Analysis of "十六字令三首" - Classical Chinese Poetry

Introduction

The "十六字令三首" (Shíliù Zì Lìng Sān Shǒu) is a set of three short poems written by Mao Zedong, the revolutionary leader and poet of modern China. While Mao is primarily known for his political role, his poetry reflects a deep appreciation for classical Chinese forms infused with revolutionary spirit. These particular poems, composed during the Long March (1934-1935), use the traditional cǐ (词) form—a type of lyric poetry—to depict the majestic and treacherous mountains of China.

Though brief (each poem is only 16 characters long), they convey immense power, resilience, and the indomitable will of the Red Army. Their significance lies in blending classical aesthetics with modern revolutionary themes, making them unique in Chinese literary history.

The Poem: Full Text and Translation

Poem 1

山
Shān
Mountain,

快马加鞭未下鞍
Kuài mǎ jiā biān wèi xià ān
Spurring my swift horse, I dismount not.

惊回首
Jīng huí shǒu
Startled, I turn my head—

离天三尺三
Lí tiān sān chǐ sān
Three foot three from the sky!

Poem 2

山
Shān
Mountain,

倒海翻江卷巨澜
Dào hǎi fān jiāng juǎn jù lán
Like rivers and seas in raging waves,

奔腾急
Bēn téng jí
Surging wildly—

万马战犹酣
Wàn mǎ zhàn yóu hān
Ten thousand steeds in battle frenzy.

Poem 3

山
Shān
Mountain,

刺破青天锷未残
Cì pò qīng tiān è wèi cán
Piercing the blue sky, its edge unblunted,

天欲堕
Tiān yù duò
Heaven would collapse—

赖以拄其间
Lài yǐ zhǔ qí jiān
But for this pillar between.

Line-by-Line Analysis

Poem 1

• "Mountain" – The single-word opening establishes the central subject, evoking grandeur and immensity.
• "Spurring my swift horse, I dismount not" – The speaker is in motion, undeterred by the mountain’s height.
• "Startled, I turn my head" – A moment of awe as the speaker realizes how high they’ve climbed.
• "Three foot three from the sky" – Hyperbole emphasizes the mountain’s staggering height, almost touching heaven.

Poem 2

• "Mountain" – Reiterated, now personified as a dynamic force.
• "Like rivers and seas in raging waves" – The mountain range resembles turbulent waters, symbolizing chaos and power.
• "Surging wildly" – The energy is unstoppable, mirroring the Red Army’s relentless march.
• "Ten thousand steeds in battle frenzy" – The mountains become an army of horses, evoking warfare and struggle.

Poem 3

• "Mountain" – Now depicted as a weapon, sharp and unyielding.
• "Piercing the blue sky, its edge unblunted" – The peak is so sharp it could stab heaven itself.
• "Heaven would collapse" – A cosmic threat, suggesting instability.
• "But for this pillar between" – The mountain becomes a divine support, preventing chaos.

Themes and Symbolism

1. Nature’s Power & Human Resilience – The mountains are both obstacles and allies, reflecting the Red Army’s struggle and triumph.
2. Revolutionary Struggle – The imagery of battle ("ten thousand steeds") ties the natural world to the Long March’s hardships.
3. Cosmic Order – The mountain as a "pillar" suggests stability amid turmoil, mirroring Mao’s vision of revolution sustaining China.

Key symbols:
- Horse – Speed, endurance, and martial spirit.
- Sky-piercing peak – Unbreakable revolutionary will.
- Raging waves – The turbulence of war and history.

Cultural Context

These poems were written during the Long March (1934-1935), when Mao and the Red Army retreated across China’s rugged terrain. The mountains were both adversaries and sanctuaries—barriers to cross but also shields from enemies.

Mao’s use of the cǐ form (traditionally lyrical and personal) for revolutionary themes was innovative. He merges classical elegance with modern urgency, making the poems accessible yet profound. The "pillar" metaphor also echoes Confucian and Daoist ideas of harmony between heaven and earth.

Conclusion

Mao’s "十六字令三首" transforms the mountain into a multifaceted symbol—obstacle, warrior, and savior. Its brevity heightens its impact, each character carrying weight. For modern readers, the poems offer a window into China’s revolutionary spirit while resonating universally with themes of struggle and perseverance.

These tiny giants of poetry remind us that even the loftiest peaks can be scaled—or, in Mao’s case, conquered with a pen as well as a rifle.