D.卡尔顿 罗西
D. Carlton Rossi

Poetic Analytics 3

The poet now introduces two new terms to define how one goes down and up the poem. One reads downword. Generally, one reads downword in a zig-zag way. One then treads upward as if one were cautiously climbing a precipitous mountain.


            2015 Poem called 山过山 in terms of Read Downword
                                      and Tread Upward 

              Read  Downword                           Tread Upward

       Illustrations for 2015 poem called 山过山 in terms of                                            Read Downword  and Tread Upward 

It may be appropriate here to discuss briefly whether or not a downword read and a tread upward are always the same.They may not be. For example, in a read downword from line 4 which is characterized as being in a rectangle of “approximate opposites” one may go from the right-point to the first character of line 6 which is a left-point  山 or its opposite. However, in reverse, on a tread upward, one goes right-point 山 on line 5 within a rectangle of similarities to another similar right-point 山 on line 4. (Similar and “approximate opposite” lines of rectangles will be defined shortly).  

While the first three 山 can be used to know the beginning of the last line; nevertheless, they can deceive one in terms of the downword read of the final poem. One reads downword  from the up yin on line 1 to the      up yin 山 on line 2. Then, one proceeds left to the first character on the second line which is a right-point yin . One then zig-zags downwords to a left-point yin  on the third line. 

The poem called 山过山 is polysemous in that it has many meanings. The poet primarily understands the poem in terms of archetype.The fish-face archetype transforms itself into a yin-yang symbol through its circular face, its fish properties and its opposites of black and white. Some psychic energy is transferred to the yin-yang symbol. This satisfies the conservation of energy law. The yin-yang symbol has itself become an archetype since it has psychic significance and universality to many individuals and particularly to the poet. In turn, the yin-yang symbol transforms its fish properties and its opposites of black and white to the   山过山 poem through transference of psychic energy. However, the lines and triangles of the original archetype are used to form lines, an isosceles, triangles, rectangles and parallelograms.

It seems that horizontal lines of the eyes of the renmianyu transform themselves into two characters. It might be construed that each “horizontal line eye” adds three lines to it so it can become a four line 山 eye ie. each 山 character has four lines or strokes. Some psychic energy of the archetype is involved in the transfer.

It seems that the psychic energy is sensed and transferred to a sensitive receptor. That may be any person who is sensitive enough to receive it and then to act upon it so the archetype is expressed in a creative way as a newer archetype. The psychic energy is finally channeled to the renewed archetype where it is stored.

What does the transference of psychic energy mean in the long term?  It would seem that eventually the psychic energy of the original archetype might be depleted or exhausted.  It may be that the archetype might disappear altogether. To the poet’s mind it might become like a sun that becomes a ghost-like, white dwarf spent of fuel. 

The archetype though is not just transforming or undergoing rebirth to another symbol or poem. It is transforming into symbols or poems that are archetypes so that it can remain relevant to the poet. Each archetype has the potential to become one or more archetypes. They may continue the cycle or, if they are irrelevant, they may either fade away or disappear. 

Jung regards archetypes as fixed and unchangeable. It appears though to the poet that Jung’s definition of archetypes has continually changed throughout his life from its first usage in 1919 to ten days before his death. If the definition has changed hasn’t the archetype changed? 

The poet prefers to view an archetype as changeable based on one' own subjective perspective at the time. For example, the poet viewed the fish-face image of the renmianyu which was painted on a clay bowl displayed on a museum shelf in Hong Kong. The poet regards the image as an archetype. It is appreciated by the poet for its anthropromorphic, geometric and zoomorphic properties. The poet can subjectively understand and relate to the simile of creation where one is formed from clay. 

However, something puzzles the poet. The archetype appeals to him in a unique, particular way. Yet, here it is in a Hong Kong museum far away in time and place from where it was found at Banpo village on tributaries of the Huánghé. It is understood by each visitor in a similar, but not in the same way. It is as if each head had a different idea of the ideal.

In regard to the poet, he sees it as a part of the whole. He may be fortunate enough though through transformation if he were to see another part at another time and place. Yet, however many parts he sees or experiences in his metamorphosis, there are potentially an infinite number in the whole. Therefore, his understanding of the ideal is incomplete.

He and  are similar, but not the same. He may identify with the
but they are not identical. The Hé is also known as the Huang Ho, Hwang Hao and Yellow River etc. 

                                         He and 

                    He and 河 were more similar
                    or less unlike in comparison.    

                    He identifies with 河 in part
                    but on whole they're not identical.

                    He here and 河 there will signify
                    he'll never ever be same with 河.

                    If single part cannot make whole  
                    then part and whole are part apart. 

D. Carlton Rossi  copyright  2016

If the poet is in a less serious mood than doom then the  version of the poem is more humorous in the Year of the Monkey.

At the end of his poem called Poetic Analytic Imagery, the archetype has changed. It becomes a whole set of three mountains and the open mouth of the renmianyu with a set of three teeth. The archetypes of the fish-face and mountains are within the poets' streams of consciousness and unconsciousness. 

The poet’s first tread upward of Fu Shan was done in 2003. Sun Dawu was my guide. He wore a peasant farmer’s straw hat. At the top,             the poet marveled how the Yellow Emperor Huangdi who invented agriculture, designed the lunar-solar calendar and founded the Chinese nation had stood here. It wasn’t until years later that the poet saw the image of the archetypal fish-face carved in the mountain as shown in the black-white photograph. Whose face is the fish-face? The poet considers it as a representation of the face of Huangdi or the first emperor of China about five millenia ago who united the tribes on Fu Shan. 

That fish-face is more than a stone carving. It is an archetype. It is confirmed by the black-white image taken by an amateur photographer.  It is also substantiated by other pictures taken and enhanced by the poet. This means that the poem called  山过山 may become in the future an archetype derived in part from the renmianyu, the yin-yang symbol and   Fu Shan’s stone carving.  

               Original Photo taken by Amateur Chinese Photographer

An amateur Chinese photographer thought that the black-white picture was of interest to him. However, it appears that he did not see any particular significance to it which set it apart from other photographs.   No one else either seemed to notice anything special about it.  

A similar thing can be said about Fu Shan. Thousands of Chinese villagers have seen the mountain for thousands of years. Most have climbed it. However, they did not see its full significance in terms of a stone carving on its face. In fact, in recent times, the mountain was being systematically destroyed as part of a mining operation for its slate. until Sun Dawu was appointed as its protector. 

The poet though was fishing, so to speak, for pictures of the mountain that he could download. He was on the verge of closing the program when he chanced upon the black-white photo. His initial assessment was that it held little interest to him. However, the foreign poet then saw something that piqued his curiosity. He recognized a pattern embedded in the image. This was probably because its black-white nature brought out contrast. Shortly, thereafter, he recognized the fish-face as a result of his interest in geometric and zoomorphic patterns of Banpo pottery. How many peasant villagers at Fu Shan had had any interest in Banpo pottery of the Xian region?

The poet tried to find the exact place from which the photo was taken. He wished to take photos from that location. If the photographer is too close to the mountain then the images do not become evident. He took several photographs in colour. They were digitally altered with a variety of techniques to bring out the images that were seen in the black and white photo. At least one monkey also appears on the far left-hand side.


                             Screen Shot from A Fistful of Dollars

The poet will briefly describe a scene in “A Fistful of Dollars” directed by Sergio Leone and starring Clint Eastwood as it pertains to archetypes.     It begins with the silhouette of a rider and horse which descend the mountain. They seem lost in the vastness of the landscape which is operatic in scope. Darkness buries detail. The viewer strains his eyes to see the image of death as it approaches. He is vaguely aware of a sense of impending doom. Death is the archetype symbolized by the rider with no name.

The symbol of death is reinforced by that which is barely visible and generally unnoticed by most viewers. In psychological terms it might be called a subliminal image. To the viewer’s right is a stone carving on the archetypal mountain. The carving dwarfs the subject. It is that of a tortured face leaning on a broncing, saddled horse with rider. There are two additional images in the scene; namely, a small horse and rider in the foreground and a large face on the left side. These connected symbols foreshadow dire, forthcoming events.

Is it surprising, therefore, that carved images on the face of Fu Shan may have gone unnoticed due to thousands of years of erosion? They also cannot be seen under most circumstances because they remain deeply buried within the unconscious. They might be perceived and verified, however, from a perspective of poetic analytics imagery. For more detailed analysis of the images on Fu Shan refer to articles written by the poet about seven years ago on his website.

This photo was taken by the poet and digitally enhanced in 3D 

The mask carving of Fu Shan which is proposed by the poet may be divided into two parts. On the poet’s right appears a fish that has carp features—with one important exception—the fish has visible teeth. On the left is a reptile that has crocodilian features known as the Jiaolong.

Edward Schafer describes the Jiaolong as spiritually akin to the crocodile.  It was most often regarded as a dragon, but sometimes it was man-like or like a fish. They were interchangeable. 


Saltwater crocodiles can live in both fresh and salt water. They spend the tropical wet season in freshwater swamps and rivers. In the dry season they move downstream with the tide to estuaries.

Prof. David Chuenyan Lai of the University of Victoria wrote an article called The Dragon in China which relates the dragon and crocodile. He says that in the North of China about 4000 years ago reptiles called Wan E (Crocodilius Porosus) lived in the swamps and river deltas on the eastern coast of China.


                                   High Pass Resolution

The depiction of a mask may be an important aspect of early Neolithic art as found on Seaman pottery. It is not uncommon to find a fish-face portrayed. This type of painting has both fish and human-like characteristics.

There is a fish-face (among other images) perceived to be embedded on Fu Shan. On the poet’s right, there might be a carving of a common carp with teeth. It may be either a real or an imaginary representation. It is assumed to be imaginary because fossil evidence is lacking. On the left, completing the fish-face is a crocodile which may have been the precursor to the dragon as an imaginary creature. 

The dragon symbol which snaked like the Yellow River nearby to Fu Shan was adopted by the Yellow Emperor Huangdi. He united the tribes as symbolized by the face of fish-crocodile which brought together two imaginary animals. It is derived from the archetype of the fish-face on Banpo pottery.

Remarkably, the fish-crocodile image is embedded within a three-quarter image of a human face. It must be the face of an extraordinary individual. It is a personification of the united tribes. It ushers in an age of peace and prosperity. 

Next, the poet views the poem in terms of a journey. It involves a downword read and upward tread. The characters increase and decrease or wax and wane correspondingly. It somewhat resembles a game of snakes and ladders where one treads upward. Snakes and Ladders is navigated from the bottom square in the left-hand corner to the top square in the right-hand corner. However, the game is based solely on the toss of a die. The ancient game is called Moksha Patam. It is based on Hindu philosophy associated with Karma and Kama or destiny and desire.  It emphasizes destiny.

The poem is also cyclical in terms of Western, occidental morality where there is a fall, redemption, rise and grace. One might cite the example of the mythical hero known as Herakles. He conquered death by going to the underworld and then returned.

Then, there is also a process of individuation. The Tao falls to the dark depths of the unconscious where many yang symbols in a yin triangle oppose many yin symbols in a yang triangle. Together, the triangles form a rectangle of “approximate opposites”. The process of reconciling the opposites must begin before one can tread upward.

Lastly, with respect to purpose and technique of the poem one must mention a pencil. The poem was originally written with a pencil. The poet sees a pencil in the entire shape of the poem. The isosceles represents the head of the pencil. The graphite is found in the middle pointer of the first . When the pencil becomes dull then it is necessary to sharpen it.  The shaft of the pencil runs down to line 9 and 10. Finally, the eraser is at the end of the pencil. It can be used to erase mistakes literally in mathematics, figuratively in metaphysics, spiritually in ethics and ideally in poetics. All poems of the poet begin with a pencil on paper.

The 山  may also contain apparent anomalies. For example, all second lines of the isosceles or rectangles of the poem contain an up yin . The exception to the rule is a left-point yang 山 at the end of line 10. While it is true that the pattern of at least three  up yin  has been established from the top down it is false that it has been established from the down up (where a pattern is defined as three or more). The left-point yang 山  therefore seems to have special significance.

Metaphorically speaking, it appears as a little dragon or snake. It is within a rectangle which contains six down point 山 whether they be yin or yang. It points to a down yin  to the left while it is pointed at by a
down yin  from above. As said, it points to the 山 on the left, but, this in turn is pointed to by another right-point 山.
The opposite situation exists with regard to the third character in line 10 which has 山  pointing away from it on either side. In other words, characters in the entire rectangle appear two-faced or to put it another way, they speak with forked tongue of the snake. In summary, it seems that the read pattern has been established downwords. However, a tread pattern upwards to line 10 has not been established, so it is easy to be misguided. The actual pattern of up yin  on the last line of the rectangles of the "tread upwards" begin at line 8.

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