Between Wine and Tea: A Discussion Based on Master Taixu’s Use of Dual Imagery

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

This research paper thoroughly explores the imagery of wine and tea in the work of Taixu, as well as the balance between these two beverages and their associated symbolic meanings. The analysis of the poetic lines is sensitive and detailed, and the author successfully contextualizes these imageries within the broader poetic tradition.

My primary suggestion is that the author should better frame the critical questions of this paper to enhance its significance. For instance, on page 2, the author writes,

“This paper adopts two distinct perspectives to explore the evolution of Taixu’s use of wine and tea imagery over the course of his literary career.How does he portray wine? Does he himself consume wine? How does he portray tea? Does tea function as an alternative to wine in his poetry? What are the symbolic meanings associated with his depictions of wine and tea in his poetry? Does he balance the two?”

While fact-based questions are important, the author should associate these questions with the broader context of his religious thoughts and practices. In the conclusion, the author makes some significant and insightful comments:

“Therefore, whereas Taixu uses wine imagery to evoke the traditional knightly attributes of recklessness and freedom, his tea imagery symbolizes the laudable characteristics of devout hermits. Specifically, he employs the concept of drunken madness—zuikuang— to represent his own and others’ conflicts with order and discipline. This chaotic state stands in marked contrast to the subsequent drunken rest of zuiwo, which allows entry into the intoxicated land—zuixiang—a peaceful realm where all worldly concerns are for- gotten. Similar tranquility may be attained through hermitic seclusion from the outside world, which Taixu evokes through descriptions of tea steam rising during discussions between masters and their guests in monasteries.”

Some issues related to zuikuang, zuiwo, zuixiang, and xuexing have been explored earlier in the paper, but their significance can be further expanded. For instance, how does zuikuang relate to his unorthodox approaches to religious practices? To what degree is zuikuang unusual in the monk’s poetic writing? While these are traditional terms, can we discern a modern spirit in Taixu’s usage of them?

Overall, it is recommended that the author delve deeper into the symbolic meanings of the two beverages in Taixu’s poetry and connect them to the broader intellectual history.

 

Comments on the Quality of English Language

The English expressions are lucid and clear, though some editing is required in the final stage before publication.

Author Response

Please see the attachment.

Author Response File: Author Response.pdf

Reviewer 2 Report

Comments and Suggestions for Authors

This research focuses on an interesting topic of the consumption of tea and alcohol in the Buddhist context. With specific research questions, the author presents a detailed discussion of the imagery of tea and wine as seen in the poetry of Taixu. By situating these poems within the broader literature concerning Chinese ancient poetry, the author provides thorough and insightful interpretations of Taixu's poetry composition.

However, the following issues need to be addressed:

1. Significance of the Research:

The author may consider providing a brief literature review of previous scholarship on Taixu's poetry and positioning this research within the ongoing scholarly discussions. Additionally, an introduction to the literary features of Taixu's poetry will help readers better understand the analysis. Specifically, what kinds of literary imagery are used in Taixu's poetry? Compared to other imagery, why are wine and tea significant in Taixu's poetry? Furthermore, what are the contexts of these poems in relation to Taixu's life experiences and his theories of Humanistic Buddhism?  

2. Potential Bias in Selected Sources:

In line 109, the interpretation of the cited prose of Taixu suggests that there might be a possibility that Taixu "held a generally favorable view of wine during his childhood." However, in line 129, it is argued that Taixu "no longer construes wine consumption as a personal preference." While Taixu's objection of wine consumption in his later years is evident, the "favorable view" in this youth needs more clarification. This argument will be more compelling if the author could provide other sources to further demonstrate Taixu's opinion about wine in his early years.

3. Translations:

In line 98, is there specific context in this cited source that indicates the shi 士  as a "warrior" rather than a literatus?

In line 200, for footnote 34, "Die song gu shui niao shulin chang shuofa 疊頌古水鳥樹林常說法" should be revised as Die songgu shuiniao shulin chang shuofa. Songgu 頌古 is a specific form of verse in Buddhist literature. The translation of this title "Reverberating Praises: Ancient Waters, Bird Life, and Eternal Dharma in the Forest" is incorrect.

In line 290, the text 我之名草 and its translation "My name is famous grass" needs correction. According to the manuscripts of the Cha jiu lun at the website of International Dunhuang Programme, this text can be found as 我之茗草 (Pelliot chinois 2718) or 我諸茗草 (Pelliot chinois 3910). In addition, for the cited source, Xiang Chu's Dunhuang bianwen xuanzhu has a newly published edition from 2019, in which the text is also  我之茗草.

In line 221, the phrase "the renowned monk Lu Yu" might need to be revised. Is there any source from Lu Yu's biographical materials suggest that he was recognized as a Buddhist monk? In the cited reference, Chapter 5 of Tea in China: A Religious and Cultural History, is there any argument of Lu Yu's identity as a monk besides the discussion about his religious background in Buddhist practices and his self-identification as a recluse?

4. Format

line 8 cha (tea) >> tea (cha 茶)

In addition, since the Chinese transliteration has been added for "tea," it might be helpful to add one for "wine" as well.

line 27 “Shicun 詩存” (Poetry Collection) chapter >> volume 20, “Shicun” 詩存 (Poetry Collection)

Taixu Dashi Quanshu  >> Taixu dashi quanshu

line 164 the Dharmaguptaka vinaya 四分律 >> the Dharmaguptaka vinaya (Sifen lü 四分律) 

For the titles of Buddhist scriptures, the titles in Sanskrit, English, and Chinese should be correctly formatted.

Comments on the Quality of English Language

The quality of English language is generally good. However, it requires proofreading for grammatical errors, particularly in the use of demonstrative pronouns and definite articles.

line 21 in the genre >> "in this genre" or "in the genre of poetry"

line 22, footnote 1 Zhang Zizang 張子綱 >> Zhang Zigang

line 23 mentors, associates, disciples, and students >> Except for "disciples," the meanings of other words are unclear. Does "mentors" refer to other eminent Buddhist monks? Does "associates" refer to Buddhist associates of Taixu? How does "students" differ from "disciples" in this context?

line 32-33 although few, if any, of his contemporaries returned to these themes quite so often, >> The meaning of this sentence is unclear. Was Taixu distinct from his contemporary poets who seldom composed poems with the themes of wine and tea?

line 85 "This" should be followed by a noun.

line 161 but >> but also

Author Response

Please see the attachment.

Author Response File: Author Response.pdf