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Zheyin ToC Compare Guan Ju Qu (1511) / Themes: Confucian / Birds | 聽錄音 Listen to my recording with transcription / 首頁 |
01. Cry of the Ospreys
- Zhi mode, standard tuning: 2 1 2 4 5 6 1 2 |
關雎
1
Guan Ju An osprey 3 |
The title of this melody comes from the title of the first poem in the over 2,500 year-old Book of Songs (Shi Jing), said to have been compiled by Confucius. However, whereas the melody Guan Ju Qu in Taigu Yiyin (1511) sets to music the whole poem (and the next four poems) word for word, here the lyrics are quite different. Here they form not so much the love songs of the original first five poem as they do as a political commentary on the affairs of the Zhou dynasty.4 This includes mention of such people as Shao5, but the focus here is now on such matters as how the marriage of Wen Wang and his queen symbolize the harmony of society under his rule.6
Here only Section Six directly quotes the Guan Ju from the Shi Jing, but it only sets to music two of the five stanzas that comprise the original poem (stanzas 1 and 3; compare 1511, which sets to music the entire first five Shi Jing poems).
The original Shi Jing lyrics included in the present version of Guan Ju are thus only as follows:7
3
He seeks but cannot get her,
he thinks of her day and night.
Twisting and turning in his plight. (why not "Alas! Alas!"?)
He twists and turns in his plight.
Section Six is in harmonics, making it stand out. However, other than these four-character phrases the lyrics here basically consist of phrases of irregular length.
It was common within the qin tradition to attribute Guan Ju to Zhou Gong, son of Wen Wang and younger brother of Wu Wang, first ruler of the Zhou dynasty (1122-255). However, this title does not seem to appear on early qin melody lists, and it is not at all clear from where the melody came when it started appearing in qin handbooks around 1500.
During the rest of the Ming and throughout the Qing dynasty Guan Ju was one of the most popular of all qin pieces, found in at least 54 handbooks from 1491 to 1894.8 Of these, the 1511 version may actually have been intended for singing. And later ones perhaps added lyrics simply because these two earliest known tablatures had them. Another possibility is that lyrics were included because of an old attitude that said, "if you play then you must sing it".
On the other hand, most surviving Guan Ju tablature is for a purely instrumental piece, with only about 10 (including the first four) having lyrics and only two seeming to have the complete original Shi Jing lyrics. Mostly of the lyrics are variants on the lyrics used here.9 The aim of the lyrics seems intended to edify the player about the significance of the poem as well as the melody.
In my attempt to reconsruct what might have been the original melody I try to pay attention to the way someone would read or recite the lyrics. Actually singing them seems quite awkward but it might be interesting for the player to keep them in mind while playing or for someone else to recite them while listening. That this was at least sometimes done is evidenced by some published later criticism of such a practice. In contrast, versions such as this one from 1722 relate how the music itself can be sufficient to express the significance of the theme.
The last of the traditional handbooks to include a version of Guan Ju was dated 1894. Thus, any version heard today will be one not passed on through lineal descent but through a modern reconstruction from old tablature, such as my own versions from here (on CD) and from 1511.
The Beyond-Sounds Immortal says,
Ah! His happiness - could anything be so great!
Music
Timings follow the recording on
my CD;
聽錄音 listen with
my revised transcription.
In addition I have made a video that adds, as a prelude, Section 1 of the 1511 Guan Ju Qu
Nine titled sections, all with lyrics (中文歌詞;
pdf):
11
00.00 1. The prince-like osprey finds a good marriage
1.
Guan Ju references
2.
Zhi mode
3.
Image
01.06 2. Very gentle are (the wives of the royal family of) Zhou and Shao
02.09 3. Using (a birdcall) as a metaphor for (the queen's virtue)
02.40 4. Praise (her) virtue and acclaim (her) conduct
03.26 5. (Like) the wind (, the queen) guides the world
04.00 6. They mutually call out in harmony to each other
(harmonics; sing stanzas 1 and 3)
04.19 7. The correct (wedding) ceremony (leads to) a successful marriage
05.19 8. (The king and queen's) virtue (is) as great as heaven and earth
05.59 9.(The king and queen have) eternal worship in the Zhou family temple
06.37 "Sound begins ending" (? Play closing harmonics)
06.54 end
Footnotes (Shorthand references are explained on a
separate page)
42402.191 關雎 Guan Ju begins by saying it is the name of a bird, same as 魚鷹 yuying (fish hawk, etc.). It then mentions the Shi Jing poem; although the poems lyrics have been set to qin melodies such as Guan Ju Qu, the entry does not mention qin or music.
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Standard tuning is also considered as 5 6 1 2 3 5 6 , but 1 2 4 5 6 1 2 seems to work better here. The music of this version of Guan Ju is more diatonic than pentatonic. The accompanying transcription, by treating the open first string as 1 (C) makes the tonal center here 5 (G), the equivalent of the open fourth string; the secondary tonal center is then 2 (D), the equivalent of the open second string. It is tempting instead to consider the open fourth string as 1 (transposing the tuning to 4 5 7 1 2 4 5). In this case the secondary tonal center would generally be 5 (G). However, 4 (F) would be more prominent than is common in qin melodies. And in this case the scale generally used would then become 1 2 3 4 5 6 7b 1 , with 3 often changed to flatted 3 and flatted 7 sometimes changed to 7. For more information about zhi mode see
Shenpin Zhi Yi. For modes in general see Modality in Early Ming Qin Tablature.
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See full image with further information
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4. Confucian commentary used as lyrics | Original tablature for Guan Ju (.pdf) |
The reason for these questions is that, based on my understanding of the music as expressed in my transcription and recording (linked above as well as in the copies of the punctuated text linked below), it is not clear how well the person (or people) who paired the words and music here actually knew and understood both. To examine this keep in mind that, at least until the 20th century, qin music and lyrics were almost always paired following a quite strict traditional formula: one character for each right hand stroke and certain left hand plucks. And to complicate matters even more, the original tablature (see at right) has no punctuation,
With this in mind one should examine three possibilities:
So far, my examination of all this (and this includes the other melodies in the present handbook as well) suggests that the music came first; perhaps in some cases the music was adjusted to fit the lyrics that were being added, but the music was not originally intended for singing. There being no punctuation in the tablature, my understanding of the musical phrasing largely comes from the music itself. And the music, rather than always following the literary phrasing, sometimes does not fit well with the standard punctuation given for the texts in non-musical sources, inluding where the text is quoting Zhu Xi. In addition, in at least some cases the original by Zhu Xi may have been paraphrased to fit the music according to the formula just mentioned. In other cases there may be more than one way of understanding the text, allowing different interpretations of the phrasing.
This needs to be studied further (beginning with a full translation of the text/lyrics). At present, though, an example of where I cannot make the phrasing of the music fit the phrasing of the lyrics can be seen and heard at the end of Section 8 (mm.241-260 of my my transcription. Here, as usual, I chose rhythms based on structures I find in the music, at the same time trying to keep in mind the structures implied by the lyrics. The melody is in zhi mode, with the tonal center on 5 (transcribed here in staff notation as G). There is a fairly common ending to this section: a phrase (mm.251-253) ending on 2 (A) followed by a phrase (mm.254-260) ending on 1 (G). As can be seen, both phrases begin with the same four tablature clusters (comprising 4 notes), but whereas the former directly ends with 7-6-6, the latter goes through an extended elaboration before ending on 6-5-5. This structure requires beginning the phrase at m.251 with the characters "人道", which in Zhu Xi ends a phrase. (For "你那" and other pairing inconsistencies see
this and its surrounding footnotes.)
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5.
召 Shao
"Shao" apparently refers to the family of 召公 Shao Gong, the Duke of Shao. He was a brother of 武王 Wu Wang. Shao became "famous for his benevolent stance towards the people in the south he was entrusted to govern....The Duke of Shao was a functionary in the central government of the Zhou. The post was taken over by heirs of Shao Gong Shi, yet only a few names are transmitted." (China Knowledge, which has a list of the known later Dukes of Shao).
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6.
Significance of the lyrics (the complete lyrics are
below)
Most versions with lyrics (listed below) focus on the virtues of Wen Wang and his wife. Likewise all the versions with commentary discuss these virtues. This was typical of classical Chinese commentary on the poems in general; it has only been in modern times that commentary has turned to the original romantic themes of many Shi Jing poems.
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7.
Shi Jing lyrics in Guan Ju compared to
the original lyrics
The original Shi Jing poem has 20 four-character phrases arranged as five verses of four phrases (or two couplets) each each ([{4+4}x2] x 5). Here lines from this original poem can be found only in Section 6, as follows:
8.
Tracing Guan Ju (tracing chart)
The chart below is based largely on Zha Guide 11/109/179 關雎曲 Guan Ju Qu. In all, at least 54 handbooks from 1491 to 1894 include Guan Ju or a related title.
Of these, nine early handbooks include lyrics:
No later versions seem to have lyrics.
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9.
Differing lyrics
For versions with the complete original Shi Jing lyrics see
1511 and 1618 in the
chart below. Those with partial Shi Jing lyrics usually place them in their Section 6. The quite varied similarity of the lyrics of these other versions might be accounted for by the likelihood that they were never actually sung. Someone would learn a version with lyrics but in the process of making it his or her own would change the melody. Changing the melody usually required changing the lyrics because, whether actually sung or not, they had to accord with the standard入 pairing method. This is probably one reason why 1730 has only the partial Shi Jing lyrics in its Section 6: it was revising an earlier melody, not creating a new longer one, and these other versions mostly have a short version of the Shi Jing lyrics in their Section 6.
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10.
Original preface
The original Chinese preface can be seen under
關雎.
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11.
Music and lyrics (compare
1511; timings below
follow my recording 聽錄音)
The original section titles are:
The lyrics here begin by using phrases from commentary on the Shi Jing ("江沱汝漢" are the Yangzi, Tuo, Ru and Han rivers, all flowing through the southern part of Zhou territory; "河洲" is a general name for the area. See, e.g., commentary by Zhu Xi at ctext.org, etc.)
Original Chinese text of 1491 Guan Ju.
(pdf of following;
pdf from
Zha's Guide)
The complete original Chinese section titles and lyrics are as follows. The phrasing, which follows my understanding of the music, in places somewhat different from that in Zha's Guide. Here below, two consecutive punctuation marks without text between them mean that the previous phrase should be repeated; it is not clear whether it is intended that the lyrics also be repeated; Thanks to 趙鵬 Zhao Peng for the translation):
江、沱、汝、漢河洲,赤沙碧草地偏幽。
Jiāng, Tuó, Rǔ, Hàn hé zhōu, chì shā bì cǎo dì piān yōu.
On islets of the Jiang, Tuo, Ru, and Han rivers; secluded land of ruby sands and emerald grasses.
看並立王鳩,雌雄聲應也氣求,
Kàn bìng lì wáng jiū, cí xióng shēng yīng yě qì qiú,
Lo, a pair of ospreys, a couple tweet in harmony.
關關相友和柔。 。
Guān guān xiāng yǒu hé róu. .
"Guan Guan" (they call), amicably and gently, .
雙宿食,雙並游,鳩無相狎愛姿優那游。
Shuāng sù shí, shuāng bìng yóu, jiū wū xiāng xiá ài zī yōu nà yóu.
Together they rest and eat; together they swim, affectionate but never inappropriate.
水禽鳥,難為儔,鳧鷖狀類,德不相侔。
Shuǐ qín niǎo, nán wéi chóu, fú yī zhuàng lèi, dé bù xiāng móu.
Waterfowl are hard to pair; for the likes of ducks and gulls, there is no matching virtue.
摯而那有別,「關雎」冠於毛傳首,
Zhì ér nà yǒu bié, guān jū guān yú Máo chuán shǒu,
Expressing affection while apart, "Guan Ju" is at the pinnacle of poetry passed on by Mao.
思憶憶,周文王后妃有聖德,宜相好逑。
Sī yì yì, Zhōu Wén Wáng hòu fēi yǒu shèng dé, yí xiāng hǎo qiú.
Always remember this, King Wen's queen had great virtue, making a fine consort.
(The remaining lyrics are not yet translated)
聲入終
(加泛音亦可 06.37)
(曲終 06.54)
Not yet translated.
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Return to top
Appendix: Chart Tracing Guan Ju
Based mainly on Zha Fuxi's Guide
11/109/179.
琴譜
(year; QQJC Vol/page) |
Further information
(QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu) |
1. 浙音釋字琴譜
(<1491; I/203 [here]) |
8+1L; lyrics throughout paired in
standard way
Section 5 (I/205): "關關雎鳩,在河之州。 窈窕淑女,君子好逑。求之不得...." |
2. 謝琳太古遺音
(1511; I/277) |
Guan Ju Qu; 10L, but marked by circles rather than numbered; music very different but still related;
different lyrics: first five poems of 詩經 Shi Jing, repeated |
. 黃士達太古遺音
(1515; ___) |
Same as 1511
|
3. 西麓堂琴統
(1525; III/152) |
8 (5L); music like 1491 but with lyrics only in Section 5 (III/153)
Compare lyrics to 1491: only first four lines: 關關雎鳩,在河之州。 窈窕淑女,君子好逑。 |
4. 發明琴譜
(1530; I/366) |
8L; similar music, again different lyrics
|
5. 風宣玄品
(1539; II/261) |
10; related mostly to 1491 but no lyrics
|
6. 梧岡琴譜
(1546; I/430) |
8; related to 1491 but no lyrics
Copied in 1561#2 |
7. 步虛僊琴譜
(1556; III/285) |
9; related
|
8. 太音傳習
(1552; IV/134) |
10; related
|
9. 太音補遺
(1557; III/376) |
8; related
|
10a. 琴譜正傳
(1561; II/494) |
7; "yu mode"; related but quite different (compare next)
|
10b. 琴譜正傳
(1561; II/503) |
8; same as 1546
|
11. 龍湖琴譜
(1571; 琴府/255) |
9TL; lyrics = 1491 but music seems simpler
|
. 新刊正文對音捷要
(1573; #53) |
Same as 1585?
|
12. 五音琴譜
(1579; IV/231) |
10
|
13. 重修真傳琴譜
(1585; IV/438) |
10L; related melody; lyrics of S1-S9 are like 1491;
|
14. 玉梧琴譜
(1589; VI/56) |
8
|
.
真傳正宗琴譜
(1589; VII/205) |
10+1; not in 1589 edition
|
15 真傳正宗琴譜
(1609; VII/205) |
10+1; many differences but still related
|
16. 琴書大全
(1590; V/504) |
14+1; quite different but still related
|
17. 文會堂琴譜
(1596; VI/237) |
8
|
18. 藏春塢琴譜
(1602; VI/397) |
Same as 1589?
|
19. 陽春堂琴譜
(1611; VII/401) |
10
太古正音欽佩 |
20.
松絃館琴譜
(1614; VIII/134) |
10
|
21.
理性元雅
(1618; VIII/246) |
10L; lyrics like 1585 but different section titles
|
.
理性元雅
(1618; VIII/309) |
3; only standard qin setting using only the complete lyrics of Shi Jing #1? (compare 1739, 1745 and 1835)
New melody using only five strings |
22. 樂仙琴譜
(1623; VIII/382) |
Guanju Qu; 10; related
|
23. 古音正宗
(1634; IX/340) |
9
|
24. 義軒琴經
(late Ming; IX/432) |
10 (#1 is missing)
|
25. 徽言秘旨
(1647; X/145) |
10
|
. 徽言秘旨訂
(1692; fac/) |
Same as 1647?
|
26. 友聲社琴譜
(early Qing; XI/184) |
10"章"
嚴譜; afterword |
27. 琴苑新傳全編
(1670; XI/376) |
10; compare previous
|
28. 大還閣琴譜
(1673; X/397) |
10
|
29. 澄鑒堂琴譜
(1689; XIV/259) |
10
|
30. 蓼懷堂琴譜
(1702; XIII/249) |
10; zhi yin
|
31. 誠一堂琴譜
(1705; XIII/384) |
10
|
32. 五知齋琴譜
(1722; XIV/480) |
10+1; contains numerous interlineal comments on how to play expressively, as well as ending comments on how the music itself reflects what was being expressed by the original poem |
33. 存古堂琴譜
(1726; XV/255) |
10
|
34. 光裕堂琴譜
(~1726; XV/334) |
10
|
35. 立雪齋琴譜
(1730; XVIII/28) |
?L; 關雎傳 Guanju Zhuan; "古譜新詞 old music new words" (music is related, "lyrics" are actually commentary ["傳"] by Zhu Xi);
Lyrics, which follow standard pairing, begin, 美哉,關雎之詩,其言文王后妃之德乎詩.... |
36. 琴學練要
(1739; XVIII/138) |
(治心齋琴譜); 3; gong yin; "元白伯新譜"
another new melody; lyrics = Shi Jing #1 but it is not a standard pairing: many more notes than words |
37. 春草堂琴譜
(1744; XVIII/252) |
中呂均商音 ("4th string is shang"); 10; the afterword by 晴峯先生 adds the comment, "如俗以讀書聲撫之,失之遠矣 if you play in a common way using the sound of reciting the text you lose the profunditiy." |
. 大樂元音
(1745; XVI/370) |
Guan Ju Zhang; 3; Shi Jing lyrics;
Note names, no tablature |
38. 琴香堂琴譜
(1760; XVII/87) |
10
|
39. 自遠堂琴譜
(1802; XVII/373) |
10; shang yin
|
40. 裛露軒琴譜
(>1802; XIX/266) |
10; "from 1722"
|
41. 響雪山房琴譜
(>1802; XIX/390) |
10
|
42. 琴譜諧聲
(1820; XX/154) |
10; "角商 jiao shang"; "S9 = S4 but change its ending";
Afterword: "from 將雲章l; also mentions 1614 and 1673 |
43. 峰抱樓琴譜
(1825; XX/331) |
10
|
44. 鄰鶴齋琴譜
(1830; XXI/52) |
10; #9 from #4; no mode indication but related
|
. 律音彙攷
(1835; XXII/192) |
Seven settings in all: 173, 177, 180, 186 (qin), 192 (qin), 198 (se), 204 (聲字譜)
173, 177, 180, 204 have Shi Jing lyrics and note names only (details) |
45. 悟雪山房琴譜
(1836; XXII/327) |
10; 中呂均商音
|
46. 張鞠田琴譜
(1844; XXIII/332) |
10; tablature + note names in popular notation
|
47. 稚雲琴譜
(1849; XXIII/453) |
10; includes phrase count
|
48. 蕉庵琴譜
(1868; XXVI/55) |
10; shangyin
Preface |
49a. 天聞閣琴譜
(1876; XXV/221) |
10; shangyin yu diao; " = 1744"
|
49b. 天聞閣琴譜
(1876; XXV/224) |
10; shangyin; " = "1702"
|
50. 天籟閣琴譜
(1876; XXI/160) |
10
|
51. 響雪齋琴譜
(1876; ???) |
originally part of 1807?
10; zhi yin (not in QQJC: info from Zha Guide) |
52. 綠綺清韻
(1884; XXVII/393) |
10, but QQJC edition cuts off in middle of 7
|
53. 枯木禪琴譜
(1893; XXVIII/90) |
10
|
54a. 琴學初津
(1894; XXVIII/276) |
10; huangzhong jun shang yin
Long afterword |
54b. 琴學初津
(1894; XXVIII/340) |
10; 關雎,復古譜 Guan Ju Fugu Pu ; "黃太調宮音 Huangtaidiao gongyin";
Standard tuning; long afterword speaks of "fu gu returning to old" by omitting lyrics |
Return to the Zheyin Shizi Qinpu index or to the Guqin ToC.