THE UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES MICHIGAN PAPERS IN CHINESE STUDIES NO. 40 YUARN MUSIC DRAMAS: STUDIES IN PROSODY AND STRUCTURE AND A COMPLETE CATALOGUE OF NORTHERN ARIAS IN THE DRAMATIC STYLE by Dale R. Johnson Ann Arbor Center for Chinese Studies The University of Michigan 1980 Asia Library - ^ / 7 Copyright © 1980 by Center for Chinese Studies The University of Michigan Library of Congress Cataloging in Publication Data Johnson, Dale R. Yuarn music dramas. (Michigan Papers in Chinese Studies; no. 40) Bibliography: p . Includes indexes. 1. Chinese drama—Yuan dynasty, 1260-1368—History and criticism. I. Title. II. Series. PL2384.J6 895.1*24*09 80-25372 ISBN 0-89264-040-5 Printed in the United States of America Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ ISBN 978-0-89264-040-9 (paper) ISBN 978-0-472-12752-8 (ebook) ISBN 978-0-472-90147-0 (open access) To my pioneer ancestors who made a trek of their own on foreign soil CONTENTS Acknowledgments ix Code to Symbols in Part One xi Abbreviations xiii PART ONE: Form and Structure in Yuarn Music Drama I. The Act 3 II. The Suite 7 III. The Aria 24 IV. The Structure of the Verse 29 V. Problems in Verse Analysis 39 VI. The Metrics of Repeated Graph Patterns 51 VII. Parallelism and Its Special Features 54 VIII. The Matching of Suite and Mode 74 Notes to Part One 87 PART TWO: The Catalogue of Arias Preface to the Catalogue of Arias 99 The Catalogue of Arias 109 v n Vlll Appendix i: The Major Editions of Yuarn Music Dramas 321 Appendix 2: Master Index to Variant Editions of Yuarn Music Dramas 327 Appendix 3: Index to the Yuarn-chyuu shyuaan by Popular Title 345 Appendix 4: Romanization Conversion Table: Wade-Giles to Simplified National System 349 Index to Aria Titles and Alternate Titles 353 Chinese Character Index to Yuarn Aria Titles by First Character 363 Page Index to the Arias 365 Select Bibliography 369 ACKNOWLEDGMENTS As all of us were launched on our first important scholarly ventures during the years that we busied ourselves with the r e - search and writing of dissertations, this s t u d y , too, evolved from dissertation labors. During those y e a r s , it was the encouragement and stimulation of Professor James I. Crump, J r . , who introduced me to the early music dramas of China, which kindled my interest in the subject. I was the fortunate recipient of his advice and guidance throughout the various developmental stages of the p r e - sent work. For his generosity and unflagging concern, I owe him a great debt of gratitude. I would like to remember here George (Jyh-jih) Chern and his wife Jenny (Yih-jen). Through them, life in Taiwan took on flesh and blood proportions. Their companionship made living in Taiwan not merely a scholarly sojourn, but an experience full of meaning and friendship. By sharing their lives, their friends, and their families with me, they taught me much of what I know about human relationships across cultural chasms which are never bridged by some. I would also like to pay tribute to the memory of Jang Wuh Shyuarn-chern. She, too, shared her home and family, her garden, her food, her piano, her knowledge of Chinese cuisine, wines, me- dicines, fruits and vegetables, the music of the shiau, and furthered my understanding of what it is like to be a Chinese wife and mother. Thanks is also due my wife Molly, who helped this study on its bumpy and uneven course in Ann Arbor, Oberlin, Kyoto, and Shanghai, and who made some major personal sacrifices so that my work could be completed. My work has benefited from the helpful suggestions and crit- icisms of Professors Hans Frankel, Tanaka Kenji, James I. Crump, Jerome Cavanaugh, Vivian Ling Hsu, and o t h e r s . This study might never have been completed had I not enjoyed a year of support from the American Council of Learned Societies, which enabled me to use the libraries and facilities of the Kyoto University Research Institute of Humanistic Studies. There I enjoyed the warm friendship and ix scholarly advice of Professor Tanaka Kenji and the generosity of Kominami Ichiro, who shared his crowded office space, his motor- cycle betimes, and lunch on many, many occasions at the Silver Fairy in Shita-shirakawa. I would like to express my appreciation to the Committee on Grants in Aid at Oberlin College for several small grants which helped the work along the way, and to Robert Longsworth, Dean of the College of Arts and Sciences at Oberlin, who was generous in his support when I needed funding to help prepare the final manuscript for publication. I owe many thanks to Lyn Boone and Joanne Thodt, who shared the typing of the final unedited manuscript. A special blue ribbon is due my editor, Barbara Congelosi, under whose careful guidance and watchful eye this manuscript assumed its present form. She endured many hours of proofreading and was deft at spotting countless inconsistencies in style, editorial policy, and romanization. Scott Hauser typed the camera-ready copy and made some ingenious improvements in the flow charts for the suites. I myself am solely responsible for any errors or omissions which remain in the text. The artful calligraphy which graces this volume is by the hand of Yiu-fong Dew, and the Chinese characters on the title page were written by Professor C. S. Chang. I thank them much for their elegant brushwork. CODE TO SYMBOLS IN PART ONE Brackets. Brackets are reserved for expressing base forms of arias or the structure of single verses within an aria. [2 2 2] represents three two-character verses. Italic brackets and numer- als, e.g. , [22] , are used to represent the internal structure of the individual verse. [22] denotes a four-character verse whose inter- nal structure consists of two units, each structured [2]. Hyphens. Apart from normal orthographic usage, hyphens are used to connect romanized syllables into meaningful units: Jung-guor \jf? |g) , laur-huu % ff u Aria titles (e.g. , Hurng- shiouh-shier) and mode titles (e.g. , Huarng-jung-gung) are hyphenated throughout without regard to that principle. TTOTT A Chinese graph underscored by this symbol is a padding word. TT ! TT A Chinese graph underscored by this symbol is an apostrophe. The superscored ligature. This ligature links two syllables and indicates that they are metrically equal to [ 1] : ^ ^ The underscored ligature. This ligature links three syllables and indicates that they are metrically equal to [2] ; /§ ^j"f f Underlined numerals [3J3]. Simple parallelism between two or more verses is expressed by underlining. [3 3] indicates that these two verses, each structured [3], are parallel. Parallel elements within a single verse are also designated by underlining; for example, the primary verse type [6] may be broken into two parallel units: [33] TT +". This symbol is used to indicate identical parallelism. For example, [333] signifies that not only are the first two units [3] parallel, they are also identical: #pi£i!l %£ *f & ;?l*f & o o o xi X l l Romanization. All romanization of Chinese in this work follows the simplified version of the National system* used by Lin Yutang in his dictionary Dang-daih hahn-ying tsyr-diaan [Chinese-English dictionary of modern usage] (Hong Kong: The Chinese University of Hong Kong, 1972). I follow this system because I have grown intolerant of romanization systems that do not incorporate tone in spelling. I elected Lin T s standardized version of the National system over the official National system (Gwoyeu romatzyh) because the official system contains a plethora of exceptions to the rules for tonal spelling. Although the official system is admittedly more sophisticated linguistically, the difficulties of Chinese need no augmentation by a system that is certainly more difficult to master. Lin T s system is free from the clutter of exceptions in spelling. The presence of an TT r !T in any word indicates a second (rising) tone, and an n h Tt indicates a fourth (falling) tone. When a vowel is doubled, the syllable is pronounced in the third (dipping) tone. The effects of the so-called "tone sandhi" are not reflected in my romanization system; hence, the graphs —- and 7y , in particular, are always rendered yi and buh without regard to their tonal en- vironments. Tonelessness is indicated by an apostrophe preceding the syllable, as in the aria title Douh-har'ma. I have provided a conversion table (Appendix 4) that allows the reader to convert the Wade-Giles romanization system to the Lin system. * Fully described in Chao Yuan-ren and Yang Lien-sheng, A Con- cise Dictionary of Spoken Chinese (Cambridge, Mass.: Harvard University Press, 1962), pp. xix-xxiii. ABBREVIATIONS Modes DS HJ J Jh N PS s Sh SS Y References Dah-shyr mode Huarng-jung mode Jung mode Jehng mode Nam mode Parn-sheh mode Shang mode Shian mode Shuang mode Yueh mode Some of the abbreviations listed below derive not from the actual title of the work or from the compiler's name, but from how the work is popularly referred to by scholars in the field. Further information on the source and evolution of some of these works will be found in Appendix 1. Full citations for each work that presently exists as a separate entity (i.e., not wholly contained in another work) will be found in the Select Bibliography. X I V CHYUU LUHN CYSC DAH CHERNG DCG GCJ GMJ GUAANG JEHNG JGGDSC JIAAN PUU JUNG WUU JJJ LEIH JIANG LIOOU JY MWG Chyuu luhn\$>$tfi [In JGGDSC, vol. 4, p p . 5-14.] Chyuarn Yuarn saan-chyuu ^~ /uTjfc- ^ Jioou-gung dah-cherng narn-beei tsyr gung-puu AJ t j ^ & fo *b 10 % Vfr [The numbers that follow DAH CHERNG r e - present the volume number and the page num- ber; e . g . , DAH CHERNG 66.33b means volume 66, verso page 33.] Yuarn-rern baai-juung chyuu -fi> A. "§ -JJ! db' ; popular title: "Diau-churng guaan Tt Guu tzar-jyuh ~&-£\i%>]; popular title: TT Guu-chyuu jai" /ff || $> # [In SYH JIR : anthology no. 2.] Guu-mirng-jia tzar-jyuh - [In SYH J I R , a n t h o l o g y n o . 4 . ] Beei-tsyr guaang-jehng puu ^k Jung-guor guu-diaan shih-chyuu luhn-juh jir-cherng 4f \%$ * l& %& tT Beei-tsyr jiaan-puu TT Jiing-wuu tsurng-bian Yuarn-Mirng tzar-jyuh title : TT Jih-jyh jai" *jg anthology no. 7.] ; popular In SYH JIR , Leih-jiang jir $ft ^ jjL [In SYH JIR, anthology no. 9.] Lioou-jy ]ir f ^ [In SYH JIR, anthology no. 8.] Maih-wahng-guaan chau-jiauh-been guu-jin tzar-jyuh ^ $% %)'$£ fr & ^ [In SYH JIR, anthology no. 3.] X V NBGTJ SHIN PUU SJT SSSS SYH JIR TAIH HER TLJY TSAIH YIRNG WARNG LIH YARNG YCS Narn-beei gung tsyr jih )$) Beei-chyuu shin-puu i b $? g f \ tfjjf q> Tzar-jyuh shyuaan ^\i j^j ^ , comp. Shir Ji-tzyy ,g.#|'-3- [In SYH JIR, anthology no. 5. ] Shehng-shyh shin-sheng Guu-been shih-chyuu tsurng-kan, syh-jir $ Jjhfc ®Hk H f & % [The numbers tnat follow SYH JIR represent the anthology num- ber, the music drama number, and the page number; e.g., SYH JIR 3.98.15b means an- thology no. 3, music drama no. 98, verso page 15.] Taih-her jehng-yin puu Tsyr-lirn jai-yahn •$$} Yuarn-jyuh liarn-tauh shuh-lih ^ /f^ij , comp. Tsaih Yirng Hahn-yuu shy-lyuh shyuer y) comp. Warng Lih i jfj Chyuarn Yuarn tzar-jyuh ^fu^fliffyj > comp. Yarng Jia-luoh J$Q %i%^: [The numbers that follow YARNG represent the part number and the page number; e.g., YARNG 1.880 means part 1, page 880.] Yuarn-chyuu shyuaan ?\j$}^§^ and Yuarn- chyuu shyuaan waih-bian fij dO\ML#fw$ffe [The numbers that follow YCS are all page numbers; however, page numbers prefaced by a "0" indicate that the citation will be found in the Yuarn-chyuu shyuaan. Numbers that are not prefaced by a T T 0 T T indicate that the citation will be found in the Yuarn-chyuu shyuaan waih-bian. ] X V I YCT Yarng-chun tzouh f^ ^ [In SYH JIR, anthology no. 6.] YKB Jiauh-dihng Yuarn-kan tzar-jyuh san-shyr iuung 4£ ft fy *) M- I'] 5- i # [Facsimile reprint of original in SYH JIR, anthology no. 1.] PART ONE: FORM AND STRUCTURE IN YUARN MUSIC DRAMA I. The Act (jer The macro-structure of the Yuarn music drama is a simple one: four acts called jer,l plus an optional demi-act, the shie-tzyy. The nucleus of the act is the suite (tauh-shuh), to which may be added the prologue, the interlude (both called cha-chyuu) , and the epilogue (sahn-chaang) The act with all its possible com- ponents can be sketched as follows: (the prologue) THE SUITE (the epilogue) (the interlude) The Demi-act (shie-tzyy %$ ^ ) The term shie-tzyy was appropriated from the Chinese car- penter, to whom it denoted a small wedge-shaped cut of wood used to fill a crack or cleavage in an article of furniture. With similar precision, the Yuarn dramatist could always turn to the demi-act for a flexible alternative to the simple four-act format of the stan- dard music drama. A careful count reveals that the demi-act was spliced into the music drama 118 times, ^ 76 of which occurred at the beginning of the music drama. Evidently, the demi-act served as a convenient introduction to the drama for many playwrights. Like the suite (but unlike the prologue, interlude, and epi- logue), the demi-act is a self-contained unit and may fall between any of the four acts or at the beginning of the music drama, but never after act 4 at the end. 3 This rule is never broken, even among the handful of music dramas with five acts.4 The demi-act contains dialogue, verse, and one of two arias in Sh mode, which may be repeated. The aria Shaang-hua-shyr , the favorite of the demi-act, is preferred over Duan-jehng-haau nearly ninety percent of the time. 5 Although the singer in the demi-act may also be the