D.卡尔顿 罗西
D. Carlton Rossi

Poetic Analytics 6



                                      The Streams


                                         Tread Upward
 


 
                     

                                The Bosphorus


Swimming reminds me of my journey from the Bosphorus to the estuary of the Yellow River. The Borphorus separates Europe from Asia or should one say joins them? On the Asian side was the ancient city of Chalcedon founded by the Megareans in 685 B.C.E. On the European side was founded the city of Byzantium in 667 BCE at the location of two fishing villages. It was also founded by the Megareans, but led by Byzas. The two colonies flourished in trade passing through the straits.

As time passed, the advantages of Byzantium became more obvious. Pliny the Elder reported that the colony of Chalcedon was referred to as the “City of the Blind” because Byzantium was better in every respect. (Collected Works, Chap. 43, Bithynia). Eventually, Byzantium conquered Chalcedon. In modern times, they are part of Istanbul which is the fifth largest city proper in the world.

To some extent the history of these two colonies mirrors the dialectical development of the first mini-poem of the “tread upward” in Poetic Analytic Imagery (2016). In the first mini-poem, the black head of the Ouroborus gives birth to what one may say is Chalcedon or the “City of the Blind”. It represents the unconscious. The white tail of the Ouroborus gives birth to Byzantium which was favored by the light of Pythian Apollo. This colony represented consciousness of a better location. Finally, antithesis and thesis are synthesized in a single city.

Pliny the Elder was both naturalist and Commander of the Imperial Fleet in the first century C.E.  He observed the unusual behavior of fishermen’s nets in the Bosphorus Strait near Byzantium. Pliny deduced that the surface and bottom streams were flowing in opposite directions. He was the first to record what is now called “estuarine condition” according to the Wood Hole Oceanographic Institute.

Michael C. Gregg and Emin Ozsoy have published an extensive study called Flow, water mass changes, and hydraulics in the Bosphorus with respect to fluid hydraulics. They say that “both streams may flow smoothly over one another until velocity difference reaches a threshold”. In the smooth flow process, the streams are separated by a no-flow surface which balances the flows along its length. In more accurate detail, they say “When the basin with the lighter fluid is also higher, as in the Bosphorus, the two flows are separated by a no-flow surface along which the oppositely directed barotropic and baroclinic forcings balance each other, assuming that frictional stresses are negligible. The net horizontal pressure gradient which is above and below the “no-flow zone” speeds up flows. 

The poet interprets this process in terms of dialectic in the “tread upward” of Poetic Analytic Imagery. The dense salt water represents the unconscious or antithesis of a dialectical argument. It flows in one direction in the “tread upward”. The light fresh water from the higher basin travels in the opposite direction. It represents the conscious or thesis. The salt water stream travels underneath the fresh water stream in the opposite direction. The synthesis is the “no-flow zone”.

In layman’s terms, with respect to south-north flow, the denser salt water originates in the Mediterranean Sea. Its salt content is actually higher than the Atlantic because of evaporation. This water flows to the Sea of Marmara. Modern day Istanbul is located on the north shore of the Sea of Marmara and the southern end of the Bosphorus.

On the other hand, lighter fresh water flows north-south from the Black Sea. It enters the northern end of the Bosphorus. It is less dense than the salt water coming from the Sea of Marmara. The lighter stream flows over the denser stream. The denser stream flows under the lighter stream in   a balanced system if there is no turbulence and low friction. “A no-flow zone” balances the flows and accelerates them.

The poet begins his tread eastwards from the European side of the Bosphorus. He imagines that he swims it as oxen once did where it is narrow. The entire journey across Asia takes six months to reach the heights of the Himalayas. As he approaches the mountains a minor quake shakes the land.

                                     Read Downword

At the top of the mountain the winds are fierce. Since it is the end of October heavy snowfall is expected. He has difficulty reading his map. The “read downword” is obscured with flying snow. He feels he might fall so he takes the safe, slow path to the left and then to the right which begins his downword zig-zag of the mountain. His journey will take another six months to the sea. 

His immediate goal is to find the Bayan Har Mountains in Qinghai Province. This is no easy feat on feet, but he is not defeated. At that location the Yellow River originates and begins its journey to the Bohai Sea. Chinese civilization developed along its banks and plains. The poet sensibly follows the river. Its flood stage from melting snow has subsided. He will have five major stops along the river. They are Banpo village, Yangshao village, Fu Shan, Dawu Village and the estuary of the Yellow River.  

Banpo village was located on alluvial soil of the Huang He at the confluence of two rivers; namely, the Chang He and Ba He. It was dated about 4500 BCE. Further down the Huang He though, through the mist of time, was Yangshao village surrounded by river on three sides and Shaoshan Mountain on the north side. It flourished between 4000 to 3000 BCE. Then, as one courses down the Huang He one goes over to where the river used to bend. Here there is Fu Shan where Huangdi united the tribes sometime between his birth and death or 2697 to2597 BCE. On top of mountain, the Emperor Shun built enclosures sometime in his lifetime between 2294 and 2184 BCE in honour of Emperor Huangdi. A little further on between two streams was born Sun Dawu in the village of Langwushuang. He established an enterprise called Dawu Group and wrote the Family Business Constitution in 2004. Rain fell and the land was fertile. The Kung rung. On to the Lower Yellow River which is choked with damn dams. When was harmony ever imposed by the raucous staccato of starling? It is composed by the lark harking to song of yellow bunting. Hark, hark! the lark at heaven’s gate sings.” (William Shakespeare)                       


                                Huánghé
 

              There will be much time to wait

             for the return of the old Huánghé

             which flows from the Bayan Har.

 

  



                       

The poet arrives at Xian. It has many marvels from the past. He is captivated though by a single pottery pot from the Banpo site of Yangshao culture. He guesses that it was ceremonial because it is so elaborate, has been preserved in such a pristine state and perhaps because it does not have handles which are more utilitarian. He has seen it before in a picture, but now it is as if he were seeing it for the first time. It would be a pottery pot that sits in an indentation in the ground.

The row of incisor teeth around the neck of the pot is fearsome. They are imaginary representations of carp and human teeth. A fish-face or renmianyu which has prototype yin-yang characteristics is painted on the bowl. It swims in a circular pond and as if it came out of the water filled pot. If the poet were to look inside the water filled pot from above then he would see his own fish-face. The fish-face is a totem and not token.

The jug has many eyes. The eyes of the small fish-face are horizontal slits. There are triangular shaped eyes at the end of the barbels of the whole pot face. There are two incisor eyes with vertical slits above the triangular crown or fin. The creative imagination of the poet suggests all incisor teeth represent eyes which can collectively see 360 degrees.



                                

                               


The poet deduces that the crown is an isosceles of special type called an equilateral. Through a dream another geometric pattern has emerged. The pond represents the base of a cone. Indeed, the base of a cone does not have to be circular; although, the pond seems to be a primitive way in terms of perspective to represent a circle. The cone extends to the isosceles. Of course, when a horizontal line runs through a cone it produces an isosceles. The altitude (height) of a cone is the distance through the inside of the cone from top to the base. The volume of the cone is one-third the product of the area of the base and height. The volume enclosed by a pyramid is one third of the base area times the perpendicular height. “If a cube and a pyramid have equal bases with equal lengths and widths, and have equal heights, then the volume of the pyramid will be (1/3) of the volume of the cube. Conversely, the volume of the cube will be three times the volume of the pyramid”. (Mike Rosenet, University of Georgia, Comparing the Volumes of Two Three-Dimensional Objects). The poet would be most interested in calculating the volume of the pot in terms of water up to the teeth (eyes) or rim.     It is uncertain what person in history was the first to perform an experiment wherein a cone was filled up three times from the water in a cylinder. This may be a map of how to perform that operation. If justified it would be rather easy to use a duplicate jug to examine volume.  

There are two birds that appear in the drawing. One is a Feng
and the other is a Huang . They share in common two of the incisor or eye teeth as eyes. For sake of balance, the poet views the Feng as rising and the Huang as leaping. The Feng symbolizes the whole clay jug that has been fired through heat. It represents immortality through repeated cycle. The Huang leaps through dance with her partner the Feng. She represents creation and birth. The Huang symbolizes the jug, too, that has been molded with wet clay. The clay pot has been transformed from lifeless to life force through the flames and water. There me emerges as the fish-face.  


                                    

                                         Upside Down Jug

The fish-face conveys a sense of repose. It seems at ease and at rest--almost child-like in its innocence. The parallel lines at the top appear as gentle ripples. However, being curious, the poet turned the jug upside-down. The rounded face now appears skull-like. The eyes are malevolently dark holes. The mouth is sardonically laughing. The top of the pot is darker brown having been in the ground which gives the face a sinister, shadowy air. Instead of wearing crown on head, the fish-face wears what appears to be a willowing mat for millet to sort out the number of years or maybe even days or hours for life. The figure is clothed in high neck, bulky cloak with fish epaulettes and appears mountainesque. The poet conjectures that there may have been a lid on the pot at one time. Furthermore, he can imagine hemp string wrapped around the teeth which cross the lid as would a fish net. Possibly, the pot would be suspended by this net. Pottery pots have been known to serve as vessels for the burying of infants.  



                            

                            Nepalese woman winnowing wheat

The poet speculates that Neolithic Yangshao Culture at Banpo village is unique. It may be the first culture where the language of geometry came before or was coterminous with earliest script. Through geometry, drawings, dualism and forms that represent numbers it has created a zeitgeist and weltanschauung.  


                            日月

          Image of sun and moon reflect on pond.

          The Fèng resurrects from flames.

          The Huáng leaps in dance from water.

                          


It’s time to leave the Banpo site to continue the eastward journey. The poet wonders why he doesn’t go by boat. That is, instead of following the river, he should be on the river. He reads a sign which takes him to the dock. There are two boats which he can choose from or should I say which can chose him? The one boat takes Chinese passengers while the other boat takes foreigners. An American is honeymooning with his bride. Officials tell him that he must take the boat for foreigners and his Chinese wife must take the boat for Chinese. This will be some honeymoon. The ticket price for the boat for foreigners is twice that of the other boat. He opts to buy two foreign tickets. The poet makes a different choice. He wanders around and finds a fisherman who will take him down river in a smaller boat at half the ticket price of either of the other boats. We stop off on route at his cousin’s and enjoy a wonderful fish meal.




                                

                                       Yangshao Village

We are headed for the bend of the river which is thousands of miles away in the middle reaches of the Huang Ho. On my journey, I reflect on the original discovery of Yangshao Village, Mianchi County, Henan Province. Everyone knows about the Danish archaeologist named Andersson who excavated the site in 1921. Notwithstanding, few know that the site was discovered by a farmer who ploughed his field in 1920. The farmer’s name has been eclipsed by the name of Andersson. Local farmers though over the decades have played an important role in reporting new finds. They are proud to protect this heritage site. They regard it as their duty to preserve artifacts which link them directly to their ancestors. Today, however, they are entangled in a dispute with commercial interests that wish to establish a theme park. It would mean virtual expropriation of their land thereby forcing them to move away from the right to farm their land, be buried on their land and severe links with their ancestors.

The poet has arrived to find Yangshao Village and to see Yangshao pottery. Andersson’s diffusionist theory in terms of the culture has been accepted by most archaeologists. While the Neolithic Yangshao culture was first discovered here it did not begin here. It began in the western regions and then diffused from there to here.

To the poet, the most remarkable aspect of the site is that the youngest culture and its pottery was similar but different than earlier ones. The Yangshao was the oldest at the bottom. In the middle layer of soil was the Longshan. The top layer signifies the Xiaotun culture (Shang Dynasty). If there were no catastrophic event to totally destroy one culture then it seems to the poet that the Xiaotun represents a synthesis of ancestor cultures. Apparently, on one piece of pottery from the Xiaotun culture, there were three different layers of colored clay discovered on the surface. They were light yellow, white and red. It’s the poet’s opinion that this layering was designed to harmonize cultures and pay homage to ancestors by using clays of all three of them. 


                                  The Battles

             Banquán and  Zhuolù were won or lost.

             No one now knows where sought or fought.

             Only those dead know with certainty.  



                                        



                             

                         

The poet heads north now to the next bend of the river. Traditionally, this is known as the head of the dragon. However, Fu Shan is not located at the current bend, but rather near the past bend at the time of the Emperor Huangdi who stood as the Dragon. In fact, the old course of the Yellow River called the Shanjing was located at the foot of Fu Shan. It was at Fu Shan, Xushui County where the tribes were united and the Dragon drawn. 

  

                                   

                                             Huangdi

Huangdi fought two major battles: they were Zhoulu and Banquan. Banquan may have consisted of a series of three battles—perhaps at different locations. The last battle to be fought was that of Zhoulu in the 26th century BCE. There is dispute about where these battles may have taken place.



                                   
                                 
                                             Fu Shan book

As far as the poet knows, there are no claims that there was a battle fought at the site where the tribes were unified. The dispute arises as to the location of Fu Shan where the unification took place. It is probable that Fu Shan was a peaceful place where combatants reconciled opposing views. It was probably a holy site. It is known that at some time, in the remote past, enclosures were built at the top of Fu Shan, Xushui County, Baoding City. They suggest it was a religious site of importance. It seems conceivable that Fu Shan might also have been chosen because the mountain resembled a tortoise symbolizing long lived longevity, prosperity and good fortune.



                                                                          
                                        Dusk at Fu Shan

It is generally believed that Huangdi united the tribes whose totems were animals such as bears, wolves, tigers, leopards, snakes, and birds of prey. Basically, he brought these animals together and others of the former enemy into one Dragon. However, the authors John Thorbjarnson and Wang contend that the Dragon is associated with water and these are not water animals.  In early Chinese history, it was believed that Dragons brought rain for the crops. Drums with crocodilian skins would be beat to induce rain in Neolithic China. They also mention that alligators were used as food and were associated with human burials.

The poet would like to add one thing to the above opinion. It seems to the poet that in order to establish harmony among the tribes that Huangdi would have to design a totem that was common for them all, but one which they hadn’t supported in the various battles. He would need to depict the unification of two different animals that normally were not friendly; namely, the alligator and carp that shared the river region of the Yellow. Normally, the crocodile would eat carp. They would both have to be equalized in terms of size, but also with respect to defensive capabilities-- teeth.



                                               
                    
Grass Carp                                   Common Carp  

This might explain why two river animals or fish and reptile were carved on Fu Shan. From the poet’s viewpoint, the carp is on the right and the crocodile is on the left. Both images are rather unusual in that they are not frontal, but rather three-quarter images. Therefore, they might not be so easy to recognize. They contrast to the image of the monkey on the far left which is frontal. This difference of perspective may also contribute to the difficulty of pattern recognition.

The crocodile on the left is realistic and rather serene looking. It is a fresh water reptile and also an amphibian. Its snout is rounded and U shaped. Its mouth is shut. There is no fourth tooth visible that projects from the lower jaw as there would be with a Chinese alligator (although this is a small detail which may not be visible in these pictures or it may be missing. The poet had originally viewed the reptile as a salt water crocodile with a fresh-water carp.



                             
               Grass Carp Pharngyeal Teeth
                  Common Carp Pharngyeal Teeth

The fish on the right at the mountain is imaginary. It is elongated and torpedo shape face resembles a common carp or (Caprinus carpio). Notwithstanding, barbels are not evident in the picture. (It may be that details such as a barbel on the carp and tooth on the alligator are too small to carve) The carving does show large pharyngeal, incisor-like teeth of the grass carp (Ctenopharyngodon idella) while the common carp’s pharyngeal teeth are flattened crowns. The problem though is that neither the real grass carp’s teeth nor the common carp’s teeth are visible, but at the back of the mouth as pharyngeal. This fact reinforces the view that the carp is imaginary. The carp certainly seems a match in battle or a partner in life for the crocodile. Of course, there is another possibility. The fish may be another kind of giant river fish with large teeth. 



                         

                       Saltwater Crocodile  (Crocodilius porus)

The two faces portrayed of a real crocodile and an imaginary carp are next to each other. They are side by side. They are not  confrontationally face to face. They are equalized in size with defensive capabilities. The common carp can eat an herbivorous diet, but it is an omnivore. The crocodile is an omnivore. In a sense they resemble, the Southern Right Whale (Eubalaena Australis) and the Killer Whale (Orchinus Orca) in a painting called   or Harmony drawn by Sasha Burkha. For a brief moment or eternity they dance in the eight star
 
至聖   “Kong Greatest Sage Constellation.  D. Carlton Rossi, TM, 2007-16.  

These two faces are embedded within a third face. The third face is portrayed three-quarterly, too. It is the face of a man and a god. It is the face of a real person and an imagined god. His given name was Xuanyuan. His ancestral name was Gongsun. These were unified in the name of the Yellow Emperor known as Huangdi. 

Since these images are “read downword” by the poet in his analysis of the poem called Poetic Analytic Imagery they conform to the dialectical method which unites consciousness and unconsciousness. The alligator is very real. It represents the consciousness of an alligator that floats on the stream of the river as it keeps on eye on activities above water. The fish is imaginary. It stands for the unconsciousness which is below the surface of the water in a lower stream. One might almost say they do not see each other either above or below water or for that matter on the side of the mountain. This does not mean though that they don’t sense each other’s existence nor know not that they are part of each other. The synthesis takes place in the embedding of the images in the face of a real man and god. This is the fish-face. This is the precursor of the Water Dragon. 

It is with difficulty for the poet to decide if the reptile carved on Fu Shan is a crocodile or alligator. Normally, the snout of an alligator is full while that of the crocodile is pointed. To the poet, the snout appears full, but so does the snout of Crocodilius porus. Also, a tell-tale give-away for a crocodile is an outside, upturned tooth on either side. The poet cannot see a tooth, but that may be due to the quality of the picture or perhaps it is just missing. At any rate, it is too small a thing upon which to make a definitive judgement. Finally, there is the issue of salt- water versus fresh water. An alligator is a fresh-water reptile. It is clear that the area around Fu Shan, in terms of swamps and river, was fresh water. The crocodile (Crocodilius porus) is a salt-water reptile. This would seems to rule it out in terms of choice.

However, Crocodilius porus is unique in that saltwater crocodiles can live in both fresh and salt water. Generally, location of nest and mating is important. They spend the tropical wet season in freshwater swamps and rivers. In the dry season they move downstream with the tide to estuaries. Of course, today, tidal effects of the Yellow River are less pronounced because of dam construction, but they may have been considerable 5000 years ago. Notwithstanding, it would still have been a journey of hundreds of kilometers to the sea. Certainly, salmon may migrate hundreds or thousands of kilometers to the sea. Would crocodiles have migrated a long distance to the estuary? 

While both crocodile and carp share fresh water near Fu Shan in the past they are generally opposite in terms of characteristics. The crocodile eats carp. For example, the Triassic skeleton of a dinosaurian crocodile in Yunnan showed evidence of fish in its stomach. The crocodile lays its eggs on land while the carp lays its eggs in the water. The crocodile is an amphibian while the carp is a fish. The crocodile is huge at maturity while the carp is small by comparison even if its size increases with longevity. In terms of humans, the crocodile could consume a human while the human would eat both crocodile and carp.

These opposites though are united in three aspects. The crocodile normally hunts by floating on top of the water with its eyes protruding above. In turn, the carp is a bottom dweller. This means that neither the crocodile nor the carp can see each other unless the crocodile dives or the carp surfaces. The result is a kind of balance and harmony. The crocodile leaves the area for a considerable length of time thus giving the carp peace of mind and a chance for the young to mature. Finally, there are the potential viewpoints of the sculptor and his patron.

It may be that they were more familiar with crocodiles which were probably more plentiful further downstream. Indeed, they may have preferred the crocodile to the alligator in terms of size. Generally, alligators can reach 15 feet while saltwater crocodiles can exceed 18 feet and some reach 20 feet. After all, what would an Emperor prefer to be associated with--a large alligator or the largest reptile which is the saltwater crocodile? Therefore, in terms of the size of the saltwater crocodile there is a greater contrast with the size of the carp than with the alligator. However, the size of the heads in the image of the carving are the same thus unifying them. 
  

The poet therefore chooses a crocodile known scientifically as Crocodilius porus which is now extinct in China. This reptile is closely connected with the Jiaolong which may be the precursor to the water Dragon which brings rain and flood. Secondly, if the common carp with frontal teeth is imaginary then it is conceivable that the crocodile is an imaginary Jiaolong. Thirdly, it is unclear if the image has an outside frontal, upward tooth which is characteristic of a crocodile or absent like an alligator.

The poet concludes that the imaginary carp (fish) and Jiaolong (reptile) represents a unity of opposites within a water environment. The head of the carp appears abnormally large and the same size as the Jiaolong’s. From this perspective they are equal. With these teeth and its size the carp appears a match in any contest with the crocodile. If the bend of the Yellow River represents the head of the Dragon it might be associated with the head of the fresh-water carp while the Lower Yellow River and estuary might be more closely associated with the tail of the Dragon or Jiaolong. At any rate, it is ultimately up to scholars and present day Chinese to decide if the image is a crocodile or alligator, carp exceptional or common, imaginary or real and perceptible or imperceptible. Is it possible that bones of a toothed carp and Jiaolong were discovered at the Fu Shan site which inspired the apparent carved images on the mountain?

The relevancy of the topic may be renewed with two archaeological developments. The first was the discovery in 1947 of crocodilian dinosaurian fossils in Gansu Province by Chung-Chien Young. The second discovery was made recently by paleontologist LI Chun (李淳)  in Yunnan Province. The new species is called Diandongosuchus fuyuanensis (富源滇东鳄). The new species lived 235 to 250 million years ago during the middle Triassic Period. It is reported in the September 2012 issue of the Journal of Vertebrate Paleontology.  

 

 

                        To the Yán-Huáng zisun   

      Fèng and huáng meet to become Fènghuáng.

      Fènghuáng leaps for joy and Dragon lifts with power.

      Vision of Yán-Huáng zisun is inspirational.




                           

The two of us walked down the road for a while. He pointed out to me that Fu Shan resembles a pot to local villagers. However, in the past, his ancestors saw it as a turtle. A long time ago the Black Turtle represented the north. As we talked and walked on I pointed to another mountain. I said to him that a farmer told me about its name when I asked him. It’s regarded as the White Tiger. The White Tiger was associated with the west. “It is said that the White Tiger of the West would only appear when the emperor ruled with absolute virtue or if there was peace throughout the world”. Wikipedia




                        

                                    Fu Shan Enclosure

There were two enclosures on the top of Fu Shan built by Emperor Shun in honour of Huangdi. They are called the West and East Subordinate Palaces. Traditionally, the West is associated with the Azure Dragon. The East is associated with the White Tiger. The mountain itself was the Black Turtle of the North. Was a south pointing chariot taken to the top of Fu Shan? At Fu Shan, the four directions might have been represented.




                           

                                 
Counting Votes on Election Day

The Dawu Group of companies is both by the people and for the people. Profits come second; nevertheless, profits are substantial. The workers rate and vote for management whose power is limited constitutionally.
In practice, management listens to workers and vice versa. In other words, there is harmony. 

Initially, the Groups concentrated on the animal feed business. In a second stage, they diversified into education, tourism and hospitality. A regional schools was built and along with it a water park and hotel. This was an entirely different area one might call an antithesis to the thesis. Finally, in what might be called the synthesis stage, three regional buildings were constructed. There is a convention center, Buddhist monastery and hospital.

The growth of Sun Dawu himself parallels the growth of Dawu Group.  He began as a local farmer with beliefs inspired by Confucius and earlier by Huangdi. Then, he became a poet who aspired to reach the mountain top of Fu Shan. Finally, he became a national spokesman for ethical entrepreneurship through  the Family Business Constitution.  



                                        The Estuary

                      Yang stream flows above and yin below.

                      The streams flow in opposite directions.

                      No flow zone separates and accelerates flow.

 

                            

                              NASA photo of Yellow Sea Estuary 


The poet will finish the five phase “read downward” at the estuary of the Yellow Sea through a comparison with the beginning of the “tread upward” at the Bosphorus. However, he will spend only a short time on the similarity which was intended to balance the end of “read” and the beginning of “tread”, bridge the gap between west and east and illustrate a parallel dialectic.

It is recalled that the Bosphorus Strait acted like a stream in two directions. The fresh-water stream from the Black Sea ran south to the Bosphorus while the salt-water stream ran north from the Mediterranean. At the Bosphorus, the less dense, fresh water stream ran on top of the dense, salt water stream running in the opposite direction. There is a no-flow zone between them which if not interrupted by too much turbulence will separate and accentuate the flows. In terms of dialectic, the fresh water stream represents consciousness or thesis. The salt-water stream represents unconsciousness or antithesis. 

The Yellow River makes its 5464 kilometer journey from the Tibetan Plateau to the Bohai Sea. During the months of May to October there is a great deal of turbulence in the water due to runoff and sediment.  However, in the November to April period the river is more stable and carries less sediment as a fresh water river. At the estuary, a high tide period of roughly five hours brings more dense salt water into the river. As such, there is a stream of fresh water going out into the Bohai Sea and a stream of salt water flowing underneath in an upstream direction. At low tide of seven hours the reverse takes place. There will be a “no flow zone” between them which acts in a similar way to its Bosphorus Strait counterpart--a strait which many call a river.  

As the sun sets on the Bosphorus the moon rises on the Yellow River Estuary bringing them into harmonious unity. The streams which flow through the Bosphorus increase and decrease as do the streams of the Yellow River Estuary along no flow zones. As the Yang decreases the yin increases along its straight (strait) and curved no flow zone. There is a balance, too, between the four directions of north-south and west-east. 

The traditional yin-yang symbol and the poem of 2015 called 山过山 are both similar and different. They are similar, for example, in that both are in black and white. They are also similar in that they express a process of increase and decrease. This process begins with two dots in the yin-yang symbol and two in the third line of the poem. More specifically, they are similar in that the curve shared by and which separates the streams of the yin-yang symbol and the straight line shared by and which separates the yin-yang triangles and within their respective rectangles are no flow zones.

The traditional yin-yang symbol differs from the poem called 山过山 of 2015 in several respects. The yin-yang symbol has a circle and dots. In contrast, 山过山 has an isosceles triangle which is equilateral and five rectangles divided into triangles below it. The yin-yang symbol shows increase and decrease in terms of the dots and the fish-like tails to fish-like heads of the opposites. The poem shows increase and decrease with respect to the number and size of characters.

It has been said that the poem called Poetic Analytic Imagery of 2016 is the synthesis of the poems called 山上山 of 2007 and 山过山 2015. It completes them. The 2007 poem was read down. The 2015 poem was ”read downword” and “tread upward”. The 2016 poem called Poetic Analytic Imagery is a flowchart within an analytic essay called Poetic Analytics of Imagery through Streams of Consciousness and Unconsciousness.

It is also a flowchart of mini-poems containing micro-poems within five rectangles which went down and up. As the poet reaches the bottom of the “read downword” the micro-poems fold to form a new shape which is a square. Separating and joining the “read downword” and the tread upward is a no-flow zone which accentuates the flow. At the beginning of the “tread upward” there is a rebirth through the Ouroborus which surrounds the square. Micro-poems unfold and the tread upward begins. In both the read and tread process, the character and the fish symbol are developed. The tread is accomplished when an older character manifests itself along with a fish mouth and a three mountain family. The flowchart of drawings also synthesizes circles, curves and dots of the yin-yang symbol, and isosceles, rectangles, triangles and four stroke characters of the poem 山过山 of 2015 within a process that resembles a computer flow chart. 


                   Huánghé
 

   There will be much time to wait

   for the return of the old Huánghé

   which flows from the Bayan Har.

    As newborn, I was buried in clay pot

    molded by umbilical of coiled cord

    and fired hot by heat of firewood.

             
    Let my broken bones and clay shards

    be restored by the silted waters of Hé

    to vessel from clay painted as rén miàn yú. 


                

                    日月

    Image of sun and moon reflect on pond.

    The Fèng resurrects from flames.

    The Huáng leaps in dance from water.



                         The Battles

     Banquán and  Zhuolù were won or lost.

     No one now knows where sought or fought.

     Only those dead know with certainty.  


                     To the Yán-Huáng zisun   

      Fèng and huáng meet to become Fènghuáng.

      Fènghuáng leaps for joy and Dragon lifts with power.

      Vision of Yán-Huáng zisun is inspirational.


                           The Estuary

       Yang stream flows above and yin below.

       The streams flow in opposite directions. 

       No flow zone separates and accelerates flow.





 
Huanghe   
The Consequences of Overfishing and Dam Construction 




                                         

                                      Dawu Insignia

One may be inclined to see a similarity between the 山 character with that of the insignia of the Dawu Group. The insignia represents the embodiment of the Confucian family and its extended social enterprise. This insignia resembles a mountain. It also looks like three fingers pointing up from the base of a hand. It represents the three brothers who struggle to reach the virtuous objective of social enterprise through a hundred year plan carried on through the generations. The length of this plan far exceeds the short, fiscal quarter plan of the capitalist west and it is significantly longer than the five-year socialist plan of  the east. If only all nations had a collective 100 year plan to address climate change putting all life ahead of profits.




                                 

                                Sun Dawu  Father  Mother

The poet views the Dawu Insignia from the perspective of poetic analytics of imagery. The insignia stands for the peaks of father and mother who provide the firm foundation for the highest peak or the eldest son. The eldest Sun extends his Confucian philosophy to the family, Dawu Group and beyond. 

The Dawu Group has purchased a lease (probably for 75 years) on several mountains near Fu Shan (Bushan). Many years ago, Sun Dawu was appointed by the local government as protector of this mountain which had been mined for slate. One may wish to refer to Sun’s speech called We Must Clarify”. He has since supported archaeological investigations, meetings of academics and restoration of ancient enclosures.  Fu Shan is not just any mountain.  It may be “THE” mountain where Huangdi united the tribes about five thousand years ago. One can see it from Dawu Village (Kenneth City) on a clear day.

There are many pitfalls and hazards to meet over a long period of time. Some say the enterprise will not survive one hundred years. However, it has already survived the arrest on trumped-up charges of Sun Dawu, his two brothers and the General Manager in 2003. In 2004, Dawu Group established China’s first Family Business Constitution based on western and Chinese models of governance.There have been six democratically run elections up to this point. The enterprise has celebrated its thirtieth anniversary in 2014 by opening three new temples and a conference center. It is in the process of completing a 15 story hospital. If the Dawu Group continues to focus on its core values then there is a high probability it will meet its long term objective of a family business enterprise which puts people ahead of profits and which serves as a model for China. Its growth which involves primary, secondary and tertiary industry has been spectacular. The goal now is self-governance.

A critic though may justifiably point to the recent turmoil with regard to the Malicious Dulu Incident of August 14, 2015 as an indication of disharmonious nous between the earthly and heavenly order. However, the poet has been  informed that an agreement in principle (which is unofficially called a match-making) was reached between the Dawu Group and the Xushui government on November 05, 2015. In other words, a semblance of harmony was achieved. Coincidentally, this was within days of the twelfth anniversary of the release of Sun Dawu and twenty-officials of the Dawu Group. At the meeting, Party Secretary Su Shuji asked leaders and cadres to emancipate the mind and change concepts. He encouraged Dawujituan to seize the opportunity by riding on the momentum and to make full use of the existing strong foundation and rapid development to standardize management under law for the construction of a hundred years.

A careful downword reading of characters and treading upward on mountain tracks over a long period of time should be made. This effort decreases the number of falls and repetitions. It also leads to greater success in reaching one’s objective. Hence, the title 山过山 in Chinese applies to two directions--downword on the fall and upward on the rise.

The title of the poem is pronounced in pinyin as  Shānguòshān.  It is translated as Mountain Over (Up) Mountain. However, the actual title of the poem runs vertically. It can be “read” downword as one would read ancient Chinese and can be “tread” upward as might be undertaken by a modern poet as he treks up the mountain. The actual title of the poem is as follows. 


        山
        过
        山
                                           


D. Carlton Rossi

January 1, 2016


 

1.  Claire Dunne, Carl Jung: Wounded Healer of the Soul, Parabola Books, New York: 2000, p. 63.

2. Higgins, S., I. Overeem, A. Tanaka, and J. P. M. Syvitski (2013), Land subsidence at aquaculture facilities in the Yellow River delta, China, Geophys. Res. Lett., 40, 38983902, doi:10.1002/grl.50758.


3.  Jon Mills, The Unconscious Abyss: Hegel's Anticipation of Psychoanalysis, State University of New York Press: Albany, 2002

4. Jon Mills, "Jung's Metaphysics", International Journal of Jungian Studies, volume 00, number 00, month 2012, 1-25.


5. Jon Mills, (2000) Dialectical Psychoanalysis: Toward Process Psychology, Psychoanalysis and Contempory Thought, 23 (3), 2054


6.  Pauly J, Marschall HR, Meyer HP, Chatterjee N, Monteleone BD (2016) Prolonged Ediacaran-Cambrian metamorphic history and ultra-high temperature metamorphism in the H.U. Sverdrupfjella, Dronning Maud Land (East Antarctica): evidence for continental collision during Gondwana assembly. Journal of Petrology, (in press)


7.  Frankel, Henry R., The Continental Drift Theory,Cambridge University Press, New York: 2012.


8.  Getting, Ivan, Christie, John, David Tressel Griggs: A Biographical Memoir, National Academy of Sciences, Washington: 1994. 
 

9.  Sanjeeva, P. C., A Textbook of Geology, Discovery Publishing House, New Delhi: 2001, p. 51.


10. Xiujuan Shan, Pengfei Sun, Xianshi Jin, Xiansen Li, and Fanquan Dai, Long-Term Changes in Fish Assemblage Structure in the Yellow River Estuary Ecosystem, China. Source: Marine and Coastal Fisheries: Dynamics, Management and Ecosystem Science, 5(): 65-78: Published by : American Fisheries Society.

www.bioone.org/doi/full/10.1080/19425120.2013.768571


11. Wenxue LI, Kairong WANG, EVOLUTION OF THE YELLOW RIVER ESTUARY AND ITS SEDIMENTATION PROBLEMS, International Conference on Estuaries and Coasts, November 9-11, 2003, Hanzhou, China.


12.   http://www.cic.sfu.ca/cchf/dragonInChina.html


13.  http://www.encyclopedia.com/doc/1G2-3437800172.htm


14.   http://en.wikipedia.org/wiki/Jiaolong


15.   http://en.wikipedia.org/wiki/Saltwater_crocodile

                                                                        
16.   http://www.whoi.edu/science/GG/people/marschall/Horst_WHOI/Subduction_Zones.html






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Reference


Flow, water mass changes, and hydraulics in the Bosphorus Michael C. Gregg and Emin  Özsoy
  • First published: 7 March 2002Full publication history
  • DOI: 10.1029/2000JC000485View/save citation
    • Provider: John Wiley & Sons, Ltd
    • Content:text/plain; charset="UTF-8"
    •  
    • TY  - JOUR
    • AU  - Gregg, Michael C.
    • AU  - Özsoy, Emin
    • TI  - Flow, water mass changes, and hydraulics in the Bosphorus
    • JO  - Journal of Geophysical Research: Oceans
    • JA  - J.-Geophys.-Res.
    • VL  - 107
    • IS  - C3
    • SN  - 2156-2202
    • UR  - http://dx.doi.org/10.1029/2000JC000485
    • DO  - 10.1029/2000JC000485
    • SP  - 2-1
    • EP  - 2-23
    • KW  - straits
    • KW  - hydraulic controls
    • KW  - mixing
    • KW  - turbulence
    • KW  - Bosphorus
    • KW  - 4223 Descriptive and regional oceanography
    • KW  - 4243 Marginal and semi-enclosed seas
    • KW  - 4219 Continental shelf and slope processes
    • KW  - 4568 Turbulence, diffusion, and mixing processes
    • PY  - 2002