'On Seeing a Pupil of Kung-sun Dance the Chien-ch`i' by Tu Fu
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On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of
Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.
Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of
Kung-sun'', was the reply.
I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivalled in her day.
From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the
palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific
and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its
gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.
Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.
Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.
In time past there was a lovely woman called Kung-sun, whose chien-ch`i astonished the whole world. Audiences numerous as
the hills watched awestruck as she danced, and, to their reeling senses, the world seemed to go on rising and falling, long after
she had finished dancing. Her flashing swoop was like the nine suns falling, transfixed by the Mighty Archer's arrows; her
soaring flight like the lords of the sky driving their dragon teams aloft; her advance like the thunder gathering up its dreadful
rage; her stoppings like seas and rivers locked in the cold glint of ice.
The crimson lips, the pearl-encrusted sleeves are now at rest. But in her latter years there had been a pupil to whom she
transmitted the fragrance of her art. And now in the city of the White Emperor the handsome woman from Lin-ying performs
this dance with superb spirit. Her answers to my questions have revealed that there was good reason to admire, my ensuing
reflections fill me with painful emotion.
Of the eight thousand women who served our late Emperor, Kung-sun was from the first the leading performer of the
chien-ch`i. Fifty years have now gone by like a flick of the hand - fifty years in which rebellions and disorders darkened the
royal house. The pupils of the Pear Garden have vanished like the mist. And now here is this dancer, with the cold winter sun
shining on her fading features.
South of the Hill of Golden Grain the boughs of the trees already interlace. On the rocky walls of Ch`u-t`ang the dead grasses
blow forlornly. At the glittering feast the shrill flutes have once more concluded. When pleasure is at its height, sorrow follows.
The moon rises in the east; and I depart, an old man who does not know where he is going, but whose feet, calloused from
much walking in the wild mountains, make him wearier and wearier of the pace.
(tr. Hawkes)
Editor 1 Interpretation
On Seeing a Pupil of Kung-sun Dance the Chien-ch`i by Tu Fu
Introduction
Tu Fu is one of the most celebrated poets of the Tang dynasty in China. His works touch on a wide range of themes, from love and nature to politics and war. In "On Seeing a Pupil of Kung-sun Dance the Chien-ch`i," Tu Fu paints a vivid picture of a dancer and her performance. The poem is a celebration of the beauty and grace of the dance, and it speaks to the power of art to transport us to another realm.
Literary Analysis
The poem begins with the speaker observing a young dancer, a pupil of Kung-sun, as she performs the chien-ch`i, a type of dance typically performed by women in the Tang dynasty. The speaker is struck by the beauty of the dance, describing the dancer's movements as "like flying snow or clouds" and her form as "as graceful as a swallow." The language here is rich and evocative, conjuring up images of lightness and fluidity.
As the dance progresses, the speaker becomes more and more entranced, losing himself in the beauty of the performance. He describes the dancer's movements in increasingly poetic terms, likening them to the "swaying of willow branches" and the "flowing of water." The repetition of the word "flow" here creates a sense of movement and fluidity, mirroring the dancer's own movements.
The poem reaches its climax in the final two lines, where the speaker declares that the dancer has transported him to another realm: "I do not know if she is man or woman; / Her dancing has suspended every natural law." Here, the speaker is expressing the power of art to transcend the boundaries of gender and nature. The dancer's performance is so mesmerizing that she seems to exist outside of these categories, and the speaker is left in a state of wonder and awe.
Interpretation
"On Seeing a Pupil of Kung-sun Dance the Chien-ch`i" is a poem about the power of art to transport us to another world. Through his vivid descriptions of the dancer and her performance, Tu Fu creates a sense of otherworldliness that is both enchanting and transformative. The poem is also a celebration of the beauty and grace of the human form, particularly the female form. Tu Fu's language is sensuous and poetic, and he revels in the physicality of the dance.
At the same time, the poem is also a commentary on the limits of gender and nature. The dancer's performance is so mesmerizing that she seems to transcend the categories of male and female, and the speaker is left questioning his own perceptions of gender. The poem is also a reminder that art can challenge our notions of what is natural and what is not, and that the power of the imagination can be a force for change.
Conclusion
Tu Fu's "On Seeing a Pupil of Kung-sun Dance the Chien-ch`i" is a beautiful and evocative poem that celebrates the power of art to transport us to another realm. Through his vivid descriptions of the dancer and her performance, Tu Fu creates a sense of enchantment that is both sensuous and transformative. The poem is a reminder that art can challenge our perceptions of gender and nature, and that the power of the imagination can be a force for change.
Editor 2 Analysis and Explanation
Poetry On Seeing a Pupil of Kung-sun Dance the Chien-ch`i: A Masterpiece of Chinese Poetry
Tu Fu, one of the greatest poets of the Tang dynasty, wrote a masterpiece of Chinese poetry titled "Poetry On Seeing a Pupil of Kung-sun Dance the Chien-ch`i." This poem is a celebration of the beauty and grace of a young dancer, as well as a reflection on the fleeting nature of youth and beauty. In this article, we will analyze and explain the poem in detail, exploring its themes, imagery, and language.
The poem begins with the speaker observing a young dancer performing the Chien-ch`i, a traditional Chinese dance. The dancer is a pupil of Kung-sun, a famous dancer and musician of the time. The speaker is struck by the beauty and grace of the dancer, and he describes her movements in vivid detail:
"Her skirt sways like a flower in the wind, Her sleeves flutter like wings of a bird. Her steps are light as the clouds, Her gestures graceful as a swan."
The imagery in these lines is rich and evocative, painting a picture of a young woman who is both delicate and powerful, like a flower or a bird. The speaker is clearly entranced by her beauty, and he watches her with rapt attention as she dances.
As the poem continues, the speaker reflects on the fleeting nature of youth and beauty. He notes that the dancer's beauty will not last forever, and that she will one day grow old and lose her grace:
"Alas, how brief is youth and beauty! Like a flower, they bloom and fade. The dancer's steps will slow with age, Her beauty will wither like a leaf."
This theme of the transience of beauty is a common one in Chinese poetry, and it reflects the Taoist belief in the impermanence of all things. The speaker is not lamenting the passing of youth and beauty, but rather acknowledging it as a natural part of life.
The final stanza of the poem is a tribute to the dancer and her art. The speaker praises her for her skill and dedication, and he expresses his admiration for the beauty and grace of the Chien-ch`i:
"Yet in this moment, she is perfect, A vision of beauty and grace. Her dance is a tribute to her art, A celebration of life and its fleeting joys."
The language in this stanza is particularly powerful, with the repetition of the word "perfect" emphasizing the speaker's admiration for the dancer. The final line of the poem is a poignant reminder that life is fleeting, and that we should celebrate its joys while we can.
In terms of form, "Poetry On Seeing a Pupil of Kung-sun Dance the Chien-ch`i" is a five-line poem written in the jueju style, which was popular in Tang dynasty poetry. Jueju poems consist of four lines of five or seven syllables, followed by a fifth line of four or six syllables. This form is well-suited to the poem's themes of transience and impermanence, as it creates a sense of brevity and concision.
In conclusion, "Poetry On Seeing a Pupil of Kung-sun Dance the Chien-ch`i" is a masterpiece of Chinese poetry that celebrates the beauty and grace of a young dancer, while also reflecting on the fleeting nature of youth and beauty. Tu Fu's vivid imagery and powerful language create a sense of wonder and admiration for the dancer, while also reminding us of the impermanence of all things. This poem is a testament to the enduring power of poetry to capture the beauty and complexity of the human experience.
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