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XLTQT  ToC   FMQP  ToC   Confucian theme   /   Illustrations: 18 Scholars   Four Arts 聽錄音 Two recordings with transcriptions / 首頁
46. Ying Zhou (1525)
Together with Eighteen Scholars Ascend Yingzhou (1530)
- both shang mode2 (1 2 4 5 6 1 2 )
(十八學士登)瀛州 1
(Shiba Xueshi Deng) Yingzhou
18 Cranes represent 18 Scholars 3        

After Li Yuan established the Tang dynasty (see chart) he enfeoffed his son Li Shimin as Prince of Qin and also appointed him Chief Guardian of the Emperor. In this capacity (i.e., before Li Yuan abdicated, allowing his son to become the Tang dynasty Taizong emperor in 626), in order to promote good government after the unrest accompanying the change of dynasty, Li Shimin brought together 18 scholars to advise the government. He appointed Du Ruhui (Wiki) to be first among them.

During the reign of the emperor Tang Xuanzong (r. 713 - 756) this group was formally organized as the Hanlin Academy (Wiki). Joining the academy became known as called "ascending Yingzhou".

Depictions of 18 scholars in an elegant gathering came to be a motif in Chinese painting (sometimes in combination with the Four Arts).5 And because in classical Chinese pronunciation the word for crane (in Mandarin "ho") is pronounced the same as the word for study (xue), in art there is also the motif of 18 cranes, to represent the 18 scholars.6

Two versions of this piece are played here, dated 1525 and 1530.7 These are the earliest two of the five versions known to have survived. All five date from the Ming dynasty, as follows:8

  1. Xilutang Qintong (1525)
  2. Faming Qinpu (1530)
  3. Fengxuan Xuanpin (1539)
  4. Longhu Qinpu (ca. 1571)
  5. Wenhuitang Qinpu (1596)
Comparing these versions reveals the following:

The variety of these versions, in both music and lyrics as well as title, suggest that both the theme and the melody were quite popular at the time. However, no version of the melody was picked up by any of the qin schools active at that time; it is perhaps for this reason that the melody did not survive into the Qing dynasty.13

The style and content of the 1530 version of this melody, in addition to its stylistic connections to the version in 1539, is quite strikingly similar to that of another piece from 1539, Great Ming United).

 
Original commentary15
From 1525 (none in 1530, but see 1571).

1525 commentary
This brief afterword is as follows (translation incomplete):

瀛州一曲,音義蕭爽,高出世外,非蟬蛻之士脫去麈滓,安能及此也。
(This seems to suggest that only scholars who are like silkworms and have cast off the dregs can arrive at this point.)

 
Music, section titles and lyrics: 1525 and 1530

1525 Yingzhou (1525 瀛州沒有歌詞 Ying Zhou has no lyrics)
Music and section titles (timings follow my recordings;
listen 聽錄音; see transcription 看五線譜)
  1. 00.00 海天空闊 Hai Tian Kong Kuo (Sea and Sky empty but broad)
  2. 00.49 洞府逍遙 Dong Fu Xiao Yao (In a cave mansion stroll freely)
  3. 01.31 逈隔凡麈 Jiong Ge Fan Chen (Remote separation from common dust)
  4. 02.22 吹笙跨鶴 Chui Sheng Kua He (Blow the sheng mouth organ astride a crane)
  5. 02.55 煮石飡霞 Zhu Shi Can Xia (Boil stones to eat dawn mist)
  6. 03.38 碧桃萬樹 Bi Tao Wan Shu (Jasper peaches in myriad trees)
    04.35 泛音 Closing harmonics
    04.56 曲終 Piece ends

              (N.B.: For the above recording the qin had the first string tuned to Ab; for 1530 it was tuned to Bb)

1530 Eighteen Scholars Ascend Yingzhou (十八學士登瀛洲 Shiba Xueshi Deng Yingzhou)
Music
16 and lyrics17 (timings follow my recording; listen 聽錄音; see transcription 看五線譜)
Five sections (should be six?), untitled; the original lyrics are paired to the music almost one note per syllable
(The recording and transcriptioon are tentative because it was played too fast for singing the lyrics and the lyrics [which affect the rhythms] are not completely translated; also, there are extraneous sounds)

1.   (00.00)
天將昌唐,丕在吾皇。
Tiān jiāng chāng táng, pī zài wú huáng.
Heaven protects the glorious Tang dynasty, greatness on our emperor.

宗文蒐羅俊良。
Zōng wén sōu luó jùn liáng.
He honors scholarly study, searching out superior talent.

禮延納,十八學士在金馬玉堂。
Lǐ yán nà, shí bā xué shì zài jīn mǎ yù táng.
With ceremony he takes 18 scholars into the Hanlin academy.

2.   (00.16)
一個個都是文章鉅公,多聰俊,向鴈塔題名。
Yī gè gè dōu shì wén zhāng jù gōng, duō cōng jùn,     xiàng yàn tǎ tí míng.
Each one is a literary giant, exceedingly intelligent,
        Going to the (White) Goose Pavilion (in Xian) and having their names inscribed (as jinshi)

曾赴瓊林晏,位列在公卿。
Céng fù qióng lín yàn, wèi liè zài gōng qīng.
Sometimes feted at the Red Stone Forest (in Kaifeng), positioned alongside of dukes and nobles.

詞源傾三峽水,筆陣掃千人軍。
Cí yuán qīng Sān Xiá shuǐ, bǐ zhèn sǎo qiān rén jūn.
Their poetry pours forth like water through the Three Gorges, with pens sweeping away large armies.

分三番更直宿,對五夜究遺經。
Fēn sān fān gèng zhí sù, duì wǔ yè jiū yí jīng.
....? (translation imcomplete)

(2.a.)   (00.37)
// 人似洲仙鶴,馬似天邊龍, //
// Rén sì zhōu xiān hè, mǎ sì tiān biān lóng, //
//People resembling an islet of immortal cranes, horses resembling remote dragons.//
清掖感相從。
Qīng yē gǎn xiāng cóng.

文光射斗牛,豪氣貫霓虹。
Wén guāng shè dòu niú, háo qì guàn ní hóng.

峨冠講唐虞,殿前作賦聲摩空。
É guān jiǎng táng yú, diàn qián zuò fù shēng mó kōng.

飄然放志意,二十八宿羅心胸。
Piāo rán fàng zhì yì, èr shí bā xiù luó xīn xiōng.

致君堯舜上,天下比室皆可對。
Zhì jūn Yáo Shùn shàng, tiān xià bǐ shì jiē kě duì.

誰不能秉公,誰不能盡忠,個個公忠。
Shuí bù néng bǐng gōng, shuí bù néng jìn zhōng, gè gè gōng zhōng.

3.   (01.17; 泛起 harmonics begin)
瀛州園囿神仙境,弱水三萬里。
Yíng zhōu yuán yòu shén xiān jìng, ruò shuǐ sān wàn lǐ.

非仙不能至,仙在杳杳靄之間。
Fēi xiān bù néng zhì, xiān zài yǎo yǎo ǎi zhī jiān.

// 官居清要之地, //
// Guān jū qīng yào zhī dì, //

睹諸公追趨青鎖闥,與仙無二。
Dǔ zhū gōng zhuī qū qīng suǒ tà, yǔ xiān wú èr.

4. (01.38; 泛止 harmonics ended)
// 月明玉堂空,路近蓬萊天咫尺,喜君仁臣良。
// Yuè míng yù táng kōng, lù jìn Pénglái tiān zhǐ chǐ, xǐ jūn rén chén liáng.
The moon is bright, the jade hall empy, as the road nears Penglai, heaven is close;
        happy that gentlement are benevolent, vassals are deserving.

玉階仙仗里,飄然鷺序和鵷行。 //
Yù jiē xiān zhàng lǐ, piāo rán lù xù hé yuān xíng. //

依黼扆,翊政治,佩瑤琚,鳴丁當,
Yī fǔ yǐ, yì zhèng zhì, pèi yáo jū, míng dīng dāng,

日光絇紫綬,霞彩明金章。
Rì guāng qú zǐ shòu, xiá cǎi míng jīn zhāng.

趨朝時,香滿袖,待漏時,靴滿口,
Qū cháo shí, xiāng mǎn xiù, dài lòu shí, xuē mǎn kǒu,

有時登金門,有時步玉堂。
Yǒu shí dēng jīn mén, yǒu shí bù yù táng.

5.   (02.18)
清風明月,其樂陶陶
Qīng fēng míng yuè, qí lè táo táo

如也,不知身世在人里。
Rú yě, bù zhī shēn shì zài rén lǐ.

淩雲沖霄,攀龍附鳳,
Líng yún chōng xiāo, pān lóng fù fèng,

囂宇軒昂也,出入華耀,
Xiāo yǔ xuān áng yě, chū rù huá yào,

如登瀛州。
Rú dēng Yíng Zhōu.

// 共列仙班,太平時,在鳳閣龍樓也多幽閑, //
// Gòng liè xiān bān, tài píng shí, zài fèng gé lóng lóu yě duō yōu xián, //

自在,九重霄漢上,
Zì zài, jiǔ chóng xiāo hàn shàng,

相往還,共世桓,
Xiāng wǎng huán, gòng shì huán,

泛音   (03.04; harmonics begin)
百世流芳內曲彈。
Bǎi shì liú fāng nèi qū dàn.

曲終 (03.17; Melody ends)  

(Return)
 
Footnotes (Shorthand references are explained on a separate page)

1. Eighteen Scholars Ascend Yingzhou (十八學士登瀛州 Shiba Xueshi Deng Yingzhou)
Only the 1530 version of this piece uses this full title. The earliest surviving version, dated 1525, calls it simply 瀛州 Yingzhou while the 1530 Table of Contents refers to it as 學士登州 Xueshi Deng Zhou. None of the dictionary references for the full or partial titles mentions a melody.

2741.192 (1) 十八學士 Shiba Xueshi mentions academic bureau of Tang Taizong (r.627-650);
2741.192 (2) names 18 people honored by Tang emperor Xuanzong (r.713-756)
7184.2 學士 Xueshi mentions 漢林 Hanlin and a 學士院 Xueshi Yuan but no 登州 Xueshi Deng Zhou
23180.148 登瀛州 deng Yingzhou (ascending Yingzhou) mentions joining the imperial academy after Tang Taizong
19047.6 瀛州 Yingzhou says it was traditionally considered an island of immortals in the East Sea (
further).
29425.13 翰林 Hanlin (not 漢林 Hanlin) and .21 翰林院 seem not to specify when this became an official term.

Further details on these references:

Yingzhou 瀛州
19047.6 瀛州 Yingzhou, after saying it was traditionally considered an island of immortals in the East Sea, says to see further under 岱輿 Daiyu, then quotes 史記,秦始皇紀 the entry on Qin Shihuang in Shi Ji as saying it was one of three such islands, the other two being 蓬萊 Penglai and 方丈 Fangzhang. 8194.27 岱輿 Daiyu says it is 渤海東五仙山之一 one of the five mountains of immortals in the Bohai Sea, putting it just off the northeast coast of Shandong province (presumably around 嘗到 Changdao), but now some people claim that 岱輿 Daiyu actually referred to 釣魚台 Diaoyutai (Wiki:
Senkaku Islands), a disputed island chain between Taiwan and Okinawa. Of these islands Penglai in particular is sometimes associated with the Eight Immortals (listed here, where they are distinguished from the Eight Dukes).

18 十八
Like the number 8 (where in the old days 八 ba was pronounced like 發 fa: generate (wealth), the number 18 (十八 shi ba) itself has special significance in Chinese. In popular culture it is considered a lucky number, perhaps because its pronunciation (十八 shi ba) is similar to that of "really get rich" (實發 shì fā). I don't know the history of that or how it connects philosophically with the qin, but a number of qin melodies do have 18 sections. From the Ming dynasty these include,

Da Hujia
Li Sao
Yu Ge (raised fifth string tuning)
Yu Ge (standard tuning)
Dongtian Chun Xiao and
Mu Ge.

In addition the central section ("main sound") of Guangling San has 18 sections. Also, some pieces had 18 sections in certain forms, such as Xishan Qiu Yue, while others expanded into 18 sections for their modern forms, such as Xiao Xiang Shui Yun.

The reason for this is unclear. 2741.162 十八 shiba says of "18" only that it is a number or age. It gives two early references. The first says, "詩,小大雅譜:大雅十八篇,小雅十六篇,為正經 Small and Large Elegant Handbook (says), (When) Da Ya has 18 sections and Xiao Ya has 16 sections this is the correct classic." The second is to a poem by Bai Juyi.

From 2741.163-185 there are 23 entries beginning "十八..." but none stands out as helping to explain why it was relatively common for longer qin melodies to have 18 sections. Perhaps for an answer one might try to find out why the emperor is said to have invited precisely 18 scholars.

See also mention of references in art.
(Return)

2. Shang mode (商調 shangdiao)
Xilutang Qinpu includes this melody under shang mode and it indeed has standard shang characterestics (relative tuning 1 2 4 5 6 1 2 with 1 being the main tonal center and 5 secondary; in addition, the note 2 (shang) often leads to 1. And Faming Qinpu does not arrange piece by mode and (as here) generally does not name them, its melody also has shang characteristics and other versions group it under shang as well. For further information on this mode see Shenpin Shang Yi
(Return)

3. Image: 18 Cranes/Scholars
The image above shows four sides of a ceramic pen or brush holder from Jingdezhen; the title is on the side shown here upper left: 十八學仕 18 Scholars. The ceramic piece shown below is from the same source. In Cantonese (the pronunciation of which is said to be closer to that of early Chinese than modern Chinese is) both "學 study" and "鶴 crane" are pronounced "hok"; in this context cranes can be called 鶴士 Mr. Cranes.
(Return)

5. Artistic representation of the four arts
For some good commentary on this in English see pp. 43-53 of Scarlett Jang, Representations of Exemplary Scholar-Officials, Past and Present, in Liu and Ching (ed), Arts of the Sung and Yüan; Princeton, The Art Museum, 1999.
(Return)

6. Cranes as Scholars
In contrast to the 18 Cranes at top and discussed here, the ceramic brush holder at right (also from Jingdezhen) has six cranes (2+4) on its four sides. Here the title is 六公同(套?) Six Worthies Form a Group: here 4 + 2 cranes stand for the 18. The text on the two of the other sides is not yet translated. 18 cranes as scholars is discussed above.
(Return)

7. Two versions
Normally I focus on the earliest version of any melody I reconstruct, but when I originally worked on this title in around 2013 the general assumption was that Xilutang Qintong was published in 1549. It was only after I had reconstructed the 1530 version that I discovered that Xilutang Qintong actually dated from 1525. I reconstructed the 1525 version in 2019 and have also put my recording first.

One reason I usually don't do two versions of the same piece is that this can be confusing. However, these two versions are different enough that this should not be a problem.
(Return)

8. Tracing 十八學士登瀛洲 Shiba Xueshi Deng Yingzhou (Zha Fuxi's Shiba XueshiGuide [Shiba Xueshi 15/157/341] lists four occurrences of the present melody and it is also in Longhu Qinpu, making five in all.)
Here are some further details on these five versions:

  1. 西麓堂琴統 Xilutang Qintong (1525; Ying Zhou; III/122; pdf of tablature)

  2. 發明琴譜 Faming Qinpu (1530: Shiba Xueshi Deng Yingzhou; I/393; pdf of tablature)

  3. 風宣玄品 Fengxuan Xuanpin (1539; II/117)

  4. 龍湖琴譜 Longhu Qinpu (ca. 1571; QF/235)

  5. 文會堂琴譜 Wenhuitang Qinpu (1596; VI/212)

I have not yet examined all five versions in great detail. A reconstruction by Chen Qinglong in Taiwan of the 1539 version (also done without the lyrics; search for "十八學士登瀛州" "陳慶隆") can be heard online; his interpretation is much slower than mine, more like a meditation than a song.
(Return)

9. Variety of titles
This perhaps stengthens the likelihood that there were other versions that were perhaps played and/or even hand-copied but have not survived.
(Return)

10. Earliest surviving version: 瀛州 Yingzhou, in Xilutang Qintong, 1525
The six sections of this version show clearly why the 1530 version should be divided into six sections, with 1525 Section 2 really considered as two sections. This can easily be seen by comparing my recording from 1525 (transcription still needs editing) with that from 1539. Although after the first eight notes the melody is very different, it still shares many characteristics:

Closer analysis of the differing versions will certainly provide more material for comparison.
(Return)

11. Four sets of lyrics
The lyrics of 1530 are given here and will be translated above. The other three are as follows:

  1. 1539 lyrics
    1. 大唐學海
      龍鳳之姿,恩濟世,惠博施,喜儒臣,開學舘,學士會於斯時。
    2. 時謂登仙
      名仙行儒,堯舜禹孔孟眞吾師,登瀛洲難至因名之,每論治平策,不及昏默詞,幸際聖明時。
    3. 士按三才
      聖明君好學,集賢士遐邇,賢者至。按三才六位輪一次,王暇日輙至。論道德,夜分時,美玉售於斯。致君堯舜當為之,修齊治平事,陳王前,念在茲。元首明時,股肱良時,明時幸遇之時。
    4. 圖形二九
      圖畫十八賢,號神仙。閻立本繪像,褚亮贊其言。誠經濟之良規,非荒塘之虛玄,當時人慾入列隔弱水三千難。
    5. 君臣聚會
      君臣討論綱常理,朝暮於其間,共三番直日,杜如晦最為先。啟齒唾珠玉,觀書見聖賢,嘉猷陳王前。天上鳴琴瑟,日邊論簡篇,孰雲不是仙。
    6. 重貴尊賢
      十八士錦心繡口,對天顏才德兼全,聖天子崇儒重道,好學不倦。文學舘,集英賢,糾謬繩愆,君臣朝夕間。講道德而開筵,難矣哉,賢才眾多斯為盛,當時人號瀛洲仙,貽芳名,萬古流傳。
  2. 1571 lyrics

    1. 開府置屬,只見天下海宇昇平。崇文學,蒐羅俊英,禮延納一十八人。三番值宿,五夜究遺經,眞英主大唐之盛。
    2. 一個個都是人中龍,文中虎,斐然孔思周情,當代文章,志氣凌雲,風流人豪誰與論。百川那歸學海,三峽也湧詞文。杜如晦和那房玄齡,顏相時和那陸德明,孔潁達和那盖文達, 卓冠羣英。
    3. 文光那射斗牛,筆陣也掃千軍。金馬那東風軟,明月也玉堂清。玉堂金馬沐榮恩,時人擬之如登瀛。
    4. 蓬萊浪苑瀛洲處,弱水之東三萬里。驂鸞跨鶴而來,乘氣馭風而去,非仙不能到。想諸公陪聖主,三槐九棘,與仙無異。
    5. 天顏瞻咫尺,環珮響鏗鏘。褚亮蘇勗薛收姚氏思廉,李氏守素,于氏志寧,立本根如元敬,想他們鷺序鴛班,玉階仙伏。
      蔡兄恭和那虞世南,李玄道和那蘇世長,十八人列其行,日光那明紫綬,霞彩那煥金章。趨朝時香滿袖,待漏時靴滿霜,有時節登金門,有時節步玉堂,好風光。
        朝朝那青瑣院,夜夜也廣寒遊,碁敲夜月,琴操南薰,壺聲嚮徹一天秋,忘情日月,紫霞甌內長春景,得意乾坤,碧桃花底醉也方休,荷登瀛洲。
    6. 當年他輩,何日吾遊,上國悠悠,月中鼓舞,天上風流,桃花浪捲彩雲浮,平地一聲雷吼,獨步占鰲頭,逐飛龍霖雨,蒼生彌綸宇宙。
      四海歌謠,天長地久,何須三島,天下瀛洲。
  3. 1596 lyrics (The lyrics are very similar to 1571 but are rearranged into nine sections)

    1. 開府置屬,只見天下海宇昇平,崇文學蒐羅俊英,禮延納一十八人,三畨直宿,五夜究遺經,眞英主大唐之盛。
    2. 一個個都是人中龍,文中虎,斐然孔思周情。當代文章祖,志氣凌雲,風流人毫的那誰與論,百川的歸學海,三峽的涌詞文。
    3. 杜如晦和那房玄齡,顏相時和那陸德明,孔潁逹和那郝文逹,卓冠羣英,
      文光的射鬥牛,筆陣的掃千軍,金馬的東風軟,明月的玉堂春,玉堂金馬沐恩榮,時人擬之如登瀛。
    4. 蓬萊浪苑瀛洲處,弱水之東三萬里,驂鸞跨鶴而來,乘騎馭風而去,非仙不能至,想諸公陪聖主,三槐九棘,與仙無異。
    5. 天顏瞻咫尺,環佩的那向鏗鏘,褚亮,蘇勗,薛收,姚氏思廉,李氏守素,和那于氏志寧,許敬宗和那薛元敬,想他們鷺序鴛班,玉堦仙仗。
    6. 蔡允恭和那虞世南,李道玄和那蘇世長,十八人的那列其行,日月的明紫綬,霞彩的煥文章。趨朝時香滿袖,待漏時靴滿霜,有時節登金門,有時節步玉堂,風光,風光,好風光。
    7. 真箇是朝朝的青鎖闥,日日的廣寒游,棋敲夜月,琴操南熏,壺聲向徹的那一天秋,忘情日月,紫霞甌內長春景,得意乾坤,碧桃花下醉方休,何啻瀛洲,時人擬之登瀛洲。
    8. 當年他輩,今日吾儕,上國悠悠,上國悠悠,月中的那鼓舞,天下的那風流,桃花浪煖彩雲浮,桃花浪煖彩雲浮,平地一聲雷吼,獨步占鰲頭,遂飛龍霖雨,濟那蒼生,彌綸宇宙。
    9. 四海歌謠,天長地久,何須三島,不必瀛洲,天下率土緫瀛洲,登瀛洲,闡入絲桐,萬古千秋。

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12. Two commentaries
Of the five surviving versions there are commentaries only in 1525 and 1571. 1525 is above. That of 1571 is as follows:

1571 commentary
This brief forward as follows (translation incomplete):

龍湖曰,按是曲君臣際會,豪俊登崇學者鼓此,攀龍附鳳之心益切,步月凌雲之志愈高。 歌词
Longhu says, According to this piece, when gentlemen and officials have a meeting, ....

Neither of these says anything about the origins of the melody or anything that shows its connection (other than the title) with the other versions discussed here.
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13. Popularity
The melodies, at least of 1525 and 1530, are quite appealing, straightforward and not difficult to play. They are thus quite suitable for beginners.
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15. Preface
Faming Qinpu has no commentary for any of its melodies.
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16. Further comment on the music of 1530
In 1530, Sections 1 and 3 are completely in harmonics, while in 1539 the comparable harmonic sections (1 and 4) end on a stopped note, the same note that begins 1530 Sections 2 and 4. My musical interpretation of this is that each of these two notes should be held long enough that they are naturally heard as transition notes not necessarily belonging to either the section before or the section after.

Related to this is the fact that my phrasing and rhythms used here in the 1530 version are influenced by the traditional word-for-stroke pairing method (described above) that was used for almost all traditional qin songs. As indicated in the previous paragraph, my understanding of this method seems to require that the first word sung in Sections 2 and 4 of the 1530 version be sung in such a way that, if you ignored the words, these notes might also be interpreted as the last notes of the previous sections.

In general, the pairing method for qin songs and the variety of versions under this title leave it unclear as to whether this piece is really using a melody intended actually to be sung, at least as a qin song with these lyrics.
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17. 十八學士登瀛洲歌詞 Chinese lyrics from 1530 (聽錄音 -未唱的; pdf)
The original Chinese lyrics from Faming Qinpu are as follows.
Ming dynasty lyrics are generally applied to qin music following a largely syllabic formula, described here, that pairs syllables to right hand strokes and certain left hand plucks but not to slides; Faming Qinpu pieces such as this one are different in that they also apply syllables to slides, making the music even more word intensive. It should also be noted that there is no existing commentary on how or even whether they were ever actually sung. Punctuation here largely follows that given in Zha Guide (341), but the line by line arrangement below follows the phrasing of my musical interpretation, which generally but not completely follows the rhyme scheme. Repeated punctuation marks such as , , mean that there were instructions for the previous musical phrase to be repeated; // means a whole line or two is repeated. It is not clear whether it was intended that the lyrics also be repeated (but note that in the last section a line including its lyrics are written out twice rather than having the instruction "play again").

1.   (00.00)
天將昌唐,丕在吾皇。
宗文蒐羅俊良。
禮延納,十八學士在金馬玉堂。

2.   (00.16)
一個個都是文章鉅公,多聰俊,向鴈塔題名。
曾赴瓊林晏,位列在公卿。
詞源傾三峽水,筆陣掃千人軍。
分三番更直宿,對五夜究遺經。

(2.a.)   (00.37)
// 人似洲仙鶴,馬似天邊龍, //
清掖感相從。
文光射斗牛,豪氣貫霓虹。
峨冠講唐虞,殿前作賦聲摩空。
飄然放志意,二十八宿羅心胸。
致君堯舜上,天下比室皆可對。
誰不能秉公,誰不能盡忠,個個公忠。

3.   (泛音; 01.17)
瀛州園囿神仙境,弱水三萬里。
非仙不能至,仙在杳杳靄之間。
// 官居清要之地, //
睹諸公追趨青鎖闥,與仙無二。

4.; (01.38)
// 月明玉堂空,路近蓬萊天咫尺,喜君仁臣良。
玉階仙仗里,飄然鷺序和鵷行。 //
依黼扆,翊政治,佩瑤琚,鳴丁當,
日光絇紫綬,霞彩明金章。
趨朝時,香滿袖,待漏時,靴滿口,
有時登金門,有時步玉堂。

5.   (02.18)
清風明月,其樂陶陶
如也,不知身世在人里。
淩雲沖霄,攀龍附鳳,
囂宇軒昂也,出入華耀,
如登瀛州。
共列仙班,太平時,在鳳閣龍樓也多幽閑,
共列仙班,太平時,在鳳閣龍樓也多幽閑,
自在,九重霄漢上,
相往還,共世桓,
泛音   (03.04)
百世流芳內曲彈。

曲終   (03.17)

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