It's the Wednesday hump, and many of you at one point in time today imagined yourself far away.
I imagined myself inside an oak-laqured little room, with my bookcase and calligraphy set. Large doors face south as I watch my tea farm as sunlight melts away the morning fog. As my tea leaves awaken the smell of sweet leaves reassure me that this year would be a good harvest. I slowly drink my morning tea. This is a good day....
But it's night time after a day of work. My feet smell like bad blue cheese. That's right, I need a drink.
Tao Qian 陶潛, famous for his utopia in "The Origin of the Peach Blossom," wrote a lesser known piece on drinking and writing with his friends at home. Alcohol will be a recurring theme as a blog on with all sorts of drunks (ie emo drunks, sad drunks, blissful drunks, transcendent drunks).
飲酒二十首 序
Drinking 12 Verses: Preface
陶潛
Tao Qian
余閒居寡歡
My quite house has few pleasures
兼比夜已長
Furthermore the night is getting longer
偶有名酒
If by chance I have rice wine
無夕不飲
There is not an evening where I do not drink
顧影獨盡
I look at my shadow finishing it myself
忽焉復醉
My solitude suddenly ends again
既醉之後
After being drunk
輒題數句自娯
Soon after I write a few phrases to amuse myself
紙墨遂多
There is much to write
辭無詮次
I leave it without order
聊命故人書之
For the time being I beseech my friend to write a letter.
以爲歡笑爾
so that I simply chuckle.
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Wednesday, January 9, 2013
Tuesday, January 8, 2013
Pulling on Sprouts to Help them Grow
As I stare blankly into the screen, wondering what I could blog with the least effort for something passable, I stumble upon this quaint little parable about not rushing things by Mencius.
Mencius believed that goodness is innate within human nature and that one must cultivate one's goodness to be good. The individual must have the will to cultivate goodness, just like my lazy behind trying to write a good blog post.
One cannot rapidly change one's nature, but one can certainly quickly translate his parable!
揠苗助長
孟子 Mencius (around 4th century BC)
宋人有閔其苗
Of the Song people there was one who worried his sprouts
之不長而揠之者，
would not grow, so he pulled them.
芒芒然歸，
uncertain heading home
謂其人曰：
He said to another person.
“今日病矣，予助苗長矣！”
Today they are sick, I will help them grow!
其子趨而往視之，
This person was in a rush and looked at it,
苗則槁矣。
The sprouts all withered.
Mencius believed that goodness is innate within human nature and that one must cultivate one's goodness to be good. The individual must have the will to cultivate goodness, just like my lazy behind trying to write a good blog post.
One cannot rapidly change one's nature, but one can certainly quickly translate his parable!
揠苗助長
孟子 Mencius (around 4th century BC)
宋人有閔其苗
Of the Song people there was one who worried his sprouts
之不長而揠之者，
would not grow, so he pulled them.
芒芒然歸，
uncertain heading home
謂其人曰：
He said to another person.
“今日病矣，予助苗長矣！”
Today they are sick, I will help them grow!
其子趨而往視之，
This person was in a rush and looked at it,
苗則槁矣。
The sprouts all withered.
Monday, January 7, 2013
Manic Monday
匆匆 Rushing
作者: 朱自清 Zhu Ziqing
Translated: Yoyo
燕子去了，有再來的時候；
The sparrow leaves, there will be a time when they come again.
楊柳枯了，有再青的時候；
Poplars and willows wilt, there will be a time when they will green again.
桃花謝了，有再開的時候。
Peach blossoms wither, there will be a time when they open again.
但是，聰明的，你告訴我，我們的日子為什麼一去不復返呢？
But, you’re smart, tell me, why do our days go and not return?
是有人偷了他們罷：
There must be a person who stole it then
那是誰？
so who is it?
又藏在何處呢？
where did they hide it?
是他們自己逃走了罷：
They must have escaped by themselves,
現在又到了哪裡呢？
where are they now?
我不知道他們給了我多少日子；
I don’t know the number of days they gave me,
但我的手確乎是漸漸空虛了。
but I know for sure they slowly empty in my hands.
在默默裡算著，
In silence I count,
八千多日子已經從我手中溜去；
8000 days have already slipped through my hands.
像針尖上一滴水滴在大海裡，
Like water dripping from a needle into sea.
我的日子滴在時間的流裡，
My days drip in the flow of time,
沒有聲音，也沒有影子。
without a sound and without a shadow.
我不禁頭涔涔而淚潸潸了。
I cannot help but shed tears.
去的儘管去了，來的儘管來著；
What has left already left, what has come already came.
去來的中間，又怎樣地匆匆呢？
Within the coming and going, how did it all rush by?
早上我起來的時候，
When I rise in the morning,
小屋裡射進兩三方斜斜的太陽。
Sharp rays of the sun enter my house.
太陽他有腳啊，輕輕悄悄地挪移了；
The sun has feet, softly and quietly it drifts by.
我也茫 茫然跟著旋轉。
I ignorantly follow its orbit.
於是——洗手的時候，
Usually, when I wash my hands
日子從水盆裡過去；
The day crosses over from the basin
吃飯的時候，日子從飯碗裡過去；
While eating, the day crosses over my rice bowl.
默默時，便從凝然的雙眼前過去。
Silently, you cross my staring pair of eyes.
我覺察他去的匆匆了，伸出手遮挽 時，
I sense it rushing by, I reach my hands to cover it
他又從遮挽著的手邊過去，
It still crosses over my hands.
天黑時，我躺在床上，他便伶伶俐俐地從我身上跨過，
At night, when I lie on my bed, it wittingly crosses over my body
從我腳邊飛去了。
It flys away from my feet.
等我睜開眼和太陽再見，這算又溜走了一日。
When I open my eyes, I see the sun again, this counts as another day slipping by.
我掩著面嘆 息。
I cover my face and sigh.
但是新來的日子的影兒又開始在嘆息裡閃過了。
But the shadow of the new day already dodges my sigh.
在逃去如飛的日子裡，
The fleeing day that flies by,
在千門萬戶的世界裡的我能做些什麼呢？
through the numerous doors and windows of the world what am I able to do?
只有徘徊罷了，只有匆匆罷了；
I only wait for it to end, only wait for it to rush by.
在八千多日的匆匆裡，除徘徊外，又剩些什麼呢？
through the numerous doors and windows, besides waiting for it, what left is there to do?
過去的日子如 輕煙，被微風吹散了，
The fleeting day is like light smoke, the gust of wind blows it away.
如薄霧，被初陽蒸融了；
Like a shallow fog, the early sun burns it away.
我留著些什麼痕跡呢？
What mark will I leave behind?
我何曾留著像游絲樣的痕跡呢？
How do I leave a tiny hairspring mark?
我赤裸裸來到這世界，轉眼間也將赤裸裸的回去罷？
I came naked into this world, with the turn of an eye I will return naked?
但不能平 的，為什麼偏要白白走這一遭啊？
But this is unfair! Why must we go through this event in vain?
你聰明的，告訴我，我們的日子為什麼一去不復返呢？
You’re smart, tell me, why do our days go and not return?
March 28th, 1922
1922年3月28日
Sunday, January 6, 2013
Silly Rabbit
As I wait for the number of views on my blog to grow, I can’t help but think of a popular idiom “Waiting by a stump for a rabbit”. It means you can’t do nothing to wait for opportunity to suddenly appear. I’m learning that blogging isn’t just about posting your own views, but engaging in other fellow bloggers and commenting on their work as well.
On a side note I was watching Avenue Q last night in West Hollywood with my friends. There’s a puppet Princeton who wants to find his purpose in life with his BA in English. Penelope Trunk argues that the perfect career is like 守株待兔. Princeton should get career counseling from Penelope.
Anywho, enjoy this cute story from the Warring States period!
守株待兔
Waiting by a stump for a rabbit
韓非子
Han Feizi
宋人有耕田者
Of the Song people there was a farmer.
田中有株
In the middle of the there was a tree trunk.
兔走触株
The rabbit runs into the tree trunk.
折颈而死
It snaps its neck and dies.
因释其耒而守株
Thereupon he let go of his hoe and waited by the trunk,
冀复得兔
wishing to obtain another rabbit.
兔不可复得
Another rabbit does not come,
而身为宋国笑
and he himself is laughable of Song countrymen.
It sucks to be the farmer.
Notes on the text:
Often parables in Classical Chinese literature convinced the king to act in certain ways. In this case I think Han Feizi is warning the king of not acting out some military maneuver. More primary text on the issue would be helpful.
On a side note I was watching Avenue Q last night in West Hollywood with my friends. There’s a puppet Princeton who wants to find his purpose in life with his BA in English. Penelope Trunk argues that the perfect career is like 守株待兔. Princeton should get career counseling from Penelope.
Anywho, enjoy this cute story from the Warring States period!
守株待兔
Waiting by a stump for a rabbit
韓非子
Han Feizi
宋人有耕田者
Of the Song people there was a farmer.
田中有株
In the middle of the there was a tree trunk.
兔走触株
The rabbit runs into the tree trunk.
折颈而死
It snaps its neck and dies.
因释其耒而守株
Thereupon he let go of his hoe and waited by the trunk,
冀复得兔
wishing to obtain another rabbit.
兔不可复得
Another rabbit does not come,
而身为宋国笑
and he himself is laughable of Song countrymen.
It sucks to be the farmer.
Notes on the text:
Often parables in Classical Chinese literature convinced the king to act in certain ways. In this case I think Han Feizi is warning the king of not acting out some military maneuver. More primary text on the issue would be helpful.
Friday, January 4, 2013
Curling Up with a Lovely Cup of Tea
It's Friday night and my legs are sore from work. This is my moment to de-tox and unwind with a good cup of tea before going to bed. Don't worry, Chrysanthemum tea has no caffeine.
Here's a poem by Sushi (蘇軾 SUE-SHRRR, not raw fish) that captures the feeling:
(btw, this is "The Metal Bodhisattva", my favorite kind of tea)
汲江煎茶
蘇軾
活水還須活火煮，自臨釣石取深清
大瓢貯月歸春甕，小杓分江入夜瓶
雪乳已翻煎處腳，松風忽作瀉時聲
枯腸未易禁三碗，坐聽荒城長短更
Jian Tea from River Well Water
by Sushi
translated by me, Yoyo
Live water still needs a live flame to boil, I fetch clean deep water from the fishing stone.
A big dipper holds the moon returning to a spring vase, the little ladle parts the river entering a nocturnal pot.
Snow froths as tea leaves roll, pine wind whips as it flows.
My parched innards cannot easily take three forbidden cups, I sit and hear the lonely city's uneven night toll drum.
Here's a poem by Sushi (蘇軾 SUE-SHRRR, not raw fish) that captures the feeling:
(btw, this is "The Metal Bodhisattva", my favorite kind of tea)汲江煎茶
蘇軾
活水還須活火煮，自臨釣石取深清
大瓢貯月歸春甕，小杓分江入夜瓶
雪乳已翻煎處腳，松風忽作瀉時聲
枯腸未易禁三碗，坐聽荒城長短更
Jian Tea from River Well Water
by Sushi
translated by me, Yoyo
Live water still needs a live flame to boil, I fetch clean deep water from the fishing stone.
A big dipper holds the moon returning to a spring vase, the little ladle parts the river entering a nocturnal pot.
Snow froths as tea leaves roll, pine wind whips as it flows.
My parched innards cannot easily take three forbidden cups, I sit and hear the lonely city's uneven night toll drum.
Thursday, January 3, 2013
1Q84 Book Review
Spoiler Alert! Avert your eyes if you haven't read this book!
If this book had a soundtrack, besides the obvious Janacek Sinfonietta, it would totally be this spy-thrillerish song from Level E's theme song.
My feelings for Ushikawa is comparable to my feelings for the novel.
Poor Ushikawa, I wasn't sure how to feel about this oddly neutral character. I guess I felt a sense of loss for whem Ushikawa separated from his perfect family, yet his creepy life as a professional stalker prevented me from feeling sympathy. He died like a someone trying to kill a fish for dinner. He was Nobakov's gun and died for Tengo and Aomame to get together.
Aomame and Tengo's relationship was awkward. We only had the moment where Tengo and Aomame were holding hands for a moment at elementary school to imprint their romantic/sexual identity for the rest of their lives. Only the moment of orgasm for Tengo to telepathically impregnate Aomame through Fuka-Eri.
The story had to many holes and ignored the development of important characters. Did Professor Ebisuno find what he wanted? Where did Fuka-Eri wander off too? What about the guy fondling momma Tengo's boobs?
Murakami toyed with the standard conventions of storytelling to skew the reader's sense of logic. I was certain Aomame was going to shoot herself in the face when she tried to find the manhole cover in the 1Q84 world. Aomame's love for Tengo is the only fact the she knows exists in both 1Q and 1984. She puts the gun away and my sense of what Murakami was trying to do made sense.
Given that Aomame and Tengo lived in an irrational world in 1984, 1Q84 wasn't too big of a stretch. Murakami convinces the reader that Aomame's and Tengo's thoughts of loving each other makes sense to the reader. Their ability to be together is like the certainty of a single moon in the sky.
One may criticize Murakami for leaving so many unanswered questions to the reader, yet Murakami succeeds in trying convey the irrationality of knowing what true love is. You can't be too analytical in this novel or your reasoning will lead you nowhere. Remember this is a love story. It's only a paper moon.
If this book had a soundtrack, besides the obvious Janacek Sinfonietta, it would totally be this spy-thrillerish song from Level E's theme song.
My feelings for Ushikawa is comparable to my feelings for the novel.
Poor Ushikawa, I wasn't sure how to feel about this oddly neutral character. I guess I felt a sense of loss for whem Ushikawa separated from his perfect family, yet his creepy life as a professional stalker prevented me from feeling sympathy. He died like a someone trying to kill a fish for dinner. He was Nobakov's gun and died for Tengo and Aomame to get together.
Aomame and Tengo's relationship was awkward. We only had the moment where Tengo and Aomame were holding hands for a moment at elementary school to imprint their romantic/sexual identity for the rest of their lives. Only the moment of orgasm for Tengo to telepathically impregnate Aomame through Fuka-Eri.
The story had to many holes and ignored the development of important characters. Did Professor Ebisuno find what he wanted? Where did Fuka-Eri wander off too? What about the guy fondling momma Tengo's boobs?
Murakami toyed with the standard conventions of storytelling to skew the reader's sense of logic. I was certain Aomame was going to shoot herself in the face when she tried to find the manhole cover in the 1Q84 world. Aomame's love for Tengo is the only fact the she knows exists in both 1Q and 1984. She puts the gun away and my sense of what Murakami was trying to do made sense.
Given that Aomame and Tengo lived in an irrational world in 1984, 1Q84 wasn't too big of a stretch. Murakami convinces the reader that Aomame's and Tengo's thoughts of loving each other makes sense to the reader. Their ability to be together is like the certainty of a single moon in the sky.
One may criticize Murakami for leaving so many unanswered questions to the reader, yet Murakami succeeds in trying convey the irrationality of knowing what true love is. You can't be too analytical in this novel or your reasoning will lead you nowhere. Remember this is a love story. It's only a paper moon.
Wednesday, January 2, 2013
Sidetrack to Japan: Intro
I want to explain about my views of Japanese culture before I get into talking about my review of 1Q84.
China is like Japan's older brother. Not in a belittling sense, but more in terms of age in the written language. Although China technically used its character writing system before Japan utilized it for Kanji, I don't want to give the impression that Chinese is more "authentic" than Japanese. This youtube clip might have been how China and Japan first interacted with each other.
My impression of Japan prior to the industrial revolution was that it was constantly defining its national identity relative to China. But once the Perry Expedition exposed Japan to the modern world, the country chose to model its national identity relative to the rest of the world. Meanwhile China chose to cling more so onto its past before re-thinking its national identity when the Qing dynasty fell.
It may seem out of place to talk about Japan in a blog about Chinese literature, yet I believe comparing the two can provide an interesting vantage point when discussing China.
My "Sidetrack to Japan" series will attempt to complement the two country's literatures in order to show that beneath the stark differences, their identities can provide universal echoes of the human conscious.
Just throwing this out there, is there any Japanese "equivalent" to Lu Xun's Diary of a Madman?
China is like Japan's older brother. Not in a belittling sense, but more in terms of age in the written language. Although China technically used its character writing system before Japan utilized it for Kanji, I don't want to give the impression that Chinese is more "authentic" than Japanese. This youtube clip might have been how China and Japan first interacted with each other.
My impression of Japan prior to the industrial revolution was that it was constantly defining its national identity relative to China. But once the Perry Expedition exposed Japan to the modern world, the country chose to model its national identity relative to the rest of the world. Meanwhile China chose to cling more so onto its past before re-thinking its national identity when the Qing dynasty fell.
It may seem out of place to talk about Japan in a blog about Chinese literature, yet I believe comparing the two can provide an interesting vantage point when discussing China.
My "Sidetrack to Japan" series will attempt to complement the two country's literatures in order to show that beneath the stark differences, their identities can provide universal echoes of the human conscious.
Just throwing this out there, is there any Japanese "equivalent" to Lu Xun's Diary of a Madman?
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