By Ramajayam (ed), Everest Publications

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And it happens that this process is most commonly observed in retrospect: its mode is elegy, a temporal distance corresponding to the fictional distance that mediates the "pity and fear" of the audience of tragedy. If nature as mechanism assumes the role of amoral necessity, the problematic role of retributive human justice is taken by nature as moral order, on which all common human justice is founded. In the Western tradition the agency of divinity may allow a radical distinction between capricious divine will and human justice (the book of Job closes with an awkward attempt at reconciliation).

Credible self-exhortation may become odious if directed to another. But out of this complete process-introduction, apology, blaming, and now struggling back to equanimity-Wang Shou-jen attains a new level of uncomplicated familiarity with the dead man, enabling him to write one more song. This final song is the fruit of his intense "dialogue" with the dead, a true consolation with all the ease of a friendly relation with a living person. Then I sang yet another song to console him: "You and I both have been separated from our homeland, Ignorant of these aboriginal tongues; Our fates here could not be foreseen.

I f I should chance to go home alive, Your son and servant go with you stillNo cause for sorrow at being companionless. Tomb markers are piled all along the roads: • . 50 , l _ [ Remembrances ' " Many from the heartland have been lost here. Join with them, hooting and whistling, and tarry To dine on the winds, drink dew, and never starve. " The whole song is a promise of companionship, a restitution of all the living relations that death has severed. Wang Shou-jen began by introducing himself to the dead clerk, compensating for his guilty failure a few days earlier, a failure to concern himself with a fellow northerner wandering in the southern wilderness.

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