Heavenly Corpse Transformation

Talisman Demon, Heavenly Corpse.

31

The lyrics of Wen Wenshan possess a lofty spirit and a profound realm, far surpassing those of Sheng Yu, Shu Xia, and Gongjin. They are akin to the lyrics of the Earl of Cheng-yi from the early Ming, which neither Jidi, Mengzai, nor their peers would dare aspire to.

32

He Ning's Changming Nü lyrics read: "The sky is about to dawn. The palace water-clock drips, its sound winding through the flowers; few stars remain within the window. Cold mist chills the bed-curtain, the waning moon's light sinks behind the treetops. Dreams broken in the embroidered chamber, all is silent and empty. I force myself to rise, my brows knitted in sorrow." The first half of this piece is in no way inferior to Duke Xia Ying's Xi Qian Ying.

Notes: (1) Xia Song's Xi Qian Ying Ling: "Clouds scatter like silk, the moon hangs like a hook. The curtains are rolled up at the Weiyang Tower. The night is cool, the Silver River cuts through the celestial flow, the palace gates lock in the clear autumn. Trees of the Jade Terrace, dew on golden stems. Phoenix-marrow incense coils in the burner like mist. Three thousand beauties crowd the imperial excursion, in the water-palace they perform the Liangzhou."

33

Li Xisheng of the Song dynasty wrote in his Poetry Talks: "When Tang poets composed, they prioritized an ancient and lofty tone. Even if the intent was distant and the language sparse, they were all fine works. Later generations, though precise and appropriate, possess a vulgar spirit and style that ultimately makes one find them detestable." I would add that Northern Song lyrics also do not suffer from being sparse and distant. As for those from Meixi and below, they are precisely what one would call precise and appropriate, yet vulgar in spirit and style.

Notes: (1) See Wei Qingzhi's Jade Fragments of Poets, Volume 10.

34

Since Zhu Zha bitterly disparaged the Caotang Shiyu and promoted the Jue Miao Hao Ci, later generations have blindly followed suit. They do not realize that although Caotang contains some lewd or jocular works, six or seven out of every ten pieces are excellent. As for Jue Miao Hao Ci, excluding the works of Zhang, Fan, Xin, and Liu, eight or nine out of every ten are utterly tedious and insipid. The ancients said: "Small goodness brings small shame, great goodness brings great shame." This is truly no empty statement.

Notes: (1) Zhu Yizun's Postscript to Jue Miao Hao Ci: "Since the Caotang Shiyu became popular, the works of lyricists have cast aside the Jichu and Yang'a styles, and the songs of the 'commoners' have advanced. Although Zhou Gongjin's selection in Jue Miao Hao Ci is not entirely pure, it contains many brilliant lines; compared to what is recorded in Caotang, the distinction between the refined and the vulgar is clear." (2) Han Yu's Letter to Feng Su on Discussing Literature: "When I occasionally compose vulgar writings for the sake of affairs, I feel ashamed as I set brush to paper. Yet when I show them to others, they think them good. Those who feel small shame are told it is 'small goodness,' and those who feel great shame are inevitably told it is 'great goodness.'"

35

The families of Meixi, Mengchuang, Yutian, Caochuang, and Xilu, though their lyrics differ, all share the same failing of superficiality. While this is a product of their era, it is also a limitation of their talent. That modern people discard the Zhou tripod to treasure a broken clay pot is truly difficult to fathom.

36

My friend Shen Xinbo sent me a Die Lian Hua from Paris, which reads: "Outside the curtain, the east wind arrives with the Yan. The colors of spring come from the east, following the path I took when I came. In an instant, green grass grows on the parade ground; returning late, I resent the spring for coming too early. A city of brocade is circled by spring water. In the courtyard, the music of sheng and pipes; the young men have enjoyed themselves for years. I set my heart on opening the embrace of a lonely traveler, unaware of the names of the idle flowers and birds." This piece belongs between the works of the Yan father and son; the people of the Southern Song could not have written it.

37

"The monarch vainly used the music of the conquered Chen, only to exchange it for a few acres of fields at Leitang." These are the words of a politician. "Changling is also but an idle mound; in the future, who will know if it is more than Zhong's?" These are the words of a poet. The eye of a politician is confined to one person and one event. The eye of a poet observes by connecting the ancient and the modern. When a lyricist observes things, they must use the eye of a poet, not the eye of a politician. Therefore, works concerning current events or nostalgia for the past should be forbidden to lyricists, just as birthday lyrics are.

Notes: (1) Luo Yin's Sui Emperor's Tomb: "Entering the city, I board a bridge; leaving, I board a boat. The red towers remain day after day, the willows year after year. The monarch endured to take the music of the conquered Chen, only to exchange it for a few acres of fields at Leitang." (2) Tang Yanqian's Zhongshan (the place where Emperor Gaozu's elder brother Zhongshan lived in seclusion): "A thousand years of traces are left to the wild vines, the mountains and rivers of Han in the hometown of Pei. Changling is also but an idle mound; in the future, who will know if it is more than Zhong's?"

38

The novels of the Song people are mostly untrustworthy. For instance, Xuezhou Cuoyu claims that the Prefect of Taizhou, Tang Zhongyou, was intimate with the official courtesan Yan Ruinu. Zhu Hui'an arrested and punished her. When Hui'an was transferred, the Judicial Commissioner Yue Lin arrived in Taizhou on an inspection, and Ruinu begged to be allowed to go free. Yue asked, "If you leave, where will you go?" Ruinu composed the Bu Suan Zi lyrics: "If I stay, how can I stay..." and so on. In fact, these lyrics were composed by Tang Zhongyou's relative, Gao Xuanjiao, for Ruinu to sing while offering wine, as seen in Master Zhu's "Memorials Impeaching Tang Zhongyou." Thus, the Zhu-Tang case recorded in Qidong Yeyu is likely also untrustworthy.

Notes: (1) Tao Zongyi's Shuofu, Volume 57, quoting Xuezhou Cuoyu: "Tang Yuezhai Zhongyou, courtesy name Yuzheng, was Prefect of Taizhou. Zhu Hui'an was the Intendant of Eastern Zhejiang, and the two were often at odds, even to the point of mutual impeachment. Emperor Shouhuang asked the ministers who was right and who was wrong. They replied: 'These scholars are merely arguing over idle pride.' Yuezhai was intimate with the official courtesan Yan Ruinu, and Hui'an arrested and imprisoned her. The Judicial Commissioner Yue Shangqing Lin arrived on inspection and cleared the case; Ruinu begged to be allowed to go free. The Commissioner asked, 'If you leave, where will you go?' Ruinu composed Bu Suan Zi, the end of which reads: 'If I stay, how can I stay? If I leave, I must eventually leave. If I can have mountain flowers stuck all over my head, do not ask where I am going.' The Commissioner laughed and released her." (2) Zhu Xi's Complete Works of Master Zhu, Volume 19, "Fourth Memorial Impeaching Tang Zhongyou": "On the sixteenth day of the fifth month, at a banquet, Tang Zhongyou's relative Gao Xuanjiao composed a song titled Bu Suan Zi, the latter part of which reads: 'If I leave, how can I leave? If I stay, how can I stay? If I wait until I have mountain flowers stuck all over my head, do not ask where I am going.'" (3) Zhou Mi's Qidong Yeyu, Volume 17, "The Full Story of the Zhu-Tang Impeachment": "When Zhu Hui'an investigated the case of Tang Zhongyou, some said that Lu Bogong once had a rift with Tang while they were at a book gathering, and Zhu supported Lu, thus suppressing Tang; this is not so. It was because Tang usually relied on his talent to slight Hui'an, and Chen Tongfu was highly promoted by Zhu and was always at odds with Tang. When Tongfu traveled to Taizhou, he once dallied with a registered courtesan and asked Tang to remove her from the register, which Tang promised. By chance, at a county gathering, Tang said to the courtesan: 'Do you really wish to follow Master Chen?' The courtesan thanked him. Tang said: 'You must be able to endure hunger and cold to do so.' The courtesan was greatly enraged upon hearing this. From then on, when Chen went to the courtesan's house, there was no longer the fawning of before. Chen knew he had been betrayed by Tang and hurried to see Zhu. Zhu asked: 'What does little Tang say lately?' Chen replied: 'Tang says that you, sir, are still illiterate, so how can you be an official?' Zhu harbored resentment and requested to inspect the area again because there was an unjust case in the jurisdiction. When he arrived in Taizhou, Tang was slightly late in coming out to welcome him, and Zhu believed Chen's words even more. He immediately demanded the county seal and handed it to the subordinate official. He then gathered Tang's crimes and submitted a memorial, and Tang also sent a memorial up. At that time, Tang's fellow townsman Wang Huai was in power. After it was presented, the Emperor asked Wang. Wang replied: 'These scholars are merely arguing over idle pride.' Thus, the matter was settled for both. Details can be found in Zhou Pingyuan's Wang Jihai's Diary. However, the Chronicles and Records of the Daoist Lineage written by the worthies of Zhu's school claim that Jihai favored Tang and dismissed them both; this is not a fair judgment. I heard this account from Chen Boyu Shiqing, who obtained it directly from the various Lus of Wu."

39

The two songs of Canglang and Feng Xi already established the style of the Chu Ci. However, the most skillful of the Chu Ci are attributed to Qu Yuan and Song Yu, while the later lyrics of Wang Bao and Liu Xiang are not included. The most skillful of the five-character ancient poems are truly attributed to Ruan Sizong, Zuo Taichong, Guo Jingchun, and Tao Yuanming, while the earlier Cao and Liu, and the later Chen Zi'ang and Li Taibai are not included. The most skillful of the lyrics are truly attributed to the Later Sovereign, Zhengzhong, Yongshu, Shaoyou, and Meicheng, while the various lords of the Southern Song are not included.

Notes: (1) Mencius, Li Lou I contains the Song of the Child: "The water of the Canglang is clear, it can wash my tassels. The water of the Canglang is muddy, it can wash my feet." (2) Analects, Wei Zi: "The madman of Chu, Jie Yu, passed by Confucius singing: 'Phoenix, oh Phoenix! How has your virtue declined? The past cannot be corrected, but the future may yet be pursued. Give it up, give it up! Those who govern today are in danger!'"

40

The lyrics of the Tang and Five Dynasties have lines but no structure. The lyrics of the famous masters of the Southern Song have structure but no lines. Those that have both structure and lines are only the works of the Later Sovereign of Li after his surrender to the Song, and a few others such as Yongshu, Zizhan, Shaoyou, Meicheng, and Jiaxuan.