The Power of an Alleged Tradition - CHINA Buchservice

two others. 142 The text then continues by enthusiastically praising the virtue of the
present dynasty which he compares with the sparkling and bubbling water of a clear
fountain, by glorifying the enormous infl uence of the Han throughout the world,
comprising all the living beings, including the animals. After that, numerous auspicious
signs are said to have already appeared: among them white tigers, extraordinary
deer, a special sort of grain with six heads on one stalk, an animal with two
horns that grow from the same root – obviously a unicorn. The emperor, however,
in spite of all these portents would still not dare to proceed and perform the sacrifi
ces, as if he was not confi dent of his own virtue. In this context, Sima Xiangru also
alludes to the auspicous fi sh which had leaped into the boat of king Wu of Zhou and
which he took and used for a sacrifi ce – obviously a hint of the colors correlated with
the cycle of dynasties. 143
After this, an imaginary dialogue between the emperor and a dasima� ���
(Commander-In-Chief) 144 begins. His words are rendered partly in verse, partly in
prose. He again praises the glory of the Han and tries to persuade the emperor to
proceed to perform the Feng and Shan sacrifi ces. He even goes so far as to threaten
the emperor that if he does not immediately undertake steps to put the preparation
for the sacrifi ces into practice he would insult the dynasty and its accumulated glory.
Upon hearing this, Sima Xiangru writes, the emperor changed color and promised
to try it, i.e. to proceed to perform the Feng and Shan sacrifi ces. 145 As Sima Xiangru
fi nishes his description, the emperor discussed the matter with his ministers and
ordered that ceremonial hymns should be composed as a means to make known the
good fortune which the auspicious omens presage.
Following the dialogue, the texts of altogether six hymns (song��) are given in
full, thoroughly composed in a consistent four-character meter. In these hymns, as in
the preceding prose text, the glory of the Han dynasty and of the emperor is praised
in a way that conveys the picture of an ideal universal or even cosmic monarch who
brings Heaven and Earth into complete harmony and who is capable of commanding
the forces of nature. A multitude of portents signaling that he is the ruler by
heavenly mandate are mentioned, e.g. the auspicious plant with six heads on one
stalk 146 which had already been mentioned in the prose text; an exotic animal with
black patches or spots on a white skin 147 probably the legendary zouyu��� – and
a lin�� (unicorn) which gamboled in the imperial park during the tenth month. 148
And once again the emperor is asked why he still hesitates to proceed to the sacred
142 The view that only king Cheng of Zhou would have had come close to the ideal of a ruler who was fully authorized
to perform the sacred sacrifi ces, is expressed in the “Treatise on the Feng and Shan Sacrifi ces” in the Shiji��
too: ������������������� Cf. Shiji 28/1384.
143 Shiji 117/3065. According to Shiji 4/120, it was a white fi sh (symbolizing the color of the dynasty Shang).
According to a note by Ma Rong, the leaping of the fi sh into the boat of king Wu of Zhou was a metaphor for
the capitulation of the soldiers of the Shang dynasty. The story continues with the mention of a fi re (symbolizing
the triumphing Zhou, as Red/ Fire succeeds to White/ Metal) that rose up to the king’s house and then turned
into a red crow.
144 Cf. Hucker, Dictionary of Offi cial Titles, no. 6039.
145 Shiji 117/3070.
146 ����. Hymn 1 (Shiji 117/3070).
147 �������������������� Hymn 3 (Shiji 117/3071.)
148 �������������������� Hymn 4 (Shiji ibid.).
274
DOROTHEE SCHAAB-HANKE
BMFEA 74 · 2002