Series of Fine Readings on Chinese Classical Poetry: Bai Juyi (Traditional Characters)

Author: Chen Caizhi / Country:
Publisher:
Publishing Date: 2005-10-01
Features: Among the ancient poets of Shanxi, Bai Juyi is the most famous. He was another great poet of the Tang Dynasty following Li Bai and Du Fu, and is known as one of the "Three Great Poets of the Tang Dynasty" (Li, Du, and Bai). Bai Juyi was from Taiyuan and came from a scholarly family. His great-grandfather, grandfather, and father were all officials. His father was a Chaozhou Vice Prefect and a Lesser Minister of Dali, and was posthumously honored as the Right Vice Minister of the Ministry of Justice. Because both his grandfather and father served as officials in Henan, the family resided there. Bai Juyi was born on the 20th day of the first month in the seventh year of the Dali era of the Tang Emperor Daizong (772 AD) in the eastern Guo mansion of Xinzheng County, Henan. He died in Luoyang in the eighth month of the sixth year of the Huizong era (846 AD) at the age of 75. When Bai Juyi was born, Li Bai had already passed away 10 years earlier, and Du Fu had passed away 2 years prior. The era needed great poets, and Bai Juyi arrived at the right time. Born into a scholarly family and exceptionally intelligent from a young age, he began writing poetry at the age of five and could distinguish tones and rhymes by the age of nine. Coupled with the strong stimulation and encouragement from his family and society, he studied diligently during his youth. Later, reflecting on his studies at that time, he said, "I studied essays by day and books by night, and also studied poetry in between, never finding time to rest. I even developed sores in my mouth and calluses on my elbows from studying." During his youth, he also experienced the hardships of exile and displacement, gaining insights into all aspects of society. These factors contributed to the creation of this outstanding poet.
Soon after Bai Juyi's birth, war broke out in Henan. Li Zhengji, the governor of Puzhen, controlled over ten prefectures in Henan. Seeing the situation worsening, Bai Jigeng, who had been promoted from the County Magistrate of Pengcheng to the Vice Prefect of Xuzhou, sent his son Bai Juyi to the south to escape the chaos. At a young age, he left home to seek refuge, and his subsequent travels north and south exposed him to great hardships. As a result, at the age of 15, he wrote a quatrain that recorded the truth of the time:
"Gazing at my homeland in vain, what can I do? lies thousands of miles away. Today, I write to my brothers and sisters, and a few lines of tears flow from my heart in a letter."
Later, another seven-character poem he wrote to his brothers and sisters and younger sister was also highly praised throughout history:
"After the turmoil of war, my homeland is desolate; my family is scattered on the road. Together we gaze at the moon and shed tears, and in one night, our homesickness is shared by five."
From these poems, we can see the living conditions and emotional state of Bai Juyi at that time. The dispersion of his family members also reflected the social unrest and the suffering of the people.
Bai Juyi's youth was spent in such an environment. At the age of 16, he had already written many poems that would be passed down through the ages, the most famous of which is the five-character regulated verse "Farewell at the Ancient Plain Grass." It is said that when Bai Juyi first arrived in Chang'an to pay respects to the older poet Gu Kuang, Gu Kuang, hearing his name "Juyi," jokingly said, "The rice in Chang'an is expensive; it may be hard to live here." However, when he read the line "Wildfire cannot burn it completely; the wind of spring blows it back to life," he greatly admired it, saying, "With such talent, living in Chang'an will not be difficult." This poem indeed shows Bai Juyi's extraordinary talent. After arriving in Chang'an and being recommended by Gu Kuang, Bai Juyi sometimes lived in Chang'an and sometimes traveled to other places, including Xuzhou, Xiangzhou, and Hangzhou, where he made friends with some poets and truly began his poetic career. At the age of 27, he passed the county-level examination, and the following year, he was recommended by Cui Yan, the prefect of Xu Zhou, to take the imperial examination in Chang'an. In the 16th year of the Zhenyuan era (800 AD), at the age of 29, he passed the imperial examination as the fourth-ranked candidate. At the age of 31, he passed the examination for selecting outstanding scholars in writing and judgment, alongside Yuan Zhen, and from then on, they became close friends. In the spring of his 32nd year, Bai Juyi was appointed as a junior compiler, marking his entry into official life. At the age of 33, he moved his family from Luoyang to Qin, settling near the Wei River, about 100 miles from Chang'an. By the age of 35, he was dismissed from his position as a junior compiler and later appointed as the county magistrate of Zhouzhi. The following year, he was transferred to serve as an examiner for the imperial examination and became a research scholar at the Jixian Academy. That winter, he was appointed as a Hanlin scholar. Around the time of his appointment, he married Yang Yuqing's younger sister. In the third year of the Yuanhe era (808 AD), he was appointed as a Left Supplementer. At that time, Li Jifu, the prime minister, was displeased with those who criticized the government, such as Niu Shenru, either dismissing or demoting them. As a newly appointed supplementer, Bai Juyi submitted a memorial titled "On the Selection of Candidates for the Imperial Examination," strongly advocating against arbitrary demotions, which displeased Li Jifu and his son Li Deyu, unfortunately placing him in the of political struggles. In the following decades of the Niu-Li faction struggle, Bai Juyi was consistently excluded by Li Deyu, which determined the difficulties of his official career. During his tenure as a supplementer, he fulfilled his duties diligently, frequently speaking out on current affairs, which inevitably displeased the emperor or powerful officials. In the fourth month of the sixth year of the Yuanhe era (811 AD), due to the death of his mother, Bai Juyi took leave to mourn in the Wei Village, and his beloved daughter, Jinluanzi, also passed away that year. During his three years in Wei Village, he lived in poverty and illness, and his friend Yuan Zhen often shared his allowance to help him. In the winter of the ninth year of the Yuanhe era (814 AD), he was appointed as the Left Vice Minister of the Crown Prince, but later, after submitting a memorial urging the swift arrest of Wu Yuanheng, he was disliked by the prime minister and demoted to a prefectural magistrate. He was then slandered by Wang Ya, a vice minister of the Chongzhushu, and re-demoted to the position of a magistrate in Jiangzhou. This series of demotions was a severe blow and lesson to Bai Juyi, causing significant changes in his thoughts. To avoid trouble, he "no longer spoke bluntly" and "refrained from speaking of worldly affairs." In Jiangzhou, he called himself an "outsider in the world" and devoted himself to traveling through mountains and rivers and writing poetry, admiring Tao Yuanming and aspiring to be a hermit poet. He also turned to Buddhism, hoping to find liberation. In summary, being demoted as a magistrate in Jiangzhou was a major turning point in Bai Juyi's life.
During his four years in Jiangzhou, he was later transferred to Zhongzhou and recalled to the capital in the 15th year of the Yuanhe era. After Emperor Xianzong's death and Emperor Muzong's ascension, he was appointed as a vice minister of the Chongzhushu and later as the Minister of Guest Relations, overseeing the drafting of imperial edicts, and was promoted to a rank of court official. His spirits were rejuvenated, as expressed in his poem: "A fish in water revives its scales; a crane in a carriage grows more spirited." However, due to the intense factional struggles at the time, he was unable to achieve much and instead "wore constant anxiety," lamenting, "At the top, there are nets and arrows to worry about; at the bottom, there are traps to fear." He soon felt disappointed and feared further slander from powerful officials, so he requested an overseas posting and became the prefect of Hangzhou in the second year of the Changqing era (822 AD), avoiding the brutal factional struggles in the court. From then on, his thoughts became even more despondent, as expressed in his poem: "Who knew that fame and profit were all, no longer did I have a heart for Chang'an. I dare not refuse a distant post, but rather seek a peaceful life." He took refuge in the pleasures of music, wine, and poetry to relieve his life's troubles. He enjoyed the company of courtesans and wine excessively until his later years. The practice of keeping courtesans was common in the Eastern Jin Dynasty and even more so in the Tang Dynasty, and it was particularly prominent in Bai Juyi's life. From his poems, we know the names of over a dozen courtesans. Regarding his love of wine, he himself said, "My only home is drunkenness," and he often drank until he was drunk all day. Song Dynasty scholars counted his poems and found that of his 2,800 poems, 900 were about drinking. He did this to escape reality and numb himself. He further sought spiritual support from Buddhism, seeking liberation and comforting himself with the and detached philosophy of Buddhism. The "Biographies of Famous Monks of the Great Song Dynasty" records Bai Juyi paying respects to famous monks, inquiring about Buddhist doctrines, and discussing Buddhist truths with them, mostly after he became the prefect of Hangzhou. He then began to observe vegetarian diets and meditate, and he continued to practice Buddhism thereafter, often observing the three-month fast in the first, fifth, and ninth months of the year, meditating at home. Thus, Bai Juyi became a representative of ancient scholars who revered Buddhism and maintained a positive outlook. Many praised him throughout history. In reality, his reverence for Buddhism was not sincere but rather a means to relieve his troubles and seek liberation, a resistance to society, a retreat, and an unavoidable choice in the social environment of the time. His difficult official career and sense of disappointment led him to seek refuge in Buddhism to find solace. In his later years, he wrote "The Biography of the Drunken Scholar," where he wrote about himself: "I love wine, music, and poetry. I often associate with those who share these passions, and beyond that, I take refuge in Buddhism." This shows that he turned to wine and music before Buddhism. He even doubted whether Buddhism was real. At the same time, he practiced alchemy and sought immortality. In a strict sense, Bai Juyi was not a true Buddhist. Additionally, his reverence for Buddhism stemmed from the desire for health. This is why he sometimes observed vegetarian diets and meditated while still thinking about courtesans and wine in his heart.
Although he practiced Buddhism in a, kept courtesans, and indulged in wine, his achievements as the prefect of Hangzhou were remarkable. He cared deeply about the people's suffering and was particularly praised for building the Bai Causeway to store water and irrigate farmland. People named the embankment he built "Bai Causeway" in his honor. He also dredged six wells in the city to provide drinking water for the citizens. In the fifth month of the fourth year of the Changqing era (824 AD), his term as the prefect of Hangzhou ended. He was appointed as the Vice Minister of the Crown Prince and assigned to the eastern capital. He settled in the Lüdao District of Luoyang. After serving as an official for over 20 years, he could not afford to buy a house and had to settle for two horses instead, showing his integrity as an official. The following year, he was appointed as the prefect of Suzhou, but he served there for only more than a year before being dismissed due to illness. Liu Yuxi, who had been dismissed as the prefect of Hezhou, returned to Luoyang with Bai Juyi. After a year, Bai Juyi was transferred to the Vice Minister of the Ministry of Justice and enfeoffed as the Marquis of Jinyang. In the spring of the third year of the Dahuo era (829 AD), at the age of 58, he claimed illness and returned, serving as a guest scholar of the Crown Prince in the eastern capital and never leaving again. Later, he was appointed as the governor of Henan but soon resigned due to illness. In the sixth year of the Dahuo era (834 AD), at the age of 64, he was appointed as the prefect of Tongzhou but declined the position, instead becoming the Vice Minister of the Crown Prince and assigned to the eastern capital. Due to his mindset and health issues, he no longer wished to serve as an official. At the age of 60, his son Aci passed away, which was another blow to the poet. At the age of 73, he donated his family wealth to open the Longmen Eight Sections Stone Embankment, benefiting boat traffic. He passed away at the age of 75.
From the perspective of his official career, although he held many positions, his life was never smooth, and he was always in a state of anxiety and frustration. As a poet, however, he achieved great success and was renowned throughout the court and even among common people. Perhaps it was because of the hardships he faced in his youth and the subsequent demotions, which mostly involved overseas postings and extensive experiences, that he gained a deep understanding of society, allowing him to become a great poet of all time.
As mentioned earlier, Bai Juyi's poetry was already excellent from his youth. At the age of 16, the line "Wildfire cannot burn it completely; the wind of spring blows it back to life" became a timeless masterpiece. His most famous work, the narrative long poem "The Song of Everlasting Sorrow," was written when he was 35 and serving as the county magistrate of Zhouzhi. The poem is based on the folk tales of Emperor Xuanzong and Yang Guifei, with fictional elements, and is vivid and colorful. Critics consider it the best long poem in the Tang Dynasty's song-style genre and hold a prominent position in Chinese poetry history. In this poem, he daringly criticized the extravagance of Emperor Xuanzong. Lines such as "The Han emperor longed for beauty and sought to overthrow the state" and "From then on, the emperor no longer held early morning court" are examples. Later, the poem describes the deep affection between the two, with subtle satire and heartfelt sorrow. When depicting the separation and death of the two, his emotions are deeply felt. The entire poem rises in waves from a winding story, filled with rich and complex emotions, leaving a great impression on the reader. Another long song-style poem, "The Lute," written when he was 45, also received high praise. After being demoted as the magistrate of Jiangzhou, while parting with friends by the Xuyang River, at a farewell banquet on the boat, he was moved to hear the sound of a lute from a neighboring boat. He invited the player, who turned out to be an aging courtesan guarding an empty boat, full of sorrow, expressing her grievances through the lute. Deeply moved by her story, Bai Juyi not only felt sympathy but also reflected on his own misfortunes, leading to the sentiment "If we are both outcasts in this world, why must we have known each other before?" He composed this poem, which rivals "The Song of Everlasting Sorrow," to express the courtesan's life and hardships, then shifting to his own story: "I left the imperial capital last year, exiled and suffering in Xuyang City." The poem ends with "Who shed the most tears at the banquet? The Jiangzhou magistrate's blue robe is soaked." The phrase "blue robe" became a literary allusion. This poem excels in artistic technique, with detailed descriptions and harmonious rhythms, especially the section describing the lute music, which is truly moving. The most important thing, however, is the sincerity of his emotions. These two long poems are invaluable treasures left to future generations.
Among his other poems, those highly valued and praised are the satirical poems he wrote in the early stages of his career, especially "Qin Zhong Yin" and "New Yuefu." As he began his official career, Bai Juyi reflected on the suffering of the people and spoke out for justice with great courage, a bravery that is deeply admired. The 10 poems in "Qin Zhong Yin" are like sharp swords, each targeting different issues. "Heavy Tribute" criticizes the government's collection of surplus goods and the brutal exploitation of the people, "Robbing me of silk to buy you favor in your eyes." "Light Fatigue" depicts the lavish banquets and feasts of the nobility, ending with "This year, there was a drought in Jiangnan, and people in Qizhou ate each other!" "Dancing and Singing" portrays the luxurious lives of officials, who enjoy drinking and singing at noon and dancing until midnight, with the final line being "Who knew that in the prison of Wenxiang, there were prisoners frozen to death!" "Buying Flowers" describes the wealthy people in Chang'an competing to buy peonies, showing off their extravagance, with the final line stating "A bunch of deep-colored flowers, the tax of ten households." "Discussing Marriage" shows sympathy for poor girls who struggle to marry, "Lamenting Friends" laments the tragic lives of women who have taken vows, "Lamenting Mansions" satirizes the wealthy who build grand mansions, "Not Retiring" mocks those in their 80s and 90s who refuse to retire for power, "Establishing Slaves" expresses dissatisfaction with officials who build monuments to themselves rather than being truthful in praising others, "The Five-Stringed Lute" laments the lack of understanding of traditional culture among many people. All these poems are critical, scathing, and full of complaints, serving as a powerful expose of the dark politics during the reigns of Emperor Dezong and Emperor Xianzong in the early Yuanhe era, hurting the ruling class, which is why "When people heard 'Qin Zhong Yin,' the powerful and close officials exchanged glances in alarm." Bai Juyi himself was very proud of "Qin Zhong Yin." In a poem he wrote after compiling his 15-volume collection, he said: "A 'Song of Everlasting Sorrow' has romance; ten 'Qin Yins' are close to the truth." "New Yuefu" was written around the same time as "Qin Zhong Yin" and is another important group of satirical poems by Bai Juyi, consisting of 50 poems that cover events from the Wu De era of Emperor Gaozu to the Yuanhe era, with a broader scope than "Qin Zhong Yin." In his poem "To Tang Sheng," Bai Juyi said of his Yuefu poems: "I am also one of your followers, why am I so depressed? Unable to cry out, I turn to Yuefu poems. Every poem has no empty words; every line must follow the rules. The high praise of the people is like a warning; the pain is as deep as the words of the Shao. I do not seek high musicality; I do not pursue extraordinary writing. I sing of the people's suffering and hope the emperor will know." This can be seen as a declaration of his intention to write "New Yuefu" and a summary of "New Yuefu."
The "book_contents" provided lists some of his notable works, including "Introduction to Bai Juyi," "Farewell at the Ancient Plain Grass," "From Henan Through Chaos," "The Song of Everlasting Sorrow," "Watching the Harvest," "Buying Flowers," "On the White Hair of the Imperial Concubine," "The Broken Arm of Xinfeng," "The Woodcutter," "The Lute," "The Song of the Post Station," "Staying at the North Village of Zikeshan," "The Lute," "The Evening River," "Snow at Night," "Asking Liu Shiyu," "Peach Blossoms at Daming Temple," "Spring in the West Lake," and "Drinking Wine with Mengde and Making an Appointment for Later."