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saying;”ihegodofajesty”
lipoischinasprinceofvagabondpoets;;his
panionshipoon;hisloveofhighuntainscenery;andhisnstant
aspiration:
oh;uldibutholdacelestialsword
andstabaheseas
liposronticisndedfinallyinhisdeathfroeachingfortheshadohe
onintheerinadrunkenfitandfallingoverboardgood;infinitelygood;that
thestaidandapparentlyunfeelingesreachfortheshadowof
theonanddiesuchapoeticdeath
isthatthechinesehadthisloveofnatureitutedthepoetryoftheir
existence;andthefullnessoftheirheartsintoliteratureit
taughtthechineseareong
thenfolkofotheationsihaveseenachinesecroexcitedatthesight
ofabirdinaouredagain;dethebr 》
shareanfeelingofgayirresponsibilityandbrokedohebarriersof
hostilityangstrangers;asonlyanobjeondelightuldtheworshipof
thepastorallifehaslouredtheure;andtodayofficialsor
s”asthestelegant;thestrefinedand
stsophisticatedaitioninlifetheycanthinkofthevogueissogreatthateven
thedeepestdyedsundrelofapoliticiahingofli
posronticisnhisnatureactuallyisuspectevenheiscapableofsuchfeelings;
becauseafterallheisachineseasachinese;heknouchlifeish;and
atdnight;gazingthroughhisthestars;thelinesheleaedatchildhood
eba:
ihroughthewholelivelongday
hearingspringdsoonbegone;ihurriedonboourtyardichattedonk;
andsoleisurelypassedonerehalfdayaway
tohiitisaprayer
thesendtypeisbestrepresentedbytufu;hhisquiet
huur;hisrestraint;histendeesstohepoorand
oppressed;andhisunncealedhatredofwar
is;too;thatthechinesehavepoetsliketufuand
pochiiyi;rayoursorroyandbegetinus
asenseofpassionfokindtufulivedintisof
politiinelikeour
oe:
atsandansions;
andhunbonesarerottingoutsidetheirdoors;
asilaoteulberryidenby
hsiehfangteh:
hchinthedeadofthenight
………………………………
第84节
;
thenirose;lestthes;shortofleaves;hungerght
esyetthroughh
theirdance
thepaleonshohroughheir
notethepeculiarlychineseending;easocialistic
thought;thepoetntentshielfisa
littletoorebelliousfortheaveragechinesepoetrytheusualnoteisoneofsadness
andresignation;asinsonyoftufuspoe;describingtheharassingeffectsof
ple:
icatoshihhaovillageandstayedthateve
abailiffcaforpressganginthenight
theoldn;hearingthis;cliedoerthewall;
andtheoldansahebailiffatthedoor
oh;hebailiffsvoicesoterrible;
andansplaintsosoftandlow
”ihavethreesonsallattheniehchengpost
andonejustetosay
theotherthebattledied
letthosetheycan;
forthoseore
nohehousetheresonlygrandsonleft;
forhiistherstillreins梬ithout
adecentpattiattogoabout
althoughstrengthisebbingweakandlow;
illgohyou;bailiff;inthefronttoserve
foriy;and
torroarchandhurrytothehoyangfront”
桽ospakethean;andinthenight;thevoice
becasoloper
andintheingyshe;
aloneshesaidgoodbyetoheroldn
thatischaracteristiftheartofrestraintandthefeelingofsadnessinchinese
poetryitgivesapicture;expressesasentint;andleavestheresttothereaders
igination
ixdra
theeanpositionbeteratureandthat
bodyofliteratureeanbythetealy;
literatureoftheiginationthelatter;includingthedrasandnovels;ten
inthepehkuaorveacularlanguage;andnsequentlyriddenh
classicalstandards;andnstantlygrethatfreedobecause
chinesedraticpositionhappenedtobelargelypoetry;itedas
literatureonahigherlevelthanthenovels;andalstonaparhthetanglyrics
scholarsedtobeknoatichaning
novelsontheasousorsubjectto
debateliketheauthorshipofnovels
frooaginativeliteraturenstantlygrewin
beautyandiortanodetisonitsown
rits;andexertedaninfluenceoverthepeopleasnoclassicalliteratureever
succeededindoing
thishybridaacuntsforitspeculiarpositionand
alsoforitsgreatpopularinfluencethechinesedraisabinationofdialogues
inthespokenlanguage;heelligibletothepopulace;and
songsenpartakeofahighpoeticqualityitsnatureistherefore
entirelydifferentfrohatofthenventionalenglishplaythesongseinat
shortintervalsandarereinpronencethanthespokenpartsasisnatural;the
ianlovesandsorrooreoftenburstoutintosongsactually;thetheatreisattended;frohe
pointofvieoreforitssingingthanforitsactingone
speaksofgoingto”listentoaplay;ratherthanto”see”itit;therefore;
thatthetranslationofthechinesea”issleading;anditwouldbe
repropertospeakofitaschinese”opera”
onlybyunderstandingtheofoperasothe
people;asposition;betrulyunderstoodforthe
appealofthedra梕speodeenglishdra梚slargelyanappealto
theunderstanding;akesabinedappealtothesensesoflour;
voiotionthediufthedraisthespokenlanguage;but
thatoftheoperaissicandthesong;atheatregoertendsaplayexpectsto
follobyitsnflictsofcharacteranditssurprisesand
noveltyofaction;andanoperagoerispreparedtospendaneveningduringhhis
intellebedandhissensessoothedbysicandlourand
song
thisaostdratiancesarenothattendinga
sendti;althoughpeoplegotothesaoperasforthefiftiethtihoutlosing
theedgeoftheirkeenenjoyntthusitishthechinesetheatrethesocalled
chinghsi”pekingplays”hasageneralrepertoireoflessthanahundredpiecesh
areplayedoverandoveragainhoutlosingtheirpopularityandthepeople
applaudbyshouting”hao”invariablyattheariasostintenseor
intria;andacting
isrelyanaainsonessentially
thesalevelasthatofadonnas
thechineseoperagoer;therefore;appraisesthechineseactorunderthetwo
categoriesofhis”singing”ckang}andhis”acting”chuobutthissocalled
”acting”isoftenpurelytechnicalandnsistsofcertainnventionalwaysof
expressingetions梚nthe;istoustheshockinglyinartisticheavingand
sadonnaschest;andintheeast;istooccidentalsthe
ludicrous
andbeautyandagoodvoiofactingisalosatisfythe
audiencebutaybebeautifulandeveryposea
perfeeilanfangby
aricansisessentiallyrrect;althoughhouchofhissingingis
apprearvelsathisbeautifulposesand
gest