【Ode to the Great Joy of the Union of Heaven and Earth, Yin and Yang】(written by Bai Xingjian, the younger brother of Bai Juyi)

"Ode to the Great Joy of the Union of Heaven and Earth, Yin and Yang"
(Tang Dynasty) by Bai Xingjian
: Life and nature are the foundation of man; desires are his pursuit. Of all the resources for survival and profit, none surpasses food and clothing. Once food and clothing are sufficient
, nothing is more desirable than pleasure. The ultimate pleasure is found in the way of husband and wife, in the harmony of the feelings between men and women. Of all things known to the heart, none surpasses intercourse
. Official rank, fame, and merit are truly the decline of human desire. The creation of the world is
the origin of all human relationships and the beginning of creation. Heaven and earth unite in union, thus providing balance; men and women unite in union, thus harmonizing Yin and Yang. Therefore, Confucius praised marriage as of great importance
, and the poet wrote the poem "[Winter Solstice, Double Insects]". Tracing the origins, it is inseparable from this. Thus, one considers the desires of men and women, their forms, their
beauty and ugliness. From feelings, rituals are established; from images, meanings are derived; from concealment and deception, all are encompassed. Difficult characters and different names, along with phonetic annotations,
begin in childhood and end at the end of life. Though the talk is vulgar, the principles are profound. Of all human pleasures, none surpasses this, hence
the title "Ode to Great Joy." As for colloquial names and pronunciations, they are not concealed. Only laughter is welcomed at the moment, […] only elegance, […] [
…], the ode reads:
In the beginning of creation, the great furnace shone with wonder, forging strength into masculinity, melting softness to subdue femininity.
It cast the two bodies of man and woman, modeling the two principles of yin and yang.
Observe the nature of the man, already endowed with strength and established by rules;
the nature of the woman, also conforming to the norm and forming a standard.
At the time of embracing, it is the beginning of childhood; like an insect carrying a rice bag, a flower holding a jade stamen.
Suddenly the skin parted and the head appeared [original note: male], then the flesh [亻亚] protruded [original note: female];
as time passed and years changed, thick black hair grew [original note: male];
day after day, month after month, flowing red water [original note: female].
Then the boy reached adulthood, the girl reached the age of marriage, her
gentle face like jade, her shy appearance like a fairy.
Her heroic spirit shone brightly, her graceful bearing was exquisite; her fair hands were like snow, her pink neck like a cluster of flowers.
Seeing her lofty talent, one already knew she was outstanding;
seeing her slender figure, one gradually felt her beauty.
The grass and trees were fragrant, the clouds and waters were beautiful; tender leaves and catkins, fragrant breezes swirled around the steps.
Swallows fluttered, thinking of the boy, her heart filled with countless thoughts.
So she sought a good man, and asked for a good matchmaker.
On the sixth day, the wedding ceremony ended with a full dowry, then a hundred taels of silver arrived.
After exchanging betrothal gifts with both families, the betrothal ceremony was held with a shared cup.
Thus, on the night of youth, beneath the crimson glow,
at the moment of crowning, the flower stamens were about to fall.
Thoughts were silent, yet the parrot spoke;
tender feelings were secretly exchanged, like the phoenix's divination.
Then the Vermilion Bird emerged, embracing the red robe, raising her bare feet, caressing her fleshy buttocks.
The woman grasped the man's penis, her heart trembling; the man held her tongue, his mind hazy.
They then applied saliva, rubbing up and down.
She received it with tenderness, her slit slightly parted without her noticing;
with force, he thrust forward, the penis plunging in as if cutting.
Observe her budding opening, her semen glistening. The six bands were wiped, the basket held.
Thus, they became husband and wife, the so-called union of yin and yang.
From this moment on, there was no longer any closure.
Whether in a high tower under the moonlit night, or by a quiet window at dawn or dusk;
reading the Book of the Plain Girl, watching the hidden chambers. A round screen was erected, a pillow lay across the room.
The beauty then removed her silk skirt, untied her embroidered robe, her cheeks like flower-covered mounds, her waist like a bound silk ribbon.
Her emotions were subtle and unspoken, her eyes lowered and gazing downwards;
initially, she moved with a gentle, forceful touch, then from head to toe with a vigorous, unyielding motion.
Sometimes she lifted her legs over her shoulders, sometimes she loosened her skirt to her belly.
Then she uttered sounds of her mouth and tongue, her lips raised high.
Her jade stem trembled and her head rose,
her golden cleavage quivered and her lips parted.
It stood tall like a solitary peak, like a rugged cliff;
deep and still like a secluded valley, like a hesitant chicken coop.
Then her semen flowed freely, her vaginal fluids overflowed.
The woman lay on the pillow, supporting her waist, the man leaned on the bed, his knees raised. Her jade 　　stem
moved up and down, rubbing left and right.
The yang peak entered directly, its encounter surpassing the strings of a zither;
the yin shaft thrust in, grinding against the valley.
The *Su Nu Jing* states: "
A woman's vagina is one inch deep, called a zither string; five inches deep, called a grain of
rice. Beyond the grain of rice 　　, death will ensue." The text describes various techniques and their application. It describes the movements of the vagina, including thrusting, rubbing, and stimulating
. The vagina is described as trembling, with the penis inserted as if buried. The text describes the vagina's deep penetration, sometimes 　　withdrawing quickly, sometimes slowly. It describes 　　shallow insertion, like a baby suckling, sometimes deep penetration, like a frozen snake entering a cave. It describes the vagina's 　　sensation of being swallowed, 　　sometimes being completely submerged. It describes the vagina's movements, sometimes shallow, sometimes deep, sometimes floating, sometimes sinking. 　　The tongue enters the vagina, the penis pierces the heart, 　　wet and tingling, sometimes pressing down, sometimes holding. It describes the vagina's 　　prolonged immersion, sometimes a quick withdrawal. 　　It describes wiping 　　the vagina dry with a cloth, then inserting it again. The vagina is described as loose and swaying, the penis pressing deeply. 　　It describes the sounds of a baby, often accompanied by shortness of breath; 　　and the movement of the penis, sometimes accompanied by a fragrant breeze. 　　However, he indulged in further debauchery on the pillow, employing the arts of the bedroom, 　　performing nine shallow thrusts followed by one deep one, waiting ten moments before finishing. He 　　indulged his passion, sometimes fast, sometimes slow, 　　glancing down to see and then looking in. The woman's face changed, her voice trembled, her hairpins 　　drooped, her hair disheveled. Her eyes darted slowly, revealing her breasts, her comb lowered, revealing her shoulders. 　　The man's eyes also became glazed, his limbs drooping, 　　his semen penetrating the womb, his fluids flowing into the pool of the cinnabar orifice 　　[Original note: The *Dongxuanzi* states: a woman's vaginal opening is the pool of the cinnabar orifice]. 　　Then the jade stem withdrew, the golden groove remained uncovered, his strength dispersed, his form and spirit scattered. 　　His semen was still wet, clinging to his scrotum; 　　his vaginal fluids were still plentiful, flowing down outside his anus. 　　The maidservant then brought silk and fragrant water to wash his genitals and straighten his crotch. She 　　opened the flower chest to change his clothes, and looked in the mirror to reapply his makeup. 　　Fang Naizheng, in her red shoes, stepped down from the silver bed, her voice sweet and playful, as she caressed and strolled with him. 　　The playfulness of that moment was truly unforgettable, a memory shared in the same grave. 　　 There was also the graceful concubine, a light and lithe woman, 　　with delicate eyes and long eyebrows, her face a mask of tears and smiles. 　　Her white teeth adorned her peony-like lips, her pearly ears reflected in her lotus-like cheeks. 　　Her steps were unsteady, her words gentle and pleasant. 　　Her hair was styled in a high, imposing bun, her long skirt trailing behind her, shimmering and dazzling.

Light as a dancer, she
dances on a jade branch in the moonlight; her voice is melodious, like jade leaves shattering in the clouds.
Turning her head, she turns dark, her hair like phoenix blossoms; her
tongue, filled with joy, lingers like a dragon's chariot.
Under the bright window, daylight lingers,
her skirts and hairpins are all discarded.
She is patted and embraced, gradually becoming drowsy and falling asleep.
Her tongue is held, her waist is raised, and her knees are bound. Her movements are
like a dragon turning, a silkworm entwining, her eyes wide and her feet fluttering.
Her gaze is deep, like an eagle lifting its legs to observe closely;
the bed is too narrow, so she lies on her side and moves diagonally.
She touches and caresses, grasping and stroking; elder sister and brother, they tease and entice each other.
Sometimes she presses towards her buttocks, sometimes she holds her mouth. She
lies on her side and thrusts, then rides on her belly and falls to the table.
At this time, [the corpse] hides its sac in shame, and Xia Ji covers her [the corpse] in shame.
Then there are those with [Japanese and English] [Japanese and red] bodies, turning lightly, retracting essence and suppressing saliva, inhaling and swallowing saliva.
This is the way of learning the Dao to preserve one's nature, seeking to preserve life and prolong the spirit.
If the husband is young and the wife is tender, the husband is obedient and the wife is humble,
the season is mild and the sun is warm, the boudoir is embroidered and the curtains are red.
Orioles sing in the woods and face each other, swallows join wings and intertwine. The curtains are rolled up in the morning, and the incense in the burner is added in the evening.
Feigning shyness and lying down, suppressing thoughts of [you] [you + check remove wood].
On the pillow, heads intertwine, lips parted in surprise;
walking among the flowers, hands clasped in delicate hands.
In summer, in the spacious courtyard and deep room, red curtains and green tents.
Sunlight casts shadows before the window, and flower light shines on the mat.
Tall willows sway their green shadows in the lotus pond;
swaying sunflowers scatter flower light on the painted screen.
All are too comfortable, graceful and swaying, full of affection and moving, carefree and unrestrained.
Lightly made up and dressed in simple clothes, they greet and bid farewell with smiles.
Holding silk fans, they wave them together, plucking flower branches and playing with them.
They walk up the fragrant steps, ascending the banquet to the sound of music.
They bathe together, like mandarin ducks in a pond;
they sleep together on the embroidered bed, like phoenixes in an embroidered chamber.
In autumn, the jade mat is especially long, the red quilt half-scented,
and the lotus in the courtyard pond is lush and the flowers are in
full bloom. They close the round fan to block the sun, and draw the fragrant curtains to hang like clouds.
The strings play phoenix tunes,
and the brocade is woven with mandarin duck patterns. The light shines through the curtains, and the fragrance is diffused.
At this time, husband and wife are loving and affectionate. It is better to be with Wenjun.
In winter, they meet and go to the warm room and fragrant boudoir.
They wear mandarin duck cloaks and kingfisher curtains, and use coral pillows and mirrors that resemble pears.
They spread the felt carpet and the snow is covered, and spread the embroidered quilt with flowers hanging low.
The incense is carved with sandalwood and ivory, and the comb is carved with red rhinoceros horn.
A flower-patterned skirt adorned with phoenix ribbons, a snow-white comb emerald in turquoise. Sharing
wine, the warmth of spring's light shone
brightly; the red stove pressed against their knees, devoid of any chilling cold.
Their faces seemed half-smiling, their brows like weeping.
Their soft, gentle mouths spoke sweetly, their beautiful, downcast eyes gazed in a dreamy daze.
Lingering in this space, what shame was there in the fleeting pleasures of life?
Enveloped in the deep embrace of the quilt, they only lamented the crowing
of the rooster. This was the joy of husband and wife throughout the four seasons, like the blossoming peach trees in full bloom.
But what if husband and wife grew old, their yin and yang
withered, their bodies
empty and drooping, their bodies powerless and restless?
Yet they still indulged in pleasure, without worrying about ejaculating.
Truly, the essence of the bedroom was the most exquisite thing in the world.
If the emperor descended from the south, returning to the west palace,
a green-clad official led the way, a fragrant breeze fanned behind. Courtesans greeted him sweetly, palace officials paid their respects.
A new melody is about to be played, the music of the Pear Garden arrives in the courtyard;
the first delicious fruit is tasted, the treasures of the Imperial Garden are presented as tribute.
Then, eunuch boys stand guard, female slaves serve the meal, the Zhaoyi sings, and the Jieyu attends the banquet.
The Imperial Concubine Menglong is favored, the Empress Feiyan is favored.
Then, the phoenix tent is raised, and the Silver Ring is chosen; the dragon-carved carriage ascends, and the flower-faced beauty is chosen.
The stars turn slowly in the eyes, the eyebrows curve like crescent moons.
Maids support her from the front and back, her beautiful face leaning left and right.
She presents her delicate buttocks, her jade stem leisurely inserted.
Three thrusts and two withdrawals, indulging the Empress's desires; the emperor's hair is disheveled as
he receives her from above and below.
She rides in a sheep-drawn carriage in the palace, bamboo branches are placed before the door.
Then, during the night's pleasure, nine women are served in one morning;
on the full moon, two nights are served afterward.
This is the established procedure, recorded in the female historian's red ink.
Now, in the Southern Palace and Western Palace, three thousand women
come to display their beauty, vying for favor and jealousy.
How much more so when ten thousand women serve for the sake of one person.
Alas!
Unmarried and alone in a foreign land, our
lives are filled with hardship and misfortune.
I sleepless in an inn, my heart heavy with longing; in my chamber, our hearts are separated.
There is a beautiful woman, whose beauty I yearn for;
I see a fair maiden on horseback, and I long for a partner.
I envy her presence in the courtyard, and wish to throw fruit on the spring path.
My virility wanes, and I often go mad;
I feel my spirit scattering, and I grow thin and frail.
I lose sleep and appetite, my conduct becomes aimless, and
in my dreams I see her alone, beckoning me in secret.
Information floods my mind, and I yearn for a single glance.
I think of her beauty, her slender waist, and sometimes we meet in secret, my soul scattering.
Like a woman seducing her lover, I am tormented.
Though we live together, we meet only in separate homes.
I wait for the long night, the full moon in the quiet courtyard,
to stealthily steal away, without fear.
This night is truly perilous, and this moment is filled with dread.
[尤+彡] It doesn't bark, but remains deep and silent;
[Original note: This refers to a man's lustful desire to steal a woman. [尤+彡] means dog]
The woman isn't startled either, or she lies on her back with her [corpse-like body] exposed.
At that time, he enters the house cautiously, and gently touches the bedside.
His semen drips like a stream from the yang peak;
his fingers prick between the vulva, [日敦] [日敦] feels warm.
All are uneasy and anxious.
He lightly lifts his bare foot, and casually lifts his [衣军] crotch.
He pats his chest, turning as if asleep;
he caresses his legs, fearing that his spirit will be startled and hurried.
Knowing the place, the shelter is just right.
The unmarried cry out as if startled awake; the married feign sleep but are unharmed;
the married feign anger but are met with hostility; those who disagree refuse and change their ways.
Some find an opportunity but do not stop; some suffer because of it.
These are all questions of beauty and color, how can human affairs be measured?
Some meet by chance, without a bed;
or by the wall, by the grass, deep among the wildflowers.
They only fear being discovered, and have no regard for propriety!
Some spread their skirts and lie on the grass; some lie prostrate and lean against a pillar.
Their hearts are pounding with fear, their spirits are terrified.
A quick moment is better than a hundred times of comfort on a bed.
There are also those who have long been deprived of sexual relations and often lament their loneliness.
They do not meet a beautiful maid, but instead encounter someone else's maid.
A word, a smile, and thus intentions arise. [Note: These two sentences are missing.]
They are dressed in fine silk, adorned with jade hairpins,
or wearing a dark blue robe with raven horns, or a cloud-like hairpin with an embroidered shawl.
Some are sixteen or seventeen, some are thirteen or fourteen.
She was charming and witty, her appearance
like that of a courtesan, her mind like that of a beauty like Green Pearl.
She caressed her breasts, their smooth, plump flesh revealing a rich, moistness;
she lifted her clothes, releasing a fragrant aroma.
To be intimate with this maid was no different from being with a lady.
Thus, Guo Pu devised a plan and pleaded for her, while Ruan Ji readily accepted it without shame.
Then there were the wicked ones, ugly, dark, short, and fat, with high, slanted buttocks.
Some had large, protruding mouths, others had noses that hung like drooping heaps.
Their hair was unkempt and disheveled, their clothes loose and unkempt. They would
burst into earth-shattering laughter and utter scathing remarks.
They called Mo Mu a beautiful old woman and Dun Qia a bewitching concubine.
They were cursed by Su Jiang and bullied by Wu Yan.
Liang Hong's wife sneered at them, and Xu Yun's wife mocked them.
If they imitated her, people would say they were demons; if they leaned against the door, ghosts would howl like Zhong Kui.
They met with difficulty and reluctantly agreed.
The smell of vinegar is ever-present, always reminding me of my widowed wife;
indiscriminate debauchery, how could I possibly think of the concubine I share my bed with?
This is a profound and desperate situation, not something to be desired by those who are weary of lust.
There are also renowned sages of the land, nuns of the Gion (original note: i.e., nuns).
Each lamentes their solitude, constantly yearning to be together. Though unspoken, their hearts secretly pledge their love.
Perhaps there is a high-ranking official of the Sangjian region, a renowned scholar of a prominent family,
seeking purity and renunciation of worldly life (original note: a high-ranking monk), with shaved head and beard,
Chinese in appearance but with a foreign look, tall and robust.
Their minds are not tainted by Buddhist teachings, why would they hesitate to hold prayer beads (original note: a woman)?
Or perhaps they are young and graceful, with a leisurely and elegant air. Neither too tall nor too short, only beautiful and exquisite.
Their eyes vie with those of Bodhisattvas for beauty, their tender faces smile alongside peach blossoms.
With round, green crowns, male favorites cut their sleeves in the imperial palace.
[Note: These two lines should be missing; the line about male favorites should belong to the section on male beauty.]
Yet, she possesses the appearance of a jade pendant, the age of [Japanese and English] pearls, loved for her petite stature,
or perhaps [unusual] pitiful during the time of three or six penetrations, or searching through the hundred veins and four limbs, you are truly a concubine.
Otherwise, how can it compare to Lord Lingyang pointing at flowers beside the emperor, or Mi Zixia sharing peaches before the master?
Emperor Gaozu of Han favored Ji Ru, Emperor Xiaowu favored Han Yan.
Therefore, Emperor Hui's attendants wore [bird + 浚去氵] [bird meaning] hats, carried sable and cicadas, applied
rouge and powder in the imperial tent, and dragged silk belts at the flower banquet.
Is it that the female body is not enough to satisfy, but that people [unclear] follow the custom .
There are also people from mountain villages, whose appearance is ugly.
The men are tall and imposing, the women are [unclear] and shaved.
His face was curved like a spoon, his head long like a ladle,
his eyebrows were close together like a dark and gloomy expression, and his spirit was dull and vacant.
He wore a belt every day and went barefoot every year,
using his bare bones as a form of entertainment and singing songs for pleasure.
He climbed flowers and picked leaves, comparing himself to the legendary pheasant father to make a fuss.
...
(The following is missing)
Lord Longyang: from the Warring States Policy, Wei Policy
; Lord Anling: from the Warring States Policy, Wei Policy;
Mi Zixia: from Liu Xiang's Garden of Stories, and also from Han Feizi's Difficulties of Stories.
China's "Love Classic" (I) - "The Great Joy of the Union of Heaven and Earth Yin and Yang"
The characteristics of sexual culture in the Tang and Song dynasties were very different from the general to the details and parts. Before the Song Dynasty, in
the Han and Tang Dynasties, Chinese sexology was in a period of prosperity and development, but after the Song Dynasty, it entered a period of transformation. In the Han and Tang Dynasties, sex medicine
and sex religion (mainly Taoism) coexisted harmoniously, and sometimes even merged. Many sexologists were both Taoist and
medical, such as Sun Simiao. After the Song Dynasty, with the rise of Neo-Confucianism and the resurgence of Confucian ethics,
medical texts could no longer dedicate chapters to "sexual matters" as they did in the Tang Dynasty. Specialized works on sexual techniques disappeared altogether. Sexual medicine
primarily developed under the guise of eugenics and treating sexual disorders. Meanwhile, the Daoist internal alchemy school, which emphasized "the battle of controlling women,
" was popular among its followers but not tolerated by orthodox medical texts. Therefore, it appears that in the Song Dynasty, sexual medicine
and sexual religion began to separate, and traditional sexuality developed in two distinctly different directions. (Of course, in ancient China,
limited by the times and modes of understanding, science, religion, and even witchcraft were never completely separated; only a general
distinction existed.)
Besides the above, the differences in sexual culture between the Tang and Song Dynasties are also evident in the fact that Tang Dynasty erotic "love" literature
developed under the impetus of an overall open and prosperous sexual culture. During the Tang Dynasty, scholars and literati could freely
discuss sexual matters. Many writers incorporated humorous descriptions into their poems and essays for amusement, making erotic literature
quite popular. However, after the Song Dynasty, most of these works were deleted or burned. Therefore, from the Song Dynasty to
the mid-to-late Ming Dynasty, the creation of erotic literature, an important aspect of Chinese sexual culture, was relatively dormant.
Sexual repression under the rigid social norms could not be relieved, while prostitution flourished. It should also be noted that,
unlike the predominantly "obscene" erotic literature of the mid-to-late Ming Dynasty and early Qing Dynasty, Tang Dynasty erotic literature, based on what we can find today
, such as the legendary novels *Youxianku* and *Shennu Zhuan*, as well as the Dunhuang manuscript *Tiandi Yinyang
Jiaohuan Dale Fu* (The Great Joy of the Intercourse of Heaven and Earth), which this article focuses on, are all very healthy and beautiful works of sexuality. In particular, *Tiandi Yinyang Jiaohuan
Dale Fu* can be considered a classic of Chinese erotic literature. The original copy of the Chinese Kama Sutra,
now preserved in Paris, France, is the "Great Joyful Ode to the Union of Heaven and Earth," which originated from the Phigao Caves in Dunhuang.
Purchased and smuggled out of France by the French sinologist Paul Pelliot in 1908, this is his will, page 2539. The original scroll contains 134 lines,
with each line containing between 21 and 28 characters, primarily in regular script with occasional running script. The preface and main text
are in different fonts, suggesting they may not have been copied by the same person. Occasionally, there are double-line annotations. The first line lists the title and author of the poem, but the end is incomplete.
The author is "Bai Xingjian," but the exact date of composition is unknown. Bai Xingjian (776-826), courtesy name Zhitui,
was a Tang Dynasty writer from Xiafeng (present-day northeast of Weinan, Shaanxi). He was the younger brother of the great poet Bai Juyi. He passed the imperial examination at the end of the Zhenyuan era and initially served
in Jiannan Dongchuan Prefecture. After being dismissed from office, he followed Bai Juyi to Jiangzhou, and later accompanied him from Zhongzhou to the capital. He was appointed Left Remonstrance Official and
rose through the ranks to become Assistant Minister of the Court of State Ceremonies and Minister of the Court of State Ceremonies. Xingjian was intelligent and studious, skilled in writing poems and prose. His legendary novel, *
The Tale of Li Wa*, was particularly renowned, but unfortunately, it has been lost. The original manuscript of "Ode to Great Joy" was a handwritten copy by a Tang Dynasty writer, containing numerous errors and omissions
. Duan Fang commissioned a photograph taken in Paris in 1913, which Luo Zhenyu then
published in Beijing as part of "Dunhuang Stone Chamber Manuscripts." The following year, scholar Ye Dehui added annotations and corrections, and a collated edition was first published in the "Shuangmei Jingdan Series."
Most scholars today rely on this manuscript for the circulation of this ode. Ye's collated edition includes a postscript stating: "This ode comes from
the Mingsha Mountain Stone Chamber in Dunhuang County. It is indeed Tang Dynasty text, but the original copy contains many errors and omissions, and there is no other version to use for correction. Furthermore, the last
paragraph is incomplete, making it unpleasant to read… The ode uses contemporary colloquialisms, such as 'smelling of vinegar,' 'elder sister,'
and 'elder brother,' which are still used today. This demonstrates the similarity of customs and language over more than a thousand years, as they have remained largely unchanged
." The annotations cite *Dongxuanzi* and *Su Nu Jing*, both ancient books from before the Tang Dynasty… This further proves the common origin of these two books
, proving they could not have been forged by later generations. It is not surprising that such books on sexual matters circulated among scholars and officials during the Tang and Song Dynasties
. If a Confucian scholar saw them, he would surely consider them obscene books and burn them, fearing they would never disappear. However,
because they are ancient texts, we should publish and circulate them when we see them. Compared to Yang Sheng'an's forged *Miscellaneous Secrets* and Yuan Suiyuan's fabricated
*Recent Crane Pavilion Records*, are they not truly worlds apart? Ye mentions that the entire poem uses many colloquial and vulgar expressions,
making it easy to understand. For example, the sweet words used by men and women during lovemaking quoted in the text have been used ever since, such as women calling men
"brother" and men calling women "sister." This writing style is naturally related to the style advocated by Bai Juyi, the author of the New
Yuefu Movement, which emphasized that "even old women can understand it" and "even children can know it." The poem frequently quotes
from the *Su Nu Jing* and *Dong Xuan Zi*. This proves that *Dong Xuan Zi* is a work from the Sui and Tang dynasties, and also shows that ancient sexual manuals
were widely circulated in society and had already spread among the literati. The use of literary form to describe
the content of sexual techniques is probably unique among extant works of Chinese literature. Its aim is to describe human relationships, promote harmony between husband and wife, maintain family
harmony, and clarify the ways to prolong life and maintain health; it is a rare work of sexual literature.
The original manuscript of *The Great Joyful Union of Heaven and Earth* is incomplete due to its age, errors
in copying, and the use of colloquial characters and handwritten characters by the copyist. Many parts are difficult to decipher. In compiling this manuscript,
references were made to Luo Dunren's *A Collection of Ancient Chinese Sexual Health Preservation*, Song Shugong's *
Essentials of Ancient Chinese Sexual Health Preservation*, An Guiping's *The Essence of Ancient Chinese Health Preservation*, Wang Kai's *An Interpretation of Ancient Chinese Sexual Classics*, You
Junlian's *Annotated Dunhuang Rhapsody*, and Liu Dalin's *Ancient Chinese Sexual Culture*. Due to
significant discrepancies in the citations of the original manuscript of *The Great Joy of the Union of Heaven and Earth* in various books, this manuscript first
enlarges and re-verifies the microfilm of the rhapsody from the Dunhuang manuscripts to present the true appearance of the original to the reader.
Translation:
Life is the most precious thing for man, and desire is the necessity for survival. The essential factors for maintaining life are food and clothing. After food and clothing are satisfied, there are desires and demands for fame and fortune, but these demands 　　 seem insignificant
compared to the pleasure of marital sexual life.
The universe and nature have arranged their biochemical structures perfectly
and wonderfully. The interaction of heaven and earth (referring to the interaction of yin and
yang), the movement of the sun and moon, and the maintenance of balance are ingenious combinations in the biological world. The coordinated activities of men and women are a physiological instinct, allowing yin and yang qi and blood to flow smoothly. Therefore, the sage Confucius
once said that marriage is a major event in life. The poem "The Grasshopper" uses the characteristics of the grasshopper
to praise human life, its meaning being a congratulation to humankind for having many children and grandchildren. All these phenomena ultimately cannot be separated from
the union of men and women. Therefore, I want to use this article to describe the appearance, pleasure, types, and
beauty and ugliness of male-female intercourse, and to establish some rules based on actual circumstances. The
meaning may be understood according to different manifestations, and various illusions, methods, and situations may be concealed. Some difficult words and variant names
will be annotated as needed. The writing will begin from childhood and continue until the end of life. Although some
may consider this article obscene and vulgar, the truths and pleasures it contains are universally understood
.
It can be said that it reveals the pinnacle of life; of all human pleasures, none is more joyful than the union of man and woman
, hence the title "Ode to the Great Joy of the Union of Heaven and Earth." To make the article easier to understand, some
common folk expressions are used without reservation. Below is the ode I wrote: From the beginning of barbarism to the dawn of civilization
, the furnace of the universe radiated a unique brilliance. The masculine elements created were called male,
and the feminine elements were called female, thus forming the two sexual characteristics and genders. From the
perspective that nature can be roughly divided into two forms, yin and yang, men, endowed with yang energy, are strong and rugged; women,
endowed with gentle energy, are gentle and tender. From childhood, while still in their parents' arms, a man's external
genitalia are like a pupa in a cocoon, while a woman's vulva is like the stamen of a flower. During
puberty, a man's penis gradually emerges from the foreskin, revealing the glans, while a woman
's breasts also develop and stand tall. As the body continues to develop, pubic hair
grows around the penis in men, and women begin menstruating regularly. At this time, both men and women have reached maturity.
A vibrant young girl has a gentle, jade-like complexion, her face shy and affectionate; a handsome
and radiant man, seeing his tall stature, already displays his imposing good looks in front of women.
A woman at this age has smooth, fair skin, slender hands, a fair face and jade-like neck, radiant beauty, and a slender, captivating figure.
Even in the face of sex, one's beauty and charm will be revealed. The vibrant and colorful years of youth are like
fragrant and lovely flowers and trees, as free and unrestrained as flowing clouds and water, as fragrant as tender leaves and catkins carried on the wind. At this time, a woman,
even seeing swallows mating, will feel a stirring of spring in her heart, thinking of men, and thus experiencing endless longing and
yearning. Therefore, she will seek a good matchmaker, arranging a beautiful union, using traditional marriage customs, performing the ancient six rites, then
holding a grand banquet, welcoming the bride into the family. When both families are willing to accept each other, they will drink the nuptial wine together.
Afterwards, the young man and woman will begin their intoxicating wedding night. Under the red candlelight, they will enter
the bridal chamber together, then undress and prepare for intercourse. At this moment, both will experience an irresistible urge;
the image of phoenixes mating and geese rejoicing will flash through their minds. Their tender feelings will be unspoken, their hearts in perfect harmony. Finally, the man, unable
to contain his excitement, revealed his penis. He removed his wife's red panties, lifted her jade-like thighs
, and caressed her soft buttocks. His wife, excited yet shy, could no longer contain her excitement and reached out
to touch her husband's skin and his penis, her heart pounding with anticipation. The man kissed his wife passionately
, his mouth filled with her tongue, sucking and licking it repeatedly, feeling almost intoxicated. Then, the man would touch his wife
's vulva, and when he found vaginal discharge, he would rub it on her body
. The wife lay on her back, tenderly gazing at her husband, receiving his caresses, her labia naturally
parting slightly.
When the man inserts his penis into the vagina, the wife's vulva feels a sharp, knife-like pain
, indicating that the hymen has been broken. A small amount of red discharge flows out, followed by a gush of semen
and vaginal fluid, proving that both have reached orgasm. They are then
wiped clean with a prepared cloth and thrown into a bamboo basket. Thus, the marriage is considered complete; this is the principle of yin and yang harmony. Poetic
description: From the beginning of barbarism to the dawn of civilization, the furnace of the universe shone with a unique brilliance.
It created masculine beings and feminine beings, thus forming the two sexual characteristics
and genders.
From the perspective that nature can be roughly divided into yin and yang, men, endowed
with yang energy, are strong and rugged; women, endowed with gentle energy, are docile and tender. From childhood, still in
their parents' arms, a man's external genitalia are like a pupa in a cocoon, while a woman's vulva
is like the stamen of a flower. During puberty, a man's penis gradually emerges from the foreskin,
revealing the glans, while a woman's breasts also develop and stand tall. As the body continues to
develop, pubic hair grows around the penis in men, and women begin menstruation regularly
. At this time, both men and women have reached maturity. A vibrant young girl has a gentle, jade-like complexion
, her face shy and affectionate; a handsome and imposing man, radiant with health, displays his imposing stature in
front of women. A woman at this age has smooth, fair skin, slender hands, a fair face and jade-like neck, radiant
beauty, and a slender, alluring figure, displaying her beauty and charm in front of men.
The vibrant and colorful years of youth are as fragrant and lovely as flowers and trees, as free and unrestrained as flowing clouds and water
, and as fragrant as tender leaves and catkins carried on the breeze. At this time, a woman, seeing swallows mating,
will feel her heart flutter with longing, thinking of men, and thus experience endless melancholy and yearning. She will then seek a good matchmaker,
arrange a marriage according to traditional customs, perform the six ancient rites, hold a grand banquet, and welcome the bride into the family.
When both families are willing to accept each other, they will drink the nuptial wine together. Afterwards, the young man and woman will begin their enchanting
wedding night. Under the red candlelight, they will enter the bridal chamber together, then undress and prepare for intercourse. At this moment, both
will experience an irresistible urge; images of phoenixes mating and geese joyfully interacting will flash through their minds. Their tender feelings will be unspoken
, and their hearts will understand each other implicitly. Finally, the man eagerly revealed his penis. He removed his wife's
red panties, lifted her white thighs, and caressed her soft buttocks. Excited yet shy, the wife
could no longer contain her excitement, reaching out to touch her husband's skin and his penis, her heart pounding
with anticipation. The man kissed his wife passionately, his mouth filled with her tongue, sucking and licking it repeatedly, feeling
utterly intoxicated. Then, the man would touch his wife's vulva, and when he found vaginal discharge
, he would rub it on her body. The wife lay on her back, tenderly gazing at her husband
's caresses, her
labia naturally parting slightly. When the man inserts his penis into the vagina, the wife's
vulva feels as if it's being cut with a knife; this is because the hymen has been broken, and a small amount of
red discharge flows out, followed by a gush of semen and vaginal fluid, proving that both have reached orgasm
.
They are then wiped clean with a prepared cloth and thrown into a bamboo basket. Thus, the marriage is considered complete; this
is the principle of yin and yang harmony. On their wedding night, under the red candlelight, they enter the bridal chamber together, then undress
and prepare for intercourse.
At this moment, both feel an irresistible urge; images of phoenixes and geese mating flash through their minds
. Their tender feelings are unspoken, a silent understanding between them.
Finally, the man eagerly revealed his penis. He removed his wife's red panties,
lifted her white thighs, and caressed her soft buttocks. Excited yet shy, the wife could no longer
contain her excitement, reaching out to touch her husband's skin and his penis, her heart pounding with anticipation
. The man kissed his wife passionately, his mouth filled with her tongue, sucking and licking it repeatedly, feeling almost intoxicated.
Then, the man would touch his wife's vulva, and when he found vaginal discharge
, he would rub it on her body. The wife lay on her back, tenderly gazing at her husband's caresses
, her labia naturally parting slightly.
When the man inserts his penis into the vagina, the wife's vulva experiences a sharp, knife-like pain
, indicating that her hymen has been broken. A small amount of red discharge follows, then a gush of semen.
The presence of vaginal fluid and vaginal discharge proves that both have reached orgasm. They are then wiped clean with a prepared cloth and thrown into a bamboo basket. Thus, the marriage is considered complete; this is the principle of 　　 yin
and yang harmony.

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【Ode to the Great Joy of the Union of Heaven and Earth, Yin and Yang】(written by Bai Xingjian, the younger brother of Bai Juyi)

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