Study on the Po River Boat Songs

Author: Chen Shui-gen
Publisher:
Publish Date: 2004-06-01
Features: Mr. Chen Shui-gen asked me to write a preface for his monograph "Research on Poyang Lake Ode." At first, I felt reluctant, but due to his insistence, I agreed. Although both of us worked in the Jiangxi Academy of Social Sciences for many years, we rarely interacted. We would merely nod hello to each other when passing by on the road or in the corridor of the office building. Later, when the office was relocated, we became neighbors in the same building. I had to pass by his office every day on my way to work, which increased our chances of meeting, but our conversations remained scarce, so I couldn’t say I truly knew him. I only noticed that his desk was always piled with books, and every time I passed by, he was deeply engrossed, writing intently, with his eyes fixed on the paper. It was clear that he was immersed in some research topic.
Indeed, at an academic committee meeting of the academy, I saw the manuscript of his "Research on Poyang Lake Ode" and was greatly impressed. After discussion, the book was included in the "Jiangxi Social Sciences Research Library" for publication. At that time, I silently congratulated him in my heart and also developed a deep respect for him. Recently, when facing the proof of the "Research on Poyang Lake Ode," the image of Chen Shui-gen’s years of dedicated writing came to mind once again. His research on Poyang Lake Ode began in 1997. The theater world often says, "It takes ten years to perfect a play," but Chen Shui-gen "took seven years to complete a book"—his spirit is truly admirable. In today’s commercialized era, to be so content with solitude, sitting still for seven years in silence, and fully dedicating oneself to a research topic requires a resolute academic mindset and a professional spirit that resists temptation and excludes distractions. It is indeed difficult to remain focused and persevere for seven years like that without such dedication.
Thus, I think the research on Poyang Lake Ode might be considered a niche topic, not only attracting few followers but also lacking sufficient materials. It is not easy to make significant contributions to it. However, Chen Shui-gen "bit down on the green mountain and never let go," treating "Poyang Lake Ode" as a well in a wilderness and digging deeper and deeper until the clear spring finally gushed forth. Chen Shui-gen’s success owes to this "well-digging spirit." How much do our researches need this persistent "well-digging spirit"!
I was initially unfamiliar with "Poyang Lake Ode," but this time, with a strong desire and curiosity, I thoroughly read the manuscript of "Research on Poyang Lake Ode" and was gradually led into an unfamiliar artistic realm, feeling as if I had discovered a hidden world. Who would have thought that seemingly unremarkable odes could hold so much knowledge! Here, it can be said that after years of diligent research, Chen Shui-gen has both a macro understanding and a micro-depth of Chinese odes and Poyang Lake Ode, proposing a series of insightful and groundbreaking observations in the book. For example: "The origin of odes lies in folk songs and belongs to migratory songs," "Early odes had substance but no name," "Odes gained their name in the Northern and Southern Dynasties period," "During the Song Dynasty, odes showed a tendency similar to water poems," "In the Qing Dynasty, odes merged with Zhu Zhi Ci and Langtaosha," "The birth and development of odes have always been closely linked to water towns, especially those in Jiangnan," "After the Song and Yuan dynasties, odes increasingly combined with regional cultural characteristics," "Early odes were popular, leaning toward elegance in the process of development but never losing their popular essence, and later shifted back toward populism," "Odes were heavily influenced by Chu Ci and Wu songs," "Poyang Lake Ode refers to songs sung while rowing on Poyang Lake, including poems on the water systems, mountains, rivers, geographical features, scenic spots, customs, and local culture of Poyang Lake." These important insights not only form the theoretical foundation of the book but also lay the groundwork for further in-depth research on Chinese odes and Poyang Lake Ode.
While reading the manuscript, I found that Chen Shui-gen’s approach to researching Poyang Lake Ode was scientific, orderly, and logically developed. Although the book primarily discusses Poyang Lake Ode, the author did not study it in isolation. Instead, he first placed it in the broader context of Chinese odes and systematically analyzed its development, tracing the evolution of Chinese odes and Poyang Lake Ode, exploring their formation, development, and characteristics. He focused on interpreting representative works of Poyang Lake Ode from different dynasties, dissecting its rich cultural connotations from multiple perspectives, revealing the relationship between Poyang Lake Ode and Jiangxi’s regional culture, and examining it as a regional cultural phenomenon.
Titled "Research on Poyang Lake Ode," this book is in fact a history of the development of Chinese odes and Poyang Lake Ode, holding innovative value in filling gaps and enriching the field.