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ather enticing (if, according to some readings, morally questionable) entertainment in a commander's<br />

tent during the height <strong>of</strong> battle, details remain scarce and the description is overall quite brief. For the<br />

most part, the dwellings within army camps were dreary places in which<br />

93<br />

月 冷 边 帐 湿<br />

207<br />

the moon is cold, and the frontier tent is damp<br />

a place in which even the writing devices needed for drafting commands or composing reports are<br />

frozen solid. 208 This view seems to be the predominate impression, that is unless Cen Shen's occasional<br />

deviant breaks from the norm, his visions <strong>of</strong> a congenial 209 and intercultural army barracks inclusive <strong>of</strong><br />

the immediate cultural landscape, is visited.<br />

A good place to commence this examination is to drop by “Song: General Gai 210 <strong>of</strong> Yumen<br />

Pass” 211 (“Yumenguan jiangjunge” 玉 门 关 将 军 歌 ) where an especially raucous gathering held “for a<br />

field commander...not engaged on the battlefield... [was attended by] Cen Shen “on his way back to<br />

court in 756” 212 . The poem begins with a description <strong>of</strong> the guest <strong>of</strong> honour, General Gai, where his<br />

207<br />

Line five from Zhang Ji's 张 籍 (767-830) “Beyond the Frontier” (“Chusai” 出 塞 ). See YFSJ 22.325.<br />

208<br />

Such as the interior chill <strong>of</strong> Cen Shen's “The Ballad <strong>of</strong> Running Horse River: Presented When Sending Off General Feng<br />

Heading Out With His Troops on a Western Campaign” (Zoumachuanxing song chushixizheng” 走 马 川 行 送 出 师 西 征 ):<br />

“In the camp, the inkstone's water for writing documents denouncing the enemy has frozen” 幕 中 草 檄 砚 水 凝 . See<br />

CSJJZ, p. 148.<br />

209<br />

Although not including references to the local culture or peoples, the poet-narrator <strong>of</strong> “Presented to General Feng:<br />

Dispatched to Jiaohe County. The county is at the foot <strong>of</strong> Fire Mountain, a place <strong>of</strong> intense heat without rain or snow”<br />

[“Shijiaohequn...” 使 交 河 郡 郡 在 火 山 脚 其 地 苦 热 无 雨 雪 献 封 大 夫 ] appears to inhabit an army complex that when<br />

unoccupied by military matters becomes a rather rowdy place: “In the army camp, days <strong>of</strong> nothing needing to be<br />

done/Drunk and dancing, pouring wine into gold designed goblets” 军 中 日 无 事 , 醉 舞 倾 金 罍 . See CSJJZ, p. 152. Cen<br />

Shen's “At Wuwei Sending Off Administrative Assistant Liu Dan On His Way to the Encampment at Anxi (also to be<br />

shown to Commander Gao) ( 武 威 送 刘 单 判 官 赴 安 西 行 营 便 呈 高 开 府 ) also contains a similar scene <strong>of</strong> demilitarized<br />

army life: “Setting out wine in the tall guest quarters at sunset/The moon over the frontier town is a deep blue/In the<br />

army camp they slaughter plump cows/In the hall they array fine goblets/The red tears are candles dripping in their<br />

holders/The mellow, moving songs are sung by girls in dazzling fresh make-up” 置 酒 高 馆 夕 , 边 城 月 苍 苍 . 军 中 宰 肥 牛 ,<br />

堂 上 罗 羽 觞 . 红 泪 金 烛 盘 , 娇 歌 艳 新 妆 (CSJJZ, p. 91) as do these two lines from “Song <strong>of</strong> White Snow: Sending Off<br />

Administrative Officer Wu on His Return to the Capital ( 白 雪 歌 送 武 判 官 归 京 ): “At the army camp wine is laid out and<br />

drunk to the returning guest/ Hu songs are strum on pipas along with Qiang flutes” 中 军 置 酒 饮 归 客 , 胡 琴 琵 琶 与 羌 笛 .<br />

See CSJJZ, p. 162.<br />

210<br />

The military commander referenced in the title was most likely general Gai Tinglun 盖 庭 伦 , Commander <strong>of</strong> Hexi (Hexi<br />

bingmashi 河 西 兵 马 使 ). The CSJJZ bases this admittedly uncertain hypothesis on Wen Yiduo's 闻 一 多 Cen Jiazhou<br />

xinian kaozheng 岑 嘉 州 系 年 考 证 . See CSJJZ, p. 166.<br />

211<br />

Yumen Pass (Yumen guan 玉 门 关 , lit. “Jade Pass”) is near today's Shuangtabao, Anxi county 安 西 县 双 塔 堡 , Gansu<br />

province. The pass was a major thoroughfare to the western regions in the Han and Tang periods. See CSJJZ, p. 87.<br />

212<br />

Marie Chan, Cen Shen, p. 104.

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