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This bears the danger of undue simplifications, especially by downgrading or even neglecting the diachronic axis in favor of creating an inflated static panorama. Above we have already referred to the possibility of identifying certain stages marked by qualitative changes. From a Marxist perspective—if one wishes to use such a matrix—these characteristics are likely to mirror a variety of socio-economic shifts and changes.

Clearly, not everyone would be satisfied with such an outcome. In view of such uncertainties it is difficult, indeed, to find an appropriate answer to the questions of what Aomen wenxue may stand for, and whether it is useful, after all, to maintain such a category. Clearly then, examining the beginnings of literature associated with early Macao, means that one will travel through swampy terrain. These conditions have led to remarkable suggestions.


In a modern Macao almanac one finds a chronologically arranged table with the names of Chinese writers producing poems and other texts in or about Macao. Let us now look at Tang Xianzu more closely. While travelling through Guangdong, he also visited Xiangshan and, as is commonly thought, the Macao peninsula. Typically for these verses, they carry a strong exotic flavor, not too different from the writings of earlier poets, who had reached these locations under the Tang and Song dynasties.

Other than poetry, Tang Xianzu produced several famous plays in which one also finds references to the Xiangshan area. Here we shall briefly comment on the poems first. Pearls from the sea glitter like twinkling stars, White jades by the riverbank shine like the mellow moonlight.

There is a sequel to this poem which, among other things, mixes the impressions of distant locations with female beauty and exquisite luxury products. Up until today, scholars disagree on the identity of this creature, which is unlikely to stand for paradise birds from New Guinea and the adjacent islands, as some writers have thought. There is a fourth stanza, on which Tang Kaijian furnishes interesting comments. Some scholars drew curious conclusions from this constellation: Macao, they argued, owed its birth to the imperial bedchamber.

But that is not all.

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But he is very brief here, and the verses in question are not directly related to Macao. These mention the Church of St. Cheng offers very detailed explanations for her observations and it also transpires from the discussion that Tang Xianzu was not satisfied with the political circumstances of his times.

Other authors have arrived at similar conclusions.

Even the poems quoted above seem to contain critical tones, camouflaged in multiple ways. It is possible that this was intended as a form of protest, because the line in question—at the surface a description related to the huamian lady—may very well contain some kind of hidden criticism.

In all likelihood our poet would not have been able to identify the different locations he mentions, and the attributes associated with them. The impression prevails that he re-arranges in elegant words what he had read in earlier ethnographic texts. That also applies to the play. Finally, perhaps the place names in the poems above were deliberately chosen to remind educated readers of the expeditions directed by Zheng He, when the Ming dynasty was at the height of its power and not yet weakened by internal problems.

Moreover, while Tang Xianzu was sojourning in Guangdong, the Japanese invaded Korea and eventually compelled China to intervene in favor of the latter.

Hence we could also see in these poems a contemporary effort to criticise the present through the past, in partly disguised form. By contrast, in Mudan ting political criticism is more direct, as Tang Kaijian has pointed out, to mention just one modern comment.


Tang Xianzu had a Chinese identity and was a Chinese author. Alternatively, we may leave that dimension aside. Chinese scholars and authors from Anglophone countries have not always commented positively on the heroic verses of this man, who was much inspired by Greek traditions.

None of the early Chinese authors linked to Macao were in a comparable position. Quite often they hailed from rich families and at best they stayed in Macao, or Xiangshan, for a limited period of time. Hence, if one wishes to maintain the Aomen wenxue category, one must allow for divergent, indeed opposite approaches.

There is no Gruta do Tang in Macao and no heroic dimension, not in China or anywhere else. It seems that, once again, as already explained above, these concerns, when taken seriously, may cause dissent and much headache. Yes, they all have to do with Macao, but the threads tying them to this port remain thin and weak.

It should be definitely easier to assign such men to more familiar categories. The final word on this matter, it seems to us, has not been spoken. However, perhaps there is an elegant way out. Some years ago, when trying to develop a cultural panorama for Macao, Christina Cheng compared the essential characteristics of that city to the role of the ancient Roman god Janus, the guardian of passages and doors, beginnings and ends.

The political horizons are not always clear, mixing facts and fancy bears risks, and dissecting the cultural superstructure of early Macao, naturally, will always provoke debates. In that sense, the notes above may tell us something about the limits of such discussions, but whether they are helpful and whether one may ever find a satisfactory solution broadly accepted in the academic world is rather doubtful.

Ribeiro provides fresh ideas, refuting earlier scepticism with interesting arguments. See Pinto Also recently on 1 and 2 : Cheng Batalha is also known for her glossary or lexicon of Macanese. Dias quotes extensively from the voluminous work by Forjaz , archival records and consular sources, as well as from a multitude of secondary works.

Clearly, this suggests a strong link between the local Xiangshan level and the superior geographic framework of Lingnan. Later works date from , , , etc. This anthology, first printed in , contains hundreds of poems from the long period Tang to Qing. A very small number deals with Macao. The inclusion of such works in our debate would have implications for the dimensions of space and time and might require a modified approach to the issue of categories.

One English book is Brown Here, lines three and four follow that version. There are many more poetical names for Macao not listed here. This text also says, with a fair wind one could reach Gelam from Champa within ten days and nights. See the English translation, p.

More in Tang Kaijian , p.

An English work on tattooes albeit in different contexts : Reed Later daoguao birds were also associated with Macao. See Ptak a , pp. See, for example, Tang Kaijian , pp. Much earlier, Vincenz Hundhausen provided a German version of this play. There are many more partial adaptions not listed here. One recent study with translations: Schaab-Hanke Birch, Cyril tr. The Peony Pavilion, Mudan ting, 2nd ed.

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