The Shaman and the Heresiarch
A New Interpretation of the Li sao
Publication Year: 2012
Published by: State University of New York Press
Title Page, Copyright, Dedication
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Now that I have been a teacher of Asian literature for well over a decade, I look back in gratitude, and sometimes wonder, to those who taught me. My first teacher, one of the very best, was Mrs. Yuan Ming-châiu, who had the good fortune to teach me when I was still a decent student. At Yale University, for various personal reasons, I became...
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There is a word in Chinese that sums up all that we know about the origins of ancient Chinese poetryâfeng sao é¢¨é¨·. Read literally it means âwind sorrow.â It in fact refers to the main sections of the two most ancient anthologies of Chinese poetry: the Shi jing è©©ç¶, or the Book of Songs, and the Chu ci æ¥è¾ or the Songs of Chu1...
Chapter One: Wang Yi and Han Dynasty Classical Commentary
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David Hawkes in his The Songs of the South wrote, âThe Later Han was an age of great scholars and exegetes, but Wang Yi was emphatically not of their number.â Hawkes was not alone in his judgment.1 The philosopher Zhu Xi began challenging Wang Yiâs work as early as the Song dynasty. By the Ming and Qing dynasties, the Chinese words for âstrainedâ, â...
Chapter Two: Wang Yi and the Woman Who Commissioned the Chu ci zhangju
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The official history of the Later Han dynasty (Hou Han shu å¾æ¼¢æ¸) records precious few details about the life and career of Wang Yi.1 He was from Yicheng å®å in Nanjun åé¡ (or South Commandery, modern Jiangling in Hubei), site of one of the old Chu capitals and the reputed home of the Chu poet Song Yu å®ç. Sometime during the Yuanchu...
Chapter Three: The Intergendered Shaman of the Li sao
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What does the removal of the roadblock posed by Wang Yiâs interpretation of the word jiang allow us to see in the Li sao? Does it reveal a âlogical pattern of events,â what many modern scholars tell us the poem lacks?1 And are those events amenable to allegorical interpretation? Once we recognize that the beginning of...
Chapter Four: The Realm of Shaman Peng-Floral Imagery in the Li sao
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Despite its extensive use in the poem, no one has ever convincingly explained the floral imagery of the Li sao. Traditional commentators, in the train of Wang Yi, reasonably assume that the fragrant plants stand for virtue, and the malodorous ones...
Chapter Five: The Philosophy of the Li sao, Part 1
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It is a great irony that the man who first pointed out one of the most important keys to understanding the Li sao should have never used it himself. In fact, he began a two-thousand-year tradition of ignoring that key. I am speaking of course of Wang Yi, who in his Chu ci commentary...
Chapter Six: The Philosophy of the Li sao, Part 2
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The philosophers disagreed as to the exact nature of the sage kingsâ statecraft and self-cultivation. Yet most of them used the term Dao, the Way, to describe both. And all agreed that this Dao was somehow connected to Heaven, understood either as a governing benevolent force or impersonal natural order. The Way appears in the Li sao as wellâin road and travel...
Chapter Seven: Shaman Xianâs Domain: The First and Second Journeys
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One of the greatest roadblocks to a coherent reading of the Li sao is the âfirst journeyâ (lines 181â256), where Zhengze Ling Jun while presenting her case in the masculine voice of the spirit Zhengze in front of the tomb of Shun è (Chonghua éè¯), suddenly finds him/...
Chapter Eight: Conclusion
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I once presented a paper to the Columbia Seminar on Traditional China to get some feedback on some of the ideas developed in this book, especially the idea that the fourth line of the poem gives the date of the descent of a spirit rather than the birth of Qu Yuan. Afterward a member of the seminar, a scholar from China, asked...
Appendix 1: A Translation of the Li sao
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Appendix 2: The Nine Songs
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Selected Bibliography of Works in Chinese and Japanese
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Selected Bibliography of Works in Western Languages
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Page Count: 256
Publication Year: 2012
Series Title: SUNY series in Chinese Philosophy and Culture