The Tower of Reading

獨樂

In On Heritage, our ‘manifesto’, we quoted, ‘Letter to Shan Tao’ 與山巨源絕交書 by Xi Kang (嵇康, 223-262CE). In it the author declares that the ‘wayward’ ideas of Taoist sages had long influenced his otherworldly predisposition:

… My taste for independence was aggravated by my reading of Zhuangzi and Laozi; as a result any desire for fame or success grew daily weaker, and my commitment to freedom increasingly firmer. In this I am like the wild deer, which captured young and reared in captivity will be docile and obedient. But if it be caught when full-grown, it will stare wildly and butt against its bonds, dashing into boiling water or fire to escape. You may dress it up with a golden bridle and feed it delicacies, and it will but long the more for its native woods and yearn for rich pasture.

又讀莊老，重增其放。故使榮進之心日穨，任實之情轉篤。此由禽鹿少見馴育，則服從教制，長而見羈，則狂顧頓纓，赴蹈湯火，雖飾以金鑣，饗以嘉肴，逾思長林，而志在豐草也。

Retreat from the ‘golden bridle’ offered by the world in favor of ‘native woods’ and ‘rich pasture’ is a perennial theme in the Chinese tradition and a leit-motif in both literature and art. Internal exile has also been a theme of our own work since the late 1970s.

It is recorded that in the year 1073 CE — the sixth year of the ‘Serene Peace’ period of the Song dynasty 宋康寧六年 — Sima Guang (司馬光, 1019-1086), a leading scholar-bureaucrat and historian, left office and built a retreat in the northern district of the city of Luoyang. Referring to himself as ‘the Old Pedant’ 迂叟 yū sǒu, Sima composed a ‘Record of the Garden of Solitary Enjoyment 獨樂園記. The garden did not long survive the vicissitudes of the age, what does remain, however, is Sima Guang’s description of it.

Sima Guang also composed seven poems, short meditations on the seven sites that he describes in his essay. Each is a paean to members of his personal literary pantheon. In praising these exemplars of solitary virtue, Sima entwines them both with the vistas of his garden as well as with his sense of secluded superiority, something that he advertises in a decidedly public fashion.

In responding to those who criticised him for pursuing his pleasures in private Sima writes:

…what delights this old man is trivial and common, humble and rustic, all of which have been rejected by the world. Although you recommend I extend these delights to others, they will just reject them. How, then, can I force them? It is certain that if there were people willing to share these joys I would then twice bow down and make them offerings. How could I dare to monopolize them myself?

In reality, the essayist’s exclusive joys have been shared by generations of readers for nearly a millennium. Moreover, Sima Guang hardly idled away his time in solitary leisure since, freed from infighting at court, he was able to complete his monumental The Mirror of History for Rulers 資治通鑑.

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Here we draw on Sima’s essay and poems as part of The Tower of Reading, a series devoted to reading and appreciating the Chinese literary world that is inspired by the work of Zhong Shuhe (鍾叔河, 1931-), writer, editor, publisher and an old friend. We bookend Sima Guang’s words with two calligraphic works by Tong Yang-Tze (董陽孜, 1942-), a celebrated artist based in Taiwan. In late November 2023, it was announced that Tong had been awarded the 2024 Great Hall Commission by the Metropolitan Museum in New York. Tong will create two monumental works of Chinese calligraphy to be displayed in the great hall of the museum from November 2024 to April 2025.

The quotation ‘… then begins a journey in my head’ in the title of this chapter in The Tower of Reading is from ‘Weary with toil, I haste me to my bed’, Sonnet 27 by William Shakespeare. James M. Hargett’s translation of Sima Guang’s essay can be found in The Dumbarton Oaks Anthology of Chinese Garden Literature, edited by Alison Hardie and Duncan M. Campbell and published by Harvard University Press in 2020. The original Chinese texts have been added to the translation.

James M. Hargett reliably translates 獨樂 dú lè as ‘solitary enjoyment’. We also render it as ‘solitary pursuit’ and ‘solitary pleasure’. We could, for that matter, also think of it as meaning ‘private delight’ or ‘secretive indulgence’, among others.

— Geremie R. Barmé
Editor, China Heritage
5 December 2023

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Also in The Tower of Reading:

• A Note from The Tower of Reading, 10 October 2023
• The Same Fair Moon 千里共嬋娟, 29 September 2023

See also:

• Duncan Campbell Archive, in particular Orchid Pavilion: An Anthology of Literary Representations, 景 Jǐng and On Idleness 閒

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An Account of the Garden of Solitary Enjoyment

獨樂園記

Sima Guang (1019-1086)

Translated by James M. Hargett

 

Mencius once said: “Enjoying music in solitude is not as enjoyable as enjoying music with others; enjoying music with the few is not as enjoyable as enjoying music with the many” (Mencius, 2A: 9). He was speaking of the enjoyment of kings, nobles, and great men, and this is not something that the poor and humble can attain. Confucius once said: “Eating coarse rice, drinking water, and pillowing on a bent arm—there is enjoyment in these things as well” (Analects, VII: 26). Yanzi took his meals from a single bamboo container, drank from a single gourd, but it never diminished his enjoyment (Analects, VI: 22). This is the enjoyment of sages and worthies, and not something that fools can attain. Now, for the wren that nests in the forest, needing nothing more than a single branch, or the mole that drinks at the river, wanting nothing more than a full stomach, each fulfills its allotment and is content with it. This is precisely what the Old Pedant enjoys.

孟子曰：獨樂樂，不如與人樂樂；與少樂樂，不若與衆樂樂。此王公大人之樂，非貧賤所及也。孔子曰：飯蔬食，飲水，曲肱而枕之，樂亦在其中矣。顏子一簞食，一瓢飲，不改其樂。此聖賢之樂，非愚者所及也。若夫鷦鷯巢林，不過一枝；鼴鼠飲河，不過滿腹，各盡其分而安之，此乃迂叟之所樂也。

In the fourth year of the Serene Peace reign (1071), the Old Pedant began his residence in Luoyang. In the sixth year (1073), he bought twenty mu of farmland in order to construct a garden in the Revering the Worthies Ward 尊賢坊 of the northern section of the city. Inside it he built a hall and stocked it with books from home numbering 5,000 volumes. This he named the Reading Hall 讀書堂.

熙寧四年，迂叟始家洛，六年，買田二十畝於尊賢坊北，闢以爲園，其中爲堂，聚書出五千卷，命之曰讀書堂。

South of the hall there is a group of buildings. A stream led to flow northward passes below their eaves. A pool was made in the center, three chi square and deep. The stream separates into five parts; the branches pour into the pool like a tiger’s claw. From north of the pool the branches flow underground and emerge at the north steps. It then cascades and pours down into the courtyard like an elephant’s trunk. From here it divides into two channels, which ring the four corners of the courtyard. They rejoin in the northwest and exit the garden. This he named the Dallying with Water Gallery 弄水軒.

堂南有屋一區，引水北流貫宇下，中央爲沼，方深各三尺。疏水爲五派，注沼中，若虎爪；自沼北伏流出北階，懸注庭下，若象鼻；自是分爲二渠，繞庭四隅，會於西北而出，命之曰秀水軒。

North of the hall another pool was made. In its center is an islet. Bamboo is planted on the islet. The islet is round like a jade ring. It measures three zhang in circumference. The tips of the bamboo there are fastened and tied together like those on a fisherman’s cottage. This he named the Fishing Hut 釣魚庵.

堂北爲沼，中央有島，島上植竹，圓若玉玦，圍三丈，攬結其杪，如漁人之廬，命之曰釣魚庵。

North of the pool there is a horizontal structure with six bays. The Old Pedant thickened its clay walls and thatched roof so as to counter the intense heat of the sun. Its door opens out to the east. Arrayed from north to south are lattice windows so as to invite cool breezes. In front and back are planted numerous attractive bamboo, making this a place that dispels the summer heat. This he named the Planting Bamboo Studio 種竹齋.

沼北橫屋六楹，厚其墉茨，以御烈日。開戶東出，南北列軒牖，以延涼颸。前後多植美竹，爲清暑之所，命之曰種竹齋。

East of the pond he arranged the land into 120 plots, with an assortment of dill, plants, and medicinal herbs arranged according to their names. North of the plots he planted bamboo, in squares like those on a chessboard, measuring one zhang across. He bent their tips and joined them together into a canopy in order to make a structure. The bamboo in front of it sandwich the path so that it resembles a strolling veranda, with creepers and herbal plants covering it everywhere. On each of the four sides he planted woody herbal plants to make a protective hedge. This he named the Gathering Herbs Patch 采藥圃.

沼東治地爲百有二十畦雜蒔草藥畦北植竹方若棋局徑一丈屈其杪交相掩以爲屋。植竹於其前，夾道如步廊，皆以蔓藥覆之，四周植木藥爲藩援，命之曰採藥圃。

South of the patch he made six pens. Herbaceous peonies, tree peonies, and assorted flowers occupy two pens each. Each variety planted is limited to two samples, simply for the purpose of recognizing their name and appearance, not to aim at having many. North of the pens he made a pavilion. This he named the Watering Flowers Pavilion 澆花亭.

圃南為六欄，芍藥、牡丹、雜花各居其二。每種止植兩本，識其名狀而已，不求多也。欄北為亭，命之曰澆花亭。

Luoyang City is not far from the mountains, yet its forests and brush are thick and dense. Often it seems the mountains are not visible from there. And so in the garden he constructed a terrace with a transverse structure on top of it in order to gaze upon Wan’an and Huanyuan and even to Taishi. This he named the Viewing Mountains Terrace 見山臺.

洛城距山不遠，而林薄茂密，常若不得見，乃於園中築臺，構屋其上，以望萬安、轘轅，至於太室，命之曰見山臺。

On most days the Old Pedant can be found in the hall reading. On the highest level he chooses his teachers from among the sages; on the secondary level he chooses his friends from among the assembled worthies. He pries into the origins of humanity 仁 and righteousness 義; searches out the sources of ceremony 禮 and music 樂. The timeless principles of all things that existed before matter took form and that exist beyond infinity of the four directions—these arise and gather before his eyes. His only shortcoming is that his study of these principles has not yet reached perfection. So why, then, seek this knowledge from others? Indeed, why wait for it to come from the outside? When his resolve is weary and his body is tired, he casts his rod to catch a fish, holds up his gown and gathers herbs, dredges ditches and waters flowers, wields an axe and splits bamboo, and pours out hot water to cleanse his hands. From heights his eyes scan at will. Footloose and fancy-free, he lingers about, pursuing only what interests him. When bright moonlight arrives or when clear breezes come of their own accord, nothing holds back his movements, nothing blocks his way. He has complete control over what he sees, what he hears, what he inhales, and what he exhales. He walks alone here! He is boundless here! And he is unaware of any other place between heaven and earth so joyous that it could replace this spot. He thus combined these qualities and named it: Garden of Solitary Enjoyment.

迂叟平日多處堂中讀書，上師聖人，下友羣賢，窺仁義之原，探禮樂之緒。自未始有形之前，暨四達無窮之外，事物之理，舉集目前。所病者學之未至，夫又何求於人，何待於外哉。志倦體疲，則投竿取魚，執紝採藥，操斧剖竹，臨高縱目，逍遙相羊，唯意所適。明月時至，清風自來，行無所牽，止無所柅。耳目肺腸，悉爲己有。踽踽焉，洋洋焉，不知天壤之間復有何樂可以代此也。因合而命之曰獨樂園。

Someone faulted the Old Pedant, saying: “I’ve heard that whatever delights the Superior Man 君子 must be shared with others. Now you, Sir, alone have gotten enough for yourself, but you do not extend it to others. Is this acceptable?” The Old Pedant offered apologies, saying: “How can an old fool be compared to a Superior Man? My only fear is not having done enough to enjoy myself. How, then, could my enjoyment be extended to others? Moreover, what delights this old man is trivial and common, humble and rustic, all of which have been rejected by the world. Although you recommend I extend these delights to others, they will just reject them. How, then, can I force them? It is certain that if there were people willing to share these joys I would then twice bow down and make them offerings. How could I dare to monopolize them myself?

或咎迂叟曰：吾聞君子之樂必與人共之，今吾子獨取足於己不及人，其可乎。迂叟謝曰：叟愚何得比君子，自樂恐不足，安能及人。況叟之所樂者，薄陋鄙野，皆世之所棄也，雖推以與人，人且不取，豈得強之乎。必也有人肯同此樂，則再拜而獻之矣，安敢專之哉。

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The Garden of Solitary Enjoyment: Seven Songs

獨樂園七詠

Sima Guang

Translated by James M. Hargett

 

One: “The Reading Hall” 讀書堂

How I admire Dong Zhongshu!
He probed the classics while guarding seclusion and privacy.
Though where he lived there was a garden,
For three years his eyes never wandered there.
Depraved doctrines—far and distant from his ears;
Sagely words—filled and satisfied his belly.
When he sent forth slips and ascended the Han Court,
The Hundred Schools began to fade and submit.

吾愛董仲舒，窮經守幽獨。
所居雖有園，三年不游目。
邪說遠去耳，聖言飽充腹。
發策登漢庭，百家始消伏。

Two: “The Fishing Hut” 釣魚庵

How I admire Yan Guang!
In woolly furs he fished in rocky rapids.
Although the emperor was an old friend,
He searched high and low, but Guang could never be found.
A ducal minister post—how could this not bring him great honor?
Yet high office was not enough to compromise Guang’s integrity.
What need did he have to be a boaster and flatterer,
Who, for a meager official salary, would feign a hundred demeanors?

吾愛嚴子陵，羊裘釣石瀨。
萬乘雖故人，訪求失所在。
三公豈易貴，不足易其介。
奈何誇毗子，鬥祿窮百態。

Three: “Gathering Herbs Patch” 採藥圃

How I admire Han Kang!
He gathered herbs and sold them in the capital market.
Kang had a conscience, so how could he cheat anyone?
For this reason he never sold his goods at two prices.
But what was he to do about the girl
Who figured out who he was?
So he ran off scared, to the farthest ends of mountains,
Where deep in fear, he was encumbered by fame.

吾愛韓伯休，採藥賣都市。
有心安可欺，所以價不二。
如何彼女子，已復知姓字。
驚逃入窮山，深畏名為累。

Four: “Viewing Mountains Terrace” 見山臺

How I admire Tao Qian!
Shaking the dust from his clothes, he left office forever.
Waving his hand to decline the Liang ruler’s command;
Like a sacrificial bull, he dreaded the gilded yoke.
He revered his prince—how could his heart ever forget that?
Yet when living in mountains one’s spirit can be nurtured.
It’s been a thousand years since his “rash deed,”
Yet today I still admire his lofty spirit.

吾愛陶淵明，拂衣遂長往。
手辭梁主命，犧牛憚金鞅。
愛君心豈忘，居山神可養。
輕舉向千齡，高風猶尚想。

Five: “Dallying With Water Gallery” 弄水軒

How I admire Du Mu!
In nature and temper he was always lofty and free.
Completing his pavilion by the edge of a stream,
He rambled and frolicked, passing away the long days.
He washed his ink stone so he could copy out his poems;
When floating wine cups found it fitting to draw in his knees.
Do not choose to wash the tassel of the cap,
For red dust pollutes the pure and upright.

吾愛杜牧之，氣調本高逸。
結亭侵水際，揮弄消永日。
洗硯可抄詩，泛觴宜促膝。
莫取濯冠纓，紅塵污清質。

Six: “Planting Bamboo Studio” 種竹齋

How I admire Wang Huizhi!
Even at a rented house he planted bamboo!
He couldn’t live a day without them;
Felt relaxed and at ease when they were constantly in sight.
Snow and frost only come from evanescent whiteness,
But bamboo stalks and leaves never lose their green.
Wang Huizhi’s fate was far superior to that of Shi Chong,
Whose coral treasures filled the Golden Valley.

吾愛王子猷，借宅亦種竹。
一日不可無，蕭灑常在目。
雪霜徒自白，柯葉不改綠。
殊勝石季倫，珊瑚滿金谷。

7. “Watering Flowers Kiosk” 澆花亭

How I admire Bai Juyi!
After retiring he made his home on Walkway Lane.
He brewed wine, and when the wine was ripe,
He watered his flowers, and the flowers were perfect.
He composed poems and sent invitations to guests and friends;
Beside railings he was forever falling down drunk.
His painting has been handed down until today:
Those revelers are known as the Nine Elders.

吾愛白樂天，退身家履道。
釀酒酒初熟，澆花花正好。
作詩邀賓朋，欄邊長醉倒。
至今傳畫圖，風流稱九老。

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Source: 

• Alison Hardie and Duncan M. Campbell, eds, The Dumbarton Oaks Anthology of Chinese Garden Literature, Harvard University Press, 2020. The Chinese texts have been added and minor modifications made to the translation, consisting of the deletion of the Hanyu pinyin romanization of Chinese terms.

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Note: ‘When you see a worthy man, seek to emulate him. When you see an unworthy man, examine yourself.’ 見賢思齊焉。見不賢而內自省也。From The Analects, 4.17 《論語．里仁》, translated by Simon Leys.

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