Apr 2013
It took him a week to master thought-diversion. He would leave home to walk to work and the moment the door was shut it was as though she followed him like a shadow on snow. If he wasn’t careful the ten-minute walk would be swallowed up in an imagined conversation. He had already allowed himself too many dark thoughts of tears and silences. He saw her befreckled by weeks in a light he had only read about. She would be a stranger for a while, a visitor from another world (until she gradually lost the glow on her skin and the smell of Africa became an elusive memory). He was frightened that he would be overwhelmed by her physical grace enriched by southern summer and the weight of her experience, having so little to offer in return. So he practised thought diversion: as her shadow entered his consciousness he would divert his attention to China of the Third Century and what he would write next about Zuo Fen and her illustrious brother.
Sister and brother Zou gradually took on a fictional life. This he fuelled by reading poetry of the period and his daily beachcombing along the shores of the Internet. He built up an impressive bibliography for his next visit to the university library. Even in the Han Dynasty there was so much material to study, though much of it the stuff of secondary sources.
One morning he took down from his library shelf Max Loehr’s The Great Painters of China and immediately became seduced by the court images of Ku Kai’chih. This painter is the only artist of this period of Chinese antiquity to be represented today by extant copies. There was also a possible original, a handscroll in The British Museum. It is said Ku was the first portrait artist to give a psychological interpretation of the person portrayed. Before him there seems in portraiture to have been little differentiation in the characterization of figures. His images hold a wonder all their own.
As David looked at the book’s illustrative plates, showing details from The Admonitions of the Instructress to the Palace Ladies, the world of Zuo Fen began to reveal itself. A ‘palace lady’ she certainly was, and so possibly similar to the image before him: a concubine reclines in her bamboo screen and silk-curtained bed; her Lord sits respectively at right-angles to her and half-way down her bed. The artist has captured his feet deftly lifting themselves out of square-toed slippers, whilst Zuo Fen drapes one arm over the painted bamboo screen, her manner resolute and confident. Perhaps she has taken note of those admonitions of her instructress. Her Lord has turned his head to gaze at her directly and to listen. Restless hands hide beneath his gown.
‘Honoured Lord, as we have talked lately of flowing water and the symmetry of love I am reminded of the god and goddess of Xiang River’.
‘In the Nine Songs of Qu Yaun?’
‘Yes, my Lord. The opening verse has the Prince of Xiang say: You have not come; I wait with apprehension / And wonder who makes you prevaricate on your island / When I am so splendidly and perfectly attired in your honour?
‘Hmm. . . so you favour this new gown.’
‘It is finely made, but perhaps does not suit the light of this hour’.
‘Let the Yangzi River flow calmly, / I look for you, but you have not come.’
‘I gaze at the distance in a trance, / Only to see the grey green waters run by.’
‘Honourable Companion, I fear you feel my mind lies elsewhere . ‘
‘I know you ride the cassia boat downstream.’
‘Indeed, my oar is of cassia and my rudder of orchid’.
‘I fancy that you build a house underwater, thatching it with a roof of lotus leaves . . .’
‘Well, if that is so, drop your sleeves into the Yangzi River and present the thin dress you wear to the bay of Li.’
‘I am in awe of my Lord’s recall of such verses . . . I love the Lady of Xiang’s description of the underwater house . . . with its curtains of fig leaves and screens of split basil.’
‘But will you send me all the spirits of Juiyi mountains to bring me to your side . . . will they come together as numerous as clouds?’
‘My Lord, my nose perspires . . .’
‘I offer my jade ring to the Yangzi River / and yield my jade pendant to the bay of Li. / I gather galingale fronds on an islet of fragrant grasses, / still hoping to present them to you. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
‘I gather the powerful roots of galingale / hoping to offer them to you who are still far away. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
‘Even though your nose perspires and your ******* harden . . .’
‘Kind Lord, you have taken the wrong role in the dialogue. Surely it is the Plain Girl who gives such advise to the Yellow Emperor.’
‘And I thought only men read the Sunujing . . .’
‘You forget I have a dear brother . . .’
‘With whom you have read the Sunujing! . . and no I have not forgotten . . . he sought permission to travel to the Tai mountains, some fool’s errand my minister states.’
‘He may surprise you on his return.’
‘Only you can surprise me now.’
‘My Lord, you know I lack such gifts . . . I hear your sandals dropping to the floor’.
‘I sail my boat ever closer to the wind / and the waves are
stirred like drifting snow.’
‘I can hear my beloved calling my name. / I shall hasten so that I can ride beside him.’
She seemed so child-like in that singular room of the garden annex. Her head had buried itself between the two pillows so only her ever-curling hair was visible. Opening a small portion of the curtains drawn across the blue metalled-framed French windows, he gazed at her sleeping in the dull light of just dawn. Outside a river-mist lay across the autumnal garden where they had walked yesterday before their tour of the estate. Unable to sleep he had sat in their hosts’ kitchen and mapped their guided walk in the rain, noting down his observations of this remote valley in a sprawling narrative. On the edge of moorland it was a world constrained and contained, with its brooding batchelor-owned farms and the silent legacy everywhere of a Victorian hagiographer and antiquarian. As he wrote and drew, snapshot-like images of her intervened unbidden. She both entranced and purposeful in a physical landscape she delighted in and knew how to read. Although longing to lie next to her he had sat gently for a moment on her bed, feeling the weight of her sleeping form move towards him as the mattress sagged, his bare feet cold on the stone floor. He placed his poem on the empty companion pillow, and returned through the chill of unheated rooms to the desert warmth of the Agared kitchen.
Lying in your arms
I am surprised to hear a voice
That seems in the right key
To sing what is in my heart.
After so many dark
inarticulate hours
I, desperate
To express this love
That drowns me,
Suddenly come up for breath
(after floundering in
the cold water of night)
to find there were words
like little boats of paper
carrying a tea light,
a vivid yellow flame
on the black depths,
floating gently towards you . . .
Oh log of memory
record these sailing messages
So carefully placed, rehearsed,
Launched and found complete.
Knowing I must not talk of love,
Knowing no other word
(feeling the shape of your knee
with my right hand),
knowing this time will not
come again, I summon
to myself one last intimacy
before the diary of reason closes.
Zou Fen often wrote about herself as a rustic illiterate, country-born in a thatched hut, but given (inexplicably) the purple chamber at the Palace. As the daughter of a significant officer of the Imperial Court she appears to have developed a fictional persona to induce and taste the extremes of melancholy. Otherwise she is mind-travelling the natural world from her courtyard garden, observing in the growth of a tiny plant or the flight of distant bird, the whole pattern of nature. These things fill her rhapsodies and fu poems.
As a young man Zuo Si had wild flights of fantasy. He imagined himself as a warrior. In verse he recalls reading Precepts on the Art of War by Ssu-ma Jang Chu. With a scholar’s knife he writes of quelling the barbarian hordes (the Tibetans) in their incursions along the Yang-tze. When triumphant he would not accept the Emperor’s gift of a title and estate, but would retire to a cottage in the country. Then again, as a student scholar, he describes failure, penury and isolation ‘left stranded like a fish in a pond, without – he hasn’t a single penny in his account: within – not a peck of grain in the larder.’ He was never thus.
Like all good writers sister and brother Zou were the keenest observers. They took into and upon themselves what they saw and gathered from the lives of others, and so often their playful painted characters hide the truth of their real lives. David looks at his dishevelled poetry and wonders about its veracity. He always thought of Rachel as his first (and only) reader; but what if she were not? What would he write? What would his poems say?
*I lie on my back in her bed.
On her stomach, her arm on my chest,
She props herself against me
so that I see her face in close up.
She gazes
out of the window
I don’t think I have slept at all,
My own bed was so cold.
She warms me for a while.
All night
I’ve been thinking
what to say to her,
and now I am too weary
to speak.
I am in despair,
Yet I ache with joy
At having her so close.
I wish I knew who I was,
What I could be,
What I might become.
A voice tells me
that such intimacy
will not come again.
Sister and brother Zou gradually took on a fictional life. This he fuelled by reading poetry of the period and his daily beachcombing along the shores of the Internet. He built up an impressive bibliography for his next visit to the university library. Even in the Han Dynasty there was so much material to study, though much of it the stuff of secondary sources.
One morning he took down from his library shelf Max Loehr’s The Great Painters of China and immediately became seduced by the court images of Ku Kai’chih. This painter is the only artist of this period of Chinese antiquity to be represented today by extant copies. There was also a possible original, a handscroll in The British Museum. It is said Ku was the first portrait artist to give a psychological interpretation of the person portrayed. Before him there seems in portraiture to have been little differentiation in the characterization of figures. His images hold a wonder all their own.
As David looked at the book’s illustrative plates, showing details from The Admonitions of the Instructress to the Palace Ladies, the world of Zuo Fen began to reveal itself. A ‘palace lady’ she certainly was, and so possibly similar to the image before him: a concubine reclines in her bamboo screen and silk-curtained bed; her Lord sits respectively at right-angles to her and half-way down her bed. The artist has captured his feet deftly lifting themselves out of square-toed slippers, whilst Zuo Fen drapes one arm over the painted bamboo screen, her manner resolute and confident. Perhaps she has taken note of those admonitions of her instructress. Her Lord has turned his head to gaze at her directly and to listen. Restless hands hide beneath his gown.
‘Honoured Lord, as we have talked lately of flowing water and the symmetry of love I am reminded of the god and goddess of Xiang River’.
‘In the Nine Songs of Qu Yaun?’
‘Yes, my Lord. The opening verse has the Prince of Xiang say: You have not come; I wait with apprehension / And wonder who makes you prevaricate on your island / When I am so splendidly and perfectly attired in your honour?
‘Hmm. . . so you favour this new gown.’
‘It is finely made, but perhaps does not suit the light of this hour’.
‘Let the Yangzi River flow calmly, / I look for you, but you have not come.’
‘I gaze at the distance in a trance, / Only to see the grey green waters run by.’
‘Honourable Companion, I fear you feel my mind lies elsewhere . ‘
‘I know you ride the cassia boat downstream.’
‘Indeed, my oar is of cassia and my rudder of orchid’.
‘I fancy that you build a house underwater, thatching it with a roof of lotus leaves . . .’
‘Well, if that is so, drop your sleeves into the Yangzi River and present the thin dress you wear to the bay of Li.’
‘I am in awe of my Lord’s recall of such verses . . . I love the Lady of Xiang’s description of the underwater house . . . with its curtains of fig leaves and screens of split basil.’
‘But will you send me all the spirits of Juiyi mountains to bring me to your side . . . will they come together as numerous as clouds?’
‘My Lord, my nose perspires . . .’
‘I offer my jade ring to the Yangzi River / and yield my jade pendant to the bay of Li. / I gather galingale fronds on an islet of fragrant grasses, / still hoping to present them to you. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
‘I gather the powerful roots of galingale / hoping to offer them to you who are still far away. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
‘Even though your nose perspires and your ******* harden . . .’
‘Kind Lord, you have taken the wrong role in the dialogue. Surely it is the Plain Girl who gives such advise to the Yellow Emperor.’
‘And I thought only men read the Sunujing . . .’
‘You forget I have a dear brother . . .’
‘With whom you have read the Sunujing! . . and no I have not forgotten . . . he sought permission to travel to the Tai mountains, some fool’s errand my minister states.’
‘He may surprise you on his return.’
‘Only you can surprise me now.’
‘My Lord, you know I lack such gifts . . . I hear your sandals dropping to the floor’.
‘I sail my boat ever closer to the wind / and the waves are
stirred like drifting snow.’
‘I can hear my beloved calling my name. / I shall hasten so that I can ride beside him.’
She seemed so child-like in that singular room of the garden annex. Her head had buried itself between the two pillows so only her ever-curling hair was visible. Opening a small portion of the curtains drawn across the blue metalled-framed French windows, he gazed at her sleeping in the dull light of just dawn. Outside a river-mist lay across the autumnal garden where they had walked yesterday before their tour of the estate. Unable to sleep he had sat in their hosts’ kitchen and mapped their guided walk in the rain, noting down his observations of this remote valley in a sprawling narrative. On the edge of moorland it was a world constrained and contained, with its brooding batchelor-owned farms and the silent legacy everywhere of a Victorian hagiographer and antiquarian. As he wrote and drew, snapshot-like images of her intervened unbidden. She both entranced and purposeful in a physical landscape she delighted in and knew how to read. Although longing to lie next to her he had sat gently for a moment on her bed, feeling the weight of her sleeping form move towards him as the mattress sagged, his bare feet cold on the stone floor. He placed his poem on the empty companion pillow, and returned through the chill of unheated rooms to the desert warmth of the Agared kitchen.
Lying in your arms
I am surprised to hear a voice
That seems in the right key
To sing what is in my heart.
After so many dark
inarticulate hours
I, desperate
To express this love
That drowns me,
Suddenly come up for breath
(after floundering in
the cold water of night)
to find there were words
like little boats of paper
carrying a tea light,
a vivid yellow flame
on the black depths,
floating gently towards you . . .
Oh log of memory
record these sailing messages
So carefully placed, rehearsed,
Launched and found complete.
Knowing I must not talk of love,
Knowing no other word
(feeling the shape of your knee
with my right hand),
knowing this time will not
come again, I summon
to myself one last intimacy
before the diary of reason closes.
Zou Fen often wrote about herself as a rustic illiterate, country-born in a thatched hut, but given (inexplicably) the purple chamber at the Palace. As the daughter of a significant officer of the Imperial Court she appears to have developed a fictional persona to induce and taste the extremes of melancholy. Otherwise she is mind-travelling the natural world from her courtyard garden, observing in the growth of a tiny plant or the flight of distant bird, the whole pattern of nature. These things fill her rhapsodies and fu poems.
As a young man Zuo Si had wild flights of fantasy. He imagined himself as a warrior. In verse he recalls reading Precepts on the Art of War by Ssu-ma Jang Chu. With a scholar’s knife he writes of quelling the barbarian hordes (the Tibetans) in their incursions along the Yang-tze. When triumphant he would not accept the Emperor’s gift of a title and estate, but would retire to a cottage in the country. Then again, as a student scholar, he describes failure, penury and isolation ‘left stranded like a fish in a pond, without – he hasn’t a single penny in his account: within – not a peck of grain in the larder.’ He was never thus.
Like all good writers sister and brother Zou were the keenest observers. They took into and upon themselves what they saw and gathered from the lives of others, and so often their playful painted characters hide the truth of their real lives. David looks at his dishevelled poetry and wonders about its veracity. He always thought of Rachel as his first (and only) reader; but what if she were not? What would he write? What would his poems say?
*I lie on my back in her bed.
On her stomach, her arm on my chest,
She props herself against me
so that I see her face in close up.
She gazes
out of the window
I don’t think I have slept at all,
My own bed was so cold.
She warms me for a while.
All night
I’ve been thinking
what to say to her,
and now I am too weary
to speak.
I am in despair,
Yet I ache with joy
At having her so close.
I wish I knew who I was,
What I could be,
What I might become.
A voice tells me
that such intimacy
will not come again.
