Chapter 8 of Journey to the West marks the beginning of the quest for Buddhist scriptures. The chapter opens with a poem expressing the arduous path to enlightenment: countless trials must be overcome to attain the highest state of Buddhism.
Ask at meditation-pass
Why even countless queries
Would lead just to empty old age!
Shine bricks to make mirrors?
Hoard snow for foodstuff?
How many youths are thus deceived;
A feather swallows the great ocean?
A mustard seed holds the Sumeru?
Golden Dhūta is gently smiling.
The enlightened transcends the ten stops and three wains
Sluggards must join the four beasts and six ways.
Who can hear below the Thoughtless Cliff,
Beneath the Shadowless Tree,
The cuckoo’s one call for the dawn of spring?
Roads at Caoxi, perilous;
Clouds on Vulture’s Peak, dense;
Here an old friend’s voice turns mute.
At a ten thousand-foot waterfall
Where a five-petal lotus unfolds,
Incense wraps an old temple’s drapes.
In that hour,
Once you break through to the source,
The Dragon King’s three jewels you’ll see.— Journey to the West, Chapter 8
You can find an overview of its meaning here. The poem is set to the Su Wu Man melody(Su Wu at Slow Pace). In this article, we will talk about the tune of this lyric and the story behind it.
Su Wu Man and Cipai
A Cipai is a melodic title in classical Chinese poetry, originating from the Tang and Song dynasties. It identifies the specific tune or rhythmic pattern used to compose Ci poetry (lyrical verses sung to melodies). Each Cipai has fixed tonal rules and line structures, dictating the poem’s cadence and emotional tone.
Here, “Su Wu” refers to the name of a famous person, a renowned Han Dynasty diplomat, while “Man” denotes the slow, measured rhythm of the verse.
There are sixteen variants of the Su Wu Man. Here I will use the main form as an example.
Example Structure of Su Wu Man – Main form
It has two parts in two keys, one hundred and eleven characters, twelve verses in the first part with four places where the rhyme is in oblique tones and eleven verses in the second part with also four places where the rhyme is in oblique tones.
- Two stanzas in two tonal modes.
- Length: 111 characters total.
- First Stanza: 12 lines with 4 oblique-tone rhymes.
- Second Stanza: 11 lines with 4 oblique-tone rhymes.
The Story of Su Wu
Su Wu was a Han Dynasty minister and diplomat sent to negotiate with the Xiongnu nomads in the western regions. Captured and imprisoned, he refused to betray his nation despite relentless coercion. As punishment, he was exiled to the desolate shores of the North Sea (Lake Baikal), where he herded sheep alone for 19 years.
- Unwavering Loyalty: Su Wu endured isolation and harsh conditions, clinging to his duty and love for his homeland.
- Legacy: Historical records laud his resilience, wisdom, and ability to forge alliances with locals. His eventual return to China became a symbol of integrity and perseverance.
Symbolism in Journey to the West
The choice of Su Wu Man for the pilgrimage’s opening poem is deliberate:
- Trials and Tenacity: Su Wu’s ordeal mirrors the Tang Sanzang-led journey—both demand unyielding resolve against hardship.
- Loyalty and Purpose: Just as Su Wu upheld his mission, the pilgrims must stay true to their quest despite temptations.
- Cultural Resonance: The melody’s solemn rhythm reflects the gravity of their spiritual undertaking.
By invoking Su Wu’s story, the novel underscores the Buddhist ideal of perseverance through suffering, aligning the celestial quest with timeless human virtues.
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