By Pauline Yu
This assortment is the 1st entire therapy of the music lyric (tz'u) in China from its origins in the course of the 19th century. enticing problems with shape, language, voice, and transmission, those essays discover the altering and often frustrating state of affairs of the tz'u over centuries of literary creation. They articulate the typical flooring of severe discourse, concentrating on matters of gender and style, that took form in essays, anthologies, and the poems themselves.
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Extra resources for Voices of the Song Lyric in China (Studies on China)
Sample text
Yet when he is "together with her," this peculiar circumstance, the occasion of doubt and pain that produces in turn the ostensibly true song, will be past. Or perhaps there is nothing deep here, nothing that finds footing in the heart. Perhaps Liu Yung is writing only a clever variation on a common boudoir scene, something "light and clever," ch'ing-ch'iao , for any skilled singer to sing. Now we may recall, with some unease, that this song, whose tune is listed among the melodies of the T'ang Music Academy, the chiaofang , belongs to that class of lyrics that elaborate the situation implied in the title, just as lyrics to the tune "Tsui kung-tzu" often describe a wife's reaction when her husband returns home drunk from carousing.
Yet their absorption in the moment is something desired, articulated against the human truth of memory and anticipation. [15] This represents a normative language in song, to be sung by any singer to any guest at any party; its version of "the moment" is any moment and every moment. The singer may "mean the words" or she may be only skillfully repeating the words; but the words belong to no fixed moment in human history when they were or were not genuine: Only a moment, this season's splendor, this body, a bounded thing; to part now as if it didn't matter easily breaks the heart; so don't be hasty, refusing the party's wine, the banquet's song.
Boundaries of Genre By the late eleventh and early twelfth centuries, there was a clear consensus among the majority of literary scholars that shih and tz'u each possessed its own set of intrinsic characteristics that were to be kept distinct from each other. In point of fact, Li Chih-i, who was active at the turn of the twelfth century, came very close to defining the generic identity of tz'u when he said, "Choosing words well is most difficult in the ch'ang-tuan-chü ['long and short lines,' a common synonym for tz'u ] because it has its own style.