The Rose of Time - Literature review Example

Bei Dao’s poems in The Rose of Time poignantly depict two characters on a journey, coming from two different places but, eventually, they are joined at the end. It is clear that one character suffers through the experience of being present through the turmoil; whereas the other character, presumably Dao himself, suffers as a result of leaving behind the land and people of his past. Although the imagery in many of the poems depict a somber atmosphere, based on feelings of desperation and loss, the final two poems in the sixth section provides a sliver of hope that will result in liberating both characters – one from the oppressive nature of the socio-political climate, and the other from the aimless wandering of being an orphan, separated from his people. In order to fully understand the depth of meaning in these poems, it is important to note the obvious impact the Cultural Revolution in China had on Dao; the poems embody the terror, confusion, and degradation of this period. For the first section, I will be looking at the following poem: “Maple Leaves and Seven Stars”. Due to the length constraint of most poems, titles take on a significant role in the poem and, in this regard, the imagery of fall suggests that a change of sorts is taking place. Changing seasons have long been employed in poetry as a metaphor for changing circumstance, roles, or attitudes, which is particularly important in Bei Dao’s story. The tone of this is vastly different from the first poem in the second section; the reader is presented with the sense of familiarity and friendliness, as though old acquaintances were meeting for the first time after many years. These two strangers greet each other, warmly, while nodding briefly but, as Dao states, “happiness is just a passage perhaps.” It is clear that there will be a shift from happiness to a vastly different mood, yet to be seen. This shift in tone between the first and second paragraph is subtle, but noticeable, in that the initial warm, friendly response is replaced with something unnatural, or robotic. There is an obvious unnaturalness to the way in which the second stranger smiles and gazes after the first stranger has mentioned the red scarf. The meeting between the first and second stranger, and the journey by both to return or to escape is essential to the Dao’s criticism of the Chinese Communist Party; his use of simile, “the world is as small as a street scene” suggests that the world introduced to the reader in this poem is a microcosm of the grave acts of injustice, desperation, anguish, and hatred experienced in the larger world around us. In understanding this tragedy, we will understand the other tragedies. The imagery provides the necessary clues of the true meaning in the poem and, as the visitor comments on the red scarf, the reader is keenly aware that he is making reference to the political climate in China. The criticism is directly lobbied against the current leader and, unlike the kings and leaders before him, he is failing the people and the country; “The seven stars ascending / behind the massive roof / no longer look like a cluster of ripe grapes.” The ripe grapes can be seen as a richness or decadence of the previous rules, in which their reign left a legacy of a nation that never wanted; however, this cluster of ripe grapes has withered as a result of the unfavorable earth upon which the people live. The nutrients of pride and nationalism are no longer in the soil and, thus, nothing can grow. Clearly, this imagery represents the ideological clash between communism and democracy; and as the poem progresses, the reader witnesses the horrors experienced under the Chinese communist regime. At first, communism appeared as the solution to the ills of democracy; however, the reader is aware that neither the first, nor the second, stranger believe this anymore. The ravages of communism are hauntingly apparent in the absence of genuine emotion. As the first poem ends, it mentions that the second stranger is smiling, but there is no sincerity behind the smile; “that calm gaze” gives the initial illusion of peace, but the use of the word “indifference” is telling of the true nature of the smile. Through years of suppression and torture, the second stranger has been taught to, obediently, smile on the outside, even though he is screaming on in the inside. This façade of contentment is quickly abandoned and replaced with an authentic outpouring of grief, and the vast majority of the poems focus on the powerful pain experienced by the second stranger who is, now, nothing but a “pale and weary face.” The second part has shifted from false contentment to a debilitating anger that has been brutally suppressed, and has manifested itself into a collective psychic collapse. In the first poem of the second section, the image of the bell tolling is especially important. Bells tolling have been used frequently to signify death; however, in this context, the death is metaphorical, not literal. The second stranger’s people are not afraid of the literal death; they are terrified at the symbolic death of silence, mistrust, compliance, and the loss of humanity. They have been forced to live in an environment characterized by mistrust, fear of the other, punishment, confusion, scarcity, and loss. In addition, the bell tolling signifies that this is the last call before something truly tragic happens, and if they do not seize this last opportunity before the final ring, all hope may be lost. In addition, the image of the earth and heavens are meant to signify the distance between the common people, the seeds of the earth, and the leaders or the Great Leader, as seated in heaven like a god. In communist regimes, the people are frequently equated with earth, in which they are praised for being the foundation upon which the nation can grow; however, the ruler who is supposed to live and work among his people, is frequently separated, idolized, and worshiped as though he were a god. In this poem, the lowly earth people attempt to appease the heavens, but their efforts are punished not praised. They are given spoiled apples rather than a legitimate source of sustenance, and time in this situation becomes merciless, literally beating them up, day after day. A central feature of dictatorships is the physical and psychological torture of subjects; many people say the psychological torture of believing they are being constantly monitored is far more painful than the physical torture of beatings, starvation, and even death. This psychological torture is spread among the people, by the people, “by the ears of this moral world/ maintains a dangerous balance/ It rings a death knell”. Dao’s focus on renaming is pivotal for solidifying this psychological torture because, as everyone has the potential to tell on anyone in the society, each person is renamed, or transitions from friend, neighbor, teacher, husband, mother, child, and sister to “enemy”. It is this atmosphere of being constantly on guard, mistrusting everyone, and endlessly monitoring oneself that has resulted in creating the hollow gaze which, to the outside world, resembles peace. In addition to this hollow existence, a dire consequence of this situation is the ill effect it has on the children – the next generation. The psychological impact of watching their parents being abused, not having enough to eat, fearing the power of others to condemn them, and not being allowed to truly express authentic emotions manifests itself into violence. “Children with a tendency to violence” is a warning to the first stranger and to the outside world that a change must occur. At this point, the damage to the next generation is significant, yet not irreversible, and at this point, the tone of the poem shifts from desperation to pleading, in which Dao begs for intervention before it is too late. The first poem in the sixth section does not represent a triumphant overcoming of evil; there is no overwhelming sense of a happy ending in this poem, but there is the sense that the future holds the possibility of a rebirth of both the first and second stranger, and of the people. The title, “Road Song” is important because, first, it signifies that the strangers are continuing on the path, and second, it is used as a way to keep out the horrors of night that follow the lone traveler in the shadows. Clearly, the first stranger has returned to his home; however, the tone does not depict a happy reunion. Rather, the first stranger finds that his key – his legitimate claim to this place – has been revoked, and no one opens the door for him. The tone at this point is one of guilt and sadness; Dao chooses the metaphor of the closed door to express his guilt for abandoning his people, but he recognizes that guilt without action will achieve nothing but growing self-pity which will debilitate the people from effecting a change. This attitude is demonstrated in the fact that, although no one opened the door for him, someone did come to him, with a lantern, to show him the history he has missed. Upon initially seeing the fan of history, the second stranger is presented with an isolated song. In communist regimes, history is frequently told from one point-of-view – the collective view – in which all members of society are indoctrinating into believing and repeating the dominant national rhetoric. This emphasis on a collective mindset results in creating a collective amnesia that continues to support the dominant interpretation of the events; for a certain group of people, this amnesia is legitimate and brought on by years of indoctrination, but for others, it is performed by the people as a strategy for survival. Yet, it is clear that this blind conformity is changing, and the society starts to revive itself; “tree roots secretly generating electricity / have lit your orchard”. Once again, the image of light causes the tone to shift from hopelessness to hopefulness because, as knowledge seeps in, the seeds of change are planted. The poem ends on the sun setting, followed by a page turning. Although the darkness will try to “seal the empire” from change, the metaphor of the page turning clearly suggests that something monumental is occurring, and that it demands a new page to write its story. Although the change is left undefined, the reader is hopeful that, on the subsequent pages, a better story can be written, where people smile authentically, and where children resort to laughter, not violence. Bei Dao’s poems are richly detailed and powerfully moving. He masterfully weaves his political criticism about the past and present abuses showered upon the Chinese people into the natural imagery of seasons changing, the divide between earth and heaven, densely packed forests, and angry storms. In addition, each section depicts his own journey back to this place which one can assume he left many years ago; this creates a consistency between poems and sections. In addition, the tone in each poem realistically mimics the emotions of a person who has lefts a tragic situation and has returned “home” after many years; at first, there is a familiarity and friendliness, then this shifts into despair, anger, desperation, rejection, and, finally, hope. One consistent image in each section is the concept of light, as portrayed in the street lights, dawn light, and the lantern. Light has frequently been used a metaphor for knowledge, change, or hope, and, in a poem that depicts such brutal torture, the peppering of light in the darkness gives both the first and second stranger something to cling to as they continue their journey. In conclusion, this poem is a cathartic experience for Dao who depicts himself as the first stranger, returning to a land he (is perceived to have) abandoned many years ago to facilitate his own psychological recovery, to aid in bringing positive change for the people who continue to suffer, and to bring awareness to the corruption and violence entrenched within the system of the Chinese Communist Party. Works Cited Dao, Bei. The Rose of Time. New & Selected Poems (Bilingual Edition). Ed. Elliot Weinberger. New York: New Direction Publishing Corporation, 2010. Read More