By Pauline Yu
This assortment is the 1st entire remedy of the music lyric (tz'u) in China from its origins during the 19th century. enticing problems with shape, language, voice, and transmission, those essays discover the altering and often difficult state of affairs of the tz'u over centuries of literary creation. They articulate the typical floor of serious discourse, concentrating on issues of gender and style, that took form in essays, anthologies, and the poems themselves.
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Example text
90. [16] CST , p. 133. ― 44 ― taken place. When the lovely woman stands before Su Shih and sings the pleasures of the party, instead of taking delight in "the person before his eyes," Su Shih responds quite differently:[17] In lingering frost I've lost sight of the sweep of the long River Huai; I hear only the trickling current of the clear Ying. The lovely woman still sings the songs of the Drunken Old Man; but forty-three years have gone by like a sudden sheet of lightning. Ou-yang Hsiu's song lyric no longer inhabits an eternal present; hearing it recalls its maker and a particular time in the past.
77] Second, Su Shih made some changes in the fundamental conception of tz'u as a genre. [78] Like Liu Yung, therefore, he can be credited with having broadened the potential subject matter for the song lyric, but Su moved in a quite different direction, steering the form closer toward the yen-chih tradition associated with shih poetry. He did not, however, completely blur the generic boundaries between shih and tz'u , for the division of labor can still be discerned in his own poetry. "[79] Third, since shih poetry was not associated with a musical setting, Su Shih's approach in "treating tz'u as shih " often destroyed the distinctive intrinsic music that previous masters had evolved in their efforts to adapt the song words to the structure and tonality of banquet music.
The love song is both the stylized imitation of love and at the same time the words in which a truth of love can be spoken. The singer is both a professional, paid to enact passion, and a human being, to whom love, longing, and loss can actually happen. We would be overly credulous to believe every statement of love-longing is indeed love; we would be foolishly cynical to believe that every statement of love-longing is purely professional or part of a hollow game. And we can't tell the difference.