<TD></TD></TABLE>
nalpattesofthoughtandstyleithasacultivated,
superrefinedtechnique,butitlacksgrandeurandpohefeelingone
getsontuingfrosandchinesedrasare
essentiallyregarded,ashasbeenpointedout,asallesisliketuing
fronexquisitepluranuchsuperiorin
freshness,richnessandvariety
chineselyricsaredainty,butneverlongandneververypoheirvery
terseness,narrativeanddescriptivepassagesarenecessarilylitedincharacterin
thedrasthespeandstyleofpoetryaredifferentwordsareusedhwould
havebeensffedatbytheurtcriticsasvulgarigesarise,anddratic
situationsarepresentederarypoh
dearlyanetionsreachaheight
unattainablebytheexquisitequatrainsoreightlinesthelanguageitself,he
pehhua,beingfreefrohe,naturalnessand
virilityentirelyundreadofbeforeitisalanguagetakenrathepeoples
uths,andshapedintobeautybyselvesfreeoftheclassical
standardsandso
stersoftheyuandrausedatoisitablebeautyofitsown,
odechineseorintoanyforeignlanguageit
canonlybesuggestedinthefollowing:
zzy,dizzy,lackadaisical,iquattingsgsglyon
anearthendivan
clatter,patter,theoldpopoisshakingherarsegreatbig
grainpan
lousy,slouchyliesthedonkeyunderthewillow,hislegs
sprawling,
lapping,patting,thatolieshandonthedonkeysneckis
pawing
oh,wakeupawhile
oh,wakeupawhile
tilikeabulletpastawindowisflying
桵achihyuan:huangliangng
atitotheexigenciesoftheoperaticairs,but
thelineswas
broaderandresuitabletotheveacularlanguageintenthe
liberationoftreachievedinthesungtguoriginatinginsongsandsettotheseairs,
alreadyprovidedforatreofirregularlengths,obeyingtherhythfthespoken
ratherthantheetreoreencipatedinthedras
asanapproxiteexaleofthisirregulartre,igivehereanenglishrendering
ofpassagesintheberasterpieceofthefirstorderinchinese
literature,hebeautyofinging,theheroine:
beforeshespoke,shehadreddened,
likeacherryripebroken,
likeastatueolten;
inant,
shedhavespoken
astringofnotessandgolden
uedsideyhe
folloanner:
sidelining,
herjadehairpindeclining,
brooonreclining,
intoherblackvelvettelesresigning
oveditribed:
nooveshersteps,cunning,pretty,
hersoftlikeasoutheditty,
sogracefullyslender,
sohelplesslytender,
likesbeforeazephyrgiddy
itisinterestingtonoteherethatrhythsunderstoodinchinesedraticpoetryand
ininusic
thereisnoreasonentaltresofthreesshouldnotbe
usedinsokindofregularbinationinenglishpoetrythishasbeendoneh
greatsuoredulatedrhythbr >
thanthestraightuseofthreesthroughoutthelinetheideaish
experintbysoqualifiedenglishpoets
throughitsiensepopularitythetheatrehasachievedaplaceinthenational
chineselifeverynearlyrrespondingtoitslogicalplaceinanidealrepublicapart
froeausic,ithastaughtthechinesepeople,
oveiypercentofareilliterate,aknoazing,
crystallizing,asithefolkloreandentirehistoricalandliterarytraditioninplays
ofonnand
enthusanyahhasalivelieanyhistorical
heroeslikekuanyii,liupei,tsaotsao,hsuehjenkingshanandyang
kherintitekno
attendingthetheatresinyssionaryeducation,andhadto
leaitallpieyteensiknew
joshuastruetsbleheididnotknoili
thirtythatengchiangniicriedoverthebonesofherhusbandwhohaddied
buildingthegreatlabour,thetorrentofhertearswashedawaya
sectionofthegreatongthe
illiteratechinese
butthetheatre,besidespopularizinghistoryandsicangthepeople,hasan
equallyiortantculturalfunctioninprovidingthepeopleoral
notionsofgoodandevilpracticallyallthestandardizedchinesenotionsofloyal
nistersandfilialsonsandbraveaidensand
intriguingidservantsafereflectedinthecurrentchineseplaysrepresentedin
theforfstoriesanaybe,
theysinkdeepintotheirralnsintzusfilialpiety,ance,ingingspassion,yangkperedtastes,chin
kreason,yensungsgreedandcruelty,chukoliangsstrategy,changfeis
quickteer,andliensreligioussanctity梩heyallbeeassociatedinthe
chinesendsetheicretenceptionsof
goodandevilnduct
thestoryoftheronceoftheguitarpipachiisgivenheretoshohetypeof
ralinfluenpleof
thekindofstory,
... </P></TD>
nalpattesofthoughtandstyleithasacultivated,
superrefinedtechnique,butitlacksgrandeurandpohefeelingone
getsontuingfrosandchinesedrasare
essentiallyregarded,ashasbeenpointedout,asallesisliketuing
fronexquisitepluranuchsuperiorin
freshness,richnessandvariety
chineselyricsaredainty,butneverlongandneververypoheirvery
terseness,narrativeanddescriptivepassagesarenecessarilylitedincharacterin
thedrasthespeandstyleofpoetryaredifferentwordsareusedhwould
havebeensffedatbytheurtcriticsasvulgarigesarise,anddratic
situationsarepresentederarypoh
dearlyanetionsreachaheight
unattainablebytheexquisitequatrainsoreightlinesthelanguageitself,he
pehhua,beingfreefrohe,naturalnessand
virilityentirelyundreadofbeforeitisalanguagetakenrathepeoples
uths,andshapedintobeautybyselvesfreeoftheclassical
standardsandso
stersoftheyuandrausedatoisitablebeautyofitsown,
odechineseorintoanyforeignlanguageit
canonlybesuggestedinthefollowing:
zzy,dizzy,lackadaisical,iquattingsgsglyon
anearthendivan
clatter,patter,theoldpopoisshakingherarsegreatbig
grainpan
lousy,slouchyliesthedonkeyunderthewillow,hislegs
sprawling,
lapping,patting,thatolieshandonthedonkeysneckis
pawing
oh,wakeupawhile
oh,wakeupawhile
tilikeabulletpastawindowisflying
桵achihyuan:huangliangng
atitotheexigenciesoftheoperaticairs,but
thelineswas
broaderandresuitabletotheveacularlanguageintenthe
liberationoftreachievedinthesungtguoriginatinginsongsandsettotheseairs,
alreadyprovidedforatreofirregularlengths,obeyingtherhythfthespoken
ratherthantheetreoreencipatedinthedras
asanapproxiteexaleofthisirregulartre,igivehereanenglishrendering
ofpassagesintheberasterpieceofthefirstorderinchinese
literature,hebeautyofinging,theheroine:
beforeshespoke,shehadreddened,
likeacherryripebroken,
likeastatueolten;
inant,
shedhavespoken
astringofnotessandgolden
uedsideyhe
folloanner:
sidelining,
herjadehairpindeclining,
brooonreclining,
intoherblackvelvettelesresigning
oveditribed:
nooveshersteps,cunning,pretty,
hersoftlikeasoutheditty,
sogracefullyslender,
sohelplesslytender,
likesbeforeazephyrgiddy
itisinterestingtonoteherethatrhythsunderstoodinchinesedraticpoetryand
ininusic
thereisnoreasonentaltresofthreesshouldnotbe
usedinsokindofregularbinationinenglishpoetrythishasbeendoneh
greatsuoredulatedrhythbr >
thanthestraightuseofthreesthroughoutthelinetheideaish
experintbysoqualifiedenglishpoets
throughitsiensepopularitythetheatrehasachievedaplaceinthenational
chineselifeverynearlyrrespondingtoitslogicalplaceinanidealrepublicapart
froeausic,ithastaughtthechinesepeople,
oveiypercentofareilliterate,aknoazing,
crystallizing,asithefolkloreandentirehistoricalandliterarytraditioninplays
ofonnand
enthusanyahhasalivelieanyhistorical
heroeslikekuanyii,liupei,tsaotsao,hsuehjenkingshanandyang
kherintitekno
attendingthetheatresinyssionaryeducation,andhadto
leaitallpieyteensiknew
joshuastruetsbleheididnotknoili
thirtythatengchiangniicriedoverthebonesofherhusbandwhohaddied
buildingthegreatlabour,thetorrentofhertearswashedawaya
sectionofthegreatongthe
illiteratechinese
butthetheatre,besidespopularizinghistoryandsicangthepeople,hasan
equallyiortantculturalfunctioninprovidingthepeopleoral
notionsofgoodandevilpracticallyallthestandardizedchinesenotionsofloyal
nistersandfilialsonsandbraveaidensand
intriguingidservantsafereflectedinthecurrentchineseplaysrepresentedin
theforfstoriesanaybe,
theysinkdeepintotheirralnsintzusfilialpiety,ance,ingingspassion,yangkperedtastes,chin
kreason,yensungsgreedandcruelty,chukoliangsstrategy,changfeis
quickteer,andliensreligioussanctity梩heyallbeeassociatedinthe
chinesendsetheicretenceptionsof
goodandevilnduct
thestoryoftheronceoftheguitarpipachiisgivenheretoshohetypeof
ralinfluenpleof
thekindofstory,
... </P></TD>