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Ascending the Pagoda at Ci'en Temple with Gao Shi and Xue Ju

The great pagoda surges from the ground,
A solitary crest assaulting heaven's hall.
To climb is to abandon mortal bounds,
As spiraling steps wind through the empty void.
It looms immense across the realm of shores,
Its jagged height carved by demonic hands.
Four corners block the brilliance of the sun,
Seven tiers brush against the azure vault.
Looking below, one points at soaring birds;
Stooping to listen, startled gales rush past.
The rolling ranges heave like ocean waves,
Their turbulent currents sweeping to the east.
Green sophoras line out the imperial path,
Where palaces and pavilions gleam bright.
Autumnal hues advance from western realms,
A somber verdure filling Guanzhong plain.
Above the northern mounds of ancient tombs,
A misty haze endures for countless years.
Quiet principles lie clear and understood,
While holy truths have guided all my days.
I vow to cast my official cap aside,
And seek the boundless way of silent peace.
塔勢如湧出,孤高聳天宮。
登臨出世界,磴道盤虛空。
突兀壓神州,崢嶸如鬼工。
四角礙白日,七層摩蒼穹。
下窺指高鳥,俯聽聞驚風。
連山若波濤,奔湊似朝東。
青槐夾馳道,宮館何玲瓏。
秋色從西來,蒼然滿關中。
五陵北原上,萬古青濛濛。
淨理了可悟,勝因夙所宗。
誓將掛冠去,覺道資無窮。
tǎ shì rú yǒng chū, gū gāo sǒng tiān gōng.
dēng lín chū shì jiè, dèng dào pán xū kōng.
tū wù yā shén zhōu, zhēng róng rú guǐ gōng.
sì jiǎo ài bái rì, qī céng mó cāng qióng.
xià kuī zhǐ gāo niǎo, fǔ tīng wén jīng fēng.
lián shān ruò bō tāo, bēn còu sì cháo dōng.
qīng huái jiā chí dào, gōng guǎn hé líng lóng.
qiū sè cóng xī lái, cāng rán mǎn guān zhōng.
wǔ líng běi yuán shàng, wàn gǔ qīng méng méng.
jìng lǐ liǎo kě wù, shèng yīn sù suǒ zōng.
shì jiāng guà guān qù, jué dào zī wú qióng.
Pagoda form like surging out, solitary high rears into heaven palace.
Ascending and overlooking exits world, stone steps coil through empty void.
Towering presses divine land, rugged steep like ghost work.
Four corners hinder white sun, seven tiers rub azure vault.
Looking down points at high birds, looking below hears startled wind.
Continuous mountains like billows, rushing gathering seem facing east.
Green sophoras flank imperial way, palace buildings how exquisite.
Autumn colors from west come, dark green fills Guanzhong.
Five Tombs north plateau upon, myriad ages green hazy mist.
Pure principle clear can be understood, supreme cause long since honored.
Vowing shall hang up cap and leave, enlightenment Dao nourishes without bound.

I. Formal Poetic Architecture & Meter

This masterpiece is composed in the rigorous five-character ancient verse form, characterized by unconstrained line lengths, shifting rhymes in the level tone category, and dramatic sonic momentum. Unlike the strictly regulated five-character verse, this ancient style allows Cen Can to expand his expansive spatial vision through soaring rhetorical accumulation and breathless hyperbole. The architectural buildup of the pagoda is mirrored by the escalating verticality of the rhythm, shifting from cosmic elevation to sweeping panoramic geography, and finally resolving into personal spiritual transcendence.

II. Historical Chronology & Existential Impulse

Written during the prosperous mid-Tang Dynasty around the middle of the eighth century, this poem captures a momentous excursion undertaken by Cen Can alongside his literary peers Gao Shi and Xue Ju at the historic Great Wild Goose Pagoda of Ci'en Temple in Chang'an. At a time when these scholar-officials balanced the pressures of imperial service and bureaucratic ambition with intellectual pursuits, the soaring monument served as both a literal vantage point over the capital and a metaphysical mirror reflecting their Daoist and Buddhist inclinations toward detachment from courtly entanglements.

III. Line-by-Line Exegesis & Allusion Decoding

The poem unfolds in a sweeping structural arc, moving from vertical ascension to horizontal geographical breadth, and culminating in an introspective philosophical resolution.

  • Lines 1-2 (Opening Couplet): The opening lines establish the supernatural architecture of the pagoda, describing its sudden emergence as though thrust from the earth directly into the celestial palace.
  • Lines 3-4 (First Antithetical Turn): The ascent shatters ordinary spatial limitations, making the climber feel as though they have stepped entirely outside the mortal world along winding stairs suspended in emptiness.
  • Lines 5-6 (Second Antithetical Turn / Climax): The poem reaches an auditory and visual peak in Line 5 ("Looking down points at high birds") and Line 6 ("Stooping to listen, startled gales rush past"), where traditional vertical perspectives are inverted.
  • Closing Lines (Resolving Couplet): The concluding lines transition from grand cosmic landscapes to inner realization, culminating in the poet's vow to hang up his official cap and pursue ultimate awakening.

IV. Cultural Symbolism & Key Metaphors

The imagery deployed throughout the poem carries deep resonance within the classical Chinese literary tradition.

  • Pagoda and Architecture: Represents the intersection of Buddhist cosmology, imperial patronage, and human striving against the void of time and space.
  • Autumn Mist and Tombs: The vistas of Guanzhong and the Five Tombs evoke the ancient historical weight of past dynasties, underscoring the impermanence of earthly glory.

V. Philosophical Core & Global Resonance

The poem brilliantly synthesizes Confucian engagement with Daoist and Buddhist detachment. While the opening stanzas revel in the majestic scale of the Tang imperial capital and the physical exhilaration of climbing, the concluding couplets reject worldly ambition in favor of spiritual liberation. This tension between public service and transcendent reclusion strikes a universal chord concerning the human desire to rise above the suffocating constraints of routine existence and seek lasting peace.

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