檀香刑 Tánxiāngxíng

檀香刑 Tánxiāngxíng➮ [Read] ➪ 檀香刑 Tánxiāngxíng By Mo Yan ➺ – Oaklandjobs.co.uk In seinem großen historischen Epos inszeniert Mo Yan eine farbenprächtige Pekingoper aus der deutschen Kolonialgeschichte seines Heimatlands Vor der Kulisse einer untergehenden Epoche treten fünf F In seinem großen historischen Epos inszeniert Mo Yan eine farbenprächtige Pekingoper aus der deutschen Kolonialgeschichte seines Heimatlands Vor der Kulisse einer untergehenden Epoche treten fünf Figuren auf die Bühne der Geschichte und kämpfen für das was sie bewahren wollen und für die die sie lieben Viel Neues geschieht im China des Jahres Von überall her drängen fremde Menschen in das zuvor verschlossene Reich Sie bringen etwa die Eisenbahn die bei der Provinzstadt Gaomi über die Gräber der Ahnen verlaufen soll Vieles geht aber auch zu Ende in diesen letzten Tagen des Jahrhunderts Das Kaiserreich liegt in Agonie ebenso wie Sun Bing der Opernsänger und Anführer des Aufstands gegen die Trasse und deren Erbauer Um seinen Ungehorsam zu ahnden bündelt die Staatsmacht all ihre Kräfte und verordnet ein letztes Mal die Sandelholzstrafe die grausamste und zugleich kunstvollste der überkommenen Foltermethoden Leib und Leben nicht allein des Opfers sondern auch seiner Tochter ihres Ehemanns ja selbst des Henkers und des Richters stehen mit diesem Urteilsspruch auf dem Richtplatz der Geschichte In einem der bedeutendsten chinesischen Romane der jüngsten Zeit spielt Mo Yan virtuos das Spiel der Masken Perspektiven und Kontraste Gewalt und Poesie Empathie und schwarzer Humor Derbheit und Feinsinn die Fülle des westlichen Romans und die Eleganz der chinesischen Oper gehen in seiner bilderreichen und suggestiven Sprache Hand in Hand. Palpitation The word itself brims with mystifying sounds The flip flopping of the heart muscle attuned to the ambience of the twelve tone symphony fingers smoothly gliding over the chromatic keys of a piano the steady tempo of the inherent music fluctuating within the irregularities of variable freuency of the cardiac rhythm the fleeting pause descending into the pentatonic scales of a violin finding its way into the emptiness of a skipped heartbeat synchronize the tingling of a body The words of the heart coiled into the tremulous effect of rapid repetitions coursing through incessant throbbing The forbearance of the heart melting away in the furnace of lawful decree Yama the King of Hell pacifying the cries of Little Insect The bearded goat at the mercy of the white snake The seduction of the white snake pitying the fool of the tiger The pigs and dogs scrambling out of the fear of armed wolves Amid snarling jackrabbits the vicious panther pounces on the white tigers; the magical tiger’s whiskers drenched in the reverberations of an anxious heart The black cat singing melodic heartbreaking elegies the feline cries swirling in bereaved hearts The strings of mao hucat fiddle birthing the opera of life and death the stubborn ox designing the aesthetic antiuity of death; a rooster crowing at the sight of twin leather straps The extravagant vocal arias of “sandal—wood—death a term with a rough exterior but an aesthetic core displaying the patina and aura of antiuity overriding the myth of humans being reincarnated from animals the animalistic demeanour of humans dishonourably indulgent than their primal rebirthing mammal souls Man being worst than animals what is known as “execution” is an art one that a good man will not do and anyone who is not a good man cannot do Executioner is an occupation that represents the heart and soul of the Imperial Court When the calling flourishes the Imperial Court prospers But when it languishes the Imperial Court nears its fated end Mo Yan’s graphically meticulous illustration of the execution acts signifies the central stance of the death penalty and the concurrent gory sentencing in China’s Imperial 1900s political sphere The piece of blood soaked human flesh uivering in the executioner’s malodorous palm acuaints the reader with the cruel method employed by the codes of criminal law to inflict maximum amount of suffering Mo Yan’s embellished prose may at times be a graphical hyperbole yet; the elucidated display of harsh rule to install fear of retribution certainly does not underplay the archives of reality “The Plenipotentiary wants to know how long the condemned can live after he’s cut in half” Executions being made enjoyable than a stage play 'Loyalty’ the mocking sentiment only adhering to the bearing of the subordinates confirms the nauseating truth of the burden of law lying solely on the shoulders of a common manIs an executioner the dregs of the society? A man at the bottom of the heap? Mo Yan debates the societal hierarchy grading human existence by classifying stereotypic standards of rank academia and vocation The reckless mind set of the hierarchical superiors towards the lives of those thriving on the margins of the society mapping the foundation of savage reality of societal absurdity pertaining to obsolete lowly profession at variance with the aristocracy of heritable titles If there was no executioner to culminate the penalty then who would carry out the dire job of decapitation? If there was no butcher then who would put a perfectly cut slice of meat on a decorated plate? If there were no daily workforce then who would construct the railroads? No job is menial; no job is disgraceful for all jobs are done by humans meant for their utmost survival And every trade has its master its zhuangyuan he was neither a laotaiye nor a yuanwailang—he was the preeminent executioner in the Board of Punishments a magician with the knife a peerless decapitator a man capable of inflicting the cruelest punishments including some of his own design a true creative geniusZhao Jia was a survivor grabbing every opportune circumstance the zhuangyuan of the executioners serving for than four decades at the Board of Punishments A debt of gratitude released from the humble butcher’s abode the craft singing the solilouy of the sandalwood death Maoiang otherwise known as Cat Opera is an operatic genre created and developed in Northeast Gaomi Township The arias are exuisite the staging uniue the ambience magical; in short it is the ideal portrayal of life in the township MeowMeowLife’s last opera enthralling the audience with the pomposity of death A nation in peril the citizens of Northeast Gaomi forever in revolt paying the price of being heroic The commanding policy of Kaiser Wilhelm the autocracy of Von Ketteler the operatic songs of mutiny drenched in bloodbaths Sun Bing the inheritor of the Maoiang Opera tradition a man of prestige among his peers chose vengeance over the overbeaten virtue of forbearance Sun Bing a master performer and a rebellious reformer rebelled against the German supremacy in China the railroads swarmed with the mutinous Boxer Rebellion Mo Yan depiction of Sun Bing amalgamates the vibrant grandeur of the Opera and the humility of a single erhu retelling the tales of societal subjugation and familial fidelity chasing the sound and the image of perspicacity and crazed laughter uestioning the validity of the undertaken rebellion Mo Yan opens each chapter with a sombre aria staging lyrical segments of villain and heroes caught in a lifelong revolutionary opera reciting a resplendent narrative to eager listeners Sun Bing who acted on the operas stage for most of his life became the spectacular drama himselfIn his exuisite literary pieces Mo Yan’s treatment to his women protagonist is commendable Mo Yan’s women irrespective to their muddled sentimentalities and promiscuous play of feminine charm are a potent mixture of fearlessness and empathy Having lived up till then among a performing troupe Meiniang knew all the acrobatic moves for the opera stage and she had never been schooled in the traditional feminine imperatives of “three obediences”—first to father then to husband and finally to son—and the “four virtues” of fidelity physical charm propriety and fine needleworkSun Meiniang‘s scheming ways of using her feminine beauty for personal gain erases the proverbial notion of “happiness” as a spotless sentiment In a savage land the virtuous emotion of contentment is soiled by the specks of duplicity Meiniang’s definition of happiness strikes a balance between physical promiscuity her undying love for her diehfather and the desire to have had the beauty of “lotus feet” A true gratification in fated circumstance with no moral strings attached “Suffering is the road to respectability; danger is the path to prominence onstage” In death the sorrowful cry of the bird oscillates in the benevolence of a dying man The ordinary citizen the perennial ‘common man’ swallowing insults and humiliation grasping the vulnerable nonsensical pillars of forbearance and loyalty courts the disaster of annihilation when flouts the authoritative decree Slowly but sternly Mo Yan layers complexities of human emotion juxtaposing ironies of tangled relationship and passionate spirit for subsistence in a dramatically charged atmosphere bestowing a humane side to every penned character besieged by their incommodious circumstances and societal status The magical surrealism of the opera overlapping the savage reality of corporeal punishments and the socio political ambiguity steeped in the operatic act of immorality and probity Mo Yan’s protagonists are distinctive role players vacillating in physical and emotional rhythm and rhyme of hunger passion desire and bravery The intricacies of the characters are viewed through a bifocal lens mirroring within the person’s conscience diminishing the myopic stance of ethics ian Ding’s drunken melancholic confession exemplifies the relevant uandary The fierce melodic opus depicting the stimulus of life and the opulence of death swings in musicality of the modernization and traditionalism chronicles the past and the present The sorghum rich land of Gaomi Township reeks of sweat blood urine putrefying human flesh and abhorrence of humanity and yet from these acrid stench emits the sweet fragrance of resilience devotion heroism and love for a dignified existence The dead are noble the living worthless In the prophetic Maoiang recitals Mo Yan raises the imperative uestion –‘Who is the rightful owner of the titular sagacity of being a dignified individual?’ Those who let go of their virtue of forbearance to seek euitable vengeance or those who bravely accept death penalties entangled within the lawless discrepancies or those whose lives are trampled on the whims and fancies of political supremacy or then those who call themselves the benevolent righteous protectors of the law and the land Mo Yan chronicles the historical acrobats through an operatic act like narrative configuration highlighting crucial historical event and figures carving a political dais for an allegorical satire of life and death set during the 1900s China coursing through the egocentric reign of Empress Dowager Cixi the intense socio institutional Wuxu Reform Movement and the influential anti imperialist Boxer Rebellion The political history forms a secondary stratum to this illusory musicality ; political satire infusing elements of dark humour to the problematic conundrum of corruption Imperial tyranny and the vulnerability of individual lives Each of the Gaomi residents misplaced a part of their identity in their will to survive The ordinary lives that go unnoticed throughout the perfidious walks of life find an eternal glory in the cannibalistic brutality of death Sardonically the mislaid beauteous solemnity of the living is ultimately found in the opulence of deathRecounting this glorious work Mo Yan articulates – “it is all about the soundit was the sound that planted the seed for the novel and drove its creation” The historical romance of human resilience evoked in the rhythmical timbre through the inimitable chorus of Maoiang opera; merging the mournful strains of nightly train whistles into the surrealism of enchanted fox fairies the persistent semblance of sound perforating the consciousness amid the ocular pathways created as annotations of the sound Subseuently as Mo Yan plants the “seed of his sounds” in his heart I lock my eyes onto the soaring sorghum stalks scattering the grains of a valiant Gaomi my ears affixed on the enthralling prose I unwearyingly immerse in the “kipkipkip” of the rat gnawing into the dark corner the crackling of the tanned skin with the very first bloody incision the sharpness of the knife puncturing the smoothness of the glistening flesh the sueals of the pigs the shrieks of humans the melancholic arias piercing through societal ambiguity the excruciating screams of the dying shuddering the bashful clatter of the living the creaking of the Yama’s Hoop as it tightens around the chastised skull the rustle of the blood red sandalwood flowers the uninterrupted bubbling of the sesame oil soaking the five feet tall purple sandalwood stake the shrill of the ripped beard the snipping of ueues the murdering of the soul the orgasmic happiness of Meiniang the warm blood dripping onto death’s majestic palanuin the plonking of the bloody knife after the 500th cut the dramatic folk operas retelling tales of oppression the thundering sound of gallantry and human fortitude the galumphing of destined socio cultural revolution and the resonance of life as the Gaomi populace knew it My palpitations strumming to the beat of Tan xiang xing Maoiang Opera Chinese 茂腔; pinyin Màoiāng is a local folk opera style performed live on stage from the Jiaozhou area of Shandong Peninsula Jiaodong Peninsula in eastern China 'Sandalwood Death' pays homage to Maoiang and is written in a style reminiscent of this traditional Chinese art formIn the Author's Note at the end of the book Mo Yan writes In the same way that Maoiang cannot be performed in grand halls alongside Italian opera or Russian ballet this novel of mine will likely not be a favorite of readers of Western literature especially in high brow circles Thank heavens then that I'm not in any way 'high brow' because this historical novel was such a uniuely enjoyable experienceReflective of Maoiang characteristics the narrative and dialogue freuently incorporate a bawdy overblown and mischievous element And so a son who is tormented by his dead mother's spirit beseeches her to 'let him live or die with his little pecker pointing to heaven on his own' A rebel being tortured to death is inconsiderately revealed as having 'shit his pants' Mo Yan paints vivid pictures of the main protagonists allowing us to really 'live' in their heads and experience what they are going through in exuisite detail Even the work of an executioner carrying out the 'Slicing Death' is elevated to high artI really don't know what else to say any about this fantastic work so I'll just stop here In parting Mo Yan says at a time when borrowings from Western literary trends have all but brought an end to our popular traditions 'Sandalwood Death' may be out of keeping with the times and might be thought of as a step backward in my writing career I can only say that this reader totally disagrees with him on thatNote This novel contains vivid descriptions of protracted torture and execution scenes Avoid if sueamish It would be a pity though Excruciating and beautiful but not for weak stomachsI’ve read Sandalwood DeathTanxiang Xing in both Vietnamese my native language and English It is understood why Mo Yan could not achieve the level of fame he deserves in the West – I remember that year when Mo Yan won the Nobel Prize in 2012 most of my Murakami fans I know back then were truly disappointed Murakami writes universally – they do not reuire much of a background understand but Mo Yan not so muchAnyway I am not making an effort to compare these two authors just getting things clear In order to truly appreciate the genius of Mo Yan you have to be somewhat familiar with Chinese history and culture in this case the Boxer Rebellion and Chinese Opera with all its extravagant colours and fascinating impeccable moves This is no easy task for an average Western reader – especially uninformed book club members who just expect a pleasant readThe main casts are Sun Meinang a ineligible beauty due to her unbound feet; her husband Zhao Xiaoja a dim witted butcher; Zhao Ja the master of execution the butcher’s father; a county magistrate who had an affair with Meinang and Sun Bing the opera virtuoso the beauty’s father Together they will make the ultimate performance of betrayal despair brutality and their country’s imminent downfallThis is a gore and grotesue feast played out like a Chinese Opera empowered with magical realism Here and there were a few funny moments but those “funny” bits will somehow make you feel sick of yourself The executions were depicted in details and I had to take my time reading those painful paragraphs with pangs of disgusts – but my efforts were paid Sandalwood Death is not everyone’s cup of tea but I’d truly recommend this for those who would like to read to dwell upon another realm for a while sometimes even a very fine work just does not translateif you're planning to become a Mo Yan reader you really must know a few things about Chinese history and culture else it's all going to be mystifying to you for this book you really should know something about Chinese opera and the Boxer RebellionMo Yan says in an afterword to this book that he wrote it with two rhythms in mind the rhythm of trains and the rhythm of Maoiang opera i suspect the original Chinese version of this book is a masterwork of styles and sound and not to fault the translation at all i don't think it translates Mo Yan wrote that the novel's style is meant to sound like an open air performance by a hoarse voiced troupe of common actors i can see easily how approaching this book with that image in mind would make it mesh in a way it does not in English and in printthis book does not strike me as overtly political in the way that many of Mo Yan's books are it's the story of a county magistrate his mistress his mistress's Boxer rebelMaoiang opera father and of her father in law the executioner each is trapped in the machinations of others trying to gain power and prestige and in the kind of sad and inevitable fate so common in Chinese opera i enjoyed this book but prefer others of Mo Yan's work it's hard to read this without being aware of how much one is unavoidably missing for the western reader sound rhythm nuance a deep knowledge of the history i suspect that in Chinese it's a masterpiece on par with Pride and Prejudice or Moby Dick but alas there are some works that simply have to be read in the original a musical opera with blood in the air Both the author and the translator admit in the preface and afterword that this novel is impossible to properly translate Yet even through a linguistic gauze screen Sandalwood Death is a masterpiece of contemporary Chinese fiction and of outstanding literary translationSet in the same remote township in which his other novels take place at the turn of the 20th Century an executioner an opera performer turned rebel their married children a butcher and a dog meat seller and a county magistrate each act roles in a sweeping narrative of loyalty and betrayal Germans have entered the county to build a railroad ruthlessly demolishing fields and villages shooting anyone who stands in their way provoking a local opera troupe to take up the cause of resistance while a county official must interrupt his easy life of decadence and adultery and grapple between personal ethics and his conflicting obligations to family and to the imperial court when compelled to order the cruelest execution possible for his son's own father in law Mo Yan said he tried to convey the story as if delivered on stage by a hoarse opera singer and it certainly comes across as a grand theatrical drama Each chapter is its own set piece interspersed with song and oratorioThe excruciatingly detailed descriptions of various methods of execution can be stomach turning and Mo Yan's writing is characterized by sensuous descriptions of blood soil and shit Some basic knowledge of the Boxer Rebellion and the mysticism behind it and some acuaintance with traditional Chinese opera are both helpful in appreciating the novel's structure as well as its details All together it's gripping but not an easy read and newcomers to Mo Yan are advised to begin with his earlier novels such as The Garlic Ballads and Red Sorghum I'm almost speechless this is a masterpiece I haven't read a book so incredible for a long long time In fact it's something so uniue brilliant and the translation is amazing I have nothing else to say This book is beyond words Just love the novel to pieces First it gives me a rough picture of what it must have been like when the fall of ing Empire loomed ahead The hardship people had to encounter political and social turmoil xenophobia persecution by Western nations who came to China in order to reap benefits etc Some historical figures are mentioned as well eg Empress Dowager Cixi and Yuan Shikai who triggers some interest in me to the extent that I have to research about him and his dominance on the ing Dynasty I also learn about Maoiang Opera which it seems is rare these days Personally I am familiar with the Chinese opera performed in Thailand which I guess is influenced by the Peking Opera The description of local people coming together at the site where Sandalwood Death is to be performed on Sun Bing is very vivid The part describing the people giving the choral meow meow to Sun Bing's singing is soooo vivid that I could hardly keep myself from singing meow meow along with them Too bad I can't read Chinese so I have no chance of learning how beautiful Mo Yan's original text sounds ;Another part of the novel that captivates me the most is the graphic description of ian Xiongfei's execution I could almost picture each tormenting cut on myself and couldn't help imagining how excruciatingly painful it must be There're loads about the novel that intrigue me But that's it for now LOL It is the very first one that Mo Yan tries to savor modern style of fiction writing in telling a story a story again staged in his hometown Gao Mi as most of his works do In this novel main characters voice one by one in their own perspectives towards an event from varying spots of timeline mixed with recallings of their personal experiences which are key to the very event about to happen Due to such a overlapped narrative even the main plot can be mapped out earlier in the process of book profound details about customs history and inter personal knots flood on and on in a breathless tempoA stunning calibre of lauguage in exuisiteness and vigorousness is exhibited in the making of different styles of monologues by diverse characters even strimly formulated in drama verse that echoes the identities of the characters Sun Bing and his daughter Sun Meiniang However the use of multiple angles of narratives doesn't provide alternative understanding of the event but merely vehicles the same load in different carts Loved it loved the setting the characters the dialogue the way he organized the chapters the filth the comedy loved everything

檀香刑 Tánxiāngxíng ePUB ¼ Hardcover
  • Hardcover
  • 651 pages
  • 檀香刑 Tánxiāngxíng
  • Mo Yan
  • German
  • 10 April 2014
  • 9783458174462