Taigu Yiyin, Additional comments

As with Zheyin Shizi Qinpu, this handbook consists of pieces with lyrics. However, they seem more genuinely to represent a sung tradition, as is discussed in the preface by Zha Fuxi. And whereas no earlier source for the Zheyin lyrics has been found,³ most lyrics here can be found in classical sources. These include two from the Shi Jing and at least 20 from the Song dynasty edition of the Yuefu Shiji (YFSJ), including all ten qin pieces by the Tang poet Han Yu.

Also of note is the fact that, whereas in other handbooks of that day the melodies are arranged according to mode, the 38 melodies of Taigu Yiyin are arranged instead according to a supposed chronology, with little to no mention made of mode. In fact, all pieces use standard tuning except three:⁴

#20, Chu Ge
#23, Zhaojun Yuan
#31 Yangguan Qu

It may be useful also to categorize the Taigu Yiyin melodies by length, especially when trying to compare related melodies in other handbooks.⁵ Here in Taigyu Yiyin there are 18 short songs consisting of only one section, with 16 having lyrics also found in the Yuefu Shiji (YFSJ). Meanwhile, the 20 longer pieces are almost all divided into unnumbered sections, the sections indicated only by relatively large circles; these can be either single large circles within the tablature columns, or such single large circles plus a smaller circle in the lyrics columns.⁶

However, although none of the melodies is divided into numbered sections, four do have section titles and one has a narrative between sections. The section titles are all written in separate columns, but again are unnumbered. Those sectioned thusly are as follows:

#20, Chu Ge (each of its five songs has subdivisions indicated by circles),
#21, Caishi Wunong
#26, Meihua Qu
#29, Ting Qin Fu (has a narrative between sections)
#36, Ke Chuang Ye Hua

In addition, there are four long pieces with no circles dividing them into sections. These are:

#25, Gui Qu Lai Ci
#34, Zheng Qi Ge
#37, Qian Chibi Fu (from 1515)
#38, Hou Chibi Fu.

As for the overall division by number of section for all 38 Taigu Yiyin pieces, this is as follows (further comment):

One section: 22 (the four above plus 18 short ones: 16 with lyrics from YFSJ and two from elsewhere [#24 and #30])
Two sections: 1 (lyrics from YFSJ)
Three sections: 2
Four sections: 1
Five sections: 2
Seven sections: 1
Nine sections: 1 (note that #38 was later also divided into 9 sections)
Ten sections: 2 (note that #37 was later also divided into 10 sections)
Eleven sections: 2 (including 1 that set 5 YFSJ poems)
Twelve sections: 2 (including 1 that set a YFSJ poem to one of its sections)
Thirteen sections: 2 (including 1 with 13 settings of Yang Guan; also YFSJ)

Further translations of commentary within Taigu Yiyin⁷
This includes the following:

The foreword by Zhang Peng (see image above; I/271)
This covers two double pages, but its calligraphy is quite free, making OCR impossible. In addition, it is missing the top half of the first; the bottom half reads as though the top half included information such as who Xie Lin's teacher was, what pieces he had studied and what tablature he had worked with, adding that Xie improved upon these materials. It goes on to say that this included (tablature for?) the famous poem by Han Yu about hearing a monk play Guangling San, and from hearing this sort of music the author realized the greatness of qin. Zhang told Xie that the experience was like going to heaven and hearing its music, that it must also be like the missing Shao music (of Emperor Shun), and that all music should have been like this. Having this experience allowed him to understand Tao Yuanming's opinion that those who understood qin didn't need actually to put on the strings and play, and he realized that common people would not understand this. Xie Lin agreed with this analysis. However, although it was true that if people had this understanding there would be no need to pass on tablature and pluck the strings, such tablature could also allow the music to improve even more and also allow beginners to learn it, so how could we not hope that the tablature not continue to be available?
Comment on aims of this handbook
On the third page (I/273), just after fingering explanations and before the sketch presumably of Xie Lin himself, is the following comment.
No title; characters in [brackets] were unclear in the original.
謹按「太音大全」所載歷代琴式與夫製作、手勢、撫弄等，去莫不備具。茲不[敢]贅。特以指法繁多，學者茫無指南，故敢[錄]其簡要者於此，庶有便於初學，非敢為知音者告也。
With due care I note that Taiyin Daquan has already recorded in full the qin styles of successive ages, together with matters of construction, hand positions, methods of plucking and so forth; there is nothing lacking, and I therefore dare not repeat those here. However, because fingering methods are numerous and learners are often left bewildered, without guidance, I have ventured to record here only some of the essential points, in the hope of making things easier for beginners. This is by no means intended as instruction for those who already truly understand the instrument.
Preface by 何旭 He Xu to a Rhapsody (賦 fu) by "良璧 Liangbi" (Xie Lin; I/320)
「太古遺音」賦，井序
拙莫拙於污樽杯飲，澹莫澹於大羨玄酒。太古遺音，類焉。趍今而尚時好者，滔滔皆是；而乃子然求「太古遺音」，於筆纂竿琯之閒，不幾於齊門之迂遠耶？雖然，玉為石受屈，韶為音受誣，理則然矣。然而，連城之璧終售，南郭子綦終遇；豈終凐其璞，沈其鴈，而抱籐長吟，老而無聞於世也哉？黃山居士謝良璧，其門第古，其狀貌古，其性行又古。迺於讀書之暇，梯三尺之桐，坐於靜室，彈精神。竭志慮，集諸家之譜，校對研勘，指下尋文，求太古之意。于羲皇之上，既而克然自得，方且說說。然與世辨得失於秦箏、竽、琯之間，其計不亦左乎。然而篁墩先生一聞其奏，即書「太古遺音」以旌之；石田沈先生一聆其妙，即圖《高山流水》以贈之。其諸賢士大夫兢為詩歌，莫不極言造理之微，得古之道。」豈區區哇淫之聲之可掩其旨奧哉？余嘗為良璧賦「太古遺音」詩，有以慨夫古音凋廢，而屹中流之柱矣。兹文以賦見屬，切惟之。賦之為體，弗律度拘，弗藻麗禁，或險而在，或肆而矜，或和平而易直，其奇變槩如此，豈余膚學菲才所敢窺覬哉？聊叙琴之所以自出，與夫良璧之造妙者共成二千三百餘字，狂誕迂腐，將為持鑑者之笑，無鹽有不免也。其賦曰：
Nothing could be more gauche than having sullied goblets for drinking clear wine. Nothing could be more subtle than dark sacrificial wine of the Great Libation. Music Bequeathed from High Antiquity are of the same kind. Those who chase the present and prize what is fashionable — they surge on in endless streams. Yet you alone seek the lost sounds of High Antiquity amid brush-compiled texts and bamboo-wind notations. Is this not almost as roundabout and remote as knocking at the Gate of Qi (a grand court noted for verbose but ineffectual argument)? And yet, jade is wronged when taken for stone; Shao music is slandered wheb called mere sound. In principle, this has always been so. And yet, the jade of a whole city is, in the end, recognized and sold; Nanguo Ziqi (in Zhuangzi famous for "losing his self") was, in the end, encountered and understood. How can it be that uncut gems remain forever buried, wild geese (i.e., bearers of messages) sink without a trace, and those clinging to vines (i.e. wilderness) just go on chanting, growing old unknown to the world?
As for the Recluse of Huangshan, Xie Liangbi (Xie Lin?): his lineage is ancient, his appearance ancient, his moral conduct even more ancient. Taking leisure from reading, he makes use of three-foot paulownia (i.e. a qin), sitting within a quiet chamber, his plucking animates his spirit. Then with total commitment of intent and with reflection, he gathers tablatures of many schools; collates and examines them, seeks meaning in the texts beneath his fingers, pursuing the meaning of High Antiquity. Having reached back beyond even the age of Fuxi, he then becomes calmly self-possessed and quietly at ease. Yet if one were to distinguish success and failure by worldly standards, setting it among qin-zheng, mouth-organ, and reed-pipe, would not such a reckoning be entirely misguided? Moreover, when Master Huangdun first heard him play, he inscribed the words “Ancient Lost Sounds” to commend him; when Master Shen of Shitian listened once to its subtlety, he did a “High Mountains and Flowing Waters” painting and presented it to him. As for other worthies and gentlemen, they vied in composing poems, all striving to express the subtlest workings of creative principle, and to apprehend the Way of antiquity. How could the shallow, licentious noises of the vulgar ever obscure such profound intent? I once wrote (fu) some poems for Liangbi under the title Music Bequeathed from Antiquity, by which I lamented the decline and decay of ancient music, and praising it as a pillar standing firm amid the current. Now that he has entrusted me with his rhapsody I reflect on it with care.
A rhapsody as a form is not bound by metrical rules, nor confined by ornate diction: at times steep yet restrained, at times expansive yet proud, at times balanced, plain, and direct. Such are its transformations. How could one of my shallow learning and meager talent dare even to peep into its depths? I can merely recount what the qin itself brings forth. This, together with Liangbi's realization of its marvels, has given rise to over 2,300 characters. Wild, extravagant, roundabout, and earthy, it may well become an object of mockery to those who hold it up to a mirror, but like Wuyan, this is something I cannot avoid.
Rhapsody (賦 fu) by Xie Lin; I/321-3; pdf)
The first third of the 賦 rhapsody is as follows
(characters in reddish brown show attempts to correct the original):
I/321上，三行開始
新安世家黃山居士焚香正襟置琴於几凝神端居，然後入指。初渺渺兮屏營，徐矯矯兮縱橫。牛鳴盎中兮重濁，雉鳴木杪兮輕清。既斷而復續，絕無而僅有，寓至味於大羹，檀淳風於玄酒。聲中之意，意外之聲；意盡聲止，繹如以成。思親載鼓兮寓重華之大孝，南風一彈，今表聖治之斯阜。白雉獻兮越裳來朝，關雎鳴兮淑女窈窕。岐山一鳴，起八百年之天下，枸幽再鼓，剪商家六百年之顯効，聞者為之善樂，聽者為之舞蹈，此乃盛世文明之佳兆也。「雉朝飛兮」老而，「孤鵠將別兮」聲嗚嗚。殘形入大賢之夢𥧌，履霜酷孝子之腸，膚昭君悲怨，蔡琰嗟吁，聞者為之墮淚，聽者為之輟餔；此乃抑欝不平者之窮途也。望龜山兮獨巋，憫漪蘭兮見棄。道不行兮款自衛之將歸，道不傳兮歎顏回之蚤逝。聞者為之酸心，聽者為之墮淚，此吾夫子之傷時世也耶！他如《猿鶴雙清》、《陽關三疊》、《蔡氏五弄》、《石崇八摺》、《鶴鳴九臯》，《梅花三弄》、文山《正氣》之豪雄，《廣陵》、《商調》饈饈之雜，還《歸去來兮》之從容，《瀟湘水雲》之撚捻，聞者為
I/321下
之舒暢，聽者為之和協。此文在乎彈者之手法也。若夫吟猱、挑抹，絃和，軫均緊，若流鶯之出谷，緩若翔鴈之歸雲。
雨軟南模，幕捲珍珠之簾；日昇京海朝暉，白玉之幃屏；月照梨花之白，風送曉煙之輕。珊瑚破枕，琉璃碎瓶，凛若戈鋌之出塞，怒如(孟)賁、(夏)育之攻城，滑若彈丸之坂走，聯如鴈字空橫；不澹、不烈，有濁、有情，此鈞天之妙曲，廣庭之仙聲也。又若項羽之別虞姬、昭君之辭漢主，眉蹙春山，淚傾秋雨；喁喁哽哽之悲，嘈嘈切切之訴。以至寶鴨香銷，銅壺漏注，憶蟀驚秋，聒開黃菊之地，鷓鴣啼雨，叫破白蘋之路。不婚、不抗，非煙、非霧，撻碎玉籠，見彩鳳之高舉，學開金鎖，出蛟龍之起舞。此太古之至音，上世之真譜也。嗚呼！師襄不作，魯叟兮誰師？鐘期沒，伯牙兮誰知？淵明適趣兮自樂，叔夜感時兮獨悲。嗟！何世降而下，人心不古！秦箏載鳴，燕姬既舞，酒酣耳熟，揮金如土。至若花奴解穢，羯鼓喧天，樂極洋洋，七窮灑然；斯時也，誰復知有七絃琴？馬琴焉不幾於齊門之瑟焉？豈惟琴哉！梅疏澹兮桃李香，蘭幽獨兮枳棘芳；鳳翔寒廓兮，康麋鹿遊乎大荒；雞鳴函谷兮，龐犬吠乎山莊；貴燕石兮賤荆玉，利鉛刀兮于將羅珍饈兮鄙菽粟之味，衣錦繡
I/322上
兮鄙布帛之裳，拜金母而揖木公，輕本厚末，輕家雞而愛野雉，喜新……
(Transcription incomplete; the text now skips to the ending, which is as below (see PDF of original).
I/323上，十行
....古澹者見遺音
而已嫉章句之儒僅知守訓詁者聞歌詩而自失惟夫居壬陸沈野逸泄秘慮幽舒湮宣鬱宛其俟命且以永曰人莫我好而吾好琴之心日已成癖矣於是朵枯桐兮南山之陽致文梓兮北山之北本似黃鍾度似周尺遂練木而䋲絲尤重本而貴質初擬軫似調音乍拭手而拂歷始律蒿苹之實載歌寤寐之服但聞誦詩之聲莫知弦指之力逮手熱而習慣益心悅而忘倦為之歌伐檀若有斵輪乎河岸為之鼓考藥若有卬槃乎山澗方且陳懿戒以自警廳衡門而無悶賦白駒之逍遙諷淇澳之瑟間和鏘鳴其中請寄歌聲於詠噗倘魚龍之出聽付貍最於不見誦閑情以自忻虞僕夫之見訕亂曰皇羲肇琴韶以詠之姬孔歌詩琴之盛兮琴遠詩存歌不傳兮敦能誦詩惟此弦兮勿求諧世我思古兮解絃投軫羨陶潛之不該兮時正德壬申秋九月重陽日鄉進士元峯何旭書
I/323下
古澹者見遺音而已嫉章句之儒僅知守訓詁者聞歌詩而自失惟夫居壬陸沈野逸泄秘慮幽舒湮宣鬱宛其俟命且以永曰人莫我好而吾好琴之心日已成癖矣於是朵枯桐兮南山之陽致文梓兮北山之北本似黃鍾度似周尺遂練木而縆絲尤重本而貴質初擬軫似調音乍拭手而拂歷始律蒿苹之實載歌寤寐之服但聞誦詩之聲莫知弦指之力逮手熱而習慣益心悅而忘倦為之歌伐檀若有斵乎河岸為之鼓考槃若有卬槃乎山澗方且陳懿戒以自警廳衡門而無悶賦白駒之逍遙諷淇澳之瑟間和鏘鳴其中請寄歌聲於詠歎倘魚龍之出聽付貍耳於不見誦閑情以自忻虞僕夫之見訕亂曰皇羲肇琴韶以詠之姬孔歌詩琴之盛兮琴遠詩存歌不傳兮敦能誦詩惟此弦兮勿求諧世我思古兮解弦投軫羨陶潛之不該兮時
正德壬申秋九月重陽日鄉進士元峯何旭書
Literal translation
(Original had continuous prose, as above; paragraphing here reflects sense-units, not verse)
Begins at I/321, top half, line 3
A scion of Xin’an, the Huangshan Dweller in Retirement, burns incense, straightens his robes, sets his qin upon a table, gathers his spirit, and sits upright in stillness; only then does he approach the strings. At first it is vast and faint, hesitating and circling; gradually it grows firm and upright, roaming freely in all directions. Like the lowing of an ox at its trough — heavy and turbid; like the cry of a pheasant at the tip of a tree — light and clear. Broken and then joined again; extinguished so as to seem nonexistent, yet barely present. It lodges the utmost flavor within the great broth, preserves pure simplicity within dark ale. Within sound there is meaning; beyond meaning there is sound. When meaning is exhausted, sound comes to rest, unfolding and extending until completion.
Striking the strings in Longing for One’s Parents embodies the great filial piety of Chonghua; one pluck of Southern Winds now displays the flourishing of sagely governance. White pheasants are presented as Yueshang People come to court; Ospreys Cry: the virtuous maiden is secluded and graceful. The resonating of Mount Qi brought eight hundred years of imperial rule; playing Detained in Gloom cut off the six hundred years of Shang's manifest power. Those who hear it are made joyous in goodness; those who listen are moved to dance. This is a fine omen of flourishing age and civil order. Pheasants fly in the morning — old and worn; “The lone swan is about to depart” — the sound sobs and moans. A broken form enters the dream-bed of the great worthy; frost-treading pierces the entrails of the fiercely filial son; the skin bears Zhaojun’s grief and resentment; Cai Yan sighs and laments. Those who hear it shed tears; those who listen cease their meal. This is the final road of those repressed and unjustly constrained.
Gazing at Turtle Mountain, solitary and towering; grieving over Rippling Orchids Melody, abandoned and cast aside. When the Way does not prevail, one prepares to return like Zilu; when the Way is not transmitted, one laments the early death of Yan Hui. Those who hear it feel their hearts turn sour; those who listen shed tears. Is this not our Master’s sorrow for the times?
As for pieces such as Gibbons and Cranes in Twin Clarity, Thrice Parting at Yang Pass, The Cai Clan’s Five Melodies, Shi Chong’s Sequence of Reversals, Cranes Cry in the Nine Marshbanks, Three Repetitions of Plum Blossom, Wenshan’s (Wen Tianxiang) Song of Integrity with its heroic grandeur, the richness and miscellany of Guangling (Melody) and (in) Shang Mode, the calm composure of Come Away Home, the kneading and rolling of Clouds and Water over the Xiao and Xiang (Rivers). Those who hear these
Page I/321, bottom half
feel unbound and at ease; those who listen are brought into harmony. And where does this come from? It is all this from the player’s technique: because of the ornamentation, plucking technique, use of tuning pegs to bring the instrument up to pitch, it is swift like orioles bursting from the valley, slow like wild geese returning to the clouds. Rain softens the southern model; curtains roll up pearl-like screens. The sun rises over the capital sea with morning radiance, illuminating white-jade partitions; the moon shines on pear blossoms in their whiteness, the wind carries the lightness of dawn mist. Coral shatters the pillow, glass fragments the bottle; chilling as spearheads emerging from the frontier, furious as 孟賁 Meng Ben and 夏育 Xia Yu assaulting cities; slick as pellets racing down a slope, linked as the formation of geese crossing the sky. Neither bland nor violent, possessing turbidity and feeling—this is the marvelous music of the Celestial Equilibrium, the immortal sound of the Broad Court.
Again it is like Xiang Yu parting from Lady Yu, like Zhaojun bidding farewell to the Han ruler: brows knit like spring hills, tears pouring like autumn rain; murmuring, choking sorrow; clamorous, pressing complaint. And further, the precious duck incense burns away, the bronze clepsydra drips on; crickets recall autumn, clamoring open the ground of yellow chrysanthemums; partridges cry in the rain, calling open the paths through white duckweed. Neither indulgent nor defiant; neither smoke nor mist: smashing the jade cage, one sees the colored phoenix rise high; learning to open the golden lock, one releases the coiling dragon into dance. This is the ultimate sound of High Antiquity, the true score of the Upper Ages.
Alas! When Master Xiang no longer performs, whom does the old man of Lu take as teacher? When Zhong Ziqi is gone, who understands Bo Ya? Tao Yuanming finds contentment in fitting delight; Ji Kang, stirred by the times, grieves alone. Alas! As the ages decline and sink lower, the human heart is no longer ancient.
Qin zithers sound forth, Yan maidens dance; wine grows rich, ears grow accustomed, gold is flung about like earth. As for the "Flower Servant" (李琎汝南王 Li Jing, the Prince of Runan) dispelling filth, his Jie drum thundering to the heavens; music reaches its extreme in vast excess, and the Seven Poverties scatter away. At such a time, who still knows there is a seven-string qin? How is the horse-fiddle not nearly the same as the gate-side se of Qi? Is it only the qin that suffers thus?
Plum trees are sparse and pale, while peaches and plums are fragrant; orchids are secluded and solitary, while jujube and thorn are aromatic. Phoenixes soar in the cold and empty vaults, while elk and deer roam the great wastes. Roosters crow at Hangu Pass, while bloated dogs bark at mountain estates. Yan stones are prized while Jing jade is despised; lead knives are favored over Ganjiang blades. Rare delicacies are arrayed while the taste of beans and grain is scorned; brocade is
Page I/322, top half
worn while coarse cloth is despised. One bows to the Metal Mother and salutes the Wood Duke; the root is lightened and the branches made heavy; the domestic chicken is disdained while the wild pheasant is loved; delight is taken in the new....
(Translation incomplete; it now skips to the ending, as copied below.)
Begins at page I/323, top half, 10th line Literal translation (ending of the 賦)
....Thus it is that those who are ancient and plain perceive the lingering sounds. I therefore come to resent the pedants of chapter-and-phrase learning, who know only how to cling to glosses and explanations: when they hear sung poetry, they are themselves thrown into confusion.
As for one who dwells on the yin lands, sinking into wild reclusion—who releases hidden thoughts, quietly loosens what is bound, lets what is stifled disperse and what is pent-up unfold, brooding and coiling as he awaits his fate—he says to himself with lasting resolve: ‘Others do not delight in me; yet my delight in the qin—day by day it has already become an obsession.’
Thereupon he selects withered paulownia from the sunny side of the southern hills, and brings patterned catalpa from the northern side of the northern hills. Its pitch accords with the Yellow Bell; its measure accords with the Zhou foot-rule. He then refines the wood and stretches the silk strings, placing especial weight on the root and valuing substance above all. At first he sets the bridge as if tuning; suddenly he wipes his hands and brushes across the strings, and only then brings into order the true meaning of hao and ping, setting to song the sincerity of waking and sleeping thoughts.
One hears only the sound of recited poetry, yet knows nothing of the power of fingers upon the strings. When the hands grow warm and practice becomes habitual, the heart grows ever more delighted and forgets fatigue. Thus he plays Fatan, as though there were wheel-cutting upon the riverbank; he beats Kaopan, as though there were coiling and resting within mountain streams. He proceeds to set forth grave admonitions to warn himself, dwelling behind a simple gate yet without vexation. He chants the carefree roaming of Baiju, intones the zither strains of Qi’ao, interweaving harmony and resonant ringing therein.
He begs to lodge the sung sound within chanting and sighing: if fish and dragons should emerge to listen, then he entrusts it to civet-ears—to those who do not truly see. Reciting Idle Feelings, he takes joy in himself, yet fears the mocking confusion of servants and attendants, who say: ‘August Xi began the qin, and Shao was sung to it; the Ji and Kong lineages sang poetry—thus the flourishing of the qin! Yet when the qin grows distant, poetry remains; when song is not transmitted, who can truly recite poetry? Hold fast only to these strings; do not seek to harmonize with the world.’
I think of antiquity, loosen the strings, cast aside the bridge, and envy Tao Qian for his freedom from entanglement.”
Copied down the Double Ninth Festival, ninth month of autumn, the ren-shen year of the Zhengde reign,
by the provincial licentiate He Xu of Yuanfeng.
Afterword (Ba) to Taigu Yiyin (太古遺音跋) He Zhuang; I/324)
This says basically that there is a lot of phony music around, but this is the real thing. It begins,
琴自南風、杏壇著歌....
Preface to Huang Shida Taigu Yin (I/327)
Huang Shida Taigu Yin has tablature for two melodies, however the writer of the preface is not clear. Its text is roughly as follows (OCR with mistakes):
「太古遺音」序
琴，雅樂也，妙陰陽之理，宣天地之和。上古聖賢，制之以為治心養性之具也。古之君子，左琴右書，朝絃暮誦，無故琴瑟不離於其則。蓋所以養中和之氣，禁念慾之情，豁幽懷，通雅趣。達則以化民成俗，竅則以樂道忘質，皆於是乎（庽？：哉）。豈特取其音律之巧，以悅人之觀聽哉。是其為樂，樂而不淫，淡而不污，非士夫君子志太古之純音者，難以言興妙也。
予自幼時萬好是音。學於鄉之光輩，雖未造其精微，然書暇或一鼓之，亦足以暢幽趣而滌煩襟，弗覺胸懷之迺涵然也。但其為藝雞學易失，歲月既久，無以為迷路指南，每以為恨也。
繼自德十年秋，南遊璧水，淂典太學。同門友清溪胡君獻卿，新安汪君克明，相善。業暇之餘，每相與弹《思親》、《將歸》之操。二君知予酷好於琴，遂出「太古遺音」一帙示予，曰：少為黄君篤好之一助也予觀是譜句踢擘托哈揉有敘詞意指法詳而且明間有關者乃取泰彬州林五堂請家所著音調詞曲刪其幫蒸取其簡要或有率謀難曉者妄以已意參附於中補其關署黨輯成篇以為記指之用蜜而重之欲久而勿尖為合者卒業南歸每
鼓操之餘挫絃熟視而想與具情之於巳軌着公之於人遂命工梓行庶共觀覽或者乃曰儒者潜心正道博傳經典操鹹染翰尚您惑於他歧況管綜之音亂人心思無益於事非吾儒之急務也惡用是為教珠不知潛心博古固儒者之當先而玩物達情点儒之不可棄不然夫子何以日援於德依於仁而且游於藝興於詩立尤禮而又威於樂也學者先德行v立其基次文藝以暢其詞而北循行数墨之暇拂軫轉絃㦯一調弄亦可以發天地之至和得古音之幽雅自然心暢神怡天真随見不猶愈北能食終日無所用心徒事於博奕之戳者乎因併書於篇端庶同志者或有取云。
Preface to Taigu Yiyin (Music Bequeathed from Antiquity)
The qin is refined music. It embodies the wondrous principles of yin and yang and proclaims the harmony of Heaven and Earth. In high antiquity, sages created it as a tool for cultivating the heart and nourishing one’s nature. In ancient times, the gentleman kept the qin to his left and books to his right. He would pluck strings in the morning and recite texts in the evening. Without cause, the qin and se would never leave his side. This was to nourish the energy of balance and harmony, to restrain desires and thoughts, to open up hidden feelings, and to communicate with refined tastes. When in a position of influence, he used it to transform customs and edify the people; in obscurity, he used it to enjoy the Way and forget material things. All of this stems from the qin. Is it merely prized for its technical musicality, to please the eyes and ears? No—it is music that delights without indulgence, that is pure without being sterile. Only a scholarly person striving for the pure tones of antiquity can truly appreciate it; it is hard even to summon words to express its marvels.
Since childhood, I have greatly loved this sound. When I was studying with the refined elders of my village, although I did not yet grasp the profound depths (of the qin), in idle moments from my studies I would occasionally play one, and this was enough to give free rein to hidden joys and to cleanse my heart of worldly cares; before I knew it, a deep calmness had quietly settled within my breast. Yet the art is difficult to learn and easy to get lose. After many years, I still had no clear guide through its thickets, and often regretted this.
Then, in the autumn of my tenth year of "cultivating virtue" (must be early 16th century), I traveled south to "jade-like waters", gaining entrance to an "imperial academy" (21785.6 稱大學曰璧水. During the Ming dynasty this was the 國子監 guozi dian, which was officially one school or a few schools in either Beijing or Nanjing, but it could also more loosely refer to some local schools). Among my fellow students were Hu Xianqing from Qingxi and Wang Keming from Xin’an — already close friends. In our spare time, we would often play together the pieces Thinking of My Parents and Returning Home. These two knew of my passion for the qin and brought out a box of manuscripts entitled Taigu Yiyin. “When we were young,” they said, “we compiled this to aid Master Huang (黃君：黃士達？ in his deep devotion to the qin.”
I examined the scores. The techniques—pluckings, pressings, slidings, rubbings—were all laid out. The meanings of the lyrics, the fingering methods—all detailed and clear. Where some parts were missing, I supplemented them from the melodies and lyrics composed by the Lin family of Wutang in Taibin Prefecture, selecting the essential and trimming the excessive. For passages that were abrupt or unclear, I inserted my own ideas to fill the gaps, and compiled the whole into a practical guide.
I cherished and preserved it, hoping it would last and not fade, and that it might serve as a standard for others.
After completing my studies and returning south, I would, after each session of playing, look closely at the strings and imagine the emotions of those who composed the music. Wanting to share it with others, I had it engraved and published, hoping it might be appreciated by all.
Some might say: “A Confucian should dedicate himself to the correct path, to transmitting the classics. Is it not enough to wield the brush and compose elegant prose? Why indulge in side paths? Moreover, music—especially pipe and string music—can disturb the mind and has no benefit to one’s affairs. Is it not unworthy of a true Confucian’s concern?”
But they do not understand that delving into the ancient is essential to a Confucian. And appreciating things and expressing feelings—this too cannot be abandoned by Confucians. Otherwise, why would the Master say, ‘He grounded himself in virtue, relied on benevolence, and also delighted in the arts’? He was moved by poetry, rooted in ritual, and completed by music.
The learner should begin with moral cultivation as the foundation, then pursue literature and the arts to give expression to words. And in the spare time between studies of numbers and ink, brushing the strings and playing a melody can bring forth the supreme harmony of Heaven and Earth, allowing one to touch the subtle elegance of ancient sounds. One’s heart opens, the spirit is soothed, and natural joy arises of its own accord.
Is this not better than those who eat and idle away the day with no inner focus, or waste their time gambling and playing games?
Thus I have written this preface at the beginning of the volume, hoping that kindred spirits may find something of value in it.

Footnotes (Shorthand references are explained on a separate page)

1. This commentary supplements that in the prefaces by Zha Fuxi (later edited by Wu Zhao).
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3. Source of the lyrics
Unlike with Zheyin Shizi Qinpu (>1505) many of the pieces here are clearly songs. The instrumental nature some, however, suggests the possibility that the lyrics were added to them because of a theory that qin music should be sung, but that in fact no one sang these pieces.
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4. Tuning and Mode in Taigu Yiyin
As mentioned above, the 38 melodies of Taigu Yiyin are arranged according to a supposed chronology rather than by mode, with little mention made of mode. In fact, all pieces use standard tuning except three:

Chu Ge
Indicates tuning: raise second and fifth strings (2 4 5 6 1 2 3)
Zhaojun Yuan
Indications tuning: lower first, raise fifth (1 3 5 6 1 2 3)
Yangguan Qu
Tuning method not indicated (raise second and fifth strings: 2 4 5 6 1 2 3)

As for the actual music, the modes seem to be used much as they are in other early Ming handbooks (see Modality in early Ming qin tablature).
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5. Comparing Taigu Yiyin melodies in other handbooks
Here it could be particularly interesting to compare versions of the same titles as they occured in the next handbook to focus on qin songs, Chongxiu Zhenchuan Qinpu (1585). For example, of the 18 short songs here in 1511 at least 14 are in 1585, where they are mostly placed together (see especially its ToC #s 49-61 but also search there for "1511") and have music similar to here, including which notes are in harmonics, but they are not identical.
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6. Section numbers
I do not know of any other handbook that indicates sections in this way.
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7. Further translations of commentary within Taigu Yiyin

"Wuyan" refers to the famously ugly 鍾離春 Zhongli Chun who was mocked but appreciated in the end (Wikipedia). This is a reference to those who "hold it up to a mirror", i.e., foolishly think they are capable of judging it. (Return)

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Return to the annotated handbook list or to the Guqin ToC.