From Round to Square (and back)

For The Emperor's Teacher, scroll down (↓) to "Topics." It's the management book that will rock the world (and break the vase, as you will see). Click or paste the following link for a recent profile of the project: http://magazine.beloit.edu/?story_id=240813&issue_id=240610

A new post appears every day at 12:05* (CDT). There's more, though. Take a look at the right-hand side of the page for over four years of material (2,000 posts and growing) from Seinfeld and country music to every single day of the Chinese lunar calendar...translated. Look here ↓ and explore a little. It will take you all the way down the page...from round to square (and back again).
*Occasionally I will leave a long post up for thirty-six hours, and post a shorter entry at noon the next day.

Sunday, July 31, 2011

Hurtin', Leavin' and Longin' (14)—Much Too Young (To Feel This Damn Old)

[a] Battered  RF
A young man in an old man's body. This idea is hardly new in world literature, and its tired, gendered images have woven their ways into poetry and prose since Homer and Qu Yuan. Everything from war to sports has been grist for this literary mill, and it is one of the few themes where we might find Odysseus and Prospero meeting Brett Favre and Derek Jeter. It should not be surprising that country-western writers and singers have associated it with the aches and pains (not to mention lost opportunities in love and work) that come with a life in the rodeo.

Let's take a listen to the first work in the oeuvre of one of Nashville's greatest writers. He also did a pretty good job on the stage, and in the recording business. Garth Brooks has a way with images, and few are better than the white line stretching on into the distance...and the saddle getting cold.

Much Too Young (To Feel This Damn Old)
—Garth Brooks
[b] Tired  RF
(Garth Brooks)

This ol' highway's getting longer
It seems there ain't no end in sight

To sleep would be best
But I just can't afford to rest
I've got to ride in Denver tomorrow night
 

I called the house but no one answered
For the last two weeks no one's been home
I guess she's through with me
[c] Spent  RF
To tell the truth I just can't see
What's kept the woman holding on this long

Chorus
And the white line's getting longer
And the saddle's getting cold
Now I'm much too young to feel this damn old

All my cards are on the table
With no ace left in the hole
Now I'm much too young to feel this damn old
 

The competition's getting younger
Tougher broncs, you know I can't recall  

A worn out tape of Chris LeDoux
Lonely women and bad booze
Seem to be the only friends I've left at all
 

Repeat Chorus
Lord, I'm much too young to feel this damn old.
[d] Gender  RF
The only "problem" this week with selecting an East Asian poem is that so many of them over the centuries speak to (almost) exactly the same sentiments voiced by Garth Brooks. I had a little bit of work to get the juxtaposition just right, and hope that you enjoy a Song dynasty (960-1279) lyric by one of the true masters of the form, Liu Yong. In "Travels of Youth," Liu passes over familiar ground, but is unable to enjoy it the way he did in younger, happier days. The sentiment is one that ties together the weary traveler and the tired cowboy in a way that could well inspire further reflections in the coming weeks and months. Think about age and fatigue, and then mix it with a nice dose of nostalgia.

        少年遊
         
柳永 (宋; 987-1053) 
              長安古道馬遲遲
             
高柳亂蟬嘶
             
斜陽鳥外
             
秋風原上
             
目斷四天垂
              歸雲一去無蹤跡
             
何處是前期
             
狎興生疏
             
酒徒蕭索
              不似少年時

              Travels of Youth 
                   Liu Yong (Song dynasty; 987-1053)
                   On the old road to Chang’an, my horse plods along slowly
                   Above, high in the willows, cicadas give disordered calls
                   The sun’s rays slant beyond the islands in the distance
                   Autumn winds sweep across the plateau
                   My view of the heavenly canopy is obstructed

                   The clouds recede; once gone they leave no trace
                   Where is the place I knew in former times?
                   Bits of the good life are sparse and scanty
                   Even wine brings on melancholy
                   It is not the way it was when I was young.[1]
[e] Memory RF
[1] Liu Yong [柳永], "Travels of Youth" [少年遊] Complete Song Dynasty Lyrics [全宋詞]. Translated freely by Robert André LaFleur.

Bibliography
Liu Yong [柳永], "Travels of Youth" [少年遊] Complete Song Dynasty Lyrics [全宋詞].

NEXT
Sunday, August 7th
Pocket Full of Gold
The incomparable Vince Gill will lead us down the interpretive path toward the worst of lying, cheating, and supremely bad human conduct. Today's post was upbeat compared to next Sunday's. It's all misery and despair...every weekend on Hurtin', Leavin', and Longin'.

 

Saturday, July 30, 2011

Longevity Mountain (6)—Into the Valley of Buddhist Sound

[a] Valley  RL
During the last two weeks of July and into early August I will be posting segments from my project dealing with five Chinese mountains that are often referred to as "the sacred mountains of China." They represent each of the "five directions" found in early Chinese thought (think of the ones you know and then add the middle as the fifth); they have figured prominently in Chinese political culture, travel, and religion for 3,000 years. I have spent almost 400 days on the mountains, and am working on a series of books that detail the mountains and their "home" areas. Mountains were said to connect earth (thought to be "square") with heaven (thought to be "round"). The entire project is called—this may or may not surprise you—Round and Square.

One volume is planned for each mountain, beginning with the southern peak, Mt. Heng, in Hunan province. The reasoning behind this choice of a starting place took me months to develop, but suffice it to say that these books will take the reader up and down each of the five sacred (sometimes called "Daoist") mountains and around the lunar calendar in an exploration of Chinese life and culture. As an introduction to the series, I have included an introduction that is based on a recent book proposal and a full "sample" table of contents. These are followed by nine "scenes" from Longevity Mountain that are meant to give readers a sense of the project as a whole. Photographs used in this series were taken during my travels, unless otherwise indicated. My photos are marked "RL."


Scene Six
Into the Valley of Buddhist Sound
The 梵音谷, Buddhist Sound Valley is a respite from the road that winds almost to the top of Longevity Mountain. I have long decided that the proper way to attune oneself to the long and gradual climb up the southern mountain is to make it even longer and more gradual—to wander through four kilometers of water, diverse trees, and rich vegetation. The entrance to the valley path is as quiet as the valley itself, but the map and introduction promise an even more memorable journey. It appears in Chinese and a peculiarly resonant form of English.

[b] Fairyland  RL
Welcome to the Buddhist Sound Valley to explore its exotica, watch its waterfall and listen to the gurgling spring and crisp wind. Buddhist Sound Valley is a newly-opened ecotourism attraction, extending 4.2 kilometers from Buddhist Sound Lake to Loyal Martyr Temple. Forest of mountain summits populate the banks of the lake, running spring and flying waterfall make a Buddhist sound, precipitous cliffs and exotic stones are sculpture-like, crystal-clear brook zigzags its way, sending out melodious strains. Along the brook are scattered over ten scenic spots, such as Buddhist Pavilion, Huayan Lake, Peach Bloom Valley, Sanwan Waterfall, Zhimu Pool, Money Chest, and more. Strolling along the brook refreshes and gladdens your heart, affords you a feeling of enjoying a beautiful painting, and you suddenly feel as if you were in fairyland.

[c] Road  RL
It is a kind of fairyland to be whisked away from the road to the pavilions, bridges, trees, and waters of the valley. The first steps down the path into the valley allow me to leave the frenzy of buses, cars, and consternation. I remember on my first few climbs of the mountain feeling fundamentally disoriented by the road climb—and it is not just a few steps. It is mostly road, interspersed with a few climbing path shortcuts, and very disappointing for the climber who wants to “feel” the mountain. It was not for almost two kilometers that the opportunity to return to forest and stone steps presented itself. There was still a great deal of climbing left, but it was not lost on me on those early climbs that, of the five marchmounts, the southern mountain has the worst opening stretch, with honking, blinking, and annoying speeds.

And now, the best. The Buddhist Sound Valley is rivaled but unmatched by the other peaks. The very name of the valley has me attuned, and I listen to the flow of water over rocks, chirping birds, bamboo rustling in the wind,…and music. All of the trees along the path surrounding the artificial lake have bark, leaves, and branches. Some are covered with layers of thick, green moss. A few have sound systems that emit Buddhist melodies. Sound valley, indeed. It does not take a particularly acute sense of hearing to register one other distinctive sound in the Buddhistic quiet of the valley. Honking horns. The road remains a presence I try to forget, even while mulling the changing course of my perspective.

[d] Bridge  RL
I cross a stone bridge and continue on the gently weaving path, dipping far into the belly of the underbrush on the quietest part of the lake. I pass a couple playing cards on a stone table overlooking the calm water; they must have come at dawn, when I began my hike. They will be the only people I see on the path for the next two hours. We exchange greetings, and I add that the valley is very peaceful. The young woman studies me, and then readies a reply. I expect some kind of insight into the quiet of the lake or a story about why they chose this particular location to spend their morning. “You’re alone?” “Yes,” I reply. “I am hiking alone.” She shakes her head a little. We say “goodbye,” and I am again alone on the stone path.

The path is flat, all around the lake, and I enjoy the canopies of cedar, willow, and bamboo. I notice the familiar pattern of stone steps that leave the path and lead to destinations on the hillside. After exploring several hidden locations on other Chinese mountains, I am determined to learn as much as I can about where seldom trodden paths might lead. They have already taken me down fascinating little byways over the years, and I can feel the anticipation building. Something is off here, though; these steps are new. Sparkling. The cultural markers are not necessary, and I need not ponder the route too deeply. I look up, and left. 洗手间, Toilet.

[e] Lake  RL
The lake is artificial, to be sure, but it seems almost artificially still. It is green, algal, and looks almost like a wide fairway surrounded by rough and trees as I look into the distance. As I round the corner toward the back of the lake, the path begins again to climb, and I enter the valley and see the healthy flow of a rushing stream—the most powerful flow on any of the sacred mountains at any time of year.

Moss covers the rocks at the side of the path, and a view of the mountain appears for the first time on the hike. The Zhurong Peak is only 1,291 meters above sea level—the lowest of all the marchmounts—but it takes longer to climb the path (even without a side trip through the valley) than any of the other mountains. The peak is not so much high as it is far. The horizontal journey is as much a part of the Longevity Mountain experience as the vertical, and enjoyment of the forest is one of the things that makes the southern mountain special.

The valley opens with the stream, and only the occasional outdated telephone wire interrupts the relative solitude. I walk through small openings in the rock that are not quite caves, but offer a drop of several degrees from the “outside” temperatures. After a few steps, I cross a stone bridge across the rushing stream and stop at a pool at the foot of a small three-tier waterfall. I let my cap dry in the sun and breeze while I clean off in the cool water.

请勿嬉水
No Swimming

[f] High and far  RL
No one is around, but culture is here (culture and regulation). It can even be found on the sign, for which the English is a grammatical but poor substitute for the Chinese. The figure has the international symbol for "no swimming”—three curving lines to represent water, a stick-figure head with arms in front crawl position, and a red circle with a diagonal line through it. The English says “No Swimming.” The Chinese says something more like “(Please) No Horsing Around in the Water.” Culture.

I decide to follow an obviously older route up this part of the valley (there is a more “civilized” trail around the ridge). The steps are soaked with moisture rising off of the falls and too thick to be suspended in air; they are worn smooth and very slick, the moss making alternately for greater traction and even more slipperiness. Reaching the top, I realize that the only way back to the continuing trail is across a series of flat, slick rocks. The summer heat has not lowered the water level, and my shoes will be wet, even in the best of circumstances. I weigh the worst case; if I slip it will hurt, but I won’t be in any great danger. I cross; the footing is secure. Aside from Western Mt. Hua, this is close to the limit of danger on the marchmounts.

[g] Empty  RL
I climb into the Upper Fanyin Valley, and I again begin to see the mountain as a whole; high and far. Here the stone path ends, and it is a matter of linking with the main road before regaining the “normal” mountain path that most travelers take. In order to do that, I must leave the valley and walk on a path that has been here a good deal longer than the stone steps of the Fanyin Valley. Following a dirt trail used by mountain farmers, I start up the crumbling red clay indents that serve as steps, curve through tight corners amid dense greenery, pass a farmhouse, and soon reach a storefront to nowhere—the same white tile façade and large structure of buildings up and down the mountain, but with no visitors to support it. I stop and talk with the only person about, a man in his forties who tells me that it is a place used by people who work on the mountain and might become an attraction for hikers who just might (“like you, today”) begin this new climbing route through the valley.


[h] Backpath  RL
Longevity Mountain 1          Longevity Mountain 2          Longevity Mountain 3          Longevity Mountain 4 
Longevity Mountain 5          Longevity Mountain 6          Longevity Mountain 7          Longevity Mountain 8
Longevity Mountain 9          Longevity Mountain 10        Longevity Mountain 11        Longevity Mountain 12

NEXT
Regaining the Ancient Path
Back down to the Martyr's Shrine, I climb up toward mid-mountain—but not before stopping for a beancurd snack and a conversation with a pathside seller.

Friday, July 29, 2011

Longevity Mountain (5)—Furnace Talk

[a] Centered  RL
During the last two weeks of July and into early August I will be posting segments from my project dealing with five Chinese mountains that are often referred to as "the sacred mountains of China." They represent each of the "five directions" found in early Chinese thought (think of the ones you know and then add the middle as the fifth); they have figured prominently in Chinese political culture, travel, and religion for 3,000 years. I have spent almost 400 days on the mountains, and am working on a series of books that detail the mountains and their "home" areas. Mountains were said to connect earth (thought to be "square") with heaven (thought to be "round"). The entire project is called—this may or may not surprise you—Round and Square.

One volume is planned for each mountain, beginning with the southern peak, Mt. Heng, in Hunan province. The reasoning behind this choice of a starting place took me months to develop, but suffice it to say that these books will take the reader up and down each of the five sacred (sometimes called "Daoist") mountains and around the lunar calendar in an exploration of Chinese life and culture. As an introduction to the series, I have included an introduction that is based on a recent book proposal and a full "sample" table of contents. These are followed by nine "scenes" from Longevity Mountain that are meant to give readers a sense of the project as a whole. Photographs used in this series were taken during my travels, unless otherwise indicated. My photos are marked "RL."

Scene Five
Furnace Talk
[b] Burning  RL
The center of the religious action takes place in the courtyard, no matter how the pilgrims got there, and it is the scene of private and small group drama. The right hand incense “storehouse” (there are parallel storehouses) is burning hotly today, and people who approach to throw in their incense, hell money, and firecrackers feel the heat and back off to a distance of a meter or more before tossing in their offerings. Many hit their marks, and a few do not; unburned incense and hell money litter the area outside the flaming furnace, yet the smell of incense is thick in the courtyard. Every few minutes relative calm is punctuated by the snap of firecrackers, and some people toss them in, cover their ears, and run. The smell of incense, the sputter of firecrackers, and the occasional sound of the distant bell and drum envelope the courtyard.

[c] Bowing  RL
One family bows three times, walks toward the stove—it is the size of a comfortable log cabin engulfed in flames from within—before pausing and tossing in their incense sticks. The little son doesn’t dare get too close, and finally gives his incense sticks to his father. Seeing her son’s consternation, the mother does the same, and a democratic scene turns awkwardly to one of paternal deference. The little kin group walks back, sorts through its bags of hell money, approaches the stoves again...and then hands the money to the father. In goes the hell money. As though rising to the occasion, he makes a slight bow toward the fires, turns, slaps his hands, and leads the family away.

The courtyard alternately fills and empties as people fulfill their duties. Another family poses for a picture in the center of the courtyard with the grand temple palace in the background. Mother teaches tiny son to hold up his fingers in the obligatory “V” sign found on pictures all over China—since Nixon’s visit forty years ago. He clenches his little fist; she gently buries his hand in hers and holds up two fingers for both of them. Enculturation. Rule. Force. (治). Nearer the stove, with no one else around in a moment of quiet, an elderly man bows deeply with large, elaborate incense sticks, walks slowly, gravely, toward the stove, pauses, and—despite the intense heat—nears the stove and solemnly drops in the sticks. 

[d] Bourdieu  RL
Across the way, at the identical left-side stove, an attendant sweeps with his straw broom. Red plastic bags swirl in the peculiar climactic conditions of the courtyard—hot, humid summer breezes mixed with red-hot intensity from the stove. The bags become so many leaves in the temple wind. Pilgrims reach the courtyard, take their incense sticks and hell money from the auspicious red-colored bags, go about their prayers, and leave the bags lying on the ground. Sacred litter. The layers of heat and summer wind do the rest, and the courtyard is alternately dotted by them and swept clean with straw brooms.

A large tour group approaches from the north, the members’ excitement as thick as the incense in the burners. This is group religious activity, to be sure. They make a spontaneous set of rows as they face the burners and begin bowing, their orange travel group caps and incense sticks moving in individualized harmony, if large scale cacophony. Up, down, up, down, up, down, walk, (bump), throw. The prayers and offerings of over thirty people pour out of the stovepipes onto the courtyard.

[e] Pausing  RL
Another group forms from scattered small sets of pilgrims gathering from north and south. Grandmother and granddaughter stand side-by-side. Granddaughter, a high school student finished with what Americans call eleventh grade, tries to concentrate on her own offering, but is transfixed by her elderly travel mate. Grandma knows what she is doing. “Grandma, stop!,” she shouts. The old woman, surprised but placid, pauses. “Let me take a picture!” Grandma waits. She poses high, with straight back and incense sticks pointing toward the sky; she poses low, with sticks almost touching the ground. “Now take a picture of me!” Grandma works the camera technology better than granddaughter works the ancient techniques. Grandma helps her kin hold the sticks appropriately, tells her to hold still, and takes the picture. After that, it is just a matter of performing the “real” bows and depositing their offerings.

[f] Inquisitive  RL
While I am watching this scene, a family of four—two adults, a daughter, and her daughter’s friend from Changsha—sits down on the bench next to me. This is unusual. They do not stare, but rather rest and chat amongst themselves. The little friends—this is the manner in which all children under twelve are addressed in China—are inquisitive, however. “Are you from China?” This might be the oddest question I have heard in a quarter century in these environs. I suppose that I could be the member of an ethnic minority from the tribe called “Western Sinology.”  I explain that I was born in the northern part of the United States, and describe cold North Dakota winters, with the temperature dipping to forty degrees below zero (Centigrade and Fahrenheit). The girls enact a shiver, and say they are glad they are from the south. I ask them their ages. They say eight and nine, then volunteer that one has just finished first grade and the other has just finished second. They are counting “traditionally,” with one year being given at birth—a problem that trips up inquisitive foreigners all the time.

We tell stories. I have them tell me the famous story about Sima Guang saving his young friend who was drowning in a palatial urn. One shouts "we read that in first grade!"  I say, "I know!"  After they describe little Sima breaking the vase, I tell them the story of George Washington and the cherry tree. Then I show them Washington on a dollar bill I still happen to have. "Is he dead?," the first-grader asks. I explain that he lived at the same time as the Qianlong emperor in the Qing dynasty (r. 1736-1796), and that he has "passed away."  I use that term (過世; "leave the world") consciously, with respect for a historical figure. Dad says, "Washington is like our Chairman Mao."  I agree with dad, thinking back with a little embarrassment to my time at modern China’s Mount Vernon a few days ago. The older girl exclaims, "Chairman Mao is dead too!"  I nod that she is correct, and emphasize that he passed away in 1976. The mother scolds the girls for using such direct language, and then pauses before calmly explaining that it is not polite to use the word "die" (死) in these cases, and that one should really say the more polite phrase "leave the world." 

[g] Questions  RL
This goes on for some time, and I teach them how to answer the inevitable question from Americans, "What grade are you in?"  It always stumps little friends and their parents, because the cultural equation is entirely different in the two countries. It is the single-most relevant point of misunderstanding in everyday conversation for travelers, and I have taken it as my challenge to teach Chinese children how to answer the question all Americans will ask—what grade are you in?

I always say that in China the questions are like this (these are the ones people ask me):
1-Where are you from (which country are you from)?
2-How old are you?
3-Where (in China) are you living?

Americans tend to ask (children) in this order:
1-(Hello). How are you?
2-What is your name?
3-What grade are you in?
4-Where are you from?

It is possible to quibble with the order, but the key is that I have met few students in China who can answer (in its “English” phrasing) the "grade" question. Even in Chinese, it somehow feels stilted—there is no problem answering, but most children give a confused look, as if to say "but why are you asking?”  Then there is the problem of ordinal numbers ("I am in third grade" as opposed to "I am in three grade). On top of that, there is the bigger problem of "grades" themselves. Yesterday, a fifteen year old answered the question—which I dutifully asked in English, so she could practice—by saying (grammatically and culturally correctly) "I am in grade one."  She meant "the first year of high school." I taught her that, in order for Americans to understand, she needs to convert to a K-12 (1-12) system. She did some thinking and then exclaimed, "I am in tenth grade!"
***  ***
[h] Throw  RL
In the midst of our long conversation, there must have been a tumult by the furnaces, because—our goodbyes completed—I am surprised to see puddles of evaporating water in the courtyard. Fire and rescue. As I, too, prepare to move on, I watch closely a final, small drama played out before the stoves. A young woman, alone, prays intently as she holds her incense sticks. Her supplication continues for some time, her lips moving slightly and her eyes tightly closed. She bows gravely three times in succession, then carries her incense sticks toward the burners before stopping suddenly. She looks right and left. No one is around. She tentatively begins what appears to be an anticipatory motion in advance of throwing the sticks. She stops. She looks around again, spotting an attendant in the corner. She walks over to him and he makes an exaggerated motion with his arms.

          “Throw!”
 
She walks back to the furnaces and gets as close as she can. Turning her face from the heat, she begins her windup again, then stops.

          “Throw them!” shouts the attendant.

This time she does, tossing them adeptly into the flames. Waiting for the smoke to puff out the vent, she turns and walks away, visibly concerned.

Longevity Mountain 5          Longevity Mountain 6          Longevity Mountain 7          Longevity Mountain 8

NEXT
Into the Valley of Buddhist Sound
The road takes an easy grade up past shops, fields, and the Longevity Cauldron. I buy my ticket, and then take a detour into a place of quiet paths, flowing water, and Buddhist sound.

Thursday, July 28, 2011

Longevity Mountain (4)—Always the Southern Entrance

[a] Temple view  RL
During the last two weeks of July and into early August I will be posting segments from my project dealing with five Chinese mountains that are often referred to as "the sacred mountains of China." They represent each of the "five directions" found in early Chinese thought (think of the ones you know and then add the middle as the fifth); they have figured prominently in Chinese political culture, travel, and religion for 3,000 years. I have spent almost 400 days on the mountains, and am working on a series of books that detail the mountains and their "home" areas. Mountains were said to connect earth (thought to be "square") with heaven (thought to be "round"). The entire project is called—this may or may not surprise you—Round and Square.

One volume is planned for each mountain, beginning with the southern peak, Mt. Heng, in Hunan province. The reasoning behind this choice of a starting place took me months to develop, but suffice it to say that these books will take the reader up and down each of the five sacred (sometimes called "Daoist") mountains and around the lunar calendar in an exploration of Chinese life and culture. As an introduction to the series, I have included an introduction that is based on a recent book proposal and a full "sample" table of contents. These are followed by nine "scenes" from Longevity Mountain that are meant to give readers a sense of the project as a whole. Photographs used in this series were taken during my travels, unless otherwise indicated. My photos are marked "RL."

Scene Four
Always the Southern Entrance

It is mid-afternoon. I unpack quickly and cross the street to the Southern Peak Temple. I purchase my ticket and—as a result of years of practice and attention to cosmological ordering—walk straight “back”...to the front. Like all of the great mountain temples, the Southern Peak Temple is built on an axis line with the mountain itself. The first gate is “in town,” and the temple's exit opens onto the mountain—the 北後門, Rear North Gate. The practical problem with the Southern Peak Temple is that almost everyone enters it “from the back.” 

          Practicality 1 Cosmology 0. 

[b] Gates
The mountain faces south, and that little cosmological “fact” will not go away. According to millennia of interpretations, mountains face south (like a great god on a throne, looking down on the city) and open to the north for the incense-bearing traveler. The serious pilgrim should never walk into the temple and then walk away from the mountain; it goes against all cosmological sense. Yet that is what well over ninety percent of pilgrims do at the Southern Peak Temple. The mountain begins its upward trajectory right across the street, and all transportation is geared toward bringing pilgrims to the “efficient” location between the temple's rear gate and the mountain's entrance. 

I am determined to follow the path, the Way, of both temple and mountain, so although I buy my ticket "at the back," I walk all of the way around the sizable grounds—through alleys selling incense, firecrackers, and beverages—go to “the other” gate, and give my ticket (now a little moist from the afternoon heat) to the attendant. I begin my trip, in proper and perhaps somewhat pedantic fashion, at the 櫺星門 Lattice Star Gate. I will do it “right,” even if no one seems to care anymore, except a few living historians and Dong Zhongshu (179-104 BCE), rolling in his tomb several hundred kilometers north of here.

The Lattice Star Gate opens onto a quiet transition from the street. Relatively few people enter here and the architectural organization of the temple, in any case, creates a calming effect, as it is meant to do. It is structured to begin slowly, in ways that invite contemplation before the frenzied religiosity to come many steps from here. Facing north, I see ponds, pavilions, cedars marked with special designations for their age, a shrouded glimpse of a large cluster of buildings in the distance, and barely tamed summer vegetation all around me. To my right is a quiet pool of green water surrounded by faux marble railings and willow trees. A small set of steps lead to the thick, green water highlighted by darting lines of goldfish orange. To my left is an identical pool in terms of structure, but my friend Marcel Granet would find it completely different. Few people even look at the other pond, yet this one bustles with social activity, gathering, and movement. There are fish in bowls, birds in cages, turtles in low-brimmed plastic containers and attendants on duty to help you release them—for a fee.
[c] Pool  RL
This is the 放生池, “Release Life Pool,” and the idea—pervasive in Buddhist temples—is that life is released from bondage by another life. This is not, properly speaking, a Buddhist mountain, yet it feels like one, and that says everything about this place. As for the wildlife, that is another question. How it is “caught” in the first place is a matter that might be too cynical for the doctrine of the pool. I have my suspicions that the little turtle for which I might pay will be snatched right back for the next pilgrim. I stifle such thoughts, at least for the moment.

Metaphysical catch and release. The sign says:
Releasing Life—A Public Spirit Without Compare
What is releasing life? It is giving living things a chance, and also giving yourself a chance. Releasing ten thousand lives [verbs] the eight difficulties; releasing fifty thousand, avoids….; releasing a hundred thousand, and happiness and a “round” life is attained. Releasing a million, and things change; releasing several million, and the circle returns, everlastingly unbroken. Hurry, hurry and release life—fish, shrimp, turtles, birds, and so forth. All can be given release.

Yesterday’s release of life today will bring good luck and positive karma.
Releasing life is saving life.
Releasing life is extinguishing disaster.
Releasing life is gaining longevity.
Releasing life is a kind of responsibility.
Releasing life is fortunate and good.
Releasing life is compassionate and caring.
[d] Rubbing

Walking straight ahead, I encounter a distinctive edifice in the very center of the path—the 奎星閤, the Kui Star Pavilion. The building is raised about seven feet from the ground, and the narrowed temple path reaches an intersection in its center. Here, the paths cross under the building in a perfect directional schema. Due north, south, east, and west. Perfect. People walk about in each direction, rubbing with their bare hands the red, varnished beams just above their heads. They also rub the rough stone on the walls, specifically the objects that have a round and square appearance. I ask several people what they are doing, in my continuing fieldwork style of asking the “same” question over and over to many people. If the question is important—as this one is—I ask it hundreds, maybe thousands, of times.

—Why are you rubbing the beams and stone?

Some answer forthrightly—“It is called “rubbing money” (moqian); it gives me luck.” Others say almost the same thing, but couch it with various levels of embarrassment—“It is old culture” or “It’s a little bit superstitious.” The beam rubbing, called hongyun dangtou, is related to the money rubbing. Rubbing and magic; this theme is persistent. It is a kind of tactile religiosity that never goes away, and is also a great deal more prevalent in the West (think of beads and charms and ritual) than most people realize.
***  ***
There are two more elements to this architectural mix of luck, cosmology, and literary reference. To the left and right are small buildings with large objects, and the point is to take a physical, tactile, and economic responsibility for attracting fortune. To the left, I enter the drumming pavilion, give the attendant five yuan, and get two large drumsticks covered with red cloth tassels. I bang the drum slowly, then build to a crescendo. I quietly hand the sticks back to the attendant, who has been sitting impassively, reading a newspaper. She looks up and says, “most people drum longer.”
[e] Sounding  RL
Across the way, walking under the 正南門, Precise South Gate, and rubbing both beams and “money” as I proceed, I come to the other building, which contains a great green iron bell and a log suspended by ropes for sounding it. The end of the log is frayed from contact with the bell.

          五元人次
          Five yuan per person
I am told that I must sound the bell six times. I do so, six times in succession, each time letting the echo fade before swinging the log hard, back into the metal. Each strike carries a different meaning.
          Spiritual Compassion Vast and Unending
          Virtue Swamping Multitudes of Life
          ——Strike the Bell of Auspicious Luck Successful Dreams Will Come ‘round
           One life of peace and calm, ten thousand of auspicious luck
           Two dragons play the pearl, a famous name will be attained early
           Three stars shine on high, wealth and fame, health and peacefulness
           Four season bring wealth, the hundred occupations rise brightly
           Five lucks enter the gate, the heart reflects work completed
           Six roads are great and smooth, wealth and longevity unfurl like a brocade.
It is not lost upon me that the rubbing, drumming, and sounding are profoundly social activities for most visitors, who arrive in groups and share the experience. I feel the oddness of sounding the bell alone, but it is equally true that such “magical” practices—especially log and money rubbing—are personal, individual. The quest for fortune is a complex blend of solitary and social. I think about this, and suspect that the issue will follow me up and down all five mountains.
[f] Pathway  RL
Longevity Mountain 5          Longevity Mountain 6          Longevity Mountain 7          Longevity Mountain 8

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Furnace Talk
Pilgrims concentrate in the heart of the temple—the burning furnaces where incense sticks, "hell money," and firecrackers go. It is a place of religious intensity, confusion, and a little discussion.