11
The Heart Finds Beauty In Adoration
Following Axe-Bamboo Stream, I Cross Over a Ridge and Hike on Along the River
Though the cry of gibbons means sunrise, its radiance hasn’t touched this valley all
quiet mystery. Clouds gather below cliffs, and there’s still dew glistening on blossoms
when I set out along a wandering stream, climbing into narrow canyons far and high.
Ignoring my robe to wade through creeks, I scale cliff-ladders and cross distant ridges
to the river beyond. It snakes and twists, but I follow it, happy just meandering along
past pepperwort and duckweed drifting deep, rushes and wild rice in crystalline shallows.
Reaching tiptoe to ladle sips from waterfalls and picking still unfurled leaves in forests,
I can almost see that lovely mountain spirit in a robe of fig leaves and sash of wisteria.
Gathering orchids brings no dear friends and picking hemp-flower no open warmth,
but the heart finds its beauty in adoration, and you can’t talk out such shadowy things:
in the eye’s depths you’re past worry here, awakened into things all wandering away.
— Hsieh Ling-yun, translated by David Hinton, in Classical Chinese Poetry: An Anthology, Farrar, Straus and Giroux
Thank you for calling The Botanarchy Hotline. The Botanarchy Hotline is medicine disguised as a poem, delivered through the portal of your phone. It’s a ham-radio séance between you and the living Earth, for those ready to be bewildered back to life.
The transmission at the end of your telephone line is Episode 11: The Heart Finds Beauty In Adoration. It’s the eighth week of summer, everything is ripening toward its own undoing, and today, we slip into a robe of fig leaves, cinch a sash of wisteria, and practice the art of adoration: meeting a kind of beauty that asks nothing of you but your gaze.
Often called China’s first wilderness poet, Hsieh Ling-yun is the father of the shan shui ‘mountains and rivers’ poetry tradition, a coterie of poets who eschewed armchairs and temple corridors for nature gnosis and direct communion with their local mountain spirits. But Hsieh didn't just write about nature, he wrote within it. He invented a poetics of bodily immersion and ecological intimacy. His yu-chi— ‘travel record’ poems— like the one that anchors today’s episode, are rooted in real hikes, real rivers, real rain. He catalogued the plants he passed, like pepperwort, duckweed, and hemp flower, not to identify them but to be claimed by their presence. He dipped his hands into waterfalls. He climbed until the clouds gathered beneath him. His metaphors are topographic. His wisdom, moss-wet.
This was revolutionary. Poetry, before Hsieh, was largely reserved for politics, ritual, and social life. He cracked it open and let the mountains flood in. And because of him, centuries of poets would follow—across peaks and plum groves, into mist and madness—with brushes poised to translate the untranslatable.
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Book Rec: Classical Chinese Poetry: An Anthology, David Hinton