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Su Dongpo with a lady musician (pipa) 2
A collection of writings by Su Shi about the qin, under the title Miscellaneous Accounts of Qin Matters, was included in Folio 100 of the 14th century encyclopaedia called Shuo Fu. This volume still exists.4
Poems by Su Shi directly mention qin at least 61 times.5 Qinshu Daquan (QQJC Vol. V) includes at least 22 such poems and essays he wrote concerning qin. These poems and essays include (original texts are in a footnote below):6
Qinshu Daquan also has stories by other people that mention Su Dongpo and qin, sometimes quoting him. For example, see (original text below):7
Some handbooks say he wrote the melody He Wu Dongtian. And his lyrics set to qin melodies (by others) include the following,
Should this also include the melody Xiangsi Qu (Gu Qin Yin)?10 Introductions to it suggest he created it, or at least the lyrics, though it does not seem to be part of his canonical work. The various introductions all concern Su Dongpo and a female ghost who played the qin. In the version translated by Van Gulik,11 Su Dongpo hears someone playing a sad song outside his window. When he goes to look he sees a young woman, who immediately disappears. In the morning when digging in that area he finds an old qin.
It may also be appropriate to mention Su Dongpo's Three Songs on Yangguan Lyrics. This and related comments by Su himself may be of relevance in tracing the source of the melody used today with Yangguan Sandie, but as yet I have not carefully analyzed this.12
Footnotes (Shorthand references are explained on a separate page)
Su Shi 蘇軾 (蘇東坡 Su Dongpo, sometimes written Su Dongbo)
33250.234 眉山人，洵子，轍兄，字子瞻 from Meishan, son of Su Xun, brother of Su Che, style name Zizhan. Sources (see also Wiki) include:
The references quoted here come from various poetry collections and The Collected Writings of Su Dongpo (東坡文集 Dongpo Wenji).
|2. Su Dongpo with a lady musician (pipa)||Japanese image: Su Dongpo with qin?|
Compare the image at right, from a standing screen, copied from a Japanese web page. The image seems clearly to be of 鍾馗 Zhong Kui, but the text there says (in part),
The last line says "Chosenji Temple, Drawing of Zhong Kui embracing a qin". On the left side of the screen the writing says: 七十叟野某姚宋敬 .
Is it saying that Su Dongpo was the painter? Otherwise I do not understand this inscription, or the relationship between Su Dongpo, the Eight Immortals, the inscription and the image, which is clearly Zhong Kui
(Wiki), who was not one of the 8 Immortals.
Su Che 蘇轍 (1039 - 1112)
Su Che, style name 子由 Ziyou, though overshadowed by his older brother Su Shi, was one of the "Eight Great Prose Masters of the Tang and Song". (Indiana Companion, p.727)
Miscellaneous Accounts of Qin Matters (雜書琴事，十三則 Zashu Qinshi, 13 entries; 一卷 one folio)
Qinshu Cunmu entry 103 (4 lines) bases its discussion of this work attributed to Su Shi on the version in Folio 100 of 說郛本 Shuo Fu, where it is the fifth entry. There are 13 essays in the Shuo Fu edition, as follows：
Some of these are quoted again below.
Qin mentioned in Su Shi's poetry 61 times
See Stuart H. Sargent, Music in the World of Su Shi (1037-1101): Termiology, Journal of Sung-Yuan Studies 32, pp. 46 (2002; online). Pages 46-51 has a comprehensive account of Su Dongpo's comments on qin; see also pp. 54-5. Sargent is mentioned again below.
Su Shi qin-related poems and essays in
There are at least 22 such items in that 1590 compendium, as follows:
Folio 17, #56 (V. 384)
Folio 17, #57 (V. 384)
Folio 18, #55 (V. 403)
Entry 31 from Folio 19 concerned the 3rd month, 18th day; for the 19th day see below
Folio 19A, #33 (V. 419)
Folio 19B, #91 - #93 (V. 431-2; 3 poems),
Folio 19B, #161 (V. 441)
Folio 20A, #53 - #55 (V. 447, 3 poems)
Stories by others concerning Su Dongpo and qin
These two stories were included in Qinshu Daquan (1590), Folio 17:
However, there does not seem to be a clear division in the text. The entire text seems to concern Su Dongpo and a 13-string qin / zheng, so the second subtitle may simply refer to the included poem(s).
In the 6th year of Yuanruo, the 19th day of the 3rd month, I returned from Hangzhou to....
In a dream I....
(The original Dongpo Ji text then continues: 詩曰：
「破琴雖未修....Broken qin...., see above).
Folio 17, #39 (V.380/1)
昭德樸齋錄 Zhaode Record of Puzhai
There is a 昭德文集 Zhaode Wenji by Zhao Gongwu (晁公武 14239.5: 12th c.), while 樸齋錄 Puzhai Lu is perhaps a work by 蒲瀛 Pu Ying called 蒲氏漫齋錄 Pushi Man Zhailu (32271.17 pushi: a type of fan), but I have not been able to find the connection between that and this text, which mentions Su Dongpo in connection with his friend 王晉卿 Wang Jinqing (王詵 Wang Shen Bio/108; Jin is written here with two 口 instead of two 厶) and two Daoist priests, 武崇穆 Wu Chongmu (Bio/xxx; 16623.xxx) and 費世隆 Fei Shilong (37565.xxx).
Daoist priest Wu Chongmu was a skilled qin player who was also fast at dianzhu (a game involving sketching bamboo?)....
There are probably also other references in Qinshu Daquan that I have not yet found.
Poem on the source of qin sounds (see above)
The translation is based on that of Xu Yuanzhong, Song of the Immortals, p.212. The original (see p.423) is:
水調歌頭 Shui Diao Ge Tou
This is the name of a 95-character cipai; the lyrics by Su Shi are the most famous ones in this form. The original and a translation are in Wiki; they are included here under the qin melody of this title.
As indicated by the preface to the poem, this was one of the poems written by Su Shi during Mid-Autumn (details).
Zha Guide 32/244/470 has six entries with this title, but two are duplicates, so there are actually four melodies for the three sets of lyrics; all lyrics fit into the same ci pattern. The six are as follows:
None are yet reconstructed here.
Xiang Si Qu 相思曲
Also called 古琴吟 Gu Qin Yin. See details in the introduction to the 1585 version, including the original lyrics.
Su Shi and the Ghost of Xiang Si Qu
Van Gulik translates this story in Lore, pp.159-160 and there are further details here. Several other stories in that section of Lore also concern ghosts (and in one of his Judge Dee mysteries Van Gulik has a ghost appear to the judge as he plays qin in the middle of the night [illustration]).
Su Shi and Yang Guan
See p. 70fn of Stuart Sargent, Music in the World of Su Shi as well as Sargent's "Colophons in Countermotion: Poems by Su Shih and Huang T’ing-chien on Paintings", Harvard Journal of Asiatic Studies 52.1 (June 1992): 263–302. Sargent says the latter has "more on the Yang Pass song and its role as a theme in Song painting".
The 陽關詞 三首 Three Poems on Yangguan Lyrics (SSSJ 3:15.751) are:
As can be seen, these have the same structure as the original Wang Wei poem, which was included in Yuefu Shiji, Folio 80.
Of these Sargent wrote,
With ci poetry, new lyrics were written following the pattern of an old melody long after the melody was lost. The poems here are 詩 shi rather than 詞 ci, and it is not clear whether they were applied to an actual surviving Tang melody, to a supposed Tang melody, or to a variety of melodies all with an appropriate structure. This also leaves out consideration of whether they were always paired, as in the qin examples, using one note for each character/syllable.
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