2.3 The Dialogic Nature of the "All Under Heaven" Concept and Ideological Transformation
Although "The Hall Inquiry Answered" does not explicitly mention the words "All Under Heaven," the entire dialogue of the poem revolves around the dialectical relationship between personal vendetta and the broader situation of 'All Under Heaven'. In the film, this theme is fully developed through the dialogue between Nameless and the King, as well as the embedded narrative of Broken Sword and Flying Snow's story. Broken Sword, through three years of calligraphy practice, comprehends the two words "All Under Heaven" and thus abandons the assassination; Nameless, at the final moment, understands Broken Sword's realm and similarly chooses to lay down his weapon.
The King's famous line in the film: "I am alone, enduring so much censure, so many plots. No one can understand my heart. Who can share the burden of leveling All Under Heaven with me?" reveals the loneliness at the peak of power and also hints at the cost that must be borne for the ideal of unifying 'All Under Heaven'. And Nameless's response – abandoning the assassination, self-sacrifice – is the ultimate recognition of this ideal. This ideological transformation sparked considerable controversy at the time, with some viewing it as a "beautification of tyranny," but it is precisely this complexity that elevates Hero beyond a simple binary of good and evil.
The dialogue in "The Hall Inquiry Answered" ultimately points to the core proposition of the film Hero: at critical historical moments, how does the individual transcend personal vendetta to consider the larger issue of 'All Under Heaven'? Nameless's choice not to kill the King is not out of fear, but out of understanding; not an abandonment of resistance, but a choice of a more profound form of warning. This complexity and dialectical thinking are precisely the ideological value of Hero that transcends ordinary wuxia films.
3 Intertextuality of the Two Poems and Deep Connection with Hero
3.1 Spatial Narrative and the Confrontation of Power Discourses
"Ritual Music: Striking the Fou" focuses on the intimidating nature of space, constructing a stern, solemn power field through images like "Within the hall, desolate and cold, the long stairs stern" and "Echo through the deep palace." This spatial description corresponds to the visual presentation of the Qin palace in Hero – the endless stairs, towering pillars,空旷 hall, all emphasizing the insignificance of the individual and the grandeur of power. Zhang Yimou, through极致 formal aesthetics, transforms physical space into a carrier of power consciousness, creating the most震撼 court imagery in the history of Chinese cinema.
In contrast, "The Hall Inquiry Answered" focuses on the confrontational nature of discourse, revealing the psychological game within power relations through the question-and-answer between the King and Nameless. In the film, this confrontation is manifested in Nameless's gradual approach to the King – from a hundred paces to twenty paces, then to ten paces, finally to just a sword's thrust away. Each breakthrough in distance is not only a physical approach but also a breakthrough in psychological defense, a change in power relations. When Nameless finally achieves the ability to "strike within ten paces," he has actually broken through the spatial order of power, creating a possibility for brief, equal dialogue.
Together, the two poems outline the dual dimensions of power operation in Hero: on the one hand, the material power realized through space, ritual, and institutions; on the other hand, the cultural power realized through discourse, symbols, and psychology. Nameless must break through both the tangible spatial barriers and the intangible discursive迷障, ultimately achieving transcendence over power in both dimensions – he both breaks through the spatial limits, reaching the King, and breaks through the ideological constraints, understanding the concept of "All Under Heaven.
3.2 Body Politics and the Dialectic of Discipline and Resistance
The description "The warrior halts his step, proceeds with rite, / Kowtows with utmost respect, bowing in his sight" in "Ritual Music: Striking the Fou" reveals power's discipline over the individual body. In Hero, the procedures Nameless undergoes before entering the Qin palace – disrobing, searching, hair inspection – are direct manifestations of power's comprehensive control over the individual. Foucault's theory of "body politics" finds visual representation here – power shapes a docile soul by controlling the body.
However, in "The Hall Inquiry Answered," we see the limitations of bodily discipline. Although Nameless is completely submissive in his external behavior to court etiquette, his internal intent to assassinate is not fully disciplined. In the film, when the King asks how Nameless defeated Broken Sword and Flying Snow, Nameless replies, "No sword in the heart," which is not only a martial arts境界 but also a transcendence of power's discipline – even if the body is controlled, the spirit can still maintain independence and freedom.
Together, the two poems reveal the dialectical relationship between the body and power in Hero: power ensures its own security by controlling the body, but the real threat comes from the spirit and thoughts that cannot be fully disciplined. Nameless ultimately abandons the assassination not because his body is disciplined, but because his thoughts are inspired; the King truly conquers Nameless not through武力压制, but through resonance of ideas. This understanding and transcendence of body politics is an important manifestation of the ideological depth of Hero.
3.3 Poetic Transformation of Visual Aesthetics and Color Symbolism
Zhang Yimou is renowned in Hero for his highly stylized visual language, and these two poems capture this visual震撼 in textual form. The film constructs different narrative segments and emotional atmospheres through five dominant colors (black, red, blue, white, green). The contrast of light and shadow in "Torchlights advance slowly before the hall" in "Ritual Music: Striking the Fou" corresponds to the solemnity and oppression of the Qin palace scenes, dominated by black tones; while the cold imagery of "Within the hall, desolate and cold" echoes the tiny yet determined figure of Nameless in the huge palace.