{"id":54708,"date":"2026-04-18T09:35:32","date_gmt":"2026-04-17T23:35:32","guid":{"rendered":"https:\/\/chinaheritage.net\/?p=54708"},"modified":"2026-04-19T05:32:50","modified_gmt":"2026-04-18T19:32:50","slug":"silence-silence-unless-we-burst-out-we-shall-perish-in-this-silence","status":"publish","type":"post","link":"https:\/\/chinaheritage.net\/journal\/silence-silence-unless-we-burst-out-we-shall-perish-in-this-silence\/","title":{"rendered":"\u2018Silence, silence! Unless we burst out, we shall perish in this silence!\u2019"},"content":{"rendered":"<h3 style=\"text-align: center;\"><a href=\"https:\/\/chinaheritage.net\/seeds-of-fire\/\"><em><strong>Seeds of Fire<\/strong><\/em><\/a><\/h3>\n<h2 style=\"text-align: center;\"><strong>\u4e0d\u5728\u6c88\u9ed8\u4e2d\u7206\u767c<br \/>\n\u5c31\u5728\u6c88\u9ed8\u4e2d\u6b7b\u4ea1<\/strong><\/h2>\n<p>Silence has been a theme of <em>China Heritage<\/em> since its founding in 2016. In that year, the last in the first five-year installment of the Xi Jinping Era, the basic tenor of the unfolding \u2018New Era\u2019 in modern Chinese history was more than evident. As I observed to the cohort of younger scholars that I addressed when launching <em>China Heritage<\/em> in December 2016:<\/p>\n<blockquote><p>You have\u00a0all worked out and will continue to negotiate your own relationship with the Chinese world. Today, I would suggest, you are all faced with the latest version of, to take an expression from Lu Xun, \u2018Silent China\u2019 \u7121\u8072\u7684\u4e2d\u570b (also translated as \u2018Voiceless China\u2019).<\/p>\n<p>Clamorous public debate \u2014 circumscribed and self-censored discourse even at the best of times \u2014 has been gradually corralled. That is not to say that\u00a0there is\u00a0a dearth\u00a0of noise or\u00a0verbiage in the\u00a0People\u2019s Republic, or a lack of boisterous chatter on its global web, but the\u00a0Storm and Fury is\u00a0increasingly limited to the stentorian\u00a0messages\u00a0of the party-state and its loyalists, although sometimes they sound more like a threnody that repeats itself and reverberates like the death-bed message of the emperor in Kafka\u2019s\u00a0<a href=\"https:\/\/records.viu.ca\/~Johnstoi\/kafka\/greatwallofchina.htm\"><i>Great Wall of China<\/i><\/a>.\u00a0For me, this new phase of Silent China reached something of a nadir with the closing of <a href=\"http:\/\/cmp.hku.hk\/2016\/10\/03\/39982\/\">Consensus Net \u5171\u8b58\u7db2<\/a> in early October this year. It was supposedly taken offline for \u2018disseminating erroneous ideas\u2019 \u50b3\u905e\u932f\u8aa4\u601d\u60f3.<\/p>\n<p>The present silencing of China began in earnest around the new year of 2013, shortly after Xi Jinping\u2019s investiture as party-state-army leader. That was when <i>Southern Weekend<\/i> was attacked for advocating\u00a0\u2018constitutionalism\u2019, a code expression for limiting Communist Party power (see <a href=\"https:\/\/www.thechinastory.org\/yearbooks\/yearbook-2013\/\"><em>China Story Yearbook 2013: Civilising China<\/em>)<\/a>. The silence of China\u2019s Others has spread, and I would emphasise that the pall of The Silence has been partly enabled by the policies of the US Obama administration.<\/p>\n<p>As I think about China today l\u2019m taken back once more to 1971, the year I participated in that ABC panel discussion \u2018Leave Something for Us\u2019. That was also the year when, as part of our high school ancient history class, I first read selections from Tacitus\u2019\u00a0<em>Annals<\/em>. That historian, who chronicled the rule of the emperors Tiberius, Claudius and Nero, famously wrote:<\/p>\n<p style=\"text-align: center;\"><i>Solitudinem faciunt, pacem appellant<\/i>.<\/p>\n<p style=\"text-align: center;\">They made a desert and they call it peace<\/p>\n<p>Or, as Lord Byron poetically recast these words in\u00a0<i>Bride of Abydos<\/i>:<\/p>\n<p style=\"text-align: center;\">Mark where his carnage and his conquests cease!<br \/>\nHe makes a solitude, and calls it \u2014 peace.<\/p>\n<\/blockquote>\n<p style=\"text-align: right;\">\u2014 <em>from <a href=\"https:\/\/chinaheritage.net\/journal\/cutting-a-deal-with-china\/\">Cutting a Deal with China<\/a><\/em><\/p>\n<p>As I have further observed in <em>Contra Trump<\/em>, a <em>China Heritage<\/em> series launched on the eve of the 2024 US presidential election, the pall of silence, complicity and compromise is hardly limited to modern China.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Since 2020, many of China\u2019s messy discordant voices \u2014 independent-minded academics, citizen journalists, rights lawyers, feminists and cultural rowdies \u2014 have been stifled, or at least educated in the ways of silence and acquiescent. This has left the way open for local opinionators, New China Experts and hoards of China Maxxers to bloviate, self-promote, celebrate, congratulate \u00a0and cash in. For more on this subject, see <em>Kumbaya China: I\u2019ve Seen the Future<\/em>, a multipart chapter in <a href=\"https:\/\/chinaheritage.net\/seeds-of-fire\/\"><em>Seeds of Fire<\/em><\/a>, in particular:<\/p>\n<ul>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/2026-a-brave-new-1984\/\">2026 \u2014 A Brave New 1984<\/a>;<\/li>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/covid-lessons-for-kumbayistas\/\">Covid Lessons for Kumbayistas<\/a>; and,<\/li>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/yinfi-on-how-chinas-velvet-prison-goes-global\/\">Yinfi on How China\u2019s Velvet Prison Goes Global<\/a><\/li>\n<\/ul>\n<p>It is not surprising that the particular silence of the Xi Jinping era is often enhanced by the unseemly clamour of yes-men and yes-women, both Chinese and foreign. When <em>Silence<\/em>, the poem by Jian Li translated and discussed in this chapter of <a href=\"https:\/\/chinaheritage.net\/seeds-of-fire\/\"><em>Seeds of Fire<\/em><\/a>\u00a0was published by <em>China Thought Express<\/em> in March 2026, a clutch of such creatures, including noted shills for Sino-Fascism, were assembled at the <a href=\"https:\/\/en.people.cn\/n3\/2026\/0322\/c90000-20438530.html\">China Development Forum 2026<\/a> in Beijing. The <a href=\"https:\/\/x.com\/berthofmanecon\/status\/2035654426510475424?s=61&amp;t=Ui_QrHprvgDYWq8yYN6VWA\">invited foreign friends<\/a> included some of the usual suspects, such as <a href=\"https:\/\/chinaheritage.net\/journal\/professor-graham-thucydides-trap-allisons-three-body-problem\/\">Graham Allison<\/a> and Jeffrey Sachs, as well as eager high-end China Maxxers like Adam Tooze, a tirelessly self-promoting FIFO statistician from Columbia University whose presence is so ubiquitous and his style so logorrheic that one might even call it \u2018Tooze-Maxxing\u2019. Along with other participants in that party-state PR event, such elite influencers and foreign friends are well practiced in the dual art of knowing when and how to speak out as well as how to maintain a judicious silence or, in Chinese, \u5b88\u9ed8 <em>sh\u01d2u m\u00f2<\/em>.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p><em>Ruszkik haza!<\/em> \u2014 \u2018Russians Go Home!\u2019 \u2014 the Hungarian chant from 1956 echoed through the streets of Budapest following Victor Orb\u00e1n\u2019s crushing electoral defeat on 12 April 2026.<\/p>\n<p>The year 2026 marks seventy years since Mao Zedong, concerned about the rebellion of anti-Soviet liberals in Hungary in 1956, launched the Hundred Flowers Movement in China. He hoped to short circuit a similar rebellion in the PRC. Unnerved by the clamorous response of people who took advantage of the opportunity of the Hundred Flowers to criticise the Communist Party\u2019s repressive rule and react to the Stalinist regime imposed on China with Soviet help, Mao then launched another nationwide campaign to crush all of the deviant \u2018rightists\u2019 who had been revealed during the Hundred Flowers. Directed by Deng Xiaoping, a logistical genius, the second campaign saw the purge, exile, jailing and demotion of over half a million people. Even after Mao\u2019s death, Deng refused to repudiate that purge and it remains a cornerstone of the Communist Party\u2019s justification of censorship as well as intellectual and cultural control to this day.<\/p>\n<p>Xi Jinping\u2019s China hasn\u2019t rid itself of its Stalino-Maoist DNA, rather it celebrates it.<\/p>\n<blockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-permalink=\"https:\/\/www.instagram.com\/reel\/DW-6oUWjKI1\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:640px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n<div style=\"padding:16px;\"> <a href=\"https:\/\/www.instagram.com\/reel\/DW-6oUWjKI1\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;\" target=\"_blank\"> <\/p>\n<div style=\" display: flex; flex-direction: row; align-items: center;\">\n<div style=\"background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\"><\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\">\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\"><\/div>\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\"><\/div>\n<\/div>\n<\/div>\n<div style=\"padding: 19% 0;\"><\/div>\n<div style=\"display:block; height:50px; margin:0 auto 12px; width:50px;\"><svg width=\"50px\" height=\"50px\" viewBox=\"0 0 60 60\" version=\"1.1\" xmlns=\"https:\/\/www.w3.org\/2000\/svg\" xmlns:xlink=\"https:\/\/www.w3.org\/1999\/xlink\"><g stroke=\"none\" stroke-width=\"1\" fill=\"none\" fill-rule=\"evenodd\"><g transform=\"translate(-511.000000, -20.000000)\" fill=\"#000000\"><g><path d=\"M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631\"><\/path><\/g><\/g><\/g><\/svg><\/div>\n<div style=\"padding-top: 8px;\">\n<div style=\" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram<\/div>\n<\/div>\n<div style=\"padding: 12.5% 0;\"><\/div>\n<div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\n<div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div>\n<div style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div>\n<\/div>\n<div style=\"margin-left: 8px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\"><\/div>\n<\/div>\n<div style=\"margin-left: auto;\">\n<div style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div>\n<div style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div>\n<\/div>\n<\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div>\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div>\n<\/div>\n<p><\/a><\/div>\n<\/blockquote>\n<p><script async src=\"\/\/platform.instagram.com\/en_US\/embeds.js\"><\/script><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>The rubric of this chapter in <a href=\"https:\/\/chinaheritage.net\/seeds-of-fire\/\"><em>Seeds of Fire: China Heritage Annual 2026<\/em><\/a>\u00a0\u2014 \u4e0d\u5728\u6c88\u9ed8\u4e2d\u7206\u767c\uff0c\u5c31\u5728\u6c88\u9ed8\u4e2d\u6b7b\u4ea1 \u2014 is a famous line from Lu Xun\u2019s essay <a href=\"https:\/\/www.marxists.org\/archive\/lu-xun\/1926\/04\/01.htm\">In Memory of Miss Liu Hezhen<\/a> (<a href=\"https:\/\/www.marxists.org\/chinese\/reference-books\/luxun\/09\/015.htm\">\u8a18\u5ff5\u5289\u548c\u73cd\u541b<\/a>), written on 1 April 1926. In English it reads:<\/p>\n<p style=\"text-align: center;\">\u2018Silence, silence! Unless we burst out, we shall perish in this silence!\u2019<\/p>\n<p>I am grateful to Reader #1 for commenting on the draft of this chapter and offering a number of corrections. This chapter is also included in <a href=\"https:\/\/chinaheritage.net\/readings-in-new-sinology\/\"><em>Readings in New Sinology<\/em><\/a>.<\/p>\n<p style=\"text-align: right;\">\u2014 Geremie R. Barm\u00e9<br \/>\nEditor, <em>China Heritage<\/em><br \/>\n18 April 2026<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>Jianli\u2019s <em>Old Odes, New Poems<\/em> \u65b0\u8a69\u7d93\u9ad4\u8a69 describe a trajectory that starts in \u2018the abyss of a darker time\u2019 and tracks into the high-digital era of the present. For other works in our series <em>Old Odes, New Poems<\/em>, see:<\/p>\n<ul>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/the-ji-clan-at-mar-a-lago\/\">The Ji Clan at Mar-a-Lago<\/a>;<\/li>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/when-to-cherish-virtue-is-an-indictment-the-poet-jianli-on-donald-trumps-america\/\">When to Cherish Virtue is an Indictment \u2014 the poet Jianli on Donald Trump\u2019s America<\/a>; and,<\/li>\n<li><a href=\"https:\/\/chinaheritage.net\/journal\/no-thanks-given-the-poet-jianli-on-a-celebration-of-american-amnesia\/\">No Thanks Given \u2014 the poet Jianli on a celebration of American amnesia<\/a>.<\/li>\n<\/ul>\n<p style=\"text-align: center;\">***<\/p>\n\n<div class=\"box\"><\/p>\n<p>True fighters dare face the sorrows of humanity, and look unflinchingly at bloodshed. What sorrow and joy are theirs! But the Creator&#8217;s common device for ordinary people is to let the passage of time wash away old traces, leaving only pale-red bloodstains and a vague pain; and he lets men live on ignobly amid these, to keep this quasi-human world going. When will such a state of affairs come to an end? \u2026<\/p>\n<p>The history of mankind&#8217;s battle forward through bloodshed is like the formation of coal, where a great deal of wood is needed to produce a small amount of coal.<\/p>\n<blockquote><p>\u771f\u7684\u731b\u58eb\uff0c\u6562\u65bc\u76f4\u9762\u6158\u6de1\u7684\u4eba\u751f\uff0c\u6562\u65bc\u6b63\u8996\u6dcb\u7055\u7684\u9bae\u8840\u3002\u9019\u662f\u600e\u6a23\u7684\u54c0\u75db\u8005\u548c\u5e78\u798f\u8005\uff1f\u7136\u800c\u9020\u5316\u53c8\u5e38\u5e38\u70ba\u5eb8\u4eba\u8a2d\u8a08\uff0c\u4ee5\u6642\u9593\u7684\u6d41\u99db\uff0c\u4f86\u6d17\u6ecc\u820a\u8de1\uff0c\u50c5\u4f7f\u7559\u4e0b\u6de1\u7d05\u7684\u8840\u8272\u548c\u5fae\u6f20\u7684\u60b2\u54c0\u3002\u5728\u9019\u6de1\u7d05\u7684\u8840\u8272\u548c\u5fae\u6f20\u7684\u60b2\u54c0\u4e2d\uff0c\u53c8\u7d66\u4eba\u66ab\u5f97\u5077\u751f\uff0c\u7dad\u6301\u8457\u9019\u4f3c\u4eba\u975e\u4eba\u7684\u4e16\u754c\u3002\u6211\u4e0d\u77e5\u9053\u9019\u6a23\u7684\u4e16\u754c\u4f55\u6642\u662f\u4e00\u500b\u76e1\u982d\uff01\u2026<\/p><\/blockquote>\n<blockquote><p>\u4eba\u985e\u7684\u8840\u6230\u524d\u884c\u7684\u6b77\u53f2\uff0c\u6b63\u5982\u7164\u7684\u5f62\u6210\uff0c\u7576\u6642\u7528\u5927\u91cf\u7684\u6728\u6750\uff0c\u7d50\u679c\u537b\u53ea\u662f\u4e00\u5c0f\u584a<\/p><\/blockquote>\n<p style=\"text-align: right;\">\u2014 <em>Lu Xun, <a href=\"https:\/\/www.marxists.org\/archive\/lu-xun\/1926\/04\/01.htm\">In Memory of Miss Liu Hezhen<\/a> <\/em><a href=\"https:\/\/www.marxists.org\/chinese\/reference-books\/luxun\/09\/015.htm\">\u8a18\u5ff5\u5289\u548c\u73cd\u541b<\/a><em>, trans. Gladys and Yang Xianyi<\/em><\/div>\n\n<hr \/>\n<h2 style=\"text-align: center;\"><strong>Silence<\/strong><\/h2>\n<h2 style=\"text-align: center;\"><strong>\u9ed8<\/strong><\/h2>\n<h3 style=\"text-align: center;\"><strong>Jian Li \u6f38\u96e2<\/strong><\/h3>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u6eab\u6eab\u606d\u4eba<br \/>\n\u8afe\u8afe\u7fa4\u751f<br \/>\n\u6e05\u6ce2\u4e0d\u52d5<br \/>\n\u9577\u6797\u7121\u8072<\/p>\n<p>\u6dd2\u60f6\u540d\u57ce<br \/>\n\u6d41\u5bd3\u6668\u660f<br \/>\n\u6240\u898b\u975e\u898b<br \/>\n\u6240\u805e\u975e\u805e<\/p>\n<p>\u5c4f\u5c71\u906e\u65b7<br \/>\n\u5b50\u898f\u557c\u9b42<br \/>\n\u7da0\u73e0\u589c\u6a13<br \/>\n\u6559\u574a\u8ab0\u554f\uff1f<\/p>\n<p>\u8ab0\u7559\u59ee\u5a25\uff1f<br \/>\n\u8ab0\u7aca\u9748\u85e5\uff1f<br \/>\n\u8ab0\u821e\u4e7e\u621a\uff1f<br \/>\n\u5929\u65e5\u662d\u662d<\/p>\n<p>\u4f0f\u751f\u7121\u5f92<br \/>\n\u901a\u8862\u4ee5\u76ee<br \/>\n\u91d1\u4eba\u7dd8\u53e3<br \/>\n\u767e\u5bb6\u4e43\u9edc<\/p>\n<p>\u8209\u4e16\u7686\u9189<br \/>\n\u5919\u8208\u591c\u5bd0<br \/>\n\u8a00\u8005\u4e0d\u6b7b<br \/>\n\u8a00\u8005\u5176\u7f6a<\/p>\n<p>\u8499\u9d3b\u9060\u8de1<br \/>\n\u83bd\u8569\u7121\u6daf<br \/>\n\u5bd2\u6c60\u807d\u86d9<br \/>\n\u9daf\u71d5\u5591\u555e<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Mild-mannered, courteous folk,<br \/>\n\u201cYes, yes\u201d, says the common herd;<br \/>\nThe clear pool does not stir,<br \/>\nThe deep woods are silent.<\/p>\n<p>Fear haunts the famous city,<br \/>\nExile from dawn till dusk;<br \/>\nWhat eyes see is not seen,<br \/>\nWhat ears hear is not real.<\/p>\n<p>Screen hills cut off the way,<br \/>\nThe cuckoo cries its soul;<br \/>\nGreen Pearl falls from the tower,<br \/>\nWho in the Music Office inquires?<\/p>\n<p>Who kept fair Heng\u2019e back?<br \/>\nWho stole the healing draught?<br \/>\nWho raised the shield and axe?<br \/>\nBright heaven knows their craft.<\/p>\n<p>Fu Sheng has not one pupil,<br \/>\nAt crossroads eyes alone;<br \/>\nBronze men with sealed-up mouths,<br \/>\nThe Hundred Schools are cast out.<\/p>\n<p>All under heaven drunk,<br \/>\nSome wake in early light;<br \/>\nThe speaker does not die,<br \/>\nThe speaker bears the blight.<\/p>\n<p>Wild geese are gone from sight,<br \/>\nWaste stretches without bound;<br \/>\nBy the cold pond, frogs croak,<br \/>\nOrioles and swallows now mute.<\/p>\n<\/div>\n<\/div>\n<p style=\"text-align: center;\">***<\/p>\n<h2 style=\"text-align: center;\"><strong>A Poetic Account of National Ruination<\/strong><\/h2>\n<h3 style=\"text-align: center;\"><strong>Ren Jingjing dissects Jian Li\u2019s <em>Silence<\/em><\/strong><\/h3>\n<p style=\"text-align: center;\"><strong>edited and annotated by GR Barm\u00e9<\/strong><\/p>\n<p>This poem is not about quietness. It is about layer upon layer of enforced muteness. It is not about one person\u2019s mood. It is about the tragic condition of an entire age. On the surface it is a tightly wrought archaic-style poem in four-syllable lines. At its core it is an ethical script written about the fate of a state. \u6c88\u9ed8: the title of the poem is \u201csilence\u201d \u9ed8 but the point of it has to do with the concept of \u201csinking\u201d \u6c88, or submersion. The poem traces the path from the individual\u2019s refusal to speak to a collective downward plunge into dark speechlessness. The path along which Jian Li travels in <em>Silence<\/em> is carefully calibrated and his stance is remarkably cool-headed.<\/p>\n<h3 class=\"header-anchor-post\" style=\"text-align: center;\"><strong>From shared silence to joint ruination<\/strong><\/h3>\n<p>In terms of its poetical form, <em>Silence<\/em> looks \u201cclassical\u201d: it has seven stanzas, consisting of four lines each of which consists of four-syllable phrases. The schema is so regular that it appears to have stepped straight out of the <em>Book of Songs <\/em>\u8a69\u7d93. Each stanza reads like a short song as well as appearing like a shard of glass, the two \u2014 song and shard \u2014 cut at the same reality in different ways. The four-syllable lines naturally reflect a diction familiar from the Chinese classics, ancient inscriptions and proverbs and they bestow upon the poem a sense that the poet is speaking in a hallowed \u201cpublic voice.\u201d At the same time, this device forces the poet to compress his ideas into a minimalist structure, to squeeze a tangled situation into the simplest units of speech. This restraint in meter echoes the pressure of the theme: the shorter the line, the better it suits a time when \u201cno one dares say more.\u201d<\/p>\n<p>The images in the poem are laid out in circles that close in, one ring after another:<\/p>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u6eab\u6eab\u606d\u4eba<br \/>\n\u8afe\u8afe\u7fa4\u751f<br \/>\n\u6e05\u6ce2\u4e0d\u52d5<br \/>\n\u9577\u6797\u7121\u8072<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Mild-mannered, courteous folk,<br \/>\n\u201cYes, yes\u201d, the common herd;<br \/>\nThe clear pool does not stir,<br \/>\nThe deep woods are silent.<\/p>\n<\/div>\n<\/div>\n<p>The first stanza shows compliant crowds and a stilled natural world. \u201cMild-mannered people,\u201d \u201cyes-yes multitudes\u201d: the words on the surface sound civilized and polite. People keep the rules; everyone is courteous. At first glance it looks like this is a \u201charmonious society.\u201d Then come the lines \u201cclear water not stirring\u201d and \u201cthe deep woods are silent,\u201d and the scene suddenly turns frigid. A pool, a stand of trees \u2014 not a hint of wind. This is not peace. It is the extinction of all movement. People and surroundings together slip into a state of \u201cmanaged quietude.\u201d The first stanza sets the tone for the whole poem: it doesn\u2019t decry some clamorous tyranny; it examines an order that while appearing to be civilized on the surface is frozen to its core.<\/p>\n<blockquote><p><em>Note<\/em>: \u201c \u2018Yes, yes\u2019, the common herd\u201d \u8afe\u8afe\u7fa4\u751f is a reference a famous line by Sima Qian \u53f8\u99ac\u9077, the Grand Historian of the Han dynasty:<\/p><\/blockquote>\n<p style=\"text-align: center;\">The refusal of one decent man<br \/>\noutweighs the acquiescence of the multitude.<br \/>\n\u5343\u4eba\u4e4b\u8afe\u8afe\uff0c\u4e0d\u5982\u4e00\u58eb\u4e4b\u8ae4\u8ae4\u3002<\/p>\n<p style=\"text-align: right;\">\u2014 <em>\u2018Biography of Lord Shang\u2019<\/em><br \/>\n\u300a\u53f2\u8a18 \u00b7 \u5546\u541b\u5217\u50b3\u7b2c\u516b\u300b<br \/>\n<em>trans. G.R. Barm\u00e9<\/em><\/p>\n<blockquote><p>Simon Leys used Sima Qian\u2019s line as the untranslated epigraph of\u00a0<em>The Chairman\u2019s New Clothes<\/em>, his 1971 expos\u00e9 of the Cultural Revolution. See <a href=\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2018\/06\/One-Decent-Man-by-Geremie-R.-Barm\u00e9-The-New-York-Review-of-Books.pdf\">One Decent Man<\/a>,\u00a0<em>The New York Review of Books<\/em>, 28 June 2018.) And Xu Zhangrun, as well as his supporters, have quoted it either in full or in part over the last few years when protesting against state censorship and chiding unprincipled complicity with the system. See, for example, Xu Zhangrun \u8a31\u7ae0\u6f64, <a href=\"https:\/\/chinaheritage.net\/journal\/and-teachers-then-they-just-do-their-thing\/\">And Teachers, Then? They Just Do Their Thing!<\/a>,\u00a0<i>China Heritage<\/i>, 10 November 2018; and, Tao Haisu \u9676\u6d77\u7c9f, <a href=\"https:\/\/chinaheritage.net\/journal\/poetic-justice-a-protest-in-verse\/\">Poetic Justice \u2014 a protest in verse<\/a>,\u00a0<em>China Heritage<\/em>, 5 April 2019.<\/p><\/blockquote>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u6dd2\u60f6\u540d\u57ce<br \/>\n\u6d41\u5bd3\u6668\u660f<br \/>\n\u6240\u898b\u975e\u898b<br \/>\n\u6240\u805e\u975e\u805e<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Fear haunts the famous town,<br \/>\nExile from dawn till dusk;<br \/>\nWhat eyes see is not seen,<br \/>\nWhat ears hear is not real.<\/p>\n<\/div>\n<\/div>\n<p>The second stanza turns the focus to a city of fear and distorted information. A \u201cfamous city\u201d ought to be a place of glory; here it is one that is full of dread. Life is \u201cexile from dawn to dusk\u201d \u2014 the city lives in a state of exile. People may not be literally on the road, but in their minds they are displaced, ready at any moment to be driven out or cast aside. They are internal exiles. Two lines are crucial:<\/p>\n<p style=\"text-align: center;\">What eyes see is not seen\/<br \/>\nWhat ears hear is not real.<br \/>\n\u6240\u898b\u975e\u898b \/ \u6240\u805e\u975e\u805e<\/p>\n<p>The eye does not take in what is real, the ear does not perceive what is factual. Truth has not vanished, but it has been filtered and twisted into a distorted, permitted narrative. A silent society is not a place without sound. It is a place where the clamour of \u201cauthorized voices\u201d smothers whatever is real.<\/p>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u5c4f\u5c71\u906e\u65b7<br \/>\n\u5b50\u898f\u557c\u9b42<br \/>\n\u7da0\u73e0\u589c\u6a13<br \/>\n\u6559\u574a\u8ab0\u554f\uff1f<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Screen hills cut off the way,<br \/>\nThe cuckoo cries out its soul;<br \/>\nGreen Pearl falls from the tower,<br \/>\nWho in the music office makes inquiries?<\/p>\n<\/div>\n<\/div>\n<p>The third stanza moves to personal tragedy and the forgotten. \u201cScreening hills\u201d describes both the landscape and a barrier, and can be interpreted as indicating a structural wall; the \u201ccuckoo crying out its soul\u201d carries the traditional sense of a bloody warning, yet here the sound has been reduced to a thin, plaintive call. The sharpest lines are \u201cGreen Pearl falls from the tower \/ who in the Music Office makes inquiries?\u201d Green Pearl \u7da0\u73e0 is the courtesan who, under crushing power, chose to leap from a tower to preserve her dignity. The \u201cmusic office\u201d \u6559\u574a refers to the organisation with oversight of professional entertainers who were already living on the edges of society. The couplet says: even if someone protests with their life, even if a body hits the ground from a great height, the ongoing distractions of entertainment will at most only pause for a moment. The show will soon go on as before. The death of the weak causes not even a ripple; the main melody of society plays on regardless. This is the cruelty of silence: the problem is not that no one suffers, but that the suffering does not register.<\/p>\n<blockquote><p><em>Note<\/em>: Green Pearl \u7da0\u73e0 was the favourite concubine of Shi Chong \u77f3\u5d07, an extravagantly wealthy official and poet famous for the gatherings he hosted as the Golden Valley Garden \u91d1\u8c37\u5712. When political disaster struck, Green Pearl threw herself to her death from a tower in the garden, a tragic end famously commemorated by the Tang-dynasty poet Du Mu \u675c\u7267:<\/p><\/blockquote>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u7e41\u83ef\u4e8b\u6563\u9010\u9999\u5875\uff0c<\/p>\n<p>\u6d41\u6c34\u7121\u60c5\u8349\u81ea\u6625\u3002<\/p>\n<p>\u65e5\u66ae\u6771\u98a8\u6028\u557c\u9ce5\uff0c<\/p>\n<p>\u843d\u82b1\u7336\u4f3c\u589c\u6a13\u4eba\u3002<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Scattered pomp has fallen to the scented dust.<br \/>\nThe streaming waters know no care, the weeds<br \/>\nclaim spring for their own.<br \/>\nIn the east wind at sunset the plaintive birds cry:<br \/>\nPetals on the ground are her likeness still<br \/>\nbeneath the tower where she fell.<\/p>\n<\/div>\n<p style=\"text-align: right;\">\u2014 <em>translated by A.C. Graham<\/em><\/p>\n<p style=\"text-align: center;\">***<\/p>\n<\/div>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u8ab0\u7559\u59ee\u5a25\uff1f<br \/>\n\u8ab0\u7aca\u9748\u85e5\uff1f<br \/>\n\u8ab0\u821e\u4e7e\u621a\uff1f<br \/>\n\u5929\u65e5\u662d\u662d<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Who kept fair Heng\u2019e back?<br \/>\nWho stole the healing elixir?<br \/>\nWho raised the shield and axe?<br \/>\nBright heaven, illuminated, knows.<\/p>\n<\/div>\n<\/div>\n<p>The fourth stanza questions myth and the right to narrate. It strings together three interrogations: Who left Chang\u2019e \u5ae6\u5a25 behind? Who stole the elixir? Who raised the shield-and-axe in the ritual dance? From a moon goddess to imperial war ceremony, all three questions focus on one thing: who has the right to rewrite stories and arrange the script of history. \u201cBright heaven, illuminated, knows\u201d \u5929\u65e5\u662d\u662d: Heaven is aware of the truth, as are people\u2019s hearts. They simply pretend not to. The myths evoked here are more than a cultural reference, they are metaphors that asks who has the right to speak and tell a story? Whoever labels someone a \u201cthief of the elixir\u201d \u7aca\u9748\u85e5\u00a0and someone else a \u201cking dancing with shield and axe\u201d \u821e\u4e7e\u621a controls the interpretation of history. In the imposed silence, that power continues virtually unchallenged.<\/p>\n<blockquote><p><em>Note<\/em>: Heng\u2019e \u59ee\u5a25 is the original name of the Goddess of the Moon, Chang\u2019e \u5ae6\u5a25, who was believed to possess the elixir of immortality \u9748\u85e5.<\/p>\n<p>\u201cDancing with shield and axe\u201d \u821e\u4e7e\u621a is a reference to Xingtian <span title=\"Chinese-language text\"><span lang=\"zh\">\u5211\u5929 \u2014 the<\/span><\/span> \u201cPunisher of Heaven\u201d \u2014 a deity who challenged the Supreme Divinity. Even after being decapitated, Xingtian continued to fight on, using his nipples as eyes and his belly button as a mouth.<\/p>\n<p>\u201cBright heaven, illuminated, knows\u201d \u5929\u65e5\u662d\u662d: upon being sentenced to death in 1142, Yue Fei \u5cb3\u98db, a general framed by enemies at court, wrote these words in protest.<\/p><\/blockquote>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u4f0f\u751f\u7121\u5f92<br \/>\n\u901a\u8862\u4ee5\u76ee<br \/>\n\u91d1\u4eba\u7dd8\u53e3<br \/>\n\u767e\u5bb6\u4e43\u9edc<\/p>\n<p>\u8209\u4e16\u7686\u9189<br \/>\n\u5919\u8208\u591c\u5bd0<br \/>\n\u8a00\u8005\u4e0d\u6b7b<br \/>\n\u8a00\u8005\u5176\u7f6a<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Fu Sheng has no disciples,<br \/>\nAt the crossroads eyes speak volumes;<br \/>\nBronze statues have sealed-up mouths,<br \/>\nThe Hundred Schools are all dismissed.<\/p>\n<p>All under heaven are drunk,<br \/>\nSome fretfully wake in the early light;<br \/>\nThe speaker may not die,<br \/>\nBut the speaker is blighted still.<\/p>\n<\/div>\n<\/div>\n<p>The fifth and sixth stanzas show the cutting of scholarly lineage and the criminalization of speech. Fu Sheng \u4f0f\u751f was the old man who hid the Confucian classic <em>Book of Documents<\/em> \u5c1a\u66f8 in a wall from the book burning of the First Emperor of Qin. Here he is \u201cwithout disciples\u201d \u7121\u5f92: although there is someone to guard knowledge, there is no one willing to receive it. This line conveys a message that is darker than the \u201cbook burning\u201d of the past. It is not that books are being destroyed; it is the fact that readers dare not step forward. \u201cAt the crossroads eyes alone\u201d \u901a\u8862\u4ee5\u76ee is a reference to the fact that when people encounter each other at the street corner they only dare communicate with furtive glances. \u201cBronze men have sealed-up mouths\u201d \u91d1\u4eba\u7dd8\u53e3 \u2014 a reference to \u91d1\u4eba\u4e09\u7dd8\u5176\u53e3 a saying attributed to Confucius \u2014 evokes the famous image of statues whose lips have been sealed shut, a reference to systematised self-gagging. \u201cThe Hundred Schools are dismissed\u201d \u767e\u5bb6\u4e43\u9edc imagines the entire spectrum of thought swept off stage holos bolus. Speaking is no longer a natural state. It is risky.<\/p>\n<p>\u201cAll the world is drunk\u201d \u8209\u4e16\u7686\u9189 is a familiar line from <a href=\"https:\/\/zh.wikisource.org\/wiki\/%E6%BC%81%E7%88%B6\"><em>The Fisherman<\/em> \u6f01\u592b<\/a> by the exiled poet Qu Yuan \u5c48\u539f. The original quote reads \u201cThe world is befouled, I alone am clean. All the world is drunk, I alone am sober&#8221; \u8209\u4e16\u7686\u6fc1\u6211\u7368\u6e05\uff0c\u773e\u4eba\u7686\u9189\u6211\u7368\u9192. Here the line no longer extols the \u201cone man who stays awake\u201d, rather it describes collective stupefaction. The expression \u201crising before dawn, late to bed\u201d \u5919\u8208\u591c\u5bd0 usually means to be diligent or hard working. Here it refers to a sleepless anxiety and the weariness of the few who remain clear-headed. \u201cThe speaker does not die \/ the speaker is guilty\u201d \u8a00\u8005\u4e0d\u6b7b \/ \u8a00\u8005\u5176\u7f6a turns the common expression \u201ca person who speaks should not be condemned\u201d \u8a00\u8005\u7121\u7f6a on its head. A person who tells the truth may still be alive, yet the \u201ccharge\u201d of which they are actually accused continues to hang over his head. Or, even if the body dies, his words will remain, so \u201cthe speaker\u201d becomes an eternal target of blame. Either way, the point here is the same: the system treats speech as a latent crime. Silence is no longer a personal choice; it is essential for survival.<\/p>\n<blockquote><p><em>Note<\/em>: In 1957, as the Communist Party pursued what was known at the time as its Second Rectification Campaign (the first, launched in 1942 by Mao in Yan\u2019an, is discussed at length in our series <a href=\"https:\/\/chinaheritage.net\/journal\/drop-your-pants-the-party-wants-to-patriotise-you-all-over-again-part-i\/\">Drop Your Pants!<\/a>), the Party announced\u00a0<a href=\"https:\/\/zh.wikipedia.org\/wiki\/%E5%85%B3%E4%BA%8E%E6%95%B4%E9%A3%8E%E8%BF%90%E5%8A%A8%E7%9A%84%E6%8C%87%E7%A4%BA\">six guiding principles<\/a> that would serve to encourage people to give voice to their concerns and complaints about the self-rewarded privileges and autocratic ways that were a feature of its rule after 1949. People from all walks of life, it was announced, should feel free to:<\/p><\/blockquote>\n<ul>\n<li>Speak up without hesitation if they had complaints;\u00a0\u77e5\u7121\u4e0d\u8a00<\/li>\n<li>Be allowed to say everything they wanted to, \u8a00\u7121\u4e0d\u76e1<\/li>\n<li>Not be condemned for what they say. \u8a00\u8005\u7121\u7f6a<\/li>\n<\/ul>\n<blockquote><p>On their side, Party cadres were to:<\/p><\/blockquote>\n<ul>\n<li>Listen to all criticisms and take heed, \u805e\u8005\u8db3\u6212<\/li>\n<li>Reform all errors that were uncovered, and \u6709\u5247\u6539\u4e4b<\/li>\n<li>Work to improve constantly regardless.\u00a0\u7121\u5247\u52a0\u52c9\u3002<\/li>\n<\/ul>\n<blockquote><p>In July 1957, <a href=\"https:\/\/www.marxists.org\/chinese\/maozedong\/marxist.org-chinese-mao-195707.htm\">Mao summed up the aim<\/a> of this great airing of public discontent that was something of a dialectician\u2019s dream, not to mention being a logical absurdity, for it was to:<\/p>\n<p>\u2018Foster a political environment that was centralised yet democratic, disciplined yet free; that forged a unified will while at the same time allowing for a sense of individual relaxation, in short, one that was both vital and lively.\u2019<\/p>\n<blockquote><p>\u9020\u6210\u4e00\u500b\u53c8\u6709\u96c6\u4e2d\u53c8\u6709\u6c11\u4e3b\uff0c\u53c8\u6709\u7d00\u5f8b\u53c8\u6709\u81ea\u7531\uff0c\u53c8\u6709\u7d71\u4e00\u610f\u5fd7\u3001\u53c8\u6709\u500b\u4eba\u5fc3\u60c5\u8212\u66a2\u3001\u751f\u52d5\u6d3b\u6f51\uff0c\u90a3\u6a23\u4e00\u7a2e\u653f\u6cbb\u5c40\u9762\u3002<\/p><\/blockquote>\n<p>The resulting outpouring of discontent regarding a myriad aspects of Party governance, however, was such that over 500,000 men and women (some estimates go as high as one million) from various backgrounds were condemned for engaging in what would be deemed to be a \u2018frenzied attack on the Party\u2019 \u760b\u72c2\u9032\u653b. Mao declared that the protests were actually part of a heinous plot by \u2018Rightists\u2019 and bourgeois elements determined to overthrow the government and replace it with some sham pseudo-democratic, market-driven regime. Acting on instructions from Mao and the Politburo, Deng Xiaoping oversaw a devastating purge of the nation\u2019s intellectual and cultural life.<\/p>\n<p>The year 2026 marks the seventieth anniversary of the Hundred Flowers Movement. To this day, the Communist Party maintains that although the resulting purge of intellectual life \u201cgot out of hand\u201d \u88ab\u64f4\u5927\u5316, fundamentally it was timely, vitally necessary and efficacious. Attempts to commemorate that fleeting moment of relative freedom of speech in 1956 have been repeatedly stifled by the authorities.<\/p><\/blockquote>\n<div class=\"wpe-col wpe-col-13-23\">\n<div class=\"wpe-col-1\">\n<p>\u8499\u9d3b\u9060\u8de1<br \/>\n\u83bd\u8569\u7121\u6daf<br \/>\n\u5bd2\u6c60\u807d\u86d9<br \/>\n\u9daf\u71d5\u5591\u555e<\/p>\n<\/div>\n<div class=\"wpe-col-2\">\n<p>Wild geese are gone from sight,<br \/>\nWaste stretches without bound;<br \/>\nBy the cold pond, frogs croak,<br \/>\nOrioles and swallows though are mute.<\/p>\n<\/div>\n<\/div>\n<p>The last stanza of the poem introduces frogs and mute birds. Wild geese fly far off, beyond sight \u8499\u9d3b\u9060\u8de1. Before us lies a boundless waste \u83bd\u8569\u7121\u6daf. The final two lines are the most moving: \u201cBy the cold pond, frogs croak \u00a0\/ Orioles and swallows though are mute\u201d \u5bd2\u6c60\u807d\u86d9 \/ \u9daf\u71d5\u5591\u555e. The water may be icy but the frogs refuse to stay quiet, their croaking a monotonous beat. The orioles and swallows that ought to flock and sing, however, are silent. The frogs represent a low thrum, the repetitive and harmless noise of permitted speech. Orioles and swallows stand for beauty, talent and a higher level of expression. In a society in which only croaking frogs are heard \u2014 the orioles and swallows having all fallen mute \u2014 silence is not an absence. It is an engineered monotony. At this point, \u201csilence\u201d is no longer a gap in the overall structure, it is part of the design.<\/p>\n<p>The seven stanzas are arranged with a clear sense of sequence. The first sets the tone \u2014\u201cmild-mannered people \/ yes-yes multitudes\u201d \u6eab\u6eab\u606d\u4eba \/ \u8afe\u8afe\u7fa4\u751f \u2014 the background of a society of \u201cdecent types\u201d. The second moves into space \u2014 \u201ca fearful famed city \/ exile from dawn to dusk\u201d \u6dd2\u60f6\u540d\u57ce \/ \u6d41\u5bd3\u6668\u660f \u2014 from abstract crowds to a concrete place. The third and fourth draw heavily on historical tales and ancient legends \u2014 the \u201cleap from the tower\u201d \u7da0\u73e0\u589c\u6a13, the \u201ctheft of the elixir\u201d \u7aca\u9748\u85e5, the \u201cshield-and-axe dance\u201d \u821e\u4e7e\u621a from history and legend \u2014 as a mirror to reflect the present. The fifth stanza evokes institutions and learning \u2014 \u201cFu Sheng without disciples \/ bronze men with sealed mouths \/ the Hundred Schools all dismissed\u201d \u4f0f\u751f\u7121\u5f92 \/ \u901a\u8862\u4ee5\u76ee \/ \u91d1\u4eba\u7dd8\u53e3 \/\u767e\u5bb6\u4e43\u9edc \u2014 an indictment of the systematic blocking of speech in today\u2019s China. In the sixth stanza the poet passes judgment: \u201call the world is drunk \u2026 those who speak are guilty\u201d \u8209\u4e16\u7686\u9189 \/ \u8a00\u8005\u5176\u7f6a while, in the final stanza, he describes a dark landscape: \u201cby the cold pond one hears frogs croak \/ orioles and swallows are mute\u201d \u5bd2\u6c60\u807d\u86d9 \/ \u9daf\u71d5\u5591\u555e. This final image is one of haunted silence.<\/p>\n<h3 style=\"text-align: center;\"><strong>History Silenced and Universal Muteness<\/strong><\/h3>\n<p>Jian Li\u2019s poem <em>Silence<\/em> addresses the modern reader from within the tradition of the classic <em>Book of Songs<\/em> \u8a69\u7d93 <em>sh\u012b j\u012bng<\/em>. The four-syllable lines, the structure of the stanzas, its repetitions and parallelism, images standing in for ideas \u2014 these are essential to the reinvented poetic vocabulary of Jian Li\u2019s \u201c<em>Sh\u012b j\u012bng<\/em> style\u201d. \u00a0Yet the poet does not simply imitate or quote the past. He quite consciously places his understanding of modern politics in the \u201chigh-pressure cooker\u201d of a millennia-old classical form.<\/p>\n<p>In the first place, it renews the use of analogy and implicit comparison \u6bd4\u8208. The <em>Book of Songs<\/em> famously uses lines like \u201c<i>Guan-guan<\/i> the ospreys\u201d \u95dc\u95dc\u96ce\u9ce9 and \u201cReed flowers, white dew\u201d \u84b9\u846d\u84bc\u84bc to lead readers through metaphor into stories of love or ruin. For its part, lines in <em>Silence<\/em> like \u201cclear water not moving\u201d \u6e05\u6ce2\u4e0d\u52d5 and \u201clong woods without sound\u201d \u9577\u6797\u7121\u8072 address the present age of voices silenced and censorship \u4e00\u500b\u5664\u8072\u6642\u4ee3. Lines such as \u201cGreen Pearl falls from the tower \/ who in the Music Office makes inquiries?\u201d \u7da0\u73e0\u589c\u6a13 \/ \u6559\u574a\u8ab0\u554f\uff1fand \u201cby the cold pond one hears frogs \/ orioles and swallows are mute\u201d \u5bd2\u6c60\u807d\u86d9 \/ \u9daf\u71d5\u5591\u555e are an obvious use of the ancient literary technique of \u201cevoking meaning by describing objects\u201d \u4ee5\u7269\u8d77\u8208. With Jian Li, however, the meaning evoked is not merely that of the personal, but rather of a tamed public sphere that is now docile.<\/p>\n<blockquote><p>\u5176\u4e00\uff0c\u662f\u201c\u6bd4\u8208\u201d\u65b9\u6cd5\u7684\u66f4\u65b0\u3002\u300a\u8a69\u7d93\u300b\u7528\u201c\u95dc\u95dc\u96ce\u9ce9\u201d\u201c\u84b9\u846d\u84bc\u84bc\u201d\u4f86\u5f15\u51fa\u7537\u5973\u4e4b\u60c5\u6216\u4ea1\u570b\u4e4b\u75db\uff0c\u300a\u9ed8\u300b\u5247\u7528\u201c\u6e05\u6ce2\u4e0d\u52d5\u201d\u201c\u9577\u6797\u7121\u8072\u201d\u4f86\u5f15\u51fa\u4e00\u500b\u5664\u8072\u6642\u4ee3\u3002\u201c\u7da0\u73e0\u589c\u6a13 \/ \u6559\u574a\u8ab0\u554f\uff1f\u201d\u3001\u201c\u5bd2\u6c60\u807d\u86d9 \/ \u9daf\u71d5\u5591\u555e\u201d\uff0c\u90fd\u5e36\u6709\u660e\u986f\u7684\u201c\u4ee5\u7269\u8d77\u8208\u201d\uff0c\u4f46\u8208\u8d77\u7684\u4e0d\u662f\u500b\u4eba\u751f\u6d3b\uff0c\u800c\u662f\u4e00\u500b\u88ab\u5168\u9762\u99b4\u5316\u7684\u8f3f\u8ad6\u74b0\u5883\u3002<\/p><\/blockquote>\n<p>Secondly, it combines classical allusions in a new way. Fu Sheng, Green Pearl, Heng\u2019e, the shield-and-axe dance, the bronze men, the Hundred Schools \u2014 all of these figures are drawn from vastly different historical periods and mythic contexts. The poet does not arrange them by dynasty or mechanically create equivalences. Instead, the images in the poem are akin to montage and \u201cmoments of silence\u201d appear on different timelines: an old man hiding books, a courtesan leaping from a tower, bronze figures with sealed mouths. In this collage, the poem itself becomes an \u201carchive of silence.\u201d<\/p>\n<blockquote><p>\u5176\u4e8c\uff0c\u662f\u5178\u6545\u7684\u7d44\u5408\u65b9\u5f0f\u3002\u300a\u9ed8\u300b\u91cc\u51fa\u73fe\u7684\u4f0f\u751f\u3001\u7da0\u73e0\u3001\u59ee\u5a25\u3001\u4e7e\u621a\u3001\u91d1\u4eba\u3001\u767e\u5bb6\uff0c\u5404\u81ea\u4f86\u81ea\u5341\u5206\u4e0d\u540c\u7684\u6b77\u53f2\u8207\u795e\u8a71\u8a9e\u5883\u3002\u8a69\u4eba\u6c92\u6709\u6309\u671d\u4ee3\u6392\u5217\uff0c\u4e5f\u6c92\u6709\u505a\u55ae\u4e00\u6307\u6d89\uff0c\u800c\u662f\u50cf\u8499\u592a\u5947\u4e00\u6a23\uff0c\u628a\u4e0d\u540c\u6642\u9593\u7dda\u4e0a\u7684\u201c\u6c88\u9ed8\u6642\u523b\u201d\u526a\u8f2f\u5728\u4e00\u8d77\uff1a\u6709\u70ba\u4fdd\u66f8\u800c\u85cf\u7684\u8001\u8005\uff0c\u6709\u589c\u6a13\u7684\u6b4c\u4f0e\uff0c\u6709\u88ab\u7dd8\u53e3\u7684\u91d1\u4eba\u3002\u9019\u7a2e\u62fc\u8cbc\uff0c\u8b93\u8a69\u672c\u8eab\u50cf\u4e00\u90e8\u201c\u6c88\u9ed8\u6a94\u6848\u201d\u3002<\/p><\/blockquote>\n<p>Third, its value judgments are restrained yet unmistakable. Classical poetry is often known as a form of literary expressionism in which \u201cpresent lamentations are evoked by mourning the past\u201d \u50b7\u4eca\u540a\u53e4. Scenes of bygone times are used to comment on contemporary circumstances. The poem <em>Silence<\/em>, however, extends the logic of \u201csilence\u201d one step further. \u201cThe speaker does not die \/ the speaker is guilty\u201d \u8a00\u8005\u4e0d\u6b7b \/ \u8a00\u8005\u4e4b\u7f6a is a pointed reference to the present. The poem inherits the traditional sense that verse may \u201cexpress the will\u201d \u8a69\u8a00\u5fd7, but it avoids slogan-like language, letting quiet four-syllable lines offer their subtle judgment. This approach is more powerful than direct appeals to the concepts of \u201cjustice\u201d or \u201ccourage\u201d and as a result will better withstand the passage of time.<\/p>\n<blockquote><p>\u5176\u4e09\uff0c\u662f\u50f9\u503c\u5224\u65b7\u7684\u542b\u84c4\u4f46\u660e\u78ba\u3002\u53e4\u5178\u8a69\u6b4c\u5e38\u7528\u201c\u50b7\u4eca\u540a\u53e4\u201d\uff0c\u7528\u904e\u53bb\u5f71\u5c04\u73fe\u5728\uff1b\u300a\u9ed8\u300b\u5247\u628a\u201c\u9ed8\u201d\u7684\u908f\u8f2f\u8b1b\u5f97\u66f4\u76f4\u767d\u3002\u201c\u8a00\u8005\u4e0d\u6b7b \/ \u8a00\u8005\u4e4b\u7f6a\u201d\u5df2\u7d93\u662f\u5c0d\u6642\u4ee3\u76f4\u63a5\u7684\u53cd\u8af7\u3002\u5b83\u65e2\u7e7c\u627f\u4e86\u50b3\u7d71\u4e2d\u201c\u8a69\u8a00\u5fd7\u201d\u7684\u529f\u80fd\uff0c\u53c8\u7e5e\u958b\u53e3\u865f\u5f0f\u8a9e\u8a00\uff0c\u7528\u5e73\u975c\u7684\u56db\u5b57\u53e5\u628a\u5224\u65b7\u58d3\u5728\u610f\u8c61\u4e4b\u4e2d\u3002\u9019\u7a2e\u5beb\u6cd5\uff0c\u6bd4\u76f4\u63a5\u5beb\u201c\u6b63\u7fa9\u201d\u201c\u52c7\u6c23\u201d\u8981\u66f4\u6709\u529b\u91cf\uff0c\u4e5f\u66f4\u7d93\u5f97\u8d77\u6642\u9593\u3002<\/p><\/blockquote>\n<p>Linking the images together, a clear axis appears. First comes the compliant \u201cmild-mannered people \/ yes-yes multitudes.\u201d Then the cognitive distortion of \u201cwhat is seen is not seen \/ what ears hear is not real.\u201d Next comes the cold onlooking of \u201cGreen Pearl falls from the tower \/ who in the Music Office asks?\u201d Then the locking down of knowledge and speech in \u201cFu Sheng without disciples \/ bronze statues with sealed-up mouths \/ the Hundred Schools are all dismissed.\u201d The poem ends with the total loss of voice: \u201corioles and swallows now mute.\u201d<\/p>\n<p>In terms of structure alone, the poem virtually sketches a outline of a \u201cnational history of silence\u201d: from style to space, from individual fates to mythic metaphors, from the breaking of scholarly lineages to the trial of words, ending in an all-encompassing quiet. In form it uses the neatness and repetition of archaic verse; in content it plainly writes about the current climate. The poem does not describe the tragedy of one or two people. It traces the process by which a society \u201clearns not to speak.\u201d The meaning of \u201csilence\u201d has several layers:<\/p>\n<ul>\n<li>On the psychological level, people stay quiet out of fear, self-protection, and exhaustion \u2014 \u201cMild-mannered, courteous folk\u201d \u6e29\u6e29\u606d\u4eba, \u201c \u2018Yes, yes,\u2019 says the common herd\u201d \u8afe\u8afe\u7fa4\u751f who simply do not want trouble;<\/li>\n<li>On the cognitive level, once \u201cwhat is seen is not seen \/ what is heard is not heard\u201d \u6240\u898b\u975e\u898b \/ \u6240\u805e\u975e\u805ebecomes normal, people themselves can no longer tell what is true;<\/li>\n<li>On the institutional level, \u201cbronze men with sealed mouths \/ the Hundred Schools all dismissed\u201d \u91d1\u4eba\u7dd8\u53e3 \/ \u767e\u5bb6\u4e43\u9edc\u00a0demonstrates that the avenues for speaking out are systematically blocked; and,<\/li>\n<li>On the ethical level, when \u201cthe speaker is adjudged to be guilty\u201d \u8a00\u8005\u4e4b\u7f6a by the system then social values have been turned on their head and speaking out becomes a moral risk.<\/li>\n<\/ul>\n<p>Follow this line far enough and \u201csilence\u201d \u9ed8 becomes \u201csinking\u201d \u6c89. People are not simply living quietly; they are are on a collective slow downward slide. Liu Yu \u5289\u745c has written that \u201csilence is equivalent to surrender\u201d \u6c89\u9ed8\u5373\u6295\u964d. Jian Li\u2019s <em>Silence<\/em> goes further: it not only addresses \u201ccapitulation\u201d \u6295\u964d, it is also about \u201cobliteration\u201d [<em>or erasure<\/em>] \u6ec5\u4ea1. The hidden logic is this: once a community learns to treat silence as a basic reflex necessary to vouchsafe safety, the forces that are corroding its institutions meet almost no resistance. Liu Yu\u2019s phrase \u201csilence is surrender\u201d marks the political side of the paradox; Jian Li is even more concerned with how it leads to \u201cannihilation\u201d [<em>or self-abnegation<\/em>].<\/p>\n<p>[<em>The popular essayist<\/em>] Wang Xiaobo\u2019s \u738b\u5c0f\u6ce2 phrase \u201cthe silent majority\u201d stresses the crushing number of those pushed into silence. <em>Silence<\/em> is more concerned with where silence puts them in ethical terms. Jian Li\u2019s poem punctures a familiar conceit: the belief that \u201cnot taking sides\u201d is a safe option. Once the posture of \u201cneutrality\u201d becomes common, it forms a historical track, a path dependency, that one can trace. The poem\u2019s focus is not on whether heroes appear, but on how the many watch events unfold as mute spectators. That shift makes the poem more than an outpouring of feeling. It offers rather a lucid diagnosis of an all-pervasive structure.<\/p>\n<blockquote><p><em>Note<\/em>: On Wang Xiaobo, see <a href=\"https:\/\/chinaheritage.net\/journal\/the-silent-majority-and-the-great-majority\/\">The Silent Majority and the Great Majority<\/a>. For Liu Yu \u5289\u745c, a prominent liberal academic, see \u2018Silence isn\u2019t golden, it\u2019s a social tragedy\u2019 <a href=\"https:\/\/m.sohu.com\/n\/473064763\/\">\u6c88\u9ed8\u4e0d\u662f\u91d1\uff0c\u800c\u662f\u793e\u6703\u7684\u60b2\u5287<\/a>, 2016.<\/p><\/blockquote>\n<h3 class=\"header-anchor-post\" style=\"text-align: center;\"><strong>Escaping the deepest pit in hell<\/strong><\/h3>\n<p>Today many people like to justify silence as being a form of \u201cadult rationality.\u201d Talk less, do more. Avoid trouble; that is the wisest lifestyle \u5c11\u8aaa\u8a71\uff0c\u591a\u505a\u4e8b\uff1b\u4e0d\u60f9\u9ebb\u7169\uff0c\u662f\u4e00\u7a2e\u751f\u6d3b\u667a\u6167. Faced with incidents of public concern, people say, \u201cobserve, do not react\u201d\u770b\u4e00\u770b\u5c31\u597d, \u201cdon\u2019t repost, don\u2019t comment, don\u2019t click\u201d \u4e0d\u8f49\uff0c\u4e0d\u8a55\uff0c\u4e0d\u9ede. Over time, the only things that remain in the public sphere are with advertising, entertainment and safe speech. The lines \u201cMild-mannered, courteous folk, \/ \u2018Yes, yes,\u2019 says the common herd\u201d \u6eab\u6eab\u606d\u4eba \/ \u8afe\u8afe\u7fa4\u751f no longer sound like a quotation from an ancient text; they describe the everyday landscape of Chinese social media.<\/p>\n<p>Liu Yu\u2019s line \u201csilence is surrender\u201d pushes this paradox from ethics into politics: not speaking is already a form of assent; assent is a passive tilt in one direction (Liu). Wang Xiaobo, in writing about \u201cthe silent majority\u201d, describes how this particular era squeezes people into the position of silence. Wang cares about the numerical reality of the silent majority. <em>Silence<\/em> cares about the ethical position of the silent. The poem exposes a common form of self-consolation: the notion that staying \u201cneutral\u201d will vouchsafe the individual personal safety and a state of innocence. When, however, the stance of neutrality becomes a generally accepted posture, it takes on the form of a discernible historical trajectory.<\/p>\n<p>\u2018The hottest places in Hell are reserved for those who in time of moral crisis preserve their neutrality\u2019 is an oft-quoted line, that is usually [<em>and mistakenly<\/em>] attributed to Dante. The sentence speaks to personal ethical choice and to the deepest abyss into which the individual soul may sink. In <em>Silence<\/em> Jian Li talks about how a community gradually sinks into the mire. The poem traces the very nature of silence and the way in which it drags a community downward. In plain terms: stay silent long enough, and you too will sink. Not just one person, but an entire city, an entire land. Here the focus is not on the appearance of heroes. It is on the role of the many. This shift in focus turns the poem from an emotional cry into a dispassionate analysis.<\/p>\n<blockquote><p><em>Note<\/em>: In the <em>Inferno<\/em>, Dante writes:<\/p>\n<p style=\"text-align: center;\">&#8220;Master [Virgil], what is it that I hear? Who are<br \/>\nthose people so defeated by their pain?&#8221;<\/p>\n<p style=\"text-align: center;\">And he to me: &#8220;This miserable way<br \/>\nis taken by the sorry souls of those<br \/>\nwho lived without disgrace and without praise.<\/p>\n<p style=\"text-align: center;\">They now commingle with the coward angels,<br \/>\nthe company of those who were not rebels<br \/>\nnor faithful to their God, but stood apart.<\/p>\n<p style=\"text-align: center;\">The heavens, that their beauty not be lessened,<br \/>\nhave cast them out, nor will deep Hell receive them &#8211;<br \/>\neven the wicked cannot glory in them.&#8221;<\/p>\n<\/blockquote>\n<p>The poem strikes a chord not only because it is carefully crafted, but because it flips the daily stance of many people on its head. When \u201cwhat is seen is not seen \/ what ears hear is not real\u201d becomes routine, silence is no longer merely an act of self-protection. It raises the cost-effectiveness of evil itself. For those who wield violence, the cost falls. For those who speak, the price rises. The process from <em>silence<\/em> to <em>sinking<\/em> is completed incrementally \u2014 from mind, to opinion, to institutions and finally into a historical trend that is hard to reverse.<\/p>\n<p><em>Silence<\/em> does not simply tell a story about \u201cstanding up\u201d, nor does it promise a happy ending. Rather it limns the shape of silence itself and its politesse, as well as its indifference; the systematizing inertia of silence and the mechanisms that punish speech, as well as the hollowness that remains after silence settles in. Once \u201cMild-mannered, courteous folk\u201d \u6e29\u6e29\u606d\u4eba, \u201c \u2018Yes, yes,\u2019 says the common herd\u201d \u8afe\u8afe\u7fa4\u751f becomes the default position for a society, a larger tragedy is already unfolding. The deepest layer of hell does not need flames to achieve its agonisingly destructive ends. In fact, it may look like \u201cthe clear pool that does not stir\u201d \u6e05\u6ce2\u4e0d\u52d5, \u201cdeep woods that are silent\u201d \u9577\u6797\u7121\u8072, a \u201ccold pond where the croaking of frogs is heard\u201d \u5bd2\u6c60\u807d\u86d9, a place where \u201corioles and swallows who once sang are quiet, gone\u201d \u9daf\u71d5\u5591\u555e.<\/p>\n<p>What <em>Silence<\/em> does is to forge a chain of causation \u2014 \u201csilence \u2192 tacit consent \u2192 indulgence \u2192 sinking\u201d \u2014 offering it to the reader mind in the form of archaic verse. It reminds readers that although silence might look like a form of inaction, quiescence itself plays a role in shaping the course of events. When individual \u201csilences\u201d harden into a collective habit, they nudge society as a whole towards \u201csinking\u201d. Perhaps what matters now is not that everyone can or should become a hero, but that people should at least recognize which link they occupy in that chain of causation. Are they living in the numbness of \u201cwhat is seen is not seen \/ what is heard is not heard\u201d? Are they only \u201cexchanging glances at the crossroads\u201d \u901a\u8862\u4ee5\u76ee and leaving their resistance at that? Or do they applaud as \u201cGreen Pearl falls from the tower\u201d \u7da0\u73e0\u589c\u6a13. Perhaps they might even wonder, \u201cwho in the music bureau pursues an inquiry?\u201d \u6559\u574a\u8ab0\u554f\uff1f<em>Silence<\/em> may offer no answers but it does offer a translucent mirror. Whoever dares to look into it has already taken a step off the track that invariably leads to submersion.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p><strong>Source:<\/strong><\/p>\n<ul>\n<li>Ren Jingjing, <a href=\"https:\/\/open.substack.com\/pub\/ctexp\/p\/a-national-history-of-ruin-beneath\">\u201cA National History of Ruin\u201d Beneath Universal Silence<\/a> \u2014 reading Jian Li\u2019s poem <em>Silence<\/em> \u9ed8, <em>China Thought Express<\/em>, 21 March 2026. For the original Chinese text, see \u4efb\u6676\u6676\uff0c<a href=\"https:\/\/open.substack.com\/pub\/minellc\/p\/4f2\">\u8209\u4e16\u7dd8\u9ed8\u4e0b\u7684\u201c\u570b\u5bb6\u6c88\u6dea\u53f2\u201d<\/a>\u2014\u2014\u8b80\u6f38\u96e2\u300a\u9ed8\u300b\uff0c\u300a\u4e2d\u570b\u601d\u60f3\u5feb\u905e\u300b\uff0c2026\u5e743\u670821\u65e5. The editor of <em>China Heritage<\/em> has reworked the machine-aided translation of Ren Jingjing\u2019s article extensively. Notes and explications have also been added and Chinese characters converted from \u6b98\u9ad4\u5b57 to \u6b63\u9ad4\u5b57.<\/li>\n<\/ul>\n<p style=\"text-align: center;\">***<\/p>\n\n<div class=\"box\"><\/p>\n<p style=\"text-align: center;\">Goodness dies in silence. So I think you should speak.<\/p>\n<p style=\"text-align: right;\">\u2014 <a href=\"https:\/\/chinaheritage.net\/journal\/i-met-god-at-the-supermarket\/\"><em>Lucas Jones<\/em><\/a><\/div>\n\n<p style=\"text-align: center;\">***<\/p>\n<figure id=\"attachment_54713\" aria-describedby=\"caption-attachment-54713\" style=\"width: 724px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-54713\" src=\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2026\/03\/IMG_1832.jpeg\" alt=\"\" width=\"724\" height=\"694\" srcset=\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2026\/03\/IMG_1832.jpeg 724w, https:\/\/chinaheritage.net\/wp-content\/uploads\/2026\/03\/IMG_1832-300x288.jpeg 300w\" sizes=\"(max-width: 724px) 100vw, 724px\" \/><figcaption id=\"caption-attachment-54713\" class=\"wp-caption-text\">\u5b88\u9ed8 <em>sh\u01d2u m\u00f2<\/em>, \u2018persevere in silence\u2019<\/figcaption><\/figure>\n<hr \/>\n","protected":false},"excerpt":{"rendered":"<p>Seeds of Fire \u4e0d\u5728\u6c88\u9ed8\u4e2d\u7206\u767c \u5c31\u5728\u6c88\u9ed8\u4e2d\u6b7b\u4ea1 Silence has been a theme of China Heritage since its founding in 2016. In that year, the last in the first five-year installment of the Xi Jinping Era, the basic tenor of the unfolding \u2018New Era\u2019 in modern Chinese history was more than evident. As I observed to the cohort [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":54713,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[3],"tags":[],"class_list":["post-54708","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-journal"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/chinaheritage.net\/wp-content\/uploads\/2026\/03\/IMG_1832.jpeg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9gcZ6-eeo","post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/posts\/54708"}],"collection":[{"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/comments?post=54708"}],"version-history":[{"count":86,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/posts\/54708\/revisions"}],"predecessor-version":[{"id":55081,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/posts\/54708\/revisions\/55081"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/media\/54713"}],"wp:attachment":[{"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/media?parent=54708"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/categories?post=54708"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/chinaheritage.net\/wp-json\/wp\/v2\/tags?post=54708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}