In 2008, the re-calibration of public holidays in China saw for the first time in the near sixty years of the People’s Republic traditional holidays afforded prominence. The Double Five Festival (variously \u7aef\u5348\u7bc0; \u7aef\u967d\u7bc0; \u96d9\u4e94\u7bc0; \u9f8d\u821f\u7bc0) was now to be celebrated with a three-day holiday.<\/p>\n
From the Song dynasty in the eleventh century this festival had seen politics, literature, romance and agriculture meld as the commemoration of Qu Yuan\u00a0became associated with the summer solstice of the south and ancient rice fertility rites. As\u00a0Endymion Wilkinson notes in\u00a0Chinese History: A New Manual<\/em>, ‘the main festivals of today are the direct descendants of those of the Song’ (p.525).<\/p>\n David Hawkes<\/a>, the translator of the early poetry collection\u00a0Chu ci\u00a0<\/em>\u695a\u8fad, which he calls\u00a0The Songs of the South<\/em>, notes that there were other poets before that collection appeared, ‘but the personality of the great founder and Archpoet Qu Yuan eclipsed them all’. (For this and a detailed study of issues related to Qu Yuan, the authorship of\u00a0Chu ci<\/em> and the early history of Chinese poetry, see David Hawkes,\u00a0The Songs of the South: An Anthology of\u00a0Ancient Chinese Poems by Qu Yuan and Other Poets<\/em><\/a>, Penguin Classics, 1985).<\/p>\n ***<\/p>\n In our New Sinology Jottings \u5f8c\u6f22\u5b78\u5284\u8a18<\/a> the three commemorations in the Fifth Month (May-June in the Gregorian calendar) are interconnected: Duanyang<\/i> on the Fifth Day of the Fifth Month, the 1st of June International Children’s Day and the Fourth of June.<\/p>\n \u2014 Geremie R. Barm\u00e9, Editor, China Heritage<\/i> Fifth Day of the Fifth Month of the Pekinese call the festival of the fifth month the Duanyang<\/i>, the fifth day (the day on which this festival falls) being the Single Fifth (danwu <\/i>\u55ae\u4e94) of the fifth month. Probably this word dan<\/i> is a corruption of the sound of the word duan<\/i>. Every year, preceding and on the Duanyang<\/i>, noble families give presents to one another of zongzi<\/i> \u7cbd\u5b50 (Note: triangular masses of rice or glutinous millet, wrapped in leaves, which are especially made for this festival), to which are added such things as cherries, mulberries, water-chestnuts, peaches, apricots, cakes of the Five Poisonous Creatures \u4e94\u6bd2\u9905, and rose-cakes. But for offerings to be made to the gods or to the ancestors, simply the zongzi<\/i>, together with cherries and mulberries, are the proper things to give, the idea being to offer foods of the season.<\/p>\n (Translator’s Note: This is probably a myth. The Duanyang<\/i> festival comes at a time when rain is needed for the growing crops, and the zongzi<\/i> originally were probably offerings to the scaly dragon, who is the controller of the rain, to induce him to bring rainfall. Likewise races take place in the south, though not so much in the north, between long ‘dragon boats’, which have carved dragon heads and are paddled by many men. This custom supposedly originated much earlier in an attempt, through sympathetic magic, to induce by means of the dragon boat contests, the dragons of the air to struggle together and so send down rain.)<\/p>\n <\/p>\n Other Duanyang<\/i> customs in the former imperial capital included:<\/p>\n \u2014 from\u00a0<\/em>Annual Customs and Festivals in Peking, Romanised words have\u00a0been converted to\u00a0<\/em>Hanyu pinyin.<\/i><\/p>\n ***<\/p>\n Like so many figures of legend, myth, history and culture, Qu Yuan has become\u00a0the prisoner of the modern nation-state.\u00a0In China’s search for wealth and power, the political class (including politically active thinkers and academics) have built on the traditions of state Confucianism\u00a0to dragoon\u00a0everything\u00a0into the service of the state and what is today vaunted as The China Story.<\/p>\n The figure of Qu Yuan, and the poetry ascribed to him, is one of the most prominent examples of such woeful anachronism. The\u00a0skein of Qu Yuan’s story as ‘China’s first patriotic poet’ is most eloquently summed up by David Hawkes, whose work on Chu ci<\/em>\u00a0is worth re-reading every Dragon Boat Festival as the name and reputation of the hapless Qu Yuan is once more evoked by the cloying official media of China.<\/p>\n As with so many aspects of modern Chinese cultural nationalism, the cataclysm of the Sino-Japanese War set the tone. As Hawkes writes in his masterful introduction to\u00a0The Songs of the South<\/em>:<\/p>\n During the Sino-Japanese war of 1937-45 it became the fashion to represent Qu Yuan as the great Patriot Poet, even as the People’s Poet. An article by the great liberal scholar Wen Yi-duo was actually published under the second of these titles. It ended with these words:<\/p>\n ‘Although Qu Yuan did not write about the life of the people or voice their sufferings, he may truthfully be said to have acted as the leader of a people’s revolution and to have struck a blow to avenge them. Qu Yuan is the only person in the whole of Chinese history who is fully entitled to be called “the People’s Poet”.’<\/p>\n Guo Mo-ruo’s play Qu Yuan<\/em>, written during ten days in 1942 and compared by his enthusiastic friends with Hamlet<\/em> and King Lear<\/em>, accords his subject a similar treatment. Under the People’s Republic this view of Qu Yuan became de rigueur. A little book for high-school students published in 1957 opens with the words, ‘Qu Yuan is the first great patriotic poet in the history of the country’s literature’. An inevitable consequence of this view has been a reluctance to question Qu Yuan’s authorship of any of the works traditionally attributed to him \u2014 as if the rejection of even the most improbable of these attributions would in some way diminish his stature \u2014 and a revulsion against the highly sceptical attitude which many scholars formerly entertained towards the biography.<\/p>\n In fact these modern attempts to ‘reclaim’ an ancient poet for our own times are, I believe, anachronisms. The idea of Qu Yuan as a great patriot rests on a misunderstanding of the biography. By preferring self-immolation to the pursuit of a career in some other state Qu Yuan was not displaying the sort of loyalty we should associate with an intelligence officer who chooses to blow his brains out rather than defect to a foreign power: loyalty of that kind implies an idea of nationalism totally unheard of in Qu Yuan’s day. Rather, he was demonstrating the chivalrous, aristocratic kind of personal loyalty which Zi Chan would very well have understood but which in the thoroughly ‘liberated’ world of the fourth century B.C. was remarkably old-fashioned.<\/p>\n As for the ‘People’s Poet’, that notion stems from the fact that Qu Yuan is the nominal hero of a popular festival, the Double Fifth or Dragon Boat festival, which is celebrated in South China in the early summer with boat-races and the eating of a kind of glutinous rice-cake called zong-zi<\/em> \u7cbd\u5b50. In fact, as Wen Yi-duo himself was the first to admit, the Double Fifth festival is much older than Qu Yuan and was not associated with him until centuries after his death. The Swedish anthropologist G\u00f8ran Aijmer has very plausibly suggested that it was originally a fertility festival associated with the planting-out of the rice. The dragons, i.e. the Nagas of the river, not Qu Yuan, were the original recipients of the offerings, and the boats with their dragon-headed prows represented the beneficent powers who, it was hoped, would bestow fertility on the paddy-fields.<\/p><\/blockquote>\n It was the Confucian literati who were responsible in this, as in so many other cases, for foisting one of their own heroes on to a popular local cult, just as the Christian priesthood in Europe succeeded \u2014 nominally at any rate \u2014 in capturing the old pagan festivals for their own religion.\u00a0…<\/p>\n The Confucian cult of Qu Yuan… a whole class \u2014 that of the office-holding men of letters \u2014 found a heroic symbol of itself, one that would serve to shore up a bureaucrat’s flagging self-esteem in times of rejection, unemployment and adversity. To speak out for what one believed to be the right policy, even if one was alone in believing it and when the cost of doing so was demotion, disgrace or even death \u2014 that was the scholar-official’s idea of honour. It was, in a way, a curiously literary one, because it meant that he looked no longer towards his contemporaries but towards a literate posterity to judge him. Qu Yuan first gave expression to this heroic ideal and we see it again and again being developed in the later poems of this anthology [i.e., The Songs of the South<\/em>]. The following lines may not have been written by the great Master himself, but they echo what he more than once stated in the Li sao<\/em> [\u96e2\u9a37, ‘On Encountering Sorrow’]:<\/p><\/blockquote>\n The world is muddy-witted; \u4e16\u6eb7\u6fc1\u83ab\u543e\u77e5\uff0c \u2014\u00a0David Hawkes, <\/em>The Songs of the South,\u00a0pp.64-66.<\/em><\/p>\n ***<\/p>\n This is the poem which Si-ma Qian quotes in full in his biography of Qu Yuan<\/a>. ‘Then,’ he adds, after he has finished quoting it, ‘clasping a stone to his bosom, he threw himself into the River Mi-luo and perished.’… The whole poem reads like a greatly expanded restatement of the closing lines of\u00a0Li sao<\/em>, in which the poet despairs of finding anyone to join with in ‘making a life in government and resolves to end it all in the river. This was the sense in which Si-ma Qian understood the title of this poem and remains the most obvious way of understanding it today.\u2019<\/p><\/blockquote>\n In the teeming late summer \u6ed4\u6ed4\u5b5f\u590f\u516e\uff0c\u8349\u6728\u83bd\u83bd\u3002 Eyes strain unseeing into the hazy gloom \u7734\u516e\u6773\u6773\uff0c\u5b54\u975c\u5e7d\u9ed8\u3002 I soothed my feelings, sought my purposes, \u64ab\u60c5\u6548\u5fd7\u516e\uff0c\u51a4\u5c48\u800c\u81ea\u6291\u3002 To change his first intent and alter his course \u6613\u521d\u672c\u8fea\u516e\uff0c\u541b\u5b50\u6240\u9119\u3002 Inwardly sound and of honest substance, \u5167\u539a\u8cea\u6b63\u516e\uff0c\u5927\u4eba\u6240\u76db\u3002 When dark brocade is placed in the dark, \u7384\u6587\u8655\u5e7d\u516e\uff0c\u77c7\u778d\u8b02\u4e4b\u4e0d\u7ae0\uff1b What is changed to black; \u8b8a\u767d\u4ee5\u70ba\u9ed1\u516e\uff0c\u5012\u4e0a\u4ee5\u70ba\u4e0b\u3002 Jewels and stones are mixed together, \u540c\u7cc5\u7389\u77f3\u516e\uff0c\u4e00\u6982\u800c\u76f8\u91cf\u3002 Great was the weight I carried, heavy the burdens I bore; \u4efb\u91cd\u8f09\u76db\u516e\uff0c\u9677\u6eef\u800c\u4e0d\u6fdf\u3002 The dogs of the village bark in chorus; \u9091\u72ac\u4e4b\u7fa4\u5420\u516e\uff0c\u5420\u6240\u602a\u4e5f\u3002 Art and nature perfected lay within me hidden; \u6587\u8cea\u758f\u5167\u516e\uff0c\u773e\u4e0d\u77e5\u4f59\u4e4b\u7570\u63a1\u3002 I multiplied kindness, redoubled righteousness; \u91cd\u4ec1\u8972\u7fa9\u516e\uff0c\u8b39\u539a\u4ee5\u70ba\u8c50\u3002 It has always been so \u2014 this failure of happy meeting; \u53e4\u56fa\u6709\u4e0d\u4e26\u516e\uff0c\u8c48\u77e5\u5176\u4f55\u6545\u4e5f\uff1f I must curb my rebelling pride and check my anger, \u61f2\u9055\u6539\u5fff\u516e\uff0c\u6291\u5fc3\u800c\u81ea\u5f37\u3002 Along my road I will go, and in the north halt my journey. \u9032\u8def\u5317\u6b21\u516e\uff0c\u65e5\u6627\u6627\u5176\u5c07\u66ae\u3002 Luan \u4e82\u66f0<\/b><\/p>\n The mighty waters of the Yuan and Xiang with surging swell go rolling on their way; The road is long, though places dark and drear, a way far and forlorn. The nature I cherish in my bosom, the feelings I embrace, there are none to judge. For when Bo Le is dead and gone, how can the wonder-horse go coursing? The lives of all men on the earth have each their ordained lot. Let my heart be calm and my mind at ease: why should I be afraid? Yet still, in mounting sorrow and anguish, long I lament and sigh. For the world is muddy-witted; none can know me; the heart of man cannot be told. I know that death cannot be avoided, therefore I will not grudge its coming. To noble men I here plainly declare that I will be numbered with such as you. \u2014\u00a0trans. David Hawkes,<\/i> The\u00a0Songs of the South,\u00a0pp.169-170.<\/i> Why do the Chinese always go in for this particular brand of tragedy \u2014 starting with Qu Yuan, who drowned himself in the Miluo River? Why is it the Chinese feel so much more deeply for tragic heroes like Zhou Enlai, Peng Dehuai, and Hu Yaobang than for ones like Wei Jingsheng? Is the last really worth so much less than the others as a person and a political victim? The answer to my first question should be obvious to everyone: Authoritarianism brooks no opponents, not even well-intentioned, helpful ones. For this reason the tragedies of Hu Yaobang and the rest of them are not personal tragedies but tragedies of the system itself; they are bound to be repeated as long as our authoritarian system remains. All of these tragic heroes have one thing in common: They were loyal but not trusted, they told the truth and were condemned for it.<\/p>\n \u2014 Liu Xiaobo, ‘The Tragedy of a Tragic Hero’,\u00a0trans. G.R. Barm\u00e9<\/em><\/p>\n Mao Zedong was interested in Qu Yuan, and his fate, from an early age. The tragic ‘Patriotic Poet’ appealed both to his (later revolutionary) romanticism, and to his instincts for practical politics.<\/p>\n Mao’s schooling at Changsha in Hunan province imbued him with the aspirations of a modern activist at the same time as evoking the ancient fate of Chu, and its fallen city (more of which on the Fourth of June). As a student (when he was known by the sobriquet ‘Mr Twenty-eight Strokes’, which was the number of pen strokes that made up his original name) he meticulously copied out the text of Qu Yuan’s ‘On Encountering Sorrow’ \u96e2\u9a37. It was in regular script \u6977\u66f8, and executed in a cautious hand (although he may\u00a0have been satisfied with such a loyal display of industriousness, recently a high-school student has pointed out that the Chairman-to-be’s rendition of the 2490 characters in the poem contains\u00a0no fewer than thirty-two errors in orthography<\/a>).<\/p>\n Today, Mao’s hand written copy of the ancient poetical text is a celebrated feature of the Chu Cultural Park at Moshan \u78e8\u5c71\u695a\u570b\u6587\u5316\u904a\u89bd\u5340 near Wuhan.<\/p>\n In his mature years the Chairman\u00a0would pen\u00a0a doggerel verse about the Archpoet (\u5c48\u5b50\u7576\u5e74\u8ce6\u695a\u9a37\uff0c\u624b\u4e2d\u63e1\u6709\u6bba\u4eba\u5200\u3002\u827e\u856d\u592a\u76db\u6912\u862d\u5c11\uff0c\u4e00\u8e8d\u885d\u5411\u842c\u91cc\u6fe4)\u00a0and he repeatedly referred to\u00a0Chu ci\u00a0<\/em>and its ‘democratic tenor’, urging other Party leaders and cadres to revisit the lyrical classics. With characteristic callousness, he once even quipped that if Qu Yuan hadn’t been ‘sent down to undergo labor reform’ \u4e0b\u653e\u52de\u52d5 he would have never composed his timeless masterpiece (thus offering an unexpected insight into his view of rustication).<\/p>\n ***<\/p>\n Wuhan was also the site of some of Mao’s greatest performances: his heroic swims in the Yangtze River. He first took the plunge publicly in June and July 1956 and again, ten years later, in 1966. What was at the time hailed\u00a0as his remarkable crossing of the mighty Yangtze River took place on the cusp of the history of modern China. Mao was at the height of his prestige and enjoyed extraordinary political good will.<\/p>\n In 1956, directed by Mao the Communist Party’s propaganda organs issued a call for ‘A Hundred Flowers to Blossom and a Hundred Schools of Thought to Contend’ \u767e\u82b1\u9f4a\u653e\uff0c\u767e\u5bb6\u722d\u9cf4. This led to an outpouring of grievances and the Party bureaucracy was roundly castigated for the draconian first years of the People’s Republic during which, despite social stability and an improvement in living conditions after years of warfare and strife, judicial murder, zealotry and constant policing had also made the lives of millions a misery. It was at this juncture, buoyed by a confidence that his rule was broadly supported, that the Chairman swam in the Yangtze and wrote one of his most famous poems:<\/p>\n I have just drunk the waters of Changsha \u624d\u98f2\u9577\u6c99\u6c34\uff0c A decade later, in July 1966, following a period of secrecy and a media blackout, Mao suddenly reappeared to swim in the Yangtze River near Wuhan again. He joined in the annual celebrations that now marked the poet-leader of China. He was no failed or frustrated courtier like Qu Yuan, a man who drowned himself in despair of the politics of his day. Rather he was a giant in the water, braving wind and waves to forge ahead in the face of seemingly insurmountable obstacles.<\/p>\n During a one hour swim the seventy-three year-old\u00a0supposedly travelled fifteen kilometres. The feat was hailed by the Chinese media as nothing less than heroic. The seven hundred million people of China were called on to Open their Eyes and Look to the Future, to Brave the Winds and Ride the Waves and\u00a0Advance guided by the genius of Mao Zedong Thought\u00a0\u5728\u5149\u8f1d\u7684\u6bdb\u6fa4\u6771\u601d\u60f3\u7684\u6307\u5f15\u4e0b\uff0c\u4e03\u5104\u4eba\u6c11\u653e\u958b\u773c\u754c\u770b\u672a\u4f86\uff0c\u4e58\u98a8\u7834\u6d6a\u5411\u524d\u9032! (for the full, histrionic panegyric in\u00a0People’s Daily<\/em>, see here<\/a>.)<\/p>\n Immediately thereafter, Mao, who had been directing a rebellion against his Politburo colleagues in the early months of the Cultural Revolution from behind the scenes, returned triumphant to Beijing and launched what was in effect a civil war that would only come to an end with his death over a decade later.<\/p>\n For Mao’s 1966 swim in the Yangtze and the politics of the time, see the following excerpt from the 2003 documentary film Morning Sun<\/em><\/a>\u00a0(click on the following title):<\/p>\n![](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/IMG_2840-520x1024.jpg\")
\n30 May 2017<\/p>\n
\nDingyou Year of the Rooster 2017
\n\u4e01\u9149\u96de\u5e74\u4e94\u6708\u521d\u4e94\u7aef\u967d\u7bc0<\/p>\n\n
\nDragon-Boat or ‘Upright Sun’ Festival \u7aef\u967d<\/strong><\/h3>\n
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\n
\nas recorded in the Yanjing suishiji \u71d5\u4eac\u6b72\u6642\u8a18,
\nby Tun Li-Ch’en, translated and annotated by Derk Bodde,
\nPeip’ing: Henri Vetch, 1936, pp.42-45. <\/em><\/p>\nArchpoet Qu Yuan, Eternal Prisoner of the State<\/strong><\/h3>\n
![\"\"](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/\u4efb\u718a\u753b\u5c48\u539f.png\")
![\"\"](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/fullsizeoutput_b81-1024x758.jpeg\")
\nnone can know me;
\nthe heart of man cannot be told.
\nI know that death cannot be avoided,
\ntherefore I will not grudge its coming.
\nTo noble men I here plainly declare that
\nI will be numbered with such as you.<\/p>\n<\/div>\n
\n\u4eba\u5fc3\u4e0d\u53ef\u8b02\u516e\u3002
\n\u77e5\u6b7b\u4e0d\u53ef\u8b93\uff0c
\n\u9858\u52ff\u611b\u516e\u3002
\n\u660e\u544a\u541b\u5b50\uff0c
\n\u543e\u5c07\u4ee5\u70ba\u985e\u516e\u3002<\/p>\n<\/div>\n<\/div>\nEmbracing Sand \u61f7\u6c99<\/h3>\n
\nWhen flowers and trees burgeon,
\nMy heart with endless sorrow laden,
\nForth I went to the southern land.<\/p>\n
\n\u50b7\u61f7\u6c38\u54c0\u516e\uff0c\u6c69\u5f82\u5357\u571f\u3002<\/p>\n
\nWhen a great quiet and stillness reign.
\nDisquieted and tormented,
\nI have met sorrow and long been afflicted.<\/p>\n
\n\u90c1\u7d50\u7d06\u8eeb\u516e\uff0c\u96e2\u615c\u800c\u9577\u97a0\u3002<\/p>\n
\nBowed to my wrongs and still restrained myself.
\nLet others trim square to fit the round:
\nI shall not cast the true measure away.<\/p>\n
\n\u5213\u65b9\u4ee5\u70ba\u571c\u516e\uff0c\u5e38\u5ea6\u672a\u66ff\u3002<\/p>\n
\nIs a thing the noble man disdains.
\nI made my marking clear; I set my mind on the ink-line.
\nMy former path I did not change.<\/p>\n
\n\u7ae0\u756b\u5fd7\u58a8\u516e\uff0c\u524d\u5716\u672a\u6539\u3002<\/p>\n
\nIn this the great man excels so richly.
\nBut when Chui the Cunning is not carving,
\nWho can tell how true a line he cuts?<\/p>\n
\n\u5de7\u5015\u4e0d\u65b2\u516e\uff0c\u5b70\u5bdf\u5176\u64a5\u6b63\u3002<\/p>\n
\nThe dim-eyed will say that it has no pattern.
\nAnd when Li Lou peers to discern minutest things,
\nThe purblind think that he must be sightless.<\/p>\n
\n\u96e2\u5a41\u5fae\u7747\u516e\uff0c\u77bd\u4ee5\u70ba\u7121\u660e\u3002<\/p>\n
\nThe high cast down and the low made high;
\nThe phoenix languishes in a cage,
\nWhile hens and ducks can gambol free.<\/p>\n
\n\u9cf3\u7687\u5728\u7b2f\u516e\uff0c\u96de\u9da9\u7fd4\u821e\u3002<\/p>\n
\nAnd in the same measure meted.
\nThe courtier crowd are low and vulgar fellows;
\nThey cannot understand the things I prize.<\/p>\n
\n\u592b\u60df\u9ee8\u4eba\u4e4b\u9119\u56fa\u516e\uff0c\u7f8c\u4e0d\u77e5\u4f59\u4e4b\u6240\u81e7\u3002<\/p>\n
\nBut I stand and stuck fast in the mire and could not get across.
\nA jewel I wore in my bosom, a gem I clasped in my hand;
\nBut, helpless, I knew no way whereby I could make them seen.<\/p>\n
\n\u61f7\u747e\u63e1\u745c\u516e\uff0c\u7aae\u4e0d\u77e5\u6240\u793a\u3002<\/p>\n
\nThey bark when they do not comprehend.
\nGenius they condemn and talent they suspect \u2014
\nStupid and boorish that their manner is!<\/p>\n
\n\u975e\u4fca\u7591\u5091\u516e\uff0c\u56fa\u5eb8\u614b\u4e5f\u3002<\/p>\n
\nBut the crowd did not know of the rare gifts that were mine.
\nUnused materials I had in rich store;
\nYet no one knew the things that I possessed.<\/p>\n
\n\u6750\u6a38\u59d4\u7a4d\u516e\uff0c\u83ab\u77e5\u4f59\u4e4b\u6240\u6709\u3002<\/p>\n
\nCare and probity I had in plenty.
\nBut it was not my lot to meet such as Chong Hua;
\nSo who could understand my behaviour?<\/p>\n
\n\u91cd\u83ef\u4e0d\u53ef\u904c\u516e\uff0c\u5b70\u77e5\u4f59\u4e4b\u5f9e\u5bb9\uff01<\/p>\n
\nThrough I do not know what can be the reason.
\nTang and Yu lived a great while ago \u2014
\nToo remote for me to long for!<\/p>\n
\n\u6e6f\u79b9\u4e45\u9060\u516e\uff0c\u9088\u800c\u4e0d\u53ef\u6155\u4e5f\uff1f<\/p>\n
\nRestrain my heart, and force myself to bow.
\nI have met sorrow, but still will be unswerving;
\nI wish my resolution to be an example.<\/p>\n
\n\u96e2\u615c\u800c\u4e0d\u9077\u516e\uff0c\u9858\u5fd7\u4e4b\u6709\u50cf\u3002<\/p>\n
\nBut the day is dusky and turns towards the evening.
\nI will unlock my sorrow and ease my grief,
\nAnd end it all in the Great End.<\/p>\n
\n\u8212\u6182\u5a1b\u54c0\u516e\uff0c\u9650\u4e4b\u4ee5\u5927\u6545\u3002<\/p>\n
\n\u6d69\u6d69\u6c85\u6e58\uff0c\u5206\u6d41\u6c69\u516e\u3002<\/p>\n
\n\u4fee\u8def\u5e7d\u853d\uff0c\u9053\u9060\u5ffd\u516e\u3002<\/p>\n
\n\u61f7\u8cea\u62b1\u60c5\uff0c\u7368\u7121\u5339\u516e\u3002<\/p>\n
\n\u4f2f\u6a02\u65e2\u6c92\uff0c\u9a65\u7109\u7a0b\u516e\u3002<\/p>\n
\n\u6c11\u751f\u7a1f\u547d\uff0c\u5404\u6709\u6240\u932f\u516e\u3002<\/p>\n
\n\u5b9a\u5fc3\u5ee3\u5fd7\uff0c\u4f59\u4f55\u6240\u754f\u61fc\u516e\uff1f<\/p>\n
\n\u66fe\u50b7\u7230\u54c0\uff0c\u6c38\u5606\u559f\u516e\u3002<\/p>\n
\n\u4e16\u6e3e\u6fc1\u83ab\u543e\u77e5\uff0c\u4eba\u5fc3\u4e0d\u53ef\u8b02\u516e\u3002<\/p>\n
\n\u77e5\u6b7b\u4e0d\u53ef\u8b93\uff0c\u9858\u52ff\u611b\u516e\u3002<\/p>\n
\n\u660e\u544a\u541b\u5b50\uff0c\u543e\u5c07\u4ee5\u70ba\u985e\u516e\u3002<\/p>\n
\nThe Chinese text has been added.<\/i><\/p>\n![\"\"](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/\u9ec4\u6c38\u7389\u5c48\u539f\u753b\u50cf-513x1024.jpg\")
\nA Model for the Ages<\/strong><\/h4>\n
\nMao Takes to the Waves<\/strong><\/h3>\n
![](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/fullsizeoutput_b7e-632x1024.jpeg\")
Swimming<\/strong><\/h4>\n
to the tune of
\nShuidiao getou<\/i>
\nJune 1956<\/h4>\n\u6c34\u8abf\u6b4c\u982d \u00b7 \u6e38\u6cf3<\/h4>\n
\nAnd come to eat the fish of Wuchang.
\nNow I am swimming across the great Yangtze,
\nLooking afar to the open sky of Chu.
\nLet the wind blow and waves beat,
\nBetter far than idly strolling in a courtyard.
\nToday I am at ease.
\n“It was by a stream that the Master said \u2014
\n‘Thus do things flow away!’ ”
\nSails move with the wind.
\nTortoise and Snake are still.
\nGreat plans are afoot:
\nA bridge will fly to span the north and south,
\nTurning a deep chasm into a thoroughfare;
\nWalls of stone will stand upstream to the west
\nTo hold back Wushan’s clouds and rain
\nTill a smooth lake rises in the narrow gorges.
\nThe mountain goddess if she is still there
\nWill marvel at a world so changed.<\/p>\n<\/div>\n
\n\u53c8\u98df\u6b66\u660c\u9b5a\u3002
\n\u842c\u91cc\u9577\u6c5f\u6a6b\u6e21\uff0c
\n\u6975\u76ee\u695a\u5929\u8212\u3002
\n\u4e0d\u7ba1\u98a8\u5439\u6d6a\u6253\uff0c
\n\u52dd\u4f3c\u9592\u5ead\u4fe1\u6b65\uff0c
\n\u4eca\u65e5\u5f97\u5bec\u9918\u3002
\n\u5b50\u5728\u5ddd\u4e0a\u66f0\uff1a
\n\u901d\u8005\u5982\u65af\u592b\uff01
\n\u98a8\u6aa3\u52d5\uff0c
\n\u9f9c\u86c7\u975c\uff0c
\n\u8d77\u5b8f\u5716\u3002
\n\u4e00\u6a4b\u98db\u67b6\u5357\u5317\uff0c
\n\u5929\u5879\u8b8a\u901a\u9014\u3002
\n\u66f4\u7acb\u897f\u6c5f\u77f3\u58c1\uff0c
\n\u622a\u65b7\u5deb\u5c71\u96f2\u96e8\uff0c
\n\u9ad8\u5cfd\u51fa\u5e73\u6e56\u3002
\n\u795e\u5973\u61c9\u7121\u6059\uff0c
\n\u7576\u9a5a\u4e16\u754c\u6b8a\u3002<\/p>\n<\/div>\nIdly Strolling in a Courtyard<\/a><\/h3>\n
![\"\"](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/fullsizeoutput_b7c-1024x763.jpeg\")
![\"\"](\"https:\/\/chinaheritage.net\/wp-content\/uploads\/2017\/05\/fullsizeoutput_b6a-1024x828.jpeg\")
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