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Cai Yan

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In thisChinese name,thefamily nameisCai.
Cai Yan
Thái diễm
A portrait of Cai Wenji in the albumGathering Gems of Beauty(Họa lệ châu tụy tú)
Bornc.170 or 178
Qi County,Henan
Diedc.215 or 249
Other names
Occupation(s)Composer, poet, writer
Spouses
  • Wei Zhongdao
  • Wise Prince of the Left
  • Dong Si
Childrenat least two sons
FatherCai Yong
Relatives

Cai Yan(c.178 – post 206; orc.170–215; or diedc.249),[1]courtesy nameWenji,was a Chinese composer, poet, and writer who lived during the lateEastern Han dynastyof China. She was a daughter ofCai Yong.Her courtesy name was originallyZhaoji,but was changed toWenjiduring theJin dynastyto avoidnaming taboobecause the Chinese character forzhaoin her courtesy name is the same as that in the name ofSima Zhao,the father of the Jin dynasty's founding emperor,Sima Yan.She spent part of her life as the concubine of a powerfulXiongnuleader until 207, when the warlordCao Cao,who controlled the Han central government in thefinal years of the Eastern Han dynasty,paid a heavy ransom to bring her back to Han territory.[2]

Cai Yan was celebrated for being "erudite, eloquent and brilliant in rhythm"; her biography was recorded inBook of the Later Han,volume 84: Biographies of Exemplary Women ( cuốn 84 Liệt nữ truyện thứ bảy mười bốn ).

Life

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Cai Yan was a daughter ofCai Yong,a famousEastern Han dynastyscholar from Yu County (Ngữ huyện),Chenliu Commandery[zh](Trần Lưu quận), which is around present-dayQi County,Kaifeng,Henan.She was married to Wei Zhongdao (Vệ trọng nói) in 192 but her husband died shortly after their marriage and they did not have any children.[3]Between 194 and 195, when China entered a period of chaos, theXiongnunomads intruded into Han territory, captured Cai, and took her back as a prisoner to the northern lands. During her captivity, she married the Xiongnu "Wise Prince of the Left"and bore him two sons. 12 years later, the HanChancellor,Cao Cao,paid a heavy ransom in the name of Cai's father for her release. After Cai was freed, she returned to her homeland but left her children behind in Xiongnu territory. The reason Cao Cao wanted her back was that she was the sole surviving member of her clan and he needed her to placate the spirits of her ancestors.[4]

After that, Cai married again, this time to Dong Si (Đổng tự), a local government official from her hometown. However, when Dong Si committed a capital crime later, Cai pleaded with Cao Cao for her husband's acquittal. At the time, Cao Cao was hosting a banquet to entertain guests, who were stirred by Cai's distressed appearance and behaviour. She asked him if he could provide her with yet another husband.[4]He pardoned Dong Si.

Later in her life, she wrote two poems describing her turbulent years.

InRomance of the Three Kingdoms

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Cai Yan briefly appears in chapter 71 of the novel,Romance of the Three Kingdoms,a historical novel of 14th century which romanticizes events prior to and during the Three Kingdoms period of China.

Cao Cao was on a march to battle with Liu Bei during theHanzhong Campaignwhen he passed by Cai Yan's residence.

Cao Cao came to the gates with a few attendants. Upon hearing who the guest was, Cai Yan hurriedly raced to meet them, and after Cao Cao took a seat in the household, he noticed a tablet which contained mix-matched eight words that he couldn't interpret. Cai Yan pointed out that her father wrote it after hearing a specific tale. Yang Xiu, one of the men whom Cao Cao brought along, declared he knew the riddle on the tablet.

Cao Cao and his subordinates later left the house and Yang Xiu mentioned what the eight words meant using wordplay.[5]

Legacy

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An illustration of Cai Wenji from aQing dynastycollection of poems by female poets, 1772

Like her father, Cai Wenji was an established calligrapher of her time, and her works were often praised along with her father's.[citation needed]Her poems were noted for their sorrowful tone, which paralleled her hard life. The famousguqinpieceEighteen Songs of a Nomad Fluteis traditionally attributed to her, although the authorship is a perennial issue for scholarly debate.[6]The other two poems, both named "Poem of Sorrow and Anger" (Bi phẫn thơ), were known to be written by her.[citation needed]

The following is an excerpt from the "Poem of Sorrow and Anger" in five-character form (Năm ngôn):

《 bi phẫn thơ 》

Poem of Sorrow and Anger

Xứ sở nhiều sương tuyết, hồ phong xuân hạ khởi.

My dwelling is often covered by frost and snow,
The foreign winds bring again spring and summer;

Nhẹ nhàng thổi ta y, rền vang nhập ta nhĩ.

They gently blow into my robes,
And chillingly shrill into my ear;

Cảm khi niệm cha mẹ, ai thán vô cùng đã.

Emotions stirred, I think of my parents,
Whilst I draw a long sigh of endless sorrows.

Có khách từ ngoại lai, nghe chi thường vui mừng.

Whenever guests visit from afar,
I would often make joy of their tidings;

Nghênh hỏi này tin tức, triếp phục phi quê nhà.

I lost no time in throwing eager questions,
Only to find that the guests were not from my home town.

In addition to her surviving poems, a volume ofCollective Works of Cai Wenjiwas known to have survived until as late as theSui dynastybut had been lost by theTang dynasty.[7]

Cai Wenji inherited some 4,000 volumes of ancient books from her father's vast collection. However, they were destroyed in the ravages of war. At Cao Cao's request, Cai recited 400 of them from memory and wrote them on paper.[8]

Literary and artistic tributes

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Left:Eighteen Songs of a Nomad Flute- The Story of Lady Wenji "aMing dynastypainting in the collection of theMetropolitan Museum of Artdepicting the return of Cai Wenji from the Xiongnu.Right:A portrait,Cai Wenji Returns to Her Homeland(Văn cơ về hán đồ), dating from theSouthern Song dynastyand depicting Cai Wenji and herXiongnuhusband. They are riding their horses along, each holding one of their sons. The expression on Cai's face appears rather fulfilled, peaceful and content, while her husband is turning his head back in farewell (transl. by Rong Dong).

The stories of Cai reverberate primarily with feelings of sorrow, and inspired later artists to keep portraying her past. Her return to Han territory has been the subject of numerous paintings titledCai Wenji Returns to Her Homeland(Văn cơ về hán đồ) by various painters since the Tang dynasty,[9]as well as renderings in traditionalBeijing opera.[citation needed]

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Guo Moruowrote a play on her life in 1959.[10]In 1976, acrater on Mercurywas namedTs'ai Wen-Chiafter Cai Wenji, citing her as "Chinese poet and composer".[11]In 1994, acrater on Venuswas namedCaiwenjiafter Cai Wenji, citing her as "Chinese poet".[12]

Cai Wenji appears as a playable character inKoei'sDynasty Warriors: Strikeforce 2[13]andDynasty Warriors 7(her debut as a playable character in North American and European ports). She also appears in Koei'sRomance of the Three Kingdomsvideo game series and inDynasty Warriors 6: Empiresas a non-playable character. She is also a playable character inWarriors Orochi 3andWarriors Orochi 4.Her fighting style relies on casting energy balls and shock waves by strumming her harp.

See also

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Notes

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  1. ^Knechtges, David R."Cai Yan Thái diễm".Brill Online Chinese Reference Library.Retrieved30 April2018.
  2. ^de Crespigny (2007),pp. 28–29.
  3. ^Hans H. Frankel, "Cai Yan and the Poems Attributed to Her".Chinese Literature: Essays, Articles, Reviews,Vol. 5, No. 1/2 (Jul 1983), pp. 133-156
  4. ^abChang, Saussy and Kwong, p. 22. This explanation, however, is not fully reconcilable with other historic records, such as the fact that Cai Wenji's father had at least two other daughters and possibly a son. (SeeCai Yong.) One of the daughters was known to have mothered a few notable figures, includingYang Huiyu,an empress dowager of theJin dynasty.If one of them was not able to placate the spirits of their ancestors, Cai Wenji would not be able to either, because females were not considered direct posterity. The reason Cao Cao gave was probably only an excuse used to convince the Han ministers to justify the ransom.[citation needed]
  5. ^( binh ra Đồng Quan, thao ở trên ngựa, trông thấy một thốc cây rừng, cực kỳ tươi tốt, hỏi gần hầu rằng: “Này nơi nào cũng ﹖” đáp rằng: “Này danh Lam Điền. Cây rừng chi gian, nãi Thái ung trang cũng. Nay ung nữ Thái diễm, cùng với phu đổng tự cư này.” Nguyên lai thao cùng Thái ung tương thiện. Trước khi này nữ Thái diễm, nãi biện hộ giới chi thê; sau bị phương bắc bắt đi, với bắc địa sinh nhị tử, làm hồ già thập bát phách, chảy vào Trung Nguyên. Thao thâm liên chi, khiến người cầm thiên kim nhập phương bắc chuộc chi. Tả Hiền Vương sợ thao chi thế, đưa Thái diễm còn hán. Thao nãi lấy diễm xứng đổng tự làm vợ....... Ngày đó đến trang trước, nhân nhớ tới Thái ung việc, lệnh quân mã đi trước, thao dẫn gần hầu trăm dư kỵ, đến trang môn hạ mã. Khi đổng tự xuất sĩ với ngoại, ngăn có Thái diễm ở nhà. Diễm nghe thao đến, vội ra nghênh đón tiếp. Thao đến đường, diễm cuộc sống hàng ngày tất, hầu lập với sườn. Thao ngẫu nhiên thấy vách tường gian huyền một văn bia đồ trục, đứng dậy xem chi, hỏi với Thái diễm. Diễm đáp rằng: “Đây là tào nga chi bia cũng, tích cùng đế khi, thượng ngu có một vu giả, danh tào húc, có thể sa bà nhạc thần; tháng 5 5 ngày, say vũ thuyền trung, đọa giang mà chết. Này nữ năm mười bốn tuổi, vòng giang khóc nỉ non bảy ngày đêm, nhảy vào sóng trung; sau 5 ngày, phụ phụ thi phù với giang mặt; người táng chi bờ sông. Thượng ngu lệnh độ thượng tấu nghe triều đình, biểu vì hiếu nữ. Độ thượng lệnh Hàm Đan thuần viết văn tuyên bia lấy nhớ chuyện lạ. Khi Hàm Đan thuần năm vừa mới mười ba tuổi, viết một hơi không ngừng, vung lên mà liền, lập thạch mộ sườn, người đương thời kỳ chi. Thiếp phụ Thái ung nghe mà hướng xem, thời gian đã lặn, nãi với âm thầm lấy tay sờ văn bia mà đọc chi, tác bút kể chuyện bát tự với này bối. Hậu nhân tuyên thạch, vẫn chưa tuyên này bát tự.” Thao đọc bát tự vân: “Hoàng lụa ấu phụ, cháu ngoại tê cối.” Thao hỏi diễm rằng: “Nhữ giải ý này không ﹖” diễm rằng: “Tuy tổ tiên di bút, thiếp thật khó hiểu này ý.” Thao nhìn lại chúng mưu sĩ rằng: “Nhữ chờ giải không?” Chúng toàn không thể đáp. Với nội một người ra rằng: “Mỗ đã giải này ý.” Thao coi chi, nãi chủ bộ dương tu cũng. Thao rằng: “Khanh thả chớ ngôn, dung ngô tư chi.” Toại từ Thái diễm, dẫn chúng ra trang. Lên ngựa hành ba dặm, chợt tỉnh ngộ, cười gọi tu rằng: “Khanh thí ngôn chi.” Tu rằng: “Này ẩn ngữ nhĩ. Hoàng 縜 nãi nhan sắc chi ti cũng. Sắc bàng thêm ti, là ‘ tuyệt ’ tự. Ấu phụ giả, thiếu nữ cũng. Nữ bàng thiếu tự, là ‘ diệu ’ tự. Cháu ngoại nãi nữ chi tử cũng. Nữ bàng tử tự, là ‘ hảo ’ tự. Tê cối nãi năm tân chi khí cũng. Chịu bàng tân tự, là ‘ từ ’ tự. Nói ngắn lại, là ‘ tuyệt diệu hảo từ ’ bốn chữ.” Thao kinh hãi rằng: “Chính hợp cô ý!” Chúng toàn hâm mộ dương tu tài trí chi mẫn. )Sanguo Yanyi,chapter 71
  6. ^A large number of modern historians, includingHu Shih,disputed the traditional attribution, the earliest survival of which was by theSouthern Song dynastyscholarZhu Xi.(Guo Moruo 1987, p97.)Guo Moruo,on the other hand, wrote six articles in half a year's time in early 1959 to dispute the dispute. (Two of which were included in Guo Moruo 1987, pp 96-109.) This led to a heated debate, with both sides holding their ground, even though Guo's opinion was in the minority. Quote: "《 mười tám chụp 》 thảo luận, bị liệt các loại tư liệu lịch sử, tuy rằng khác nhau vẫn cứ tồn tại, nhưng từ học thuật nghiên cứu góc độ xem, như vậy tường tận mà bày ra tư liệu lịch sử, thực sự cầu thị mà tiến hành phân tích, mỗi người phát biểu ý kiến của mình mà thảo luận là cực kỳ hữu ích, vì tiến thêm một bước làm sáng tỏ 《 hồ già thập bát phách 》 vấn đề đánh hạ tốt đẹp cơ sở."((This) debate aboutEighteen Songscited historic facts of all kinds. Even though differences in opinion persist, it is extremely beneficial to list such exhaustive historic facts, to engage in factual analysis, and to express individual opinions. This laid a good foundation to further clarify the problem related to the Eighteen Songs of a Nomad Flute. ") (Lu Lư, Xingji hưng cơ (1987),Thái diễm cùng 《 hồ già thập bát phách 》 tác giả[Cai Yan and the Author of Eighteen Songs of a Nomad Flute],Lư hưng cơ biên 《 kiến quốc tới nay cổ đại văn học vấn đề thảo luận cử muốn 》[Summaries of Debates since 1949 about Ancient Literature, Lu Xingji comp.] (in Chinese),Qilu Publishing House,archived fromthe originalon 2015-01-15,retrieved2015-01-14.)
  7. ^Wei, Zheng(636).Book of Sui.Collections (in Chinese). Vol. 30, Book Collections 4.Tang dynasty.Retrieved2015-01-14.( Ngụy trưng et al., Tùy thư chí thứ ba mươi kinh thư bốn; c.f.Book of Sui) Quote: "Đông Hán đổng tự thê 《 Thái Văn Cơ tập 》 một quyển,..., vong."(Wife of Later Han Dong SiCollective Works of Cai Wenji,one volume - dissipated.)
  8. ^Fan Ye et al. (420-479). Quote: "Thao nhân hỏi rằng: “Nghe phu nhân gia trước nhiều mồ tịch, hãy còn có thể nhớ thức chi không?” Văn cơ rằng: “Tích vong phụ ban thư 4000 hứa cuốn, lưu ly đồ thán, võng có tồn giả. Nay sở tụng nhớ, tài 400 dư thiên nhĩ.”... Vì thế thiện thư đưa chi, văn không bỏ sót lầm."(So Cao Cao asked:" I have heard that Madame's home used to host many ancient books. Can you still remember? "Wenji said:" My late father left me with some 4,000 volumes. Along with my life in displacement and turmoil, few remain. All I can recite now are but a little more than 400. "... Thus (Wenji) wrote down the books and presented them (to Cao Cao). There was no omission or error in the text." )
  9. ^See references in curator's notes from Taipei National Palace Museum[1].According to NPM, earliest surviving pieces were from the Southern Song dynasty.
  10. ^Guo, Moruo(1959).《 Thái Văn Cơ 》(in Chinese). Beijing:Antiquities Publishing House.Collected in Guo Moruo 1987, pp3-95
  11. ^"Ts'ai Wen-chi".USGS. 1976.Retrieved2015-01-19..See alsoList of craters on Mercury
  12. ^"Caiwenji".USGS. 1994.Retrieved2015-01-19.See alsoList of craters on Venus.
  13. ^Famitsu scanfrom the week beginning 18th Jan 2010

References

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