Li Yu said leisure

Author: Xuanzi
Publisher:
Publish Date: 2006-05-01
Features: For a long time, we have struggled for survival, toiled for food and clothing, and the "leisurely pursuits" of our ancestors have become strange and luxurious to us. Revisiting Li Yu is to awaken our memory of "leisure": "leisure" is not indulgent revelry, but a tranquil and profound state of mind; it is not the privilege of the wealthy, but the spiritual freedom and relaxation that every person who loves life and thinks deeply should enjoy. It is not far out of reach, but exists in the ordinary and mundane. Many years ago, in the prosperous Jiangnan region of China, some literati lived a very refined life. They built exquisite gardens with mountains and waters, pavilions and corridors in intricate arrangements; they drank wine under the moon, tasted tea before flowers, stood silently in the rain, and gazed at the sunset in the wind; they discussed Zen with elderly monks, composed poetry with famous courtesans, recited elegant verses, and talked about the noble and reclusive figures of the past and present. They were leisurely but not empty; meticulous but not decadent. Across the river of time, their leisurely elegance appears as a hazy and beautiful painting. Though less vivid, it still radiates a captivating light, illuminating the history of civilization past and present. As scholars, many of them recorded the exquisite scenes of life and their emotions and reflections in these scenes with ethereal and concise writing. Li Yu's On Leisurely Pursuits is such a collection of leisurely writings, a book about "leisurely pursuits." Li Yu, who lived in the late Ming and early Qing dynasties, had multiple identities. He could be considered an excellent popular literary writer, having written such engaging plays and novels as The Ten Pieces of the and The Twelve Pavilions. In these works, he told stories of steadfast love, where two people must overcome numerous hardships, and the final outcome is always a happy ending, with lovers finally coming together. This left every reader feeling content. He praised kindness, honesty, and loyalty, and celebrated those who were free-spirited, followed nature, and lived in peace and tranquility. These articles were fluent and approachable, not overly profound, yet genuinely moving. He could also be considered an outstanding director and theater theorist. He founded a family theater troupe, with the talented and beautiful Qiao and Wang sisters starring as female and male leads. He wrote and directed the plays himself, with the sound of strings and bamboo flutes, "red strings and green sleeves, candlelight casting shadows, making onlookers wonder if they were among the immortals." This family troupe frequently performed for nobles and dignitaries, gaining fame throughout the Jiangnan region. He also summarized his experience in writing and directing plays, compiling On Leisurely Pursuits: The Lyrics and Opera Section and On Leisurely Pursuits: The Rehearsal Section, in which he detailed the structure, wording, musicality, dialogue, humor, adaptation, and performance of theater. These discussions are still valued by theater workers today and are frequently mentioned in university Chinese departments and the works of art history researchers. He could also be considered a "cultural merchant." In Jinling, he opened a shop called "Jiezi Garden" to publish and sell his own books, as well as to plan the publication of bestsellers like The Jiezi Garden Painting Manual. He also sold various cultural goods, such as the "Rhyme Matters" and "Brocade Tapestry" paper designs he designed himself. With a deep knowledge of poetry and literature and a lively talent, he understood how to infuse elegant content into everyday objects, allowing more people to understand, accept, and be elevated. He failed the imperial examinations early in his life and never took them again after the Qing Dynasty was established, spending his entire life as an unoffical scholar, or what might be called a "cultural person." He relied on his pen and wisdom to sustain himself, "writing books for food and clothing" while also striving to express his thoughts, to correct moral attitudes, and to seek a balance between the "popular" and the "noble." Some criticized him for not upholding the integrity of "simplicity and frugality," while others praised his "human great recluse" lifestyle of seeking "what is deserved" and living a "proper life." As for himself, he did not defend his choices, frankly admitting, "If the mountains and rivers had spirits, they would laugh at me; my face grows thicker with age than when I was young." At this point in history, the traditional concept of the "scholar" is undergoing subtle yet significant changes. Li Yu and his contemporaries did not forget the moral that scholars should uphold, but they also desired to enrich their lives and create an artistic and beautiful existence. Therefore, their leisure and ease were quite rich in meaning. "Leisurely pursuits" were not fleeting trends but the captivating rhythm of life that could be savored. In this small book, we read and appreciate some of the brilliant chapters from Li Yu's On Leisurely Pursuits, glimpse into the ways of "leisure" as a profound art of life, feel the true meaning of "leisure," and ultimately gain a peaceful and leisurely mood. As scholars, many of them recorded the exquisite scenes of life and their emotions and reflections in these scenes with ethereal and concise writing. Li Yu's On Leisurely Pursuits is such a collection of leisurely writings, a book about "leisurely pursuits."