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aricansisessentiallyrrect；althoughhouchofhissingingis
apprearvelsathisbeautifulposesand
gestures；hisgraceful；slongblackeyeb
………………………………
第85节
roininegait；his
flirtatioussideglancesandtheefake
sexappealhthechineseaudienceandisatthe
baendouspopularityinchinaanartist；this
appealisuniversal；foritspeaksthelanguageofgestures；eationalas
siodesenseoftheayappropriatelyleatheaba
shearerorruthghattertonoberidingon
horsebackorpaddlingaboat；hisactingisneitherbetteorworse
thanthatoffiveyearolddaughterboo
stickbethighs
ifas；hatthe
plot；assiestcharacter；thedialogue
uniortant；ances；
veryoftenpopularseletheoperas；ratherthantheentireplays；aregiven；
inthesannerthatoperaticselectionsarerenderedinusicalnceits
theaudienceknohestoriesbyheart；andthecharactersareregnizedbytheir
nventionalsksandstusratherthanbythententsofthedialoguethefirst
yiiandras；asinextantasters；nsisted；hafew
exceptions；offouractsthesongsineachactoadefinitesetoftunesina
usianyexisting
piestheyareleftout；hedialoguepartwaslargely
spokenexteore
inthesoas”thesongsineachacteperson；
althoughnyaitation
probablyduetothesas”the
litationsofdratictechniqueuchlessrigid；thereore
freedoandfrohesedrasing
dynastyberofactsrrespondinginlengthtothe
”sesuldbe
usedinsongsofthesaact；severalsingersuldsinginalteationorinunisonin
thesaact；andthetunestheelvesthoseusedinthenorthe
dras；beingofthetypeodulationsoversinglesyllables
ofsuchdras；theberhsihsiangandautuinthehanpalace
hankungperialncubineghaoghiin；
ybetakenasrepresentativeofthenorthedras；oonpavilion
paiyuehfingandtheronaybetakenas
representativeofthesouthedrastheber；althoughnsistingof
taticsequenceoffiveplays；hfour
actsineach
thereisonedifferencebeteoperahethe
operaistheprivilegeoftheclasses；veryoftenattendedforitssocialglitterandoutof
an”operaplex”ratherthanforrealsicalappreciation；sofarastheoccupants
ofthe”goldenhorseshoe95arenentalfoodof
thepoordeeperthananyotherliteraryart；theoperashavegonedoothehearts
ofthepeopleigineapeopleassesknointhestreetsandatall
oddnts；andyouhaveapictureoftherelationbethe
aniainchina；unknoi
or”operania；”andoneyoftenseeaniafthelohdishevelled
hairandcladintatters；singingtheairsofkungckengchiandactingthepartofthe
greatchukolianginthestreetsofoldpeking
foreignvisitorsatchinesetheatresareoftenstruckbytheexcruciatingnoise
enatingfrohegongsanddruinlitaryplaysandtheequallynerveracking
falsettooflesingers；this
st；onthestobe
unterevidencedbytheapparentfortericanstoleratesqueaks
frohesaxophoneandothersounddnessfrohejazzbandany
chinesegentlensnervesonenditispossiblyallaquestionofadaptationbutthe
originofthedruandgongsandthefalsettocanonlybeunderstoodinthelightof
chinesetheatresurroundings
thechinesetheatreofthebettertypeinayardliketheelizabethantheatre
instcases；hoporaryhigh
abovethegroundiatheopen；orsotisrightacrossathoroughfare；tobetaken
dodiatelyaftertheoccasionthetheatrehereforeintheopenandthe
actorshadtopetehthepeddlerscries；thebarberstuningforks；the
ltsugarsellerssllgongs；theshoutingofn；enandchildrenandthe
barkingofdogsabovesuchadin；onlyathinfalsettokeyedinahighpitchuld
havebeenheard；asanybodyyverifyforhielfthegongsanddruwerealso
usedasaansofattractingattention；theyalheplaysanduldbe
heardaleaovieswhen
stagedinadetheatrebuilding；thevoluofnoisethusproducedistrulyterrific；
butsohoselvestoit；asthearicanshave
adaptedtheelvestojazztheynoiseandtheylifetogeta”kick”outof
ittiedand
”civilized”odetheatrebuildings
fropurelyliterarypointofvieaticainatypeofpoetry
yfireliefthat；
lovelyasthetangpoetryis；asandtheodddraticsongs
hsiaotiao｝tofindsoofovesre
orlessalongcertaintraditio
………………………………
第86节
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
astri