“Echoes of the Past: The Timeless Lament of the Goddess of Wushan”

Nestled amidst the Twelve Peaks lies the ancient temple of the Wushan Goddess. The palace of King Chu, known as the Thin-Waisted Palace, still rests by the emerald waters. Surrounded by gently flowing streams and warm green mist, the former sleeping quarters of the palace ladies evoke countless memories of bygone days. From dawn till dusk, Wushan is shrouded in a misty rain, and with the passage of seasons, flowers bloom and fall, marking the relentless march of time. There is no need for the crying of the apes to reach the solitary boat, for travelers already harbor many sorrows.

This poem, a historical reflection, expresses the poet’s melancholy over the eternal nature of the landscape and the transient nature of human existence. is inspired by the legend of the Wushan Goddess, as depicted in the works of Song Yu’s “Rhapsody on Gaotang.” This legend, rooted in the narrative of the Goddess of Wushan, was already popular during the Tang Dynasty, as recorded in “Jiaofang Ji: Names of the Songs.” Song Huang Sheng’s “Selected Exquisite Words of Tang and Song Poets,” Volume One, notes two poems titled “Wushan Goddess” by Li Xun, indicating that Tang poetry often adhered to its themes, such as in “Immortal at the Riverside” or “The Taoist Nun,” capturing the essence of its subjects. This poem retains the early characteristics of these themed lyrics.

The opening line, “The ancient temple rests against the blue peaks, the palace by the emerald stream,” introduces the setting. The ancient temple refers to the shrine dedicated to the Wushan Goddess at the foot of the mountain. As recorded in Lu You’s “Record of Entering Shu,” Volume Six, “Passing by the Wushan Ningzhen Temple, I visited the shrine of the True Person. The True Person is the so-called Wushan Goddess. The shrine faces Wushan, with its peaks piercing the sky, and the mountain’s base extends into the river. …The Twelve Peaks are not fully visible. Only eight or nine peaks can be seen, with the Goddess Peak being the most delicate and steep.” The temple official said, “Every year on the night of the Mid-Autumn Festival, there is the sound of silk and bamboo music atop the peaks, and the mountain apes cry throughout the night, stopping only at dawn. Behind the temple, halfway up the mountain, there is a stone altar, said to be where the Xia Emperor met the Goddess to receive her talisman. From the altar, the Twelve Peaks look like a screen.”

The palace, synonymous with a detached palace, refers to the residence built by King Chu outside the capital. Here, it specifically points to the site of the Thin-Waisted Palace. In “Record of Entering Shu,” Volume Six, it states, “Early arrival at Wushan County, …visited the former palace of Chu, commonly known as the Thin-Waisted Palace. There is a pond, also a place for palace amusement, now mostly filled in. Surrounded by desolate mountains, it faces the stunning landscape of the river to the south.” From a distance, the shrine appears to cling to the towering peaks, and the palace seems to rest upon the emerald waters. The ancient temple, palace, mountains, and water, linked by the words “rest” and “recline,” form an integrated structure.

The following line, “The sound of water and the colors of the mountains enclose the makeup tower,” draws the viewer’s attention to the makeup tower. The makeup tower refers to the sleeping quarters of the palace ladies in the Thin-Waisted Palace, nestled among the mountains and rivers. The word “enclose” evokes a sense of seclusion, naturally leading to thoughts of the lonely and unbearable lives of the palace ladies. The line “The past fills my thoughts” concludes the first stanza, inviting reflection.

The second stanza describes the poet’s feelings on the boat. Continuing from “The past fills my thoughts,” the lines “Morning and evening, clouds and rain; spring and autumn, smoke and flowers” use natural imagery to symbolize the relentless passage of time. The reference to “clouds and rain” alludes to the dream of the Wushan Goddess, while “smoke and flowers” suggest the fleeting nature of beauty. The imagery is dual, with the beauty of nature symbolizing the passage of time and evoking the poet’s melancholy.

The concluding lines, “Why do the apes cry near the lone boat? The traveler already harbors much sorrow,” express the poet’s sentiment. The traveler does not need the apes’ cries to feel sorrow; the scenery alone stirs deep emotions. The poet blends the scene with emotion, creating a vast, poignant, and lingering mood. The entire poem reflects the passage of time, the changes of the world, and the poet’s personal sorrow, combining the mourning of the past with the lament of the present. The sincere and profound feelings, expressed with subtle and intricate strokes, convey a deep sense of historical melancholy and the transient nature of human life.