Wenzhou Literature Series: He Bai Collection

Author: He Bai (Ming)
Publisher:
Publishing Date: April 1, 2006
Features: He Bai (1562–1642), a poet of the late Ming Dynasty, styled Wujou. Born at the foot of Danxia Mountain in the western suburbs of Leqing County, he moved to Wenzhou City at the age of childhood, settling near Jigu Mountain with his father, He Dao. He called himself Danqiu Sheng and also styled himself as He Xi Laoyu. From a young age, he was deeply influenced by poetry. His grandmother was the sister of Li Jingzhi, the reclusive poet of Leqing. In the preface to the Biography of Mr. Li Houpeng, He Bai wrote: "At the age of five or six, I occasionally stayed with my grandmother. Every morning, she would teach me several poems from her pillow or compose one or two couplets with me. Later, she said to me, 'These poems were written by your uncle, Mr. Houpeng. You are smart—will you be able to follow in his footsteps one day?' Although I was a child, my spirit and aspirations gradually grew." Despite his family's poverty, He Bai devoted himself to studying diligently. By his mid-teens, he began writing poetry. In the 15th year of the Wanli era (1587), at the age of 25, Long Ying was appointed as the professor of Wenzhou Prefecture. He highly appreciated He Bai's talent and greatly praised him. Qian Qianyi's Collected Poems of the Ming Dynasty (Volume Ding) included eleven of He Bai's poems, accompanied by a short biography that read: "Long Jun governed as the prefecture's magistrate, admiring his talent and elevating him, gathering renowned scholars to compose poems for a ritual, extending his fame across the land, and thus he gained great reputation." In the 17th year, Long Ying was transferred to the position of National University Doctor. Soon after, He Bai went to Nanjing. At that time, Xiang Jiyu (Jingzu) lived in Nanjing, known for his generosity in wealth and his love for poetry, wine, and literary gatherings. He Bai often stayed at his home, associating with prominent figures of the poetic scene such as Wang Shizhen (Yuamei), Wu Mingqing (Guolun), and Chen Jiru (Zhongchun). The Records of Yongjia County described him as: "During his travels in Jinling, Wu Mingqing gathered poets for a literary gathering. He Bai was assigned the rhyme 'ba' in the 'eight' rhyme scheme and the 'seven-character regulated verse' in the 'body' scheme, composing a hundred lines on the spot, which impressed everyone. Thus, he gained great fame. He successively led the poetic scene alongside Wang Yuamei and Chen Zhongchun." Li Weizheng, in the preface to the Jigutang Collection, also remarked: "Among the commoners of Wu and Yue, there is none equal to him. Half the people speak of him with clamor but inwardly admire him." In the spring of the 24th year of the Wanli era (1596), He Bai accepted an invitation from Feng Yuancheng, the county magistrate, and stayed at the office of Yuncheng County in Hubei. That summer, he accepted invitations from the county magistrates Li Dongnan and Shen Huashi, traveling to places like Zhushan, Zhuxi, and Fangxian for nearly a month. In the winter of the 27th year, He Bai moved his family from the foot of Jigu Mountain to Zhuopeng Village in the southern suburbs, building Shanyu Pavilion. In a letter to Chen Meigong, he described the environment of Shanyu Pavilion and his own sentiments: "Moving to Dongzhu, I crossed three streams, and the city wall was ten li away. In front, there was Zijin Terrace, where phoenixes and qin players occasionally descended. Behind, I rested on Zizhen Island, where the red furnace still stood. I often longed for the high and unrestrained spirits of the ancient sages, and it harmonized with the charm of lush forests and abundant grasslands." Yet, he still struggled with poverty and had to work for a living. In the 32nd year of the Wanli era (1604), at the age of 43, he accepted an invitation from Zheng Kunyan and stayed in Yulin, Shaanxi, for over a year. After returning, he no longer traveled. Shanyu Pavilion became his place of leisure and retreat, a gathering spot for friends to recite poetry and discuss literature. It was not far from the villas of Wang Zanfu and Xiang Jiyu. Wang and Xiang often brought their grandsons to Shanyu Pavilion for gatherings, drinking, and reciting poetry. Zheng Rubi's poem Visiting He Shanshi Wujou at Shanyu Pavilion and Leaving a Gift reads: "In this vast world, how many commoners are like you? Your high demeanor is rare. Your body is like a white deer opening the boundless sea, and people recognize you as the Longeng Star entering the Shaowei. Under the cold pavilion, the grass tower meets the cold bamboo water. In the warm ink pool, five flowers flutter. You are not like the elegant companions of Huayan, but your brush dances all day." Shanyu Pavilion played a significant role in the later life of He Bai, and his collected poems were named Shanyu Pavilion Collection. He Bai's poetry had no specific mentors. Li Weizheng, in the preface to the Jigutang Collection, said He Bai "adhered to Li and Du in poetry and Han and Liu in prose." Zhu Yizun said his poetry resembled the style of the Seven Masters, similar to Yu Anqi. However, He Bai had his own views. He believed the poetry of the Seven Masters "rigidly followed the Han and Wei, meticulously mimicking the early Tang," lacking vitality; the Gong'an School, though "expressing individual spirit without adhering to conventions," drew from too diverse materials; and the Jingling School's obscure and dry style lacked grandeur. He Bai had his own unique poetic style. As a commoner throughout his life, he lived through six dynasties—Jiajing, Longqing, Wanli, Taichang, Tianqi, and Chongzhen. In his early years, he traveled and worked as a scholar, visiting Yulin in the north and Wudang in the west. In his later years, he lived in seclusion. His poems reflected social realities and expressed grievances, such as The Old Man of the Creek, The Old Man of the Village, Elegy for the Spring Well, and Lament on the Great Flood. Some criticized the heavy burdens on farmers, while others exposed the tyranny of eunuchs. A poem titled Lament for Jiangtou, described how Wu Baoxiu, the governor of Nanкан, was falsely accused by a tax-collecting eunuch, leading to the destruction of his family. The poem expressed indignation, leaving readers in despair. More of He Bai's poems celebrated the beauty of his homeland, including the Northern and Southern Yandang Mountains, Xianyan, Dairen Rock, Yujing Peak, and Jiangxin Temple. His long poems were expansive and vivid, full of twists and turns. His journey to Mount Tiantai coincided with the blooming of azaleas. In his poem From Huaxiang to Shiliang, he wrote: "Twenty-five li along the path, all under the sky were five-colored azaleas, dazzling the sun. Red and purple ruffled like the silk of fish and the brocade of dragons, flickering and unstable—truly a rare spectacle of my life. I must sing a song." He described the scenery of Shiliang, Yifeng Tian, Qianyaquan, Qingxi, Tianti, and the flowers and forests, depicting the objects vividly and expressing his thoughts in layers. His short poems were also clear, natural, and distant. For example, Insomnia: "Not separated from dreams of other lands, no expectation of nightly returns. Lately, worries keep me awake, making home seem rarer." The Western Room of Master Lian: "A hundred twists of the quiet stream, the sound of bamboo water cools at night. Morning opens the southern window, still leaning on the pillow, outside the forest, half a thousand peaks lie in bed." The Water Curtain Valley of Yandang Mountain: "The rosy gate seals the white courtyard, cherishing the rare beauty, I pause often. The path of clouds ends as water and stone grow scarce. The purple cliffs rise a thousand feet into the evening sky." His poems were rich in imagery and deep meaning. Wang Xizan, in the preface to the Jigutang Collection, quoted Zhu Xuan's words: "The ancient poetry of Jigu has a commanding view of its era. However, our Wenzhou is remote and coastal, and the scholars do not seek grandeur. At that time, Yuamei and Wang Shizhen stood alone, forming the 'Zhuozhai Alliance.' If a scholar like He Bai had emerged and roamed among them, he would have regarded Su Shanggong as a rival to Huishan." He Bai's prose was also excellent, and The Ten Scenic Spots of Yandang Mountain can be compared to Li Xiaoguang's The Ten Records of Yandang Mountain. He was also skilled in calligraphy and painting. His calligraphy was bold and unrestrained. "His landscapes resemble the brushwork of Fanghong, with a loose yet disciplined style. His bamboo and rocks are also misty and moist." In the 15th year of the Chongzhen era (1642), He Bai passed away at home at the age of 81 and was buried at Jinyan in Quxi. Zhou Wuxi of Jinxi in the late Ming Dynasty wrote a poem: "Mr. He is no more, who can discuss elegance and refinement? The peak of Jinyan stands tall, his literary spirit remains. The morning dew falls on his, the thin mist hides his solitary tomb. When he left, we called him, but now the trees are cut. His legacy endures through the ages, and we gaze at the high plains in vain. Facing the wind, we often sigh, as the wild fire burns." He Bai's works included Shanyu Pavilion Poetry and Yuzhong Grass in his early years, and later he personally compiled The Jigutang Collection, published in the 43rd year of the Wanli era. Subsequent reprints followed. There was also The Continued Collection of Jigutang, with copies still in circulation.