The Nine Songs

Defining Chu begins with an overview of the historical geography, an outline of archaeological evidence for Chu history, and an appreciation of Chu art. Following chapters examine issues of state and society: the ideology of the ruling class, legal procedures, popular culture, and daily life. The final section surveys Chu religion and literature and includes an analysis of the Chuci, the great anthology of Chu poetry, and its impact on mainstream Chinese literature. A translation of the Chu Silk Manuscript¿ is appended. This document has intrigued scholars since its discovery in Changsha some sixty years ago. The inclusion of this rare and difficult text, available for the first time in an effective and accessible translation, will make this volume indispensable to students and scholars of early Chinese history and thought.

Sources show Qu Yuan (?340–278 BCE) was the first person in China to become famous for his poetry, so famous in fact that the Chinese celebrate his life with a national holiday called Poet's Day, or the Dragon Boat Festival. His work, which forms the core of the The Songs of Chu, the second oldest anthology of Chinese poetry, derives its imagery from shamanistic ritual. Its shaman hymns are among the most beautiful and mysterious liturgical works in the world. The religious milieu responsible for their imagery supplies the backdrop for his most famous work, Li sao, which translates shamanic longing for a spirit lover into the yearning for an ideal king that is central to the ancient philosophies of China. Qu Yuan was as important to the development of Chinese literature as Homer was to the development of Western literature. This translation attempts to replicate what the work might have meant to those for whom it was originally intended, rather than settle for what it was made to mean by those who inherited it. It accounts for the new view of the state of Chu that recent discoveries have inspired.

Huang Bo Nien’s Xingyi Fist and Weapon Instruction was the first manual to systematically adapt a traditional Chinese martial art for modern military training. When it was first published in Chinese in 1928, it was heralded as an exciting new approach to martial arts; today, it remains an important work for close combat enthusiasts, traditional martial artists, and Chinese and military historians alike. While organized as a means of progressive training—from empty-hand fighting to combat with weapons—no actual applications are given in Huang’s original manual. Building upon a new translation of Huang’s text, The Xingyi Quan of the Chinese Army also expands and illustrates his instructions with xingyi training drills and combat applications taught to select units of the Chinese army prior to and during World War II. These applications are not speculative reconstructions, but are based on actual training methodology from the Central Military Academy at Nanjing, taught to the author by Colonel Chang Xiang Wu. Also included are theory sections and background material from the Chinese army training for empty-hand and two-handed saber—material never before published in any book on xingyi.