Autumn Night
Lu Xun 1924
Tr. Huiwen Zhang 2012
From my backyard, outside the wall two trees can be seen: one is a date
tree, the other is also a date tree.
Above these a night sky, strange and tall; all my life I have never seen a
sky so strange and tall. He seems to be taking
leave of the human world and going away, so that men will look up and no longer
see him. Yet now he is intensely blue, winking
dozens of twinkling stars’ eyes, cold eyes.
At the corners of his mouth appears a smile that seems to consider itself
utterly meaningful while sprinkling a thick frost on the wild flowers and weeds
of my yard.
I do not know what names those flowers and weeds really have, what names
people call them. I remember one that
bloomed tiny dainty pink flowers, one that is still blooming, but the flower is
even tinier and daintier. She, in the
cold night air, crouches to dream, dreaming spring’s coming, dreaming autumn’s
coming, dreaming a slender poet wiping tears on her very last petal, telling
her though autumn comes, though winter comes, still after that spring anew,
butterflies flittering, bees all singing spring songs. She then smiles, though freezing tragically
crimson, still crouching.
The date trees, they have shed almost
all their leaves. Before, there were
still one or two children coming to beat down dates left by others; now there
is not one left, even the leaves have all been shed. He knows the tiny pink flower’s dream—after
autumn comes spring; he also knows the shed leaves’ dream—after spring comes
autumn. He has shed almost all his
leaves, only a trunk left, yet stripping away the arch shape from a time long
ago when fruits and leaves were all over the tree, he yawns and stretches quite
comfortably. But there are still a few
branches drooping low, nursing the wounds on his skin from the tips of date-beating
poles; the straightest and longest branches, however, are silently like iron
piercing directly the strange and tall sky, causing the sky to wink twinkling
ghosts’ eyes; piercing directly the sky’s full round moon, causing the moon to
pale with embarrassment.
The ghost-wink-eye sky has grown all the more intensely blue, restless, as
if trying to leave the human world, escape the date tree, and leave behind only
the moon. Yet the moon has also secretly
fled to the east. The naked trunk,
however, is still silently like iron piercing directly the strange and tall
sky, determined to get a strangle hold on him, regardless of all his various
ways of winking many a bewitching eye.
“Caw!” With this shriek, a night-roving
evil bird flies by.
I suddenly hear a midnight laugh, tchi tchi, as if reluctant to disturb
sleepers, yet the air all around resonates the laugh. Midnight, no others about; I recognize right
away that the sound is in my mouth, I am also right away expelled by this
laugh, back into my own room. The wick
of the lamp is also right away turned up by me.
The glass of the rear window tinkles, ping ping; there are many tiny
flying bugs bumping about. Not long
after a few break in, probably through the holes torn in the window paper. Once they break in, they bump anew on the
glass lamp shade and cause it to tinkle, ping ping. One bumps in from the top, so he encounters
the fire, and I assume the fire is real.
Two or three others, however, rest on the paper lamp cover, panting. The cover is last
night’s newly changed cover, snow-white paper, folded in wavy pleats, also painted
on one corner a spray of scarlet gardenias.
When the scarlet gardenia blooms, the date tree will dream anew the tiny
pink flower’s dream, bent into an arch of tender green …. I hear anew the midnight laugh. I hasten to cut short my mood, watching the
tiny green bugs grow old on the white paper cover—big heads, small tails, like
sunflower seeds, only as big as half a grain of wheat, all over their bodies a
verdure—lovable, pitiable.
I yawn, light a cigarette, blow out the smoke, and facing the lamp I silently
lay my ritual offerings at the shrine of these exquisite verdant heroes.

Lu Xun's voice, that you have given him to give to me and others, has rendered concrete many wondrous natural phenomena. Sometimes, though it may seem paradoxical, he does so through anthropomorphism. How can we fail to embody the tall sky wishing to escape the date tree? Empirical secrets laid bare.
ReplyDeleteA haiku I wrote years ago, going for a similar sensibility:
Topmost upright twig
crowns the tree's dark eminence,
slicing the sunset
As I say, I think there is a similar sensibility there, but a short haiku does not approach the level of psychological exposition that Lu Xun manages to summon in his descriptive narration.
The insects intrigue as well, drawn to the lantern as is the narrator to the moon...
Thanks as always for sharing your translations!
James Amstutz:
ReplyDeleteHere was my first reaction the Autumn Night piece our meeting Thursday will be covering more in-depth.
On my initial reading of Autumn Night the three principal elements that stood out for me was the paradoxical moon, the narrator’s midnight laugh and the characterization of the date trees, sky and pink flowers. Due to the sun rising in the east and setting in the west, it seems odd that Lu Xun describes the story’s moon as secretly fleeing from the sky. This might be a way to relate how quickly the moon vanished from the overwhelmingly blue sky the same way the date trees struggled in vain to ascend and reach the the sky to “strangle” it in relatively violent terms. Some kind of hierarchy appears to emerge in Autumn Night, where the sky is granted uncontested control of the sky and the date tree seeks to supplant it while still keeping in mind the innocent characterization of the pink flowers. The midnight laugh that the narrator claims to produce is only made once darkness takes over the environment and makes each of these things presumably indistinguishable from one another. This could be his way of possibly either appreciating the newfound simplicity of the transformed scene or him attempting to become a part of it.