Визуальный самоучитель работы на ноутбуке. Алексей Знаменский

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СКАЧАТЬ a technique typical of Chinese verse, and indeed literature and art as whole, which engages the reader by juxtaposing, or correlating, naturalistic images with human concerns to delightfully subtle, if sometimes obscure, effect. The same associative technique appears in another near-contemporary (but non-divinatory) classic. This is ‘The Book of Songs’ (Shijing, also called ‘The Book of Odes’), on which Confucius is supposed later to have worked. The first of the ‘Songs’ – mostly ritual hymns, heroic verses and pastoral odes – provides a standard example of the correlational technique. The mewed call of an osprey is juxtaposed with a marriage proposal to convey, through terse imagery, onomatopoeia and pun (all largely lost in translation), a heavy sense of sexual expectation.

      Guan, guan cries the osprey

      On the river’s isle.

      Delicate is the young girl:

      A fine match for the lord.⁹

      (More than two millennia later, this same poem remained part of an educated person’s repertoire. In The Peony Pavilion, a play written in 1598, the demure heroine experiences a sexual wanderlust when her tutor introduces her to it; or as her maid puts it to the tutor in a delightful English translation: ‘Your classical exegesis/Has torn her heart to pieces.¹⁰)

      Classics like the Shijing and Yijing reveal aspects of ritual practice and social life in early first-millennium BC China as well as the prevalence and development of literary culture. Historians, of course, would prefer something more factual and, as if to oblige, the Zhou compensated for their inarticulate oracle shells by incorporating inscriptions on their bronzes. Some of these are of considerable length and feature events or personalities known from other textual sources. They have been of great assistance in extending the chronology of the Zhou, which is famously anchored on an eclipse recorded in the texts and identified astronomically as occurring in 841 BC, ‘the first absolute date in Chinese history’.

      Most of the bronze inscriptions describe, or simply record, the bestowal of gifts, honours, offices, commands or lands. Taken in conjunction with stylistic changes in the bronzes themselves, with their archaeological setting and its wide distribution, and with later textual information, they confirm that, in the words of Jessica Rawson, ‘the Zhou achievement was truly remarkable’. Although ‘too little considered…[it] imprinted itself indelibly, not only on its own day, but on all succeeding generations’.¹¹

      LESS SPRING THAN AUTUMN

      Painstaking analysis of Zhou mortuary sites and buried hoards, both of them rich in bronzes, has led Rawson to another conclusion: that an extraordinary change, indeed ‘a revolution’, overtook Zhou ritual practice in the first years of the ninth century BC. Quite suddenly bronze vessels became larger and more standardised in form, and they often comprised sets of identical items; their designs betrayed an interest in recreating archaic forms; their inscriptions were much more formulaic than previously; and they were accompanied by a new repertoire of bronze bells and jades.

      It was a ritual ‘revolution’ to the extent that these changes implied a grander, noisier and more staged liturgy under firmer central control and involving greater public spectacle. Its standardisation throughout the northern ‘Central Plain’ must have owed something to better communications; cultivation was evidently being extended and neighbouring fiefs were beginning to abut. Moreover, the inscribed bronzes were apparently doubling as archival records, like the Shang’s oracle bones, and being collected, displayed and hoarded as prestigious family heirlooms. But since they recorded royal favours, those who cherished them, and who in some cases had actually had them cast, were not their royal donors but their recipients, some of comparatively humble origin. The Zhou, in other words, were broadening their base of support while enhancing their own precedence.

      Far from being a spent force then, by the early 800s BC Zhou authority, at least in ritual matters, was being projected more effectively than Shang authority had ever been. Rawson takes this to mean that the Zhou kings not only saw themselves as the successors of a unitary Shang state but ‘believed…that the natural condition of China was such a single state’ and proclaimed this political model with tenacity, despite the tensions it generated, ‘within the more naturally fragmented Chinese region’.¹²

      None of which is exactly contradicted by the dynastic dirge found in the written texts. Ritual rigidity need not, after all, imply political authority. The Zhou could have re-emphasised their formal precedence to compensate for military misfortunes; and their subordinate vassals could have conformed in ritual matters to disguise their political defiance. Alert to that correlational technique found in ‘The Book of Songs’, one should not perhaps look for explicit convergence. But it has to be said that this archaeological evidence for an ascendant Zhou is inconsistent, if not downright incompatible, with the written narrative of a declining Zhou.

      According to the written sources, in 957 BC the Zhou king Zhao launched an ill-advised attack on Chu, a large tribute-paying but perhaps non-feudatory neighbour on Zhou’s south-eastern border. The Zhou were roundly defeated, six armies being ‘lost’ while the king himself ‘died’ – possibly drowned, probably killed. Thirteen years later King Mu, his successor, did rather better against the ‘Quan Rong’, a people on Zhou’s north-west frontier, but was unable to prevent the permanent breakaway of Zhou’s easternmost vassals. ‘The royal house declined and poets composed satires,’ says Sima Qian, main author of the first-century BC history known as the Shiji. The next king had to be ‘restored by the many lords’, presumably because his throne had been usurped; and his successor must have encountered further trouble in the east, for he had occasion to boil alive the chief of Qi (in Shandong) in a cauldron.

      About 860 BC – so at the height of Zhou’s ‘ritual revolution’ – ‘great Chu’ took the offensive, invading Zhou territory and reaching a place called E in southern Henan. ‘The [Zhou] royal house weakened…some of the many lords did not come to court but attacked each other.’ Chu reinvaded in 855 BC, ‘the many lords’ continuing troublesome. The 200th anniversary of the Zhou’s triumph at Muye found their young king in exile. A regency modelled on that once headed by the Duke of Zhou took over and not until fourteen years later did it stand down for the exile’s son, Xuan.

      King Xuan reigned long (827–782 BC) and aggressively. Vassal territories were reclaimed, tribute and trade relations with Chu may have been re-established, and western incursions by a people called the Xianyun (probably the same as the Quan Rong) were repulsed. But Zhou joy was short-lived. Heavy-handed intervention in Lu, another Shandong state, proved counterproductive, and ‘from this time on, the many lords mostly rebelled against royal commands’, says the Shiji.

      The accession of King You in 781 BC was greeted by a cacophony of heavenly disgust, with a major earthquake, landslides and both a solar and a lunar eclipse. ‘How vast the woe!’ declared one of the Songs of such an appalling conjunction.

      The hundred rivers bubble and jump,

      The mountains and mounds crumble and fall,

      The high banks become valleys,

      And the deep valleys become ridges,

      Woeful are the men of today!¹³

      Implicit in all this was criticism of the king himself. As with the last of the Shang kings, any ruler facing imminent disaster had previously to have been hopelessly СКАЧАТЬ