《伊川擊壤集》Vol. 12

This set of poems from Volume 12 of The Yichuan Collection of Striking Earthen Songs reveals Shao Yong's (courtesy name Yaofu) contemplations on life, nature, and philosophical truths.

In Dreaming, he laments how life resembles a dream—while awake we ponder our dreams, unaware that the present moment is itself part of a greater dream. Noon employs the "Biting Through" hexagram from the Yijing (Book of Changes) to symbolize daily interactions, suggesting chance encounters need not be overanalyzed. Chant of Moonlight Upon the Wutong Tree depicts a tranquil courtyard where moonlight bathes the phoenix tree and breezes sway willow branches, yet no companion shares this serene beauty.

Moonlit Stroll portrays the emerald forest canopy under a bright moon—an ideal moment for carefree wandering when worldly affairs are calm. Occasional Verses observes how human difficulties often require anonymous sages to resolve, while the poet merely flicks his horsetail whisk (a Daoist ritual implement symbolizing detachment) in quiet retreat. Reply in Verse humbly claims his woodland musings hardly qualify as poetry, embodying the Daoist creative principle of Wuwei (non-action).

To Li Shenyan, Dragon Diagram Official of Caozhou applies dialectical thinking to judgments of right and wrong, marveling how today's self may differ from yesterday's. Clear Night Chant captures the transcendent purity of moonlit heavens and wind-kissed waters, subtly suggesting sublime states few comprehend. Yearning for Sages expresses reverence for the Dao of sages—though never meeting them face-to-face, their hearts can be known through words and deeds.

The Noble Man contrasts junzi (noble persons) with petty people: the former grasp fundamentals with magnanimity, while the latter vacillate yet demand perfection from others. Contentment advocates transcending worldly strife through knowing one's place. Reflections uses river voyages as metaphor, satirizing those who burn incense for safety while neglecting De (Virtue).

Stone Pavilion Ascent records tangled emotions when gazing afar from heights, whereas Recalling Youth reminisces about youthful calligraphy and wine, lamenting how forty-five years might have been wasted without worthy friends for intellectual exchange. These works blend Daoist naturalism with Confucian self-cultivation, their concise language belying profound vision.

These poems from The Collection of Striking the Earth at Yichuan convey profound philosophies of life through simple language. The first poem states that human kindness isn't determined by heaven and earth but arises from the heart, advising people not to abandon good deeds merely because results are slow—persistence in virtue will ultimately be rewarded.

The Chant of the Ineffable depicts the mysterious transformations of Yin-Yang during the primordial opening of heaven and earth, suggesting such wonders of creation defy verbal description. Poem for Lord Junshi, the Brilliant Mentor uses Kunlun's jade and the ocean's pearls as metaphors for precious things, noting that others' accounts may be unreliable while what one personally treasures holds true value.

The Chant of True Courage discusses the relationship between bravery and benevolence: genuine courage must surpass the ordinary, while practicing virtue should yield to none—not even one's teacher. Courage requires benevolence to temper it, just as benevolence needs courage to sustain it. Several poems in The Chant of Nothing Better address human relationships: the bond between father and son is closest, while relations with barbarians are most distant. Rulers and ministers interact through duty, fathers and sons through kindness—without these virtues, they become adversaries or strangers.

The Chant of Village Harmony portrays the peaceful unity of rural life in prosperous times, noting how Luoyang gathers the finest talents under heaven. The Chant of Longing for Friends expresses yearning for long-unseen companions—though physically near, they rarely meet. The Chant of Loyalty and Trust emphasizes these as foundational to human relations, not qualities to display only in hardship.

The final proxy poems each carry deeper meanings: one features an elder consoling himself by recalling ancestral verses; another compares treacherous mountain paths to the way of navigating life; one playfully claims that drinking wine while ill sparks poetic inspiration, jesting that this works better than seeking doctors; the last depicts leisurely life beneath Jinping Mountain, where passing officials often pause to admire the view. These works collectively reveal the author's keen insight into human affairs and his serene, untrammeled outlook on life.

Plain Interpretation of Yichuan Jirang Collection:

On Human Nature

Human sentiments across time are fundamentally connected—genuine emotion naturally fosters closeness. Like plums inherently tart, salt innately salty, tea naturally bitter, and shepherd's purse sweet aftertasted, these are the intrinsic qualities of things.

On Heaven's Will

Heaven (referring to natural law) operates silently and mysteriously, yet dwells not in distant realms but within every human heart. Through words and deeds we glimpse celestial intent; even silence speaks volumes—truths beyond ordinary comprehension.

Life Reflections

Though rarely blessed with all Five Fortunes (longevity, wealth, health, virtue, peaceful death), at least spared from Three Untimely Ends (youthful demise, calamitous death, childless extinction). In peaceful times, white-haired elders savor twilight years—this itself is profound happiness.

Mountain-Water Joy

Southwest stands a majestic peak, encircled by misty summits like Penglai paradise. Within: sweet springs, lush forests—pure land. When Tianjin waters calm in August, perfect for raft excursions. The poet's ode to nature's splendor.

Friendship Tested

Friend Wang Anzhi never scorned me (Yao-fu's self-reference), though others misunderstood. Through candid exchange, our bond remains—still sharing wine and conversation. True friendship withstands trials, like pines enduring winter.

Leisurely Living

Twelve years since setting texts aside, no more poring over books. Days pass by giant wine vessels, gazing skyward from small carts. Idly commanding mountain mists, quietly observing wind-flower-snow-moon. Every glance brings joy—such living rivals immortality.

Daily Scenes

Dusk strolls along riverbanks, bamboo staff in hand. Wandering with fragrant grasses, chasing wild clouds homeward. Watching moon climb pine boughs, feeling breeze stir duckweed. How few truly understand such woodland beauty?

Philosophical Musings

All things nourish humanity, yet humans give them meaning. Male-female union follows natural law; marital bonds reflect cultural rites. Beyond Heaven-human harmony lies mostly empty fame. Reflections shared with visiting brothers Ren Kaishu.

Excerpts from the "Yichuan Jirang Collection" Interpreted in Modern Vernacular:

After finishing a game of chess beneath the swaying bamboo shadows, I idly reminisce about my peaceful retreat. Those rarely seen acquaintances now arrive together on horseback. The favor I receive surpasses gold and jade; the honors bestowed outshine embroidered robes and coronets. Only because of my longstanding obsession with poetry have I gradually fallen under its spell.

The eighth lunar month's balmy weather resembles a vigorous youth. While clinging to life certainly has its reasons, the desire to reverse aging ultimately proves futile. Since mastering the arts of immortality that can make withered plants bloom again, how can one be sure this golden age truly rivals Emperor Yao's era?

Leisurely and carefree throughout the year, with flowers blooming across all seasons. Riding my carriage wherever whim takes me, every place feels like home.

Mid-autumn scenery is particularly fine, especially the perfectly round moon. What everyone loves remains hard to monopolize. Clear skies invite hosting guests; fine wine brings deeper contentment. These four joys—fine scenery, full moon, clear weather, and good wine—are indispensable; lacking any would diminish the pleasure.

Strolling with Physician Cheng and his son by Moon Slope, we chanted verses: "Fragrant grass cushions the smooth sandbank / Gentle breeze stirs wispy clouds / Willow branches droop low. Carefree words need not be remembered / Never has drinking been so unrestrained. Beautiful views invite aimless wandering / Good company makes indulgence feel natural. Though wishing to indulge in these delights / I fear such joy cannot last."

Autumn vista: The green of grass merges with cloud hues; mountain radiance meets water's glow. From this hundred-foot tower, two or three lines of wild geese traverse the sky.

Life of leisure: In spring, viewing Luoyang's blossoms; in autumn, admiring Tianjin Bridge's moon; in summer, bathing in Song Mountain's breeze; in winter, watching Longmen's snow.

Upon first seeing Chen Tuan's (style name Xiyi, renowned Northern Song Daoist) portrait and calligraphy: "Never met the man nor seen his hand / Only heard of Xiyi's fame without knowing his mind. Until encountering his brushwork and image / I realized such sages have always existed. His portrait warrants careful study / His ink treasures deserve preservation / Yet his luminous heart-mind defies description."

In reply to Sima Guang's (style name Junshi) invitation to visit Shou'an's Divine Forest: "Claiming this secluded woodland grove / Far from worldly fame and gain. Each season has its destined wandering / No need for letters to arrange our meetings."

Fragrance of apricot blossoms: "Guests discuss affairs of distant provinces / Making plans for times far ahead. Surprised at my silence / They don't know I'm drunk on apricot perfume."

Evening stroll on Tianjin Bridge: "Ornate carriages long absent / Twilight clouds idly shroud Beimang Hill. This ancient capital of millennia / Now feels profoundly vast and still."

The "Yichuan Jirang Collection" expresses profound life philosophies and worldly wisdom through concise poetic language. The first poem depicts the rise and fall of dynasties—sitting alone in a precarious pavilion observing historical transitions—revealing a transcendent perspective beyond worldly affairs.

Regarding the "Hymn of Joy" section, it describes how the sun and moon follow their natural courses, and heaven-earth cycles continue endlessly. The poet states that his enduring joy stems from aligning with these natural rhythms. "Self-Praise in Truth" employs pine and osmanthus as metaphors for integrity, while orioles and blossoms symbolize literary grace, presenting an attitude of leisurely contentment.

The "Ode to Extravagance" warns against excessive indulgence, reminding that extremes invite misfortune as things reverse upon reaching their limits. "The Song of Excess" laments how the world's normal state contains more harm than benefit, more chaos than order, more sorrow than joy—an unavoidable condition of human existence.

"Reflections on Awe and Affection" explores interpersonal conduct: when people maintain their original pure nature, they act appropriately; losing this nature leads to misapplied kindness or severity and confused judgments. It emphasizes the importance of balanced measure, a lesson both men and women should heed.

"Autumn Pavilion" captures contemplations while leaning on railings—unchanging mountains and rivers before one's eyes, the flow of years, and how even master painters could scarcely depict such serene detachment. "The Floating Life" compares human existence to morning dew; though knowing perfection may elude us, the poet still welcomes advancing years with contentment.

"Beyond One's Strength" observes how forced pursuits beyond one's capacity prove unsustainable. "Thanks to Scholar Fu Qin's Visit" notes that though heaven-earth is vast, it has limits; human affairs have followed similar patterns since antiquity, with achievements often depending on circumstance rather than force. It concludes with frost-resistant pine and osmanthus symbolizing steadfast character, expressing joy at long-awaited reunion.

“Song of Admiring the Snow” depicts a scene of drinking wine while watching the snow: flakes drift down one by one, and cup after cup of wine is drunk. In a state of mild inebriation, the serene beauty before one defies description, seeming like the undivided chaos that existed when Heaven and Earth first began.

“Reply to Fu Qinzhi” records a discussion with a friend about writing poetry. Fu Qinzhi thought one should either write very little poetry or none at all. I replied that there is no need to deliberately seek a particular quantity: as orchids and iris in a room naturally give off their fragrance, so a stone struck against metal is bound to ring out. One should grieve over poor poems without dwelling on them, and take joy in good poems without becoming carried away.

“Leisurely Stroll by the Moonlit Embankment” portrays the ease of walking alone. Following fragrant grasses into the distance, I linger rather than return because I delight in the clear, flowing water. I enjoy the quiet of walking alone, composing verse, and sitting in stillness as early autumn turns cool but has not yet grown cold.

“Ode to Confucius” expresses reverence for Confucius. Confucius was born in the state of Lu, more than a thousand years ago. Who today can truly understand his thought? In his own time, people likened him to Heaven. Rulers and ministers governed the Central Plains, while the ethical bonds between ruler and subject, father and son endured for generations. Though the Yellow River no longer yields a map of auspicious signs, how could my study of the deeper meaning of the classics be in vain?

Like a fine medicine, it dispels doubt; like clear tea, it banishes drowsiness. Moonlight makes the pines especially bright, while the distant mountains appear loftier across the water. If nothing urgent comes up tomorrow, we can meet again at Tianjin Bridge.

“Two Poems of Self-Reflection” express the author’s thoughts about himself.

The first poem says: I became a respected scholar only because I received guidance from a true master long ago. Knowing well that I am old, I wish only to keep an open heart, warm as spring. When I succeed, I am willing to serve the world; when I withdraw, I am content to be a carefree wanderer among the clouds. With a single clear light in my heart, I will answer neither Heaven above nor my own nature within.

The second poem compares the author to a dragon with its claws folded and an old crane with its wings tucked in. Unable to keep pace with a swift horse over a thousand miles, I am content, like a wren, to nest on a single branch. What I love most is roaming among mountains and streams with like-minded friends, climbing high to gaze into the distance. Having traveled through cloud-wreathed mountains and splendid landscapes, who else is as carefree as I am?

“Reply to Assistant Registrar Du Xiaoxi’s Gift” is a poem written in return. Good people are many throughout the world, while my own good deeds are insignificant. Though I aspire to seek the Dao, I have achieved little, and feel ashamed before your generous regard. In my leisure, I watch the still water and sit observing the clouds gather and disperse. Though old, I have lived to see a peaceful and prosperous age, when the court esteems civil governance.

Note: “Yichuan” refers to Cheng Yi, the Northern Song Confucian philosopher. “Striking the soil” refers to an ancient tossing game and here suggests a life of leisure. These poems reveal the author’s philosophical reflections and enjoyment of life in retirement, blending Confucian self-cultivation with Daoist detachment.