Category Archives: Statues and Monuments

Qianlong in Changzhou

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Qing Dynasty Emperor Qianlong (1711 to 1799) has many distinctions in Chinese history. He sat on the throne for sixty or so years, and he had one of the longest reigns. Instead of dying while in power, he gave up the throne out of respect to his grandfather, Kangxi. As a result, Kangxi’s time as Chinese Emperor is longer, but only by one year. Qianlong patronized the arts heavily, and he himself composed a lot of poetry. In world culture, he may actually be the most prolific writer of all time.

Also like his grandfather, Qianlong liked to travel and actually inspect his kingdom first hand. As a result, you end up seeing public references to him all over the Jiangnan region. Changzhou is no different. There are stone markers related to him in Dongpo Park in Tianning. This is basically down the street from Hongmei while on Yanling Road.

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During one visit to the city, Emperor Qianlong actually wrote a few poems mentioning Changzhou. The Emperor greatly admired Su Dongpo as a poet, and Dongpo Park is where the great writer and artist landed after traveling down the Grand Canal. A few hundred years ago, Qianlong actually wanted to visit that very same spot. These verses were carved onto steles — giant stone slabs engraved with calligraphy. That’s where one issue pops up. Chinese calligraphy, even when it’s black ink on white paper, can be hard to read. I showed a couple of pictures to some Chinese friends.

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They had a hard time making out anything. I have tried to see if I could locate these poems online, and I even used Chinese search terms like 乾龙常州市诗, and I still couldn’t locate the poems.Then, I realized my search terms had a Chinese typo. I think “Qianlong” in characters is 乾隆 not 乾龙. I think I might have located them, but it’s going to take a while to see if I can get these poems correctly translated somewhere done the line.

In the meantime, these stele carvings are an interesting little corner in one of Changzhou’s more charming little parks.

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Cruising Around Lijia

I sometimes forget how large Wujin actually is. Most people know the area typically as Hutang and the College Town, but there is more to it than just that. Recently, I took an bike ride to Lijia 礼嘉镇 which is roughly about 12 kilometers from Changzhou University if you are going south and east. The 320 bus swings out this way. So, what is out here? Keep in mind this was an unplanned trip. This was the “point my bike in that direction and see what’s there“ sort of thing.

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This can be easily described as small town China. Still, the central shopping area was quite busy. While stopping here, I checked Baidu Maps if there was anything historical nearby. That lead me here.

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I got chased by a dog, twice. Eventually, I found what I was looking for, and I survived without getting bitten. What I was looking for was behind the above buildings.

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This is 王氏宗祠,or The Wang Family Ancestral Hall. Most time, when I find these places, they are closed to the public. I ran into another up the road a few kilometers …

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This one was 何氏大宗祠,or The He Family Great Ancestral Hall. Like it’s counterpart, seemed closed to the public. However, this building had large tomb nearby.

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Because I wasn’t careful in conserving battery power, my bike clunked out when I hit downtown, on my way back to Xinbei. In trying to figure a few things out, I ended up consulting the town’s Baike encyclopedia page once I finally got home. Turns out, I might have missed something. That just means instead of going there on a whim next time, I should do something new and different and actually make more of a concrete plan.

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Unassuming Qingshan

Typically, when one mentions “half naked woman riding a dragon,” one might either thinking 1980’s heavy metal album covers or fantasy mass market paperback covers. Dungeons and dragons and role playing games might also be involved in that thought process. If you image search “half naked woman riding a dragon” on Google, you might get the following results. I sort of did.

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This is, of course, dragons in a western context.  Turns out, it can be more of cross-cultural idea in art. In Changzhou, there is a stone mural of depicting the same thing.

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In this case, the woman is holding what looks to be a shiny orb. This is likely a flaming pearl, which in some Asian cultures can be associated with spiritual energy. A lot of depictions of Eastern dragons come with some sort of pearl references. All of this is lore and mythology that, quite honestly, I need to learn more about. The above picture had me intrigued partly because it was in an unassuming park that I have passed by for years but never took the time to actually walk around in.

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The public space is Qingshan Zhuang 青山庄. It’s actually part of the ancient canal network that has been part of Changzhou for thousands of years. The Beijing-Hangzhou Grand Canal flows into into the city and splits into what can be described as a series of offshoots, tributaries, and a moat-and-wall complex around what used to be ancient Changzhou. In the above photo, you have the characters 北塘 běi táng. This is the part of that canal network that splits off of the central city canal circular and heads north.

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A good portion of this canal is adjacent to Jinling Road, but it’s at the point where that road forks into two one way roads downtown. This is why, for example, the 302 bus route from Wujin to Xinbei is different from it’s course from Xinbei to Wujin when going south.

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Qingshan Zhuang, as a public green space, is actually split into two. There is part that straddles the Beitang Canal (where the half naked dragon rider can be found), and then there is the other part across the busy street. It’s mostly a small public space with benches.  There are also a few bits of public art here, too.

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Here we have a primate eating something oblong. Mangos are oblong. They are also quite delicious, so my personal interpretation and title would be “Monkey Eating a Mango.”

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I am not going to venture a guess as to the meaning of this.

At anyrate, Qingshan Zhuang is definitely not one of Changzhou’s major or culturally significant spaces. For many of us, it’s just something we have passed by on a bus while going someplace else.
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Waiting for Rabbits in Wujin

Wisdom proverbs and idioms are huge part of Chinese culture. Parents often quote them to children as a way of motivation, and sometimes people say these expressions under their breath to reassure themselves before taking action. Inevitably, when a person is trying to learn to understand and appreciate Chinese culture, coming to know these expressions is also important. These idioms don’t just show up in conversation or in books, but they are often the subject matter of public art — especially sculpture in public parks.

A person can easily find this in Wujin. The Yancheng area is not only home to an amusement park, a zoo, and a bunch of buildings made to look like the China of old, but there is also a very big parking lot there.  Near that part of Yancheng, there are a few statues depicting some famous Chinese expressions. So, here is one of them.

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守株待兔

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This means to “wait by a stump for rabbits.” Basically, a lazy farmer one day watches a blind bunny run into a tree stump and break its neck. The farmer considers himself lucky, and he takes the dead animal home turns it to a very filling dinner. Instead of going back to work the next day and plowing his field, he decides to wait for another rabbit to come by and run into the stump. For some reason, he think that just sitting and waiting will bring him free and easy dietary protein. In the meantime, his field is not plowed, and it eventually does not grow any crops. This idiom can be taken as a chide against think people can get by without doing any hard work.

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This particular idiom is thousands of years old and goes back to the Warring States period of Chinese history. Han Fei 韓非 wrote an essay entitled “The Five Vermin.”

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In this polemic, he spoke out against the things that he thought led to bad governance.  Han Fei’s writing belongs to a “legalist” tradition. His work has been said to influence Qin Shihuang as the first emperor of a unified China as well as several more rulers throughout Chinese history.

The 36 to Hell and Back

Hell, and the doorway to it, can be found in Xinbei. Somebody could accuse me of being facetious, and they would be absolutely, 100% correct! I am not talking about a mythological nether region where the souls of the damned are tormented. Actually, I’m talking about a statuary recreation of an underworld that is part of Chinese Buddhism. The torture meted out in this version of hell can be particularly brutal, but the saving grace is that the damned can pay their karmic debt and eventually be reincarnated. In Buddhism, people are not meant to rot in such a place for eternity.

This display can be found at Wanfo Temple. There was a previous Real Changzhou post about this place more than a year ago, but  that was more of explaining what the place was and what it culturally meant. Back then, I found it while riding my ebike in Northern Xinbei. Recently, I figured out how to get there on the public bus.

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Going north, I boarded the 36 at a stop in front of Xinbei Wanda Plaza. However, there are stops at points south of here. The 36 originates at the downtown train station and terminates in a part of Xinbei that’s just a couple of kilometers from the city line with Yangzhong. For a large section of the journey, this bus travels north on Tongjiang Road before turning.

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Eventually, I found myself in a small town called Weitang 圩塘镇. Instead of giving the street name, I would just say if you see the chimney from the industrial port along the Yangtze River, it’s time to get off the bus.

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Walk in a straight line towards that smoke stack. Sometimes, it will be hidden behind a building, but you can still see evidence of it on a clear day.

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The walkway might become a bit narrow, as you will end up walking through a working class neighborhood of desolate concrete. However, if you keep walking straight, you will not get lost. And trust me, I have been lost in this neighborhood before; it’s labyrinthine and it’s easy to make a wrong turn. So, I can’t stress how you only have to walk a straight line from the previously mentioned bus stop.

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A ticket runs about 10 RMB. Also, there are old ladies nearby that will want to sell you ceremonial incense. I skipped it this time, but a prior time I came here, a packet ran me about 10 additional RMB.

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As soon as you see something that looks like Guanyin dispensing mercy to troubled souls, you have almost found Hell.In the background of the above picture, you can see the entrance to the hall.

 

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The above picture doesn’t really do justice the gruesome detail on display here. So, consider this as an advisory. Graphic depictions of violence shall follow.

 

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The above three photos are just a minuscule sampling of what is here. A potential visitor should know that this a real religious site and not a wax museum like Madame Tussaud’s in London. The amount of carnage and brutality on display here may seem outlandish, but this is a place where I have always heard monks chanting in the background — every time I have been here. Christian cathedrals in Europe have been treated like tourist attractions, but visitors are still expected to treat the place with some sense of solemnity. The same could be said for Buddhist temples in Changzhou, China, and elsewhere in Asia.

Xu Zhimo Romantically in Tianning

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Image of Mr. Handsome Courtesy of Wikipedia

A snowflake falls from a winter cloud, but it seems intent. It’s consumed with desire. As it flutters its way to earth; it works hard to avoid forests, mountains, and valleys. It does not want to land on something or somebody meaningless. It knows what it wants its destiny to be: it has to seek out a garden and fall onto a beautiful woman so that it could melt and “dissolve into the cordial waves of her heart.”

This is the gist of 徐志摩 Xu Zhimo’s famous poem, “A Snowflake’s Happiness” — 雪花的快樂. My summation is a bit crude, because there is more at work here. The whole poem is a complicated metaphor about love, and that gets into the mechanics of how it was written. The first line goes like this:

If I were a snowflake

The voice of the poem is not declaring, “I am a snow flake.“ The operative word here, if we are trusting the translator, is if.  That means its a metaphor and not a description of real life or something following a more narrative context. Much like other effective poems, the middle is there to build tension and led to the emotional payoff of the end. Of course, I’m not basing this off the Chinese original, but a translation I found on a blog. This version reads like a few of the others that I have found

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This is well and fine, one might say. But what does this have to do with Changzhou? Xu, after all, was born in Zhejiang and spent a lot of time studying in the US and the UK. Living in England is the subject his most anthologized poem, “Taking Leave of Cambridge Again.” As it turns out, Xu had a few links to Changzhou. The first comes by way of his romantic relationship with Lu Xiaoman.陆小曼. She spent sometime growing up in the Dragon City and had a definite connection to it. By default, that gave Xu an connection, too.

During his writing career, Xu also wrote a poem about Tianning Temple. The temple’s website even acknowledges this. This has been translated into English, but its only available in print. It isn’t online, and the collection of verse does not have an eBook version. I would have bought a copy if it had. One can shove the Chinese version into an online translator, but that really does a bunch of indignities to poetry. Verse is a medium where the choice of language is mostly exact and precise. It’s all about the subtleties of nuance.  Translating something like this with Google is like taking a beautiful, delicate, and exquisite piece of porcelain and dropping it into a blender.

 

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Despite these literary and historical connections to Changzhou, there is something real that somebody can go see. It’s in Tianning, near a northern exit of Hongmei Park and just down the street from the downtown train station. There is a statue depicting a romantic couple, and the are standing next carved metal baring the title of Xu’s snowflake poem.

 

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It would be easy to pass this by and think it’s the only thing referencing Xu Zhimo in the area. However, if a person were to descend a nearby staircase and stand along the canal, they would see this.

 

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These are inscribed tablets reproducing pages from Xu Zhimo’s diaries. This, in particular comes from 爱眉小札日记. This diary has been published in Chinese as a book, but like a lot of Xu’s prose, it has not been translated into English. If one were to look at some of what has been reproduced on this wall, it’s a emblematic of Xu and the writer he was.

 

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Of course, Xu was a hopeless romantic. He not only had a relationship with Lu Xiaoman, but he had conducted affairs with lots of other women. If you take the content and context of his writing and put that to one side, there is something more stylistic. The passages on display near Hongmei are bilingual. English sentences like

Oh May! Love me; give me all your love. Let us become one…

are interspersed into Chinese. This is no accident. Xu also worked as a translator, and he was proficient enough in English to study both in the UK and the USA. This also gets into the type of writer he was.

In some ways, Xu Zhimo can be compared to Ezra Pound in America. Pound looked at traditional forms in English language prosody and wanted to throw them out, start over, and bring in something new. He had translated Chinese poets like Li Bai and felt their influence. Pound also translated Japanese verse, and his famous “In The Station of the Metro” poem reads like a haiku. On the other hand, Xu Zhimo  returned from study abroad. and did the same thing. Only, he loved western poets like Keats and Shelley. He wanted to throw out traditional Chinese poetic standards and write something more influenced by the west.  In short: Xu was not immune to experimenting and playing around with language.

Whether it is by way of his Tianning Temple poem or his relationship with Lu Xiaoman, Xu had some connection with Changzhou. This city has had a long reputation for helping cultivate scholars and and people of intellect. Xu Zhimo definitely didn’t come from here, but as evidenced by sculpture and canal-side engraved passages, Changzhou will still celebrate its link to him.

The Good Person Walk of Fame

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Governments often like to showcase people they deem as exemplary citizens. In China, there has been the tradition of the “model worker” that stretches back to at least 1951 with Hao Jianxiu. This is a commendation that has been given out at both the national and provincial levels. Municipalities, it seems, have been doing something similar with “Good People” streets. In Chinese, it’s 好人街. I have seen this is Danyang and Liyang, and Changzhou has one, too.

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Of course, it wouldn’t be right to talk about the good people of Changzhou without mentioning Ji Zha 季札,Changzhou’s founding father. The rest of the entrants are more contemporary than historical.

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Basically, “good people streets” normally consist of a series of signs that have pictures next biographies.

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Each sign has a QR code that will take you to a webpage that will give you more information on that person. The story, so to speak, that lead them to being featured.

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Of course, the webpages are completely in Chinese. However, Baidu Translate’s camera translation has been getting more and more sophisticated over the years. The other thing to remember, though, is that this is not a “famous person” display. So, besides Ji Zha, you will not find other historical figures like Qu Qiubei, Zhang Tailai, or Yun Daiying here. These are everyday citizens.

These signs can be found along the Grand Canal downtown. It’s in the park that has the Ming Dynasty Wall — which is next to both Comb Alley and the backside of Injoy Plaza.

Photos of Changzhou Station’s Prior Lives

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Changzhou’s central station is not what it once was in bygone eras. I discovered this, recently, through a series of photos on display near the station, but in an easy to miss location if you are not hunting for them specifically.

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This is something I found while doing legwork on a different writing project. I had become intrigued with the city’s network of canals, as it is one of the oldest surviving landmarks still around from the city’s antiquity of more than a thousand years. During this bit of fieldwork, I found a threesome of small memorials dedicated to the train station itself. This is across the street from the south plaza.

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On wooden walkway next to the canal, there are three photos in glass cases. The appear to be laser etchings on sheets of brass-colored metal. These display windows are set into the staircases that lead down to the canal’s walkway. As one can see from the above photo, they do not photograph very well.

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The only way to get discernible details was to get my phone close to the glass to cut out as much glare and reflection as possible. Of course, it’s hard to reproduce the entire photo this way.  The above photo seems to be from circa 1907. Besides the crowds, the station itself seems rather modest and is only a building or two.

 

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The next shot shows the second incarnation from the late 1950’s and 1960’s. I do have to say, it is really hard to fact check these photos online. I had trouble finding the real photos these metal sheets are based off of.

 

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The third and final plaque suggests something more modern and geometric in its architecture. This would be in the 1990’s. However, as most of us who have traveled through Changzhou’s downtown station, it most certainly doesn’t look like this anymore.

Who knows what the train station will look like in the future. The south plaza — where some would get tickets to board the slow trains — is currently under renovation. Parts of the south plaza has been absolutely gutted to make way for something new. Who knows, maybe is 20 to 50 years, there will be a fourth installment into this pictorial history showing our current station as a relic of the past?

Alas, Poor Pinocchio

Apparently, the word for killing or murdering kangaroos is macropocide. When they were living, if you were to take a hatchet to Ezra Pound, William Carlos William, Wallace Stevens, or any other modernist, you would be committing modernicide. Poultry? Poultrycide. I didn’t make any of these up. I ran into them while looking for an appropriate –cide word for when somebody kills a cartoon character. Toonicide? Animanicide? Those two I did make up just now, as they weren’t on the list of words I was just looking at. Why would I even care if such a word existed? Well, it would be to describe something slightly surreal I saw at Xinbei Wanda.  But, first, consider this picture.

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To be fair, there was always something a little creepy about Pinocchio over on Xinbei Wanda’s pedestrian street. I think it was the eyes. Yes, definitely the eyes when paired with that smile of his. Still, if this statue looked a little creepy, that still doesn’t compare to this in terms of creepiness ….

 

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Where Xuejia Honors Su Dongpo

Dare to pray benevolence, less thanks to mercy. Chen see one side to go to Nanjing since, waiting for the purpose of the DPRK. Do not take the day.

— Definitely Not Su Dongpo

Su Dongpo 苏东坡, often considered one of the greatest poets of the Chinese language, did not write the above quote. It would be beyond absurd to suggest that a noted writer and artist of the Song Dynasty could foretell of the Democratic People’s Republic of Korea (DPRK), aka North Korea. No, this is something that became garbled into English once I copy and pasted the Chinese characters of his article 乞常州居住表 Qǐ chángzhōu jūzhù biǎo into Google Translate. Since it was beyond incomprehensible and impossible to Google in English, I showed this short text to a Chinese colleague and asked him for a general summary. Even he, a university professor and native Chinese speaker, had a hard time reading it. Ancient versions of Chinese doesn’t use compound characters the way the modern language does. A lot of Su’s pictograph choices are simply not used anymore. Put it this way: Su Dongpo’s Chinese is very antiquated, much the same way Geofrey Chaucer’s Middle English is impossible to fully comprehend by a modern speaker.

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Su’s text, whose title could be loosely translated as “Request to Live in Changzhou,” captured my curiosity recently because of a monument in Xinbei. Specifically, it’s in town of Xuejia 薛家镇. This is a town out west of the greater Wanda area most expats know and associate with the name “Xinbei.” It is a stone wall shaped to look like an old bamboo scroll with vertical lines of text meant to be read from up to down and from right to left.

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The wall itself seems to be part of a greater cultural plaza dedicated to the memory of this great writer and artist. But there seems to be another thing, and this seems common to Changzhou, sometimes.

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The place doesn’t seem hardly used at all for it’s originally stated purpose, and some if it actually seems empty. Curious, I texted a friend that actually lives in Xuejia and asked her about it. She also give me the gist of the article, but she also noted that it seems to be a weird thing to have, here. Xuejia didn’t even exist when Su Dongpo was alive. She noted that the history of the town, much like that of Xinbei in general, is relatively short when compared to the rest of the city.

So, what was the article actually about? From what friends have told me, it was actually more of a written request sent to the emperor. He was asking for permission to live in Changzhou. I was told that this original request went ignored, and Su had to resort to writing a second request to live in this city. At times in his life, Su was an exiled imperial official — like most Chinese poets of antiquity were — and spent the most of his life traveling. Of course, he did end up living here. He eventually died here, too. So, it would make sense that even relatively new places in the city would erect some sort of cultural recognition that Changzhou people, to this day still, still consider him one of their own, even if he wasn’t born here.

Here is the original text …

 乞 常 州 居 住 表

臣 軾 言 。 臣 聞 聖 人 之 行 法 也 , 如 雷 霆 之 震 草 木 , 威 怒 雖 甚 , 而 歸 於 欲 其 生 ; 人 主 之 罪 人 也 , 如 父 母 之 譴 子 孫 , 鞭 撻 雖 嚴 , 而 不 忍 致 之 死 。 臣 漂 流 棄 物 , 枯 槁 餘 生 〔 一 〕 。 泣 血 書 詞 , 呼 天 請 命 。 願 回 日 月 之 照 , 一 明 葵 藿 之 心 。 此 言 朝 聞 , 夕 死 無 憾 。 臣 軾 誠 惶 誠 恐 , 頓 首 頓 首 。 臣 昔 者 嘗 對 便 殿 , 親 聞 德 音 。 似 蒙 聖 知 , 不 在 人 後 。 而 狂 狷 妄 發 , 上 負 恩 私 。 既 有 司 皆 以 為 可 誅 , 雖 明 主 不 得 而 獨 赦 。 一 從 吏 議 , 坐 廢 五 年 。 積 憂 薰 心 , 驚 齒 髮 之 先 變 ; 抱 恨 刻 骨 , 傷 皮 肉 之 僅 存 。 近 者 蒙 恩 量 移 汝 州 , 伏 讀 訓 詞 , 有 「 人 材 實 難 , 弗 忍 終 棄 」 之 語 。 豈 獨 知 免 於 縲 絏 , 亦 將 有 望 於 桑 榆 。 但 未 死 亡 , 終 見 天 日 。 豈 敢 復 以 遲 暮 為 歎 , 更 生 僥 覬 之 心 。 但 以 祿 廩 久 空 , 衣 食 不 繼 。 累 重 道 遠 , 不 免 舟 行 。 自 離 黃 州 , 風 濤 驚 恐 , 舉 家 重 病 , 一 子 喪 亡 。 今 雖 已 至 泗 州 , 而 資 用 罄 竭 , 去 汝 尚 遠 , 難 於 陸 行 。 無 屋 可 居 , 無 田 可 食 , 二 十 餘 口 , 不 知 所 歸 , 飢 寒 之 憂 , 近 在 朝 夕 。 與 其 強 顏 忍 恥 , 干 求 於 眾 人 ; 不 若 歸 命 投 誠 , 控 告 於 君 父 。 臣 有 薄 田 在 常 州 宜 興 縣 , 粗 給 饘 粥 , 欲 望 聖 慈 , 許 於 常 州 居 住 。 又 恐 罪 戾 至 重 , 未 可 聽 從 便 安 , 輒 敘 微 勞 , 庶 蒙 恩 貸 。 臣 先 任 徐 州 日 , 以 河 水 浸 城 , 幾 至 淪 陷 。 臣 日 夜 守 捍 , 偶 獲 安 全 , 曾 蒙 朝 廷 降 敕 獎 諭 。 又 嘗 選 用 沂 州 百 姓 程 棐 , 令 購 捕 凶 黨 , 致 獲 謀 反 妖 賊 李 鐸 、 郭 進 等 一 十 七 人 , 亦 蒙 聖 恩 保 明 放 罪 。 皆 臣 子 之 常 分 , 無 涓 埃 之 可 言 。 冒 昧 自 陳 , 出 於 窮 迫 。 庶 幾 因 緣 僥 倖 , 功 過 相 除 。 稍 出 羈 囚 , 得 從 所 便 。 重 念 臣 受 性 剛 褊 〔 二 〕 , 賦 命 奇 窮 。 既 獲 罪 於 天 , 天 無 助 於 下 。 怨 仇 交 積 , 罪 惡 橫 生 。 群 言 或 起 於 愛 憎 , 孤 忠 遂 陷 於 疑 似 。 中 雖 無 愧 , 不 敢 自 明 。 向 非 人 主 獨 賜 保 全 , 則 臣 之 微 生 豈 有 今 日 。 伏 惟 皇 帝 陛 下 , 聖 神 天 縱 , 文 武 生 知 。 得 天 下 之 英 才 , 已 全 三 樂 ; 躋 斯 民 於 仁 壽 , 不 棄 一 夫 。 勃 然 中 興 , 可 謂 盡 善 。 而 臣 抱 百 年 之 永 嘆 , 悼 一 飽 之 無 時 。 貧 病 交 攻 , 死 生 莫 保 。 雖 鳧 鴈 飛 集 , 何 足 計 於 江 湖 〔 三 〕 ; 而 犬 馬 蓋 帷 , 猶 有 求 於 君 父 〔 四 〕 。 敢 祈 仁 聖 , 少 賜 矜 憐 。 臣 見 一 面 前 去 , 至 南 京 以 來 , 聽 候 朝 旨 。 干 冒 天 威 , 臣 無 任 。