Week 3

Tuesday, 9/12 
In H32, the governor of Pei slips away from a tense standoff with Xiang Yu. He excuses himself briefly, and then is advised that he slip away without saying goodbye: “this fellow is about to get out his carving knife and platter and make mincemeat of us! Why should you say goodbye to him?” (H32t). The governor of Pei ensures his safety by not allowing his adversary to be aware of or even observe his retreat (H32 para 4). Why is the parting of these two adversaries an especially dangerous moment? What is the advantage of disappearance, over retreat? 

When one walks away, it is difficult to prevent oneself from being followed or chased. The retreating party is facing away, directing attention to navigating home. The following party can focus solely on the object of their pursuit, and perhaps experience the exhilaration of giving chase. Sima Qian’s record includes many instances where chasing is an advantageous tactic. For example, the wise general Wang Jian avoids direct confrontation with an opposing army and has his army wait until the opposing force withdraws before attacking (Q129). The Chu general Cao Jiu rashly decides to lead his men away from a standoff with Han forces, inciting the Han army to chase and destroy the Chu troops (H43t). Xiang Lu’s retreat from the king of Han is the beginning of a string of pursuits that whittle Xuang Liu’s army down to a mere twenty-eight horsemen (H43b-H45t). In these instances, retreating means becoming the object of chase. Considering these dangers, it is no wonder that the governor of Pei maneuvered his exit to seem like a disappearance from the viewpoint of this adversary. What other strategies can be used to circumvent the dangers of retreat?

Thursday, 9/14 
Jing Ke’s biography opens with two instances of apparent cowardice: Jung Ke is frightened and runs away because of a mere glare (Q167mb), and Jing Ke is frightened and flees because someone angrily shouts at him. These instances do not portray a “really brave man” who Prince Dan is seeking to carry out an attack of Qin emperor (Q171b). But even though he is a bit reluctant, Jing Ke does in the end act bravely, making a sincere attempt to carry out Prince Dan’s mission to attack the emperor (Q175). While the effort fails, Sima Qian comments that Jing Ke deserves to be recorded in history because he “was not false to his intentions (Q178).” Is Sima Qian showing through this sketch that being true to one’s intentions is more important than having a brave disposition? It does seem that Jing Ke is able to overcome a cowardly tendency in order to pursue his mission. 

But does it also matter that the person is good? Jing Ke’s biography also includes a descriptions of how he enjoyed spending time drinking with friends and making music (Q168t,Q174tm). This is an unusual detail in the readings thus far, and does cast Jing Ke in an especially favorable light (Q168t). One feature of Jing Ke’s time making music with others is the freedom to show and share in emotions: “in the middle of the crowded market place they would happily amuse themselves, or if their mood changed they would break into tears, exactly as though there were no one else about (Q168t).” When Jing Ke is leaving for his mission, Jing Ke and his fellow musician Gao Jianli mark the moment with music. The music guides the group through communal sadness to anger (Q174). The song that Jing Ke sings portrays the situation thus: “brave men, once gone, never come back again.” Through music, is Jing Ke able to understand what he must be and do, and perhaps gives him strength to be able to follow through a most difficult task?

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