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XIV. He will never put me down by his acuteness; he will never put me out of countenance by any artifice; he will never attempt to upset and dispirit me by displays of his genius. I know all the modes of attack and every system of speaking the man has. We have often been employed on the same, often on opposite sides. Ingenious as he is, he will plead against me as if he were aware that his own ability is to same extent put on its trial.  But as for you, O Caecilius, I think that I see already how he will play with you, how he will bandy you about; how often he will give you power and option of choosing which alternative you please,--whether a thing were done or not, whether a thing be true or false; and whichever side you take will be contrary to your interest. What a heat you will be in, what bewilderment! what darkness, O ye immortal gods! will overwhelm the man, free from malice as he is. What will you do when he begins to divide the different counts of your accusation, and to arrange on his fingers each separate division of the cause? What will you do when he begins to deal with each argument, to disentangle it, to get rid of it? You yourself in truth will begin to be afraid lest you have brought an innocent man into danger.  What will you do when he begins to pity his client, to complain, and to take off some of his unpopularity from him and transfer it to you? to speak of the close connection necessarily subsisting between the quaestor and the praetor? of the custom of the ancients? of the holy nature of the connection between those to whom the same province was by lot appointed? Will you be able to encounter the odium such a speech will excite against you? Think a moment; consider again and again. For there seems to me to be danger of his overwhelming you not with words only, but of his blunting the edge of your genius by the mere gestures and motions of his body, and so distracting you and leading you away from every previous thought and purpose.  And I see that the trial of this will be immediate; for if you are able today to answer me and these things which I am saying; if you even depart one word from that book which some elocution-master or other has given you, made up of other men's speeches; I shall think that you are able to speak, and that you are not unequal to that trial also, and that you will be able to do justice to the cause and to the duty you undertake. But if in this preliminary skirmish with me you turn out nothing, what can we suppose you will be in the contest itself against a most active adversary?
Lily Yu lived in a time of relative freedom for women: a woman had ruled a century earlier; young ladies were allowed into the city unaccompanied; women dressed in men's clothing; and most importantly, there were a few occupations - courtesan and priestess chief among them - that allowed a woman an independent place in society. Lily Yu was unique in her short life in that she combined these roles. She was also unique in that when she wrote she did not assume the conventional passive voice of a woman. Instead, her poems highlighted the inherent sexism of the world she lived in.
I first came across Lily Yu in an anthology of Chinese poets, near the back of a chapter on the Tang dynasty. There was a poem and a brief biography. The poem was called "Selling Tattered Peonies". It was a poem about age, passing seasons and regret. But at the same time, in a society that considered that women's beauty peaked in her mid-teens, it was a protest poem about the position of women in society. And it kept drawing me back: the poem and the biography. Married at 16 as a concubine, divorced at 19, and executed at 26.
It is through this filter that the facts of Lily Yu's life have come down to us. Her surviving poems were collected by an anthologer, mainly for their "freak" value. The anthology also listed poems by other women, foreigners and ghosts. It was meant to shock and titillate the chattering educated classes of the time, in the way that stories of Roman orgies fascinated the prudish Victorians. 041b061a72