第84节

    ,

    thenirose,lestthes,shortofleaves,hu.

    esyetthroughh

    theirdance

    thepaleonshhheir.

    hepeculiarlyeseending,easo

    thought,thepoetshielfisa

    littletoorebelliousfortheaverageesepoetry.theusualnoteisoneofsadness

    andresignation,asinsonyoftufuspoe,describingtheharassingeffectsof

    ple:

    icatoshihhaovillageandstayedthateve.

    abailiffcafanginthenight.

    theoldn,hearingthis,cliedoerthewall,

    andtheoldansahebailiffatthedoor.

    oh,hebailiffsvoicesoterrible,

    andansplaintsosoftandlow

    ”ihavethreesonsallattheniehgpost.

    aetosay

    theotherthebattledied.

    letthosethey,

    forthoseore.

    nohehousetheresonlygrandso;

    forhiistherstillreins梬ithout

    adetpattiattogoabout.

    althoughstrengthisebbingweakandlow,

    illgohyou,bailiff,inthefronttoserve.

    foriy,and

    torroardhurrytothehoyangfront.”

    桽ospakethean,andinthenight,thevoice

    becasoloper.

    andintheingyshe;

    aloneshesaidgoodbyetoheroldn.

    thatisteristiftheartofrestraintandthefeelingofsadnessinese

    poetry.itgivesapicture,expressesasentint,andleavestheresttothereaders

    igination.

    ix.dra

    theeanpositioureandthat

    bodyofliteratureeanbytheternaly,

    literatureoftheiginatioer,includingthedrasanden

    inthepehkuaorveacularlanguage,andnsequentlyriddenh

    alstandards,andnstantlygrethatfreedobecause

    esedraticpositionhappeobelargelypoetry,itedas

    literatureonahigherlevelthanthenovels,andalstonaparhthetanglyrics.

    scholarsedtobeknoatiing

    novels.ontheasousorsubjectto

    debateliketheauthorshipofnovels.

    frooaginativeliteraturenstantlygrewin

    beautyandiortaisonitsown

    rits,aedaninfluenceoverthepeopleasnoalliteratureever

    sueededindoing.

    thishybridaatsforitspeculiarpositionand

    alsreatpopularinflueheesedraisabinationofdialogues

    inthespokenlanguage,heelligibletothepopulad

    songsenpartakeofahighpoeticquality.itsnatureistherefore

    entirelydifferentfrohatoftheionalenglishplay.theso

    shortintervalsandarereinprohanthespokenparts.asisnatural,the

    ianlovesandsorrooreoftenburstoutintosongs.actually,thetheatreisattended,frohe

    pointofvieoreforitssingingthanforitsag.one

    <,ratherthanto”see”it.it,therefore,

    thatthetranslationoftheesea”issleading,anditwouldbe

    repropertospeakofitasese”opera.”

    onlybyuandingtheofoperasothe

    people,aspositiorulyuood.forthe

    appealofthedra梕speodeenglishdra梚slargelyao

    theuanding,akesabinedappealtothesensesoflour,

    voiotion.thediufthedraisthespokenlanguage,but

    thatoftheoperaissidthesong,atheatregoertendsaplayexpectsto

    follobyitsnfliharacteranditssurprisesand

    yofa,andanoerispreparedtospendaneveningduringhhis

    intellebedandhissensessoothedbysidlourand

    song.

    thisaostdratiancesarenothattendinga

    sendti,althoughpeoplegotothesaoperasforthefiftiethtihoutlosing

    theedgeoftheirkeenenjoynt.thusitishtheesetheatre.thesocalled

    ghsi”pekingplays”hasageneralrepertoireoflessthanahundredpiecesh

    areplayedoverandainhoutlosingtheirpopularity.andthepeople

    applaudbyshouting”hao”invariablyattheariasostintenseor

    intria,andag

    isrelyanaainsoially

    thesalevelasthatofadonnas.

    theeseoer,therefore,appraisestheeseactoruhetwo

    categoriesofhis”singing”g}andhis”ag”chuo.butthissocalled

    ”ag”isofteeidnsistsofcertaiionalwaysof

    expressiions梚oustheshoglyinartisticheavingand

    sadonnaschest,andi,istooctalsthe

    ludicrous

    ayandagoodvoiofagisalosatisfythe

    audieaybebeautifulandeveryposea

    perfeeilanfangby

    arisisessentiallyrrect,althoughhouchofhissingingis

    apprearvelsathisbeautifulposesand

    gestures,hisgraceful,slongblackeyeb

    ...