Chapter 4-Ritual Music-Striking the Fou;The Hall Inquiry Answered
"Ritual Music: Striking the Fou"
The sound of striking the fou rises,ritual music begins,
Within the hall,desolate and cold, the long stairs stern.
Its lingering notes,faint and soft to hear,
Echo through the deep palace,resonating clear.
Torchlights advance slowly before the hall,
A monarch sits with authority,central to all.
The warrior halts his step,proceeds with rite,
Kowtows with utmost respect,bowing in his sight.
"The Hall Inquiry Answered"
For ten years,within the great hall, none beyond a hundred paces,
No one has drawn near to speak with me,the solitary one.
Assassins run rampant,wished gone yet they return,
Armor unbuckled,sleep is hard to come by at night.
You have rid me of this scourge,for Qin slain the foe,
What reward do you wish?Speak, for eliminating this blight.
The warrior hears the words,bows with courtesy and might,
Seeks no reward or title,only the monarch's safety, his plight.
"Ritual Music: Striking the Fou"
The sound of striking the fou rises,ritual music begins,
Within the hall,desolate and cold, the long stairs stern.
Its lingering notes,faint and soft to hear,
Echo through the deep palace,resonating clear.
Torchlights advance slowly before the hall,
A monarch sits with authority,central to all.
The warrior halts his step,proceeds with rite,
Kowtows with utmost respect,bowing in his sight.
"The Hall Inquiry Answered"
For ten years,within the great hall, none beyond a hundred paces,
No one has drawn near to speak with me,the solitary one.
Assassins run rampant,wished gone yet they return,
Armor unbuckled,sleep is hard to come by at night.
You have rid me of this scourge,for Qin slain the foe,
What reward do you wish?Speak, for eliminating this blight.
The warrior hears the words,bows with courtesy and might,
Seeks no reward or title,only the monarch's safety, his plight.
Source of the poems: DeepSeek
Analysis as follows:
Okay, I will analyze these two poems in conjunction with the plot of Zhang Yimou's film Hero, providing an in-depth critique. The main contents of the essay are as follows:
· "Ritual Music: Striking the Fou": The Aesthetic Construction of a Power Field: Analyze the construction of power space in the poem, the ideological function of ritual music symbols, and the visual relationship between the individual and power.
· "The Hall Inquiry Answered": Dialogue and Choice at the Core of Power: Explore the portrayal of the King of Qin's loneliness and the predicament of power, the transformation and transcendence of the assassin's identity, and the dialogic nature of the "All Under Heaven" concept.
· Intertextuality of the Two Poems and Deep Connection with Hero: Analyze the common ground between the two poems and the film from three perspectives: spatial narrative and power discourse, body politics and discipline/resistance, and the poetic transformation of visual aesthetics.
· Cultural Significance and Contemporary Reverberations of Hero: Examine the historical reconstruction and controversies in the film and poems, as well as the aesthetic innovation and ideological limitations of the wuxia genre.
Next, I will begin writing the main body of the essay.
---
Power, the Individual, and All Under Heaven: A Poetic Interpretation of "Ritual Music: Striking the Fou" and "The Hall Inquiry Answered" in Zhang Yimou's Hero
Zhang Yimou's 2002 wuxia masterpiece Hero was not only the pioneer of China's blockbuster film era but also a profound artistic exploration of history, power, and personal sacrifice. Through极致 formal aesthetics and a multi-layered narrative structure, the film constructs a complex allegory about the ideal of 'All Under Heaven' (Tianxia) versus personal emotions. The two poems, "Ritual Music: Striking the Fou" and "The Hall Inquiry Answered," are like crystallized imagery flowing directly from the silver screen, capturing the most震撼 moments of the film with condensed language – the majesty of the court, the loneliness of power, the assassin's choice. This article will delve into the intrinsic connections between these two poems and the film Hero, exploring the dialectical relationship between power, the individual, and 'All Under Heaven' contained within.
1 "Ritual Music: Striking the Fou": The Aesthetic Construction of a Power Field
1.1 Construction of Power Space and Atmosphere Rendering
"Ritual Music: Striking the Fou" opens with "The sound of striking the fou rises, ritual music begins, / Within the hall, desolate and cold, the long stairs stern." These two lines instantly unfold a picture of a solemn and awe-inspiring court before our eyes. These few words accurately capture the magnificent spectacle of the Qin palace hall in Hero – the endless stairs, towering palace walls, and stern guards collectively construct a power space that inspires awe. In the film, as Nameless slowly enters the Qin palace, ministers in black robes stand solemnly like statues on either side, the entire space permeated with a stifling sense of intimidation. This visual presentation is not merely for spectacle but is a physical manifestation of the power structure.
The lines "Its lingering notes, faint and soft to hear, / Echo through the deep palace, resonating clear" reinforce the depth and oppression of the space through the description of sound. In Hero, Nameless's approach to the King is deliberately prolonged; the sound of footsteps, breathing echoing in the空旷 palace creates a sense of ritualized solemnity. This interaction of sound and space is not only a depiction of the physical environment but also a metaphor for the intangible force of power – just as the sound of the fou reverberates through the palace, power also permeates every corner of society.
"Torchlights advance slowly before the hall, / A monarch sits with authority, central to all" further shifts the focus from space to the core of power – the King of Qin. In the film, the King is always portrayed as a shadow, distant from the crowd, perched high on the throne; only when Nameless approaches within ten paces does his features gradually become visible. This visual design is precisely like the hint of "Torchlights advance slowly" in the poem – power is both visible ("sits with authority") and untouchable (the torchlights are朦胧), both revealed and concealed, constituting the duality of power's charisma.
1.2 Ritual Music as a Power Symbol and Its Ideological Function
The title "Ritual Music: Striking the Fou" and its first line point directly to an important historical and cultural symbol – the fou. According to historical records, the fou was an ancient earthenware percussion instrument, originally a food vessel later developed into a musical instrument. In the "Records of the Grand Historian: Biographies of Lian Po and Lin Xiangru," the famous incident of the "King of Qin striking the fou" is recorded: During the Meeting of Mianchi, the King of Qin coerced the King of Zhao to play the se to humiliate Zhao, but Lin Xiangru, threatening to spill blood within five paces, forced the King of Qin to strike the fou in return. This historical anecdote赋予了 "striking the fou" a special cultural connotation – it is both a form of musical performance and, in a specific context, a symbol of power humiliation.
In Hero, Zhang Yimou does not directly present a scene of striking the fou, but the strict court rituals, the uniform queues of guards, all fulfill a function similar to "ritual music" – displaying the majesty and order of power through ritualized behavior. The neat ranks of civil and military officials in the court, the mechanical, synchronized movements of the guards, and even the strict symmetry of the palace architecture constitute a
giant "field of ritual music," conveying power's discipline over the individual through visual uniformity.
(02)
It is worth noting that historically, "striking the fou" was not an elegant form of temple music. According to "Mozi: Three Arguments": "In the past, when the feudal lords were weary of governance, they rested with the music of bells and drums; when the scholar-officials were weary of governance, they rested with the music of yu and se; when the farmers were engaged in spring ploughing and summer weeding, autumn harvesting and winter storing, they rested with the music of the fou." This indicates that in the ancient ritual music system, "striking the fou" was merely entertainment for the lower strata of society, while the feudal lords and nobles enjoyed the music of bells and drums, and the scholar-officials preferred the music of yu and se. Zhang Yimou's use of "singing while striking the fou" in the 2008 Olympics opening ceremony sparked questions in academic circles about his knowledge of traditional Chinese culture, but in this poem, "striking the fou" should be seen more as a metaphor for power ritual than an accurate historical representation.
1.3 The Gaze Between Individual and Power, and Bodily Discipline
The lines "The warrior halts his step, proceeds with rite, / Kowtows with utmost respect, bowing in his sight" vividly depict Nameless's physical posture before power. In Hero, this scene is presented visually – Nameless advances with standard ritual gait, each step conforming to court norms, finally performing the ketow (a bow with the head to the ground) before the King of Qin. This bodily discipline is not merely superficial obedience but a way in which power permeates the individual.
However, within this seemingly completely submissive bodily posture lies immense tension. The sharp contradiction between Nameless's external "kowtow" and his internal intent to assassinate. In the film, Zhang Yimou conveys this tension through close-ups of Nameless's face – under lowered eyelids lies a determined gaze. Just as described in the poem as "halts his step, proceeds with rite," Nameless's every step is both an acknowledgment of power and a challenge to it; within the framework of court ritual, he secretly practices resistance.
"Ritual Music: Striking the Fou," through its depiction of the court scene, perfectly condenses the complex relationship between the individual and the power structure in Hero. Nameless is both a challenger of power and, to some extent, an understander of it – he ultimately recognizes the historical significance of the King of Qin's unification project. This complexity is precisely where Zhang Yimou attempted to innovate beyond the traditional wuxia film model; he transforms the assassin from merely a rebel into a visionary capable of considering the fate of 'All Under Heaven' from a higher perspective.
2 "The Hall Inquiry Answered": Dialogue and Choice at the Core of Power
2.1 The King of Qin's Loneliness and the Predicament of Power
"The Hall Inquiry Answered" opens with "For ten years, within the great hall, none beyond a hundred paces, / No one has drawn near to speak with me, the solitary one," instantly revealing the profound loneliness at the core of power. These few words accurately capture the psychological state of the King of Qin in Hero – perched atop the pinnacle of power, yet isolated from human intimacy by countless security measures. In the film, the King of Qin calls himself "孤" (solitary one), "寡人" (the morally deficient one – another royal 'I'); these appellations are not only institutional forms of address but also portrayals of his state of existence. The King of Qin is amidst the multitude, yet lonely outside all beings; this state of alienation is the eternal paradox of power.
The lines "Assassins run rampant, wished gone yet they return, / Armor unbuckled, sleep is hard to come by at night" further reveal the security anxiety and perpetual vigilance brought by power. In Hero, the King of Qin states, "For three years, assassins have run rampant. I cannot sleep peacefully," even finding it hard to sleep at night, never removing his armor. This state is reminiscent of the historical Qin Shi Huang; the "Records of the Grand Historian"记载 he "when traveling to places he favored, if anyone revealed his location, the crime was death," even "did not stay in a constant place" to guard against assassins. While power gives the monarch absolute control, it also deprives him of the most basic sense of security; this is another paradox of power – the most powerful is also the most vulnerable.
The King's soliloquy in the poem presents a multidimensional image of the monarch: he is both the powerful exerciser of power and its prisoner; both the creator of fear and its bearer. In Hero, Chen Daoming, through nuanced acting, reveals the King's complex psychological changes from vigilance, and doubt, to comprehension, and感动, breaking the stereotypical image of the tyrant in traditional wuxia films. This complexity is precisely Zhang Yimou's modern interpretation of historical figures and a key reason for the film's controversy.
2.2 The Transformation and Transcendence of the Assassin's Identity
The lines "You have rid me of this scourge, for Qin slain the foe, / What reward do you wish? Speak, for eliminating this blight" reveal the King of Qin's fundamental misjudgment of Nameless's identity. In the narrative of Hero, the King always believes Nameless is a Zhao commoner who has killed three great assassins and come to claim a reward, not knowing that Nameless himself is the most dangerous assassin. This cognitive dislocation creates the film's dramatic tension and foreshadows the subsequent identity reversal and ideological confrontation.
Facing the King's promise of reward, the response "The warrior hears the words, bows with courtesy and might, / Seeks no reward or title, only the monarch's safety, his plight" is both a temporary continuation of the King's misjudgment and a concealed expression of Nameless's true mission. In the film, Nameless's reply "The people of Zhao have suffered deeply from it" fits his disguised identity while implicitly containing his assassin's mission to eliminate a scourge for the people. This double-edged language constitutes the rich layers of the dialogue and reflects Nameless's wisdom and restraint within the power field.
The most dramatic tension lies in Nameless's ultimate identity transformation – from assassin to understander, from the King's opposite to, in a sense, a fellow traveler. At the film's climax, Nameless abandons the assassination not because he is conquered by power but because he understands the concept of "All Under Heaven" that Broken Sword spoke of. This choice is already foreshadowed in "The Hall Inquiry Answered" – "Seeks no reward or title, only the monarch's safety" can be both the loyalty of a subject and the assassin's pursuit of a higher ideal. Nameless ultimately chooses not to kill as a form of killing, using self-sacrifice to contribute to "All Under Heaven."
(03)
2.3 The Dialogic Nature of the "All Under Heaven" Concept and Ideological Transformation
Although "The Hall Inquiry Answered" does not explicitly mention the words "All Under Heaven," the entire dialogue of the poem revolves around the dialectical relationship between personal vendetta and the broader situation of 'All Under Heaven'. In the film, this theme is fully developed through the dialogue between Nameless and the King, as well as the embedded narrative of Broken Sword and Flying Snow's story. Broken Sword, through three years of calligraphy practice, comprehends the two words "All Under Heaven" and thus abandons the assassination; Nameless, at the final moment, understands Broken Sword's realm and similarly chooses to lay down his weapon.
The King's famous line in the film: "I am alone, enduring so much censure, so many plots. No one can understand my heart. Who can share the burden of leveling All Under Heaven with me?" reveals the loneliness at the peak of power and also hints at the cost that must be borne for the ideal of unifying 'All Under Heaven'. And Nameless's response – abandoning the assassination, self-sacrifice – is the ultimate recognition of this ideal. This ideological transformation sparked considerable controversy at the time, with some viewing it as a "beautification of tyranny," but it is precisely this complexity that elevates Hero beyond a simple binary of good and evil.
The dialogue in "The Hall Inquiry Answered" ultimately points to the core proposition of the film Hero: at critical historical moments, how does the individual transcend personal vendetta to consider the larger issue of 'All Under Heaven'? Nameless's choice not to kill the King is not out of fear, but out of understanding; not an abandonment of resistance, but a choice of a more profound form of warning. This complexity and dialectical thinking are precisely the ideological value of Hero that transcends ordinary wuxia films.
3 Intertextuality of the Two Poems and Deep Connection with Hero
3.1 Spatial Narrative and the Confrontation of Power Discourses
"Ritual Music: Striking the Fou" focuses on the intimidating nature of space, constructing a stern, solemn power field through images like "Within the hall, desolate and cold, the long stairs stern" and "Echo through the deep palace." This spatial description corresponds to the visual presentation of the Qin palace in Hero – the endless stairs, towering pillars,空旷 hall, all emphasizing the insignificance of the individual and the grandeur of power. Zhang Yimou, through极致 formal aesthetics, transforms physical space into a carrier of power consciousness, creating the most震撼 court imagery in the history of Chinese cinema.
In contrast, "The Hall Inquiry Answered" focuses on the confrontational nature of discourse, revealing the psychological game within power relations through the question-and-answer between the King and Nameless. In the film, this confrontation is manifested in Nameless's gradual approach to the King – from a hundred paces to twenty paces, then to ten paces, finally to just a sword's thrust away. Each breakthrough in distance is not only a physical approach but also a breakthrough in psychological defense, a change in power relations. When Nameless finally achieves the ability to "strike within ten paces," he has actually broken through the spatial order of power, creating a possibility for brief, equal dialogue.
Together, the two poems outline the dual dimensions of power operation in Hero: on the one hand, the material power realized through space, ritual, and institutions; on the other hand, the cultural power realized through discourse, symbols, and psychology. Nameless must break through both the tangible spatial barriers and the intangible discursive迷障, ultimately achieving transcendence over power in both dimensions – he both breaks through the spatial limits, reaching the King, and breaks through the ideological constraints, understanding the concept of "All Under Heaven.
3.2 Body Politics and the Dialectic of Discipline and Resistance
The description "The warrior halts his step, proceeds with rite, / Kowtows with utmost respect, bowing in his sight" in "Ritual Music: Striking the Fou" reveals power's discipline over the individual body. In Hero, the procedures Nameless undergoes before entering the Qin palace – disrobing, searching, hair inspection – are direct manifestations of power's comprehensive control over the individual. Foucault's theory of "body politics" finds visual representation here – power shapes a docile soul by controlling the body.
However, in "The Hall Inquiry Answered," we see the limitations of bodily discipline. Although Nameless is completely submissive in his external behavior to court etiquette, his internal intent to assassinate is not fully disciplined. In the film, when the King asks how Nameless defeated Broken Sword and Flying Snow, Nameless replies, "No sword in the heart," which is not only a martial arts境界 but also a transcendence of power's discipline – even if the body is controlled, the spirit can still maintain independence and freedom.
Together, the two poems reveal the dialectical relationship between the body and power in Hero: power ensures its own security by controlling the body, but the real threat comes from the spirit and thoughts that cannot be fully disciplined. Nameless ultimately abandons the assassination not because his body is disciplined, but because his thoughts are inspired; the King truly conquers Nameless not through武力压制, but through resonance of ideas. This understanding and transcendence of body politics is an important manifestation of the ideological depth of Hero.
3.3 Poetic Transformation of Visual Aesthetics and Color Symbolism
Zhang Yimou is renowned in Hero for his highly stylized visual language, and these two poems capture this visual震撼 in textual form. The film constructs different narrative segments and emotional atmospheres through five dominant colors (black, red, blue, white, green). The contrast of light and shadow in "Torchlights advance slowly before the hall" in "Ritual Music: Striking the Fou" corresponds to the solemnity and oppression of the Qin palace scenes, dominated by black tones; while the cold imagery of "Within the hall, desolate and cold" echoes the tiny yet determined figure of Nameless in the huge palace.
(04)
The spatial perspective in "For ten years, within the great hall, none beyond a hundred paces" in "The Hall Inquiry Answered" also corresponds to the texture and tension of the film's close-up shots. Zhang Yimou excels at conveying rich information through details: the faint light of a candle, a suspended drop of water, an exchange of glances, can all carry deep dramatic tension. Together, these two poems demonstrate the aesthetic unity of Zhang Yimou's filmmaking from macro spectacle to micro detail, also revealing that his wuxia world is composed not only of grand ideas but also of specific bodily experiences.
It is worth noting that Zhang Yimou's color aesthetics are not only a formal innovation but also an important means of narrative and expression. Black represents authority and truth, red symbolizes passion and lies, blue implies tranquility and memory, white signifies purity and sacrifice, and green embodies peace and ideal. Although these two poems do not directly mention color, through images like "Torchlights" and "Within the hall, desolate and cold," they evoke similar visual associations, forming a cross-media resonance with the film's aesthetics.
4 Cultural Significance and Contemporary Reverberations of Hero
4.1 Historical Reconstruction and Contemporary Controversy
Through its reconstruction of the assassination story, Hero participates in the reshaping of contemporary Chinese historical narrative. In traditional historical accounts, although Qin Shi Huang unified the six states, he更多 appears as a tyrant, while assassins like Jing Ke are portrayed as heroes resisting tyranny. Zhang Yimou boldly subverts this narrative, reinterpretating the King of Qin as a hero promoting historical progress, while the assassins voluntarily abandon their mission upon understanding this.
This reconstruction finds poetic expression in "Seeks no reward or title, only the monarch's safety" from "The Hall Inquiry Answered" – individual sacrifice makes possible the unification of the world. However, this position also drew considerable criticism. Some critics believed this was a "beautification of tyranny," even pointing out that "there is a deep servility in Zhang Yimou's films." This critical voice reflects different stances and interpretations of historical narrative and highlights the controversy of Hero on the issue of historical representation.
Zhang Yimou himself explained his motivation for Hero as: "I wanted to see 'what happens to a hero who gives up, why he gives up, and whether he is still a hero after giving up.'" This indicates that his focus was not precise historical representation but a re-examination of the concept of heroism. Under this interpretation, the relationship between the King of Qin and Nameless is no longer simply oppressor and oppressed, but two individuals jointly facing a historical dilemma, reaching a transcendent consensus through mutual understanding.
4.2 Aesthetic Innovation and Ideological Limitations of the Wuxia Genre
The innovation of Hero in the wuxia genre is obvious. Film critic Zhang Baiqing once marveled: "This film is completely different from Hong Kong and Taiwan-style wuxia films. It is a work with Zhang Yimou's own artistic characteristics, possessing not only extremely high观赏性 but also profound historical and ideological connotations. It is bound to become a new classic of wuxia films." The court rituals and power dialogue captured in "Ritual Music: Striking the Fou" and "The Hall Inquiry Answered" are examples of this innovation – Zhang Yimou elevates the wuxia film from mere martial arts and revenge to philosophical contemplation of power, order, and individual choice.
However, this innovation also brought controversy. On the one hand, some believed that Hero was too focused on visual effects, causing the "story and characters to recede to the margins, with concepts and form becoming the center of the film." On the other hand, the deviation from the wuxia tradition also made some audiences uncomfortable. The spirit of "knights-errant challenging authority with martial arts" in traditional wuxia culture is replaced by the appeal for "peace under heaven"; the assassin is no longer a symbol of resistance against authority but instead becomes an understander or even collaborator with authority.
From a broader perspective, the controversy surrounding Hero also reflects the transformational dilemma of contemporary Chinese cultural values. In the context of globalization, complex tensions have arisen between traditional Chinese cultural values and the framework of the modern nation-state. The concept of "All Under Heaven" in the film originates from Chinese tradition yet aligns with the needs of constructing a modern social order; this duality makes Hero a typical text of the cultural transition period.
5 Conclusion
Guided by the two poems "Ritual Music: Striking the Fou" and "The Hall Inquiry Answered," we are able to explore more deeply the rich ideological connotations and artistic achievements of Zhang Yimou's Hero. Though brief, these two poems accurately capture the most tense scenes and deepest themes in the film.
"Ritual Music: Striking the Fou," depicting the court scene, reveals the grandeur and oppression of the power structure and the bodily discipline of the individual within it. "The Hall Inquiry Answered," through its description of the dialogue at the core of power, reveals the psychological game between power and the individual. Together, the two poems outline the core proposition of Hero: at critical historical moments, how does the individual face power, and how do they transcend personal vendetta to consider the larger issue of "All Under Heaven"?
Through Hero, Zhang Yimou boldly innovated upon the traditional wuxia genre, elevating the assassin story of settling scores freely to a philosophical reflection on history, power, and sacrifice. Although this innovation sparked controversy, it undoubtedly expanded the intellectual and artistic space of Chinese cinema. Hero "will开拓 new paths for the development of Chinese wuxia films."
Ultimately, Hero and these two poems remind us: true heroism may lie not in steadfast resistance or blind obedience, but in maintaining the ability to think independently and making difficult choices within complex historical contexts. Nameless's choice not to kill the King of Qin was not out of fear, but out of understanding; not an abandonment of resistance, but a choice of a more profound form of warning. This complexity and dialectical thinking are precisely the ideological value of Hero that transcends ordinary wuxia films, and are the profound启示 conveyed to us by the two poems.
In the contemporary context, Hero and these two poems continue to resonate. When we face complex social realities and personal choices, Nameless's dilemma and抉择 still inspire us to think: what is true heroic spirit? How can the individual maintain dignity and conscience within social structures and historical tides? The answers to these questions are perhaps hidden in those figures who "halt his step, proceed with rite," in those choices of "Seeks no reward or title, only the monarch's safety," and in that courage daring to make sacrifices for higher ideals.
