Dragon in Ambush: The Art of War in the Poems of Mao Zedong

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In Ingalls reading, though, these lines become something very different.

Mao's Little Red Book

Poem 17, she describes in her commentary, is. Ingalls again:. It is, therefore, scarcely surprising that Mao should suppose that, having proved himself an even more ruthlessly successful manipulator of human beings and human affairs than Zhuge Liang, the impact of the career of Mao Zedong and of his words. As Wittenborn observes in the Preface, one cannot glean a full picture of the man without careful reading of the poems, because what Mao presents in his prose writings is for an entirely different audience.

Unfortunately, for all of her efforts, Ingalls herself seems to be unable to grasp this broader view. One final point is worth contemplating. From the wary or even alarmist tone of Ingalls writing one might suppose that she was engaged in analysis of the poetical writings of a living world leader, one who could, conceivably, extend his merciless revolutionary influence to lands outside of China. Nonetheless, with the considerable volume of source material created in the s, the sense that the Mao dragon was much more than poetic fantasy makes a degree of sense in the context of that time. For those who have a low tolerance for narrow ideological reading, though, such a sifting process might be more onerous than it is worth.

His abstract components in particular find better ways to reside on the canvas, echoing pneuma that seem to both situate and alienate the figures they surround. And as usual the Tibetan monastery at the center gestures towards some political content, just as it pushes that idea completely out of the image. The next episode of my Chinese Visual Poets series. Hope its an improvement. Thanks as ever to Greg Youtz for allowing me to use his music, and to Yan Li. The answer remains to be seen, I suppose, particularly in terms of impact on the many local galleries and art outfits that were not actually involved in the event.

If Mao Had Been a Hermit

Meantime, many art writers seem to take the position that even the fact that it happened here at all matters. Seattle has drawn attention as a worthy endeavor, which is a mark of accomplishment of sorts. Mao's poems are frequently quoted in popular culture, literature and daily conversations. Some of his most well-known poems are "Changsha" , "The Double Ninth" Informal Translation: [3] Changsha [4] In the rhyme pattern of Qinyuanchun [5]. Alone I stand in the autumn cold On the tip of Orange Island, The Xiang flowing northward; I see a thousand hills crimsoned through By their serried woods deep-dyed, And a hundred barges vying Over crystal blue waters.

Eagles cleave the air, Fish glide under the shallow water; Under freezing skies a million creatures contend in freedom. Brooding over this immensity, I ask, on this bondless land Who rules over man's destiny?

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I was here with a throng of companions, Vivid yet those crowded months and years. Young we were, schoolmates, At life's full flowering; Filled with student enthusiasm Boldly we cast all restraints aside. Pointing to our mountains and rivers, Setting people afire with our words, We counted the mighty no more than muck. Remember still How, venturing midstream, we struck the waters And the waves stayed the speeding boats? Orange Island is an island in the middle of Xiang River , in Changsha , the capital of Hunan province.

Mao attended Hunan First Normal University around Yellow Crane Tower , a building at the bank of Yangtze River in Wuhan , is very famous in Chinese history and literary tradition. It is one of the Four Great Towers of China. Its fame mainly comes from a poem written by Cui Hao in early Tang Dynasty , part of which is:. The yellow crane has long since gone away, All that here remains is Yellow Crane Tower. The yellow crane once gone does not return, White clouds drift slowly for a thousand years. Mao later discussed the historical context of this poem's writing: "At that time , the Great Revolution failed, I was very depressed and didn't know what to do, so I wrote this poem".

Jinggang Mountains is a mountain area at the border of Jiangxi province and Hunan province. It is there Mao began to experiment his theory of guerrilla war. He was quoted as:"When we can beat the enemy, we fight. When we can't beat them, we run". In , Mao's Red Army left Jinggang Mountains and marched eastward to the western part of Fujian province and built their base there. That's why Mao said "the warlords are clashing anew", and "Millet Dream" meant Jiang, Feng and Yan's ambitions were just dreams.

And Mao thought he could take this opportunity to his advantage when most of KMT army went to fight elsewhere. Double Ninth Festival , also called Chongyang , [15] is a Chinese holiday. By tradition on September 9 Chinese Lunar Calendar each year, Chinese people would climb to the peaks of nearby mountains, looking far away, thinking about their family members who are travelling in other places.

In addition, during that day, people will drink wine made from chrysanthemum to pray for longevity. Therefore, in s, Chinese government set that day as old people's day as well to call on people to respect the senior. Line 1: Ninghua , [17] Qingliu , [18] Guihua [19] are all places in Fujian.

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Line 4: Wuyi Mountain [20] is a mountain in Fujian. Line 6: Gan River [23] is a river flowing through Jiangxi. Line 8: Ji'an [24] is a city in Jiangxi. At that time the Red Army tried to take Changsha , but they failed.

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  • Fujian is at the east, Hunan is at west, so Mao's army marched westward. Huang Gonglyue [27] was an important military leader in the Red Army, he was killed a few years later in battle. The first four all failed. Mao led the Red Army beating the first three campaigns, then he was relieved of leadership due to internal power struggles of the CPC. Zhou Enlai and Zhu De led the Red Army to beat the fourth campaign, but they failed the fifth time, and was forced to leave their base and began Long March.

    He was killed after being captured by the Red Army. Line Buzhou Mountain , [30] a legendary mountain in Chinese forklore.

    It is said Buzhou Mountain was one of the four pillars supporting the sky. Lanham, MD: Lexington Books, This is not an entirely good thing, because the information provided, while often rich and resonate, is also frequently far-fetched and the assemblage of contents is somewhat unusual. Ingalls, for those not already familiar, was born Mildred Dodge Jeremy Ingalls in and passed away in The appearance of this book in was due to the painstaking efforts of Allen Wittenborn, an associate and friend of Ingalls.

    Wittenborn met Ingalls at the University of Arizona, where Wittenborn was completing his graduate work in the s. Wittenborn returned to the University of Arizona archives later and produced, from some fifty boxes of posthumous papers, Dragon in Ambush.

    If Mao Had Been a Hermit | ChinaFile

    Structurally, the book is not particularly unusual. Why, precisely, it was necessary to include both traditional and simplified characters is a bit of a mystery, and the pinyin also seems overkill, but the work is consistently thorough, and these elements are in keeping with that trait.

    The really curious part of the work is its intent. Ingalls observes:. Acquaintance with what these poems are asserting and proposing is crucial for those of us who recognize the continuing costs to humanity of seemingly effective despotisms and the aggravation of those costs by eloquence dedicated to the celebration of massively artful control over the destinies of other human beings. Two points about this bear immediate mention. First, that poetry could be used in such a way—to cleverly communicate a momentous scheme to a group of would-be political followers—is in itself fascinating.

    Here, though, we immediately see a strange combination of scholarly, well-researched material and willfully unusual readings of Chinese classical texts. This is not to say that her translation is wrong per se, but it is not standard. Ingalls writes:. In these poems he speaks of the ageless energy that he believes he possesses, in common with Heaven, in exercising, like Heaven, a ruthless activation of the process of change. The readings of the poems demonstrate similar orientation, often leading to interpretations that strain credibility.