. He seizes the occasion to pronounce an impassioned eulogium upon Confucius, concluding with the following words: —
“Therefore his fame overflows the Middle Kingdom, and reaches the barbarians of north and south. Wherever ships and waggons can go, or the strength of man penetrate; wherever there is heaven above and earth below; wherever the sun and moon shed their light, or frosts and dews fall, – all who have blood and breath honour and love him. Wherefore it may be said that he is the peer of God.”
CHAPTER IV
MISCELLANEOUS WRITERS
Names of the authors who belong to this period, B.C. 600 to B.C. 200, and of the works on a variety of subjects attributed to them, would fill a long list. Many of the latter have disappeared, and others are gross forgeries, chiefly of the first and second centuries of our era, an epoch which, curiously enough, is remarkable for a similar wave of forgery on the other side of the world. As to the authors, it will be seen later on that the Chinese even went so far as to create some of these for antiquity and then write up treatises to match.
There was Sun Tzŭ of the 6th century B.C. He is said to have written the Ping Fa, or Art of War, in thirteen sections, whereby hangs a strange tale. When he was discoursing one day with Prince Ho-lu of the Wu State, the latter said, “I have read your book and want to know if you could apply its principles to women.” Sun Tzŭ replied in the affirmative, whereupon the Prince took 180 girls out of his harem and bade Sun Tzŭ deal with them as with troops. Accordingly he divided them into two companies, and at the head of each placed a favourite concubine of the Prince. But when the drums sounded for drill to begin, all the girls burst out laughing. Thereupon Sun Tzŭ, without a moment’s delay, caused the two concubines in command to be beheaded. This at once restored order, and ultimately the corps was raised to a state of great efficiency.
The following is an extract from the Art of War: —
“If soldiers are not carefully chosen and well drilled to obey, their movements will be irregular. They will not act in concert. They will miss success for want of unanimity. Their retreat will be disorderly, one half fighting while the other is running away. They will not respond to the call of the gong and drum. One hundred such as these will not hold their own against ten well-drilled men.
“If their arms are not good, the soldiers might as well have none. If the cuirass is not stout and close set, the breast might as well be bare. Bows that will not carry are no more use at long distances than swords and spears. Bad marksmen might as well have no arrows. Even good marksmen, unless able to make their arrows pierce, might as well shoot with headless shafts. These are the oversights of incompetent generals. Five such soldiers are no match for one.”
It is notwithstanding very doubtful if we have any genuine remains of either Sun Tzŭ, or of Kuan Tzŭ, Wu Tzŭ, Wên Tzŭ, and several other early writers on war, political philosophy, and cognate subjects. The same remark applies equally to Chinese medical literature, the bulk of which is enormous, some of it nominally dating back to legendary times, but always failing to stand the application of the simplest test.
The Erh Ya, or Nearing the Standard, is a work which has often been assigned to the 12th century B.C. It is a guide to the correct use of many miscellaneous terms, including names of animals, birds, plants, etc., to which are added numerous illustrations. It was first edited with commentary by Kuo P’o, of whom we shall read later on, and some Chinese critics would have us believe that the illustrations we now possess were then already in existence. But the whole question is involved in mystery. The following will give an idea of the text: —
“For metal we say lou (to chase); for wood k’o (to carve); for bone ch’ieh (to cut),” etc., etc.
T’AN KUNG
There are some interesting remains of a writer named T’an Kung, who flourished in the 4th and 3rd centuries B.C., and whose work has been included in the Book of Rites. The three following extracts will give an idea of his scope: —
1. “One day Yu-tzŭ and Tzŭ-yu saw a child weeping for the loss of its parents. Thereupon the former observed, ‘I never could understand why mourners should necessarily jump about to show their grief, and would long ago have got rid of the custom. Now here you have an honest expression of feeling, and that is all there should ever be.’
“‘My friend,’ replied Tzŭ-yu, ‘the mourning ceremonial, with all its material accompaniments, is at once a check upon undue emotion and a guarantee against any lack of proper respect. Simply to give vent to the feelings is the way of barbarians. That is not our way.
“‘Consider. A man who is pleased will show it in his face. He will sing. He will get excited. He will dance. So, too, a man who is vexed will look sad. He will sigh. He will beat his breast. He will jump about. The due regulation of these emotions is the function of a set ceremonial.
“‘Further. A man dies and becomes an object of loathing. A dead body is shunned. Therefore, a shroud is prepared, and other paraphernalia of burial, in order that the survivors may cease to loathe. At death there is a sacrifice of wine and meat; when the funeral cortège is about to start, there is another; and after burial there is yet another. Yet no one ever saw the spirit of the departed come to taste of the food.
“‘These have been our customs from remote antiquity. They have not been discarded, because, in consequence, men no more shun the dead. What you may censure in those who perform the ceremonial is no blemish in the ceremonial itself.’”
2. “When Tzŭ-chü died, his wife and secretary took counsel together as to who should be interred with him. All was settled before the arrival of his brother, Tzŭ-hêng; and then they informed him, saying, ‘The deceased requires some one to attend upon him in the nether world. We must ask you to go down with his body into the grave.’ ‘Burial of the living with the dead,’ replied Tzŭ-hêng, ‘is not in accordance with established rites. Still, as you say some one is wanted to attend upon the deceased, who better fitted than his wife and secretary? If this contingency can be avoided altogether, I am willing; if not, then the duty will devolve upon you two.’ From that time forth the custom fell into desuetude.”
3. “When Confucius was crossing the T’ai mountain, he overheard a woman weeping and wailing beside a grave. He thereupon sent one of his disciples to ask what was the matter; and the latter addressed the woman, saying, ‘Some great sorrow must have come upon you that you give way to grief like this?’ ‘Indeed it is so,’ replied she. ‘My father-in-law was killed here by a tiger; after that, my husband; and now my son has perished by the same death.’ ‘But why, then,’ inquired Confucius, ‘do you not go away?’ ‘The government is not harsh,’ answered the woman. ‘There!’ cried the Master, turning to his disciples; ‘remember that. Bad government is worse than a tiger.’”
HSÜN TZŬ
The philosopher Hsün Tzŭ of the 3rd century B.C. is widely known for his heterodox views on the nature of man, being directly opposed to the Confucian doctrine so warmly advocated by Mencius. The following passage, which hardly carries conviction, contains the gist of his argument: —
“By nature, man is evil. If a man is good, that is an artificial result. For his condition being what it is, he is influenced first of all by a desire for gain. Hence he strives to get all he can without consideration for his neighbour. Secondly, he is liable to envy and hate. Hence he seeks the ruin of others, and loyalty and truth are set aside. Thirdly, he is a slave to his animal passions. Hence he commits excesses, and wanders from the path of duty and right.
“Thus, conformity with man’s natural disposition leads to all kinds of violence, disorder, and ultimate barbarism. Only under the restraint of law and of lofty moral influences does man eventually become fit to be a member of regularly organised society.
“From these premisses it seems quite clear that by nature man is evil; and that if a man is good, that is an artificial result.”
The Hsiao Ching, or Classic of Filial Piety, is assigned partly to Confucius and partly to Tsêng Ts’an, though it more probably belongs to a very much later date. Considering that filial piety is admittedly the keystone of Chinese civilisation, it is disappointing to find nothing more on the subject than a poor pamphlet of commonplace and ill-strung sentences, which gives the impression of having been written to fill a void. One short extract will suffice: —
“The Master said, ‘There are three thousand offences against which the five punishments are directed, and there is not one of them greater than being unfilial.
“‘When constraint is put upon a ruler, that is the disowning of his superiority; when the authority of the sages is disallowed, that is the disowning of all law; when filial piety is put aside, that is the disowning of the principle of affection. These three things pave the way to anarchy.’”
The Chia Yü, or Family Sayings of Confucius, is a work with a fascinating title, which has been ascribed by some to the immediate disciples of Confucius, but which, as it now exists, is usually thought by native scholars to have been composed by Wang Su, a learned official who died A.D. 256. There appears to have been an older work under this same title, but how far the later work is indebted to it, or based upon it, seems likely to remain unknown.
Another discredited work is the Lü Shih Ch’un Ch’iu, or Spring and Autumn of Lü Pu-wei, who died B.C. 235 and was the putative sire of the First Emperor (see ch. vii.). It contains a great deal about the early history of China, some of which is no doubt based upon fact.
MU T’IEN TZŬ CHUAN
Lastly, among spurious books may be mentioned the Mu T’ien Tzŭ Chuan, an account of a mythical journey by a sovereign of the Chou dynasty, supposed to have been taken about 1000 B.C. The sovereign is unfortunately spoken of by his posthumous title, and the work was evidently written up in the 3rd century A.D. to suit a statement found in Lieh Tzŭ (see chapter vi.) to the effect that the ruler in question did make some such journey to the West.
Chapter V
POETRY – INSCRIPTIONS
The poetry which is representative of the period between the death of Confucius and the 2nd century B.C. is a thing apart. There is nothing like it in the whole range of Chinese literature. It illumines many a native pronouncement on the poetic art, the drift of which would otherwise remain obscure. For poetry has been defined by the Chinese as “emotion expressed in words,” a definition perhaps not more inadequate than Wordsworth’s “impassioned expression.” “Poetry,” they say, “knows no law.” And again, “The men of old reckoned it the highest excellence in poetry that the meaning should lie beyond the words, and that the reader should have to think it out.” Of these three canons only the last can be said to have survived to the present day. But in the fourth century B.C., Ch’ü Yüan and his school indulged in wild irregular metres which consorted well with their wild irregular thoughts. Their poetry was prose run mad. It was allusive and allegorical to a high degree, and now, but for the commentary, much of it would be quite unintelligible.
LI SAO
Ch’ü Yüan is the type of a loyal Minister. He enjoyed the full confidence of his Prince until at length the jealousies and intrigues of rivals sapped his position in the State. Then it was that he composed the Li Sao, or Falling into Trouble, the first section of which extends to nearly 400 lines. Beginning from the birth of the writer, it describes his cultivation of virtue and his earnest endeavour to translate precept into practice. Discouraged by failure, he visits the grave of the Emperor Shun (chapter ii.), and gives himself up to prayer, until at length a phœnix-car and dragons appear, and carry him in search of his ideal away beyond the domain of mortality, – the chariot of the Sun moving slowly to light him longer on the way, the Moon leading and the Winds bringing up the rear, – up to the very palace of God. Unable to gain admission here, he seeks out a famous magician, who counsels him to stand firm and to continue his search; whereupon, surrounded by gorgeous clouds and dazzling rainbows, and amid the music of tinkling ornaments attached to his car, he starts from the Milky Way, and passing the Western Pole, reaches the sources of the Yellow River. Before long he is once again in sight of his native land, but without having discovered the object of his search.
Overwhelmed by further disappointments, and sinking still more deeply into disfavour, so that he cared no longer to live, he went forth to the banks of the Mi-lo river. There he met a fisherman who accosted him, saying, “Are you not his Excellency the Minister? What has brought you to this pass?” “The world,” replied Ch’ü Yüan, “is foul, and I alone am clean. There they are all drunk, while I alone am sober. So I am dismissed.” “Ah!” said the fisherman, “the true sage does not quarrel with his environment, but adapts himself to it. If, as you say, the world is foul, why not leap into the tide and make it clean? If all men are drunk, why not drink with them and teach them to avoid excess?” After some further colloquy, the fisherman rowed away; and Ch’ü Yüan, clasping a large stone in his arms, plunged into the river and was seen no more. This took place on the fifth of the fifth moon; and ever afterwards the people of Ch’u commemorated the day by an annual festival, when offerings of rice in bamboo tubes were cast into the river as a sacrifice to the spirit of their great hero. Such is the origin of the modern Dragon-Boat Festival, which is supposed to be a search for the body of Ch’ü Yüan.
A good specimen of his style will be found in the following short poem, entitled “The Genius of the Mountain.” It is one of “nine songs” which, together with a number of other pieces in a similar strain, have been classed under the general heading, Li Sao, as above.
“Methinks there is a Genius of the hills, clad in wistaria, girdled with ivy, with smiling lips, of witching mien, riding on the red pard, wild cats galloping in the rear, reclining in a chariot, with banners of cassia, cloaked with the orchid, girt with azalea, culling the perfume of sweet flowers to leave behind a memory in the heart. But dark is the grove wherein I dwell. No light of day reaches it ever. The path thither is dangerous and difficult to climb. Alone I stand on the hill-top, while the clouds float beneath my feet, and all around is wrapped in gloom.
“Gently blows the east wind; softly falls the rain. In my joy I become oblivious of home; for who in my decline would honour me now?
“I pluck the larkspur on the hillside, amid the chaos of rock and tangled vine. I hate him who has made me an outcast, who has now no leisure to think of me.
“I drink from the rocky spring. I shade myself beneath the spreading pine. Even though he were to recall me to him, I could not fall to the level of the world.
“Now booms the thunder through the drizzling rain. The gibbons howl around me all the long night. The gale rushes fitfully through the whispering trees. And I am thinking of my Prince, but in vain; for I cannot lay my grief.”
SUNG YÜ
Another leading poet of the day was Sung Yü, of whom we know little beyond the fact that he was nephew of Ch’ü Yüan, and like his uncle both a statesman and a poet. The following extract exhibits him in a mood not far removed from the lamentations of the Li Sao: —
“Among birds the phœnix, among fishes the leviathan holds the chiefest place;
Cleaving the crimson clouds the phœnix soars apace,
With only the blue sky above, far into the realms of space;
But the grandeur of heaven and earth is as naught to the hedge-sparrow race.
And the leviathan rises in one ocean to go to rest in a second,
While the depth of a puddle by a humble minnow as the depth of the sea is reckoned.
And just as with birds and with fishes, so too it is with man;
Here soars a phœnix, there swims a leviathan …
Behold the philosopher, full of nervous thought, with a flame that never grows dim,
Dwelling complacently alone; say, what can the vulgar herd know of him?”
As has been stated above, the poems of this school are irregular in metre; in fact, they are only approximately metrical. The poet never ends his line in deference to a prescribed number of feet, but lengthens or shortens to suit the exigency of his thought. Similarly, he may rhyme or he may not. The reader, however, is never conscious of any want of art, carried away as he is by flow of language and rapid succession of poetical imagery.
Several other poets, such as Chia I and Tung-fang So, who cultivated this particular vein, but on a somewhat lower plane, belong to the second century B.C., thus overlapping a period which must be regarded as heralding the birth of a new style rather than occupied with the passing of the old.
It may here be mentioned that many short pieces of doubtful age and authorship – some few unquestionably old – have been rescued by Chinese scholars from various sources, and formed into convenient collections. Of such is a verse known as “Yao’s Advice,” Yao being the legendary monarch mentioned in chapter ii., who is associated with Shun in China’s Golden Age: —
“With trembling heart and cautious steps
Walk daily in fear of God …
Though you never trip over a mountain,
You may often trip over a clod.”
There is also the husbandman’s song, which enlarges upon the national happiness of those halcyon days: —
“Work, work; – from the rising sun
Till sunset comes and the day is done
I plough the sod
And harrow the clod,
And meat and drink both come to me,
So what care I for the powers that be?”
INSCRIPTIONS
It seems to have been customary in early days to attach inscriptions, poetical and otherwise, to all sorts of articles for daily use. On the bath-tub of T’ang, founder of the Shang dynasty in B.C. 1766, there was said to have been written these words: – “If any one on any one day can make a new man of himself, let him do so every day.” Similarly, an old metal mirror bore as its legend, “Man combs his hair every morning: why not his heart?” And the following lines are said to be taken from an ancient wash-basin: —
“Oh, rather than sink in the world’s foul tide
I would sink in the bottomless main;
For he who sinks in the world’s foul tide
In noisome depths shall for ever abide,
But he who sinks in the bottomless main
May hope to float to the surface again.”
In this class of verse, too, the metre is often irregular and the rhyme a mere jingle, according to the canons of the stricter prosody which came into existence later on.