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thenirose,lestthes,shortofleaves,hu.
esyetthroughh
theirdance
thepaleonshhheir.
hepeculiarlyeseending,easocialistic
thought,thepoetshielfisa
littletoorebelliousfortheaverageesepoetry.theusualnoteisoneofsadness
andresignation,asinsonyoftufuspoe,describingtheharassingeffectsof
ple:
icatoshihhaovillageandstayedthateve.
abailiffcafanginthenight.
theoldn,hearingthis,cliedoerthewall,
andtheoldansahebailiffatthedoor.
oh,hebailiffsvoicesoterrible,
andansplaintsosoftandlow
”ihavethreesonsallattheniehgpost.
aetosay
theotherthebattledied.
letthosethey,
forthoseore.
nohehousetheresonlygrandso;
forhiistherstillreins梬ithout
adetpattiattogoabout.
althoughstrengthisebbingweakandlow,
illgohyou,bailiff,inthefronttoserve.
foriy,and
torroardhurrytothehoyangfront.”
桽ospakethean,andinthenight,thevoice
becasoloper.
andintheingyshe;
aloneshesaidgoodbyetoheroldn.
thatischaracteristiftheartofrestraintandthefeelingofsadnessinese
poetry.itgivesapicture,expressesasentint,andleavestheresttothereaders
igination.
ix.dra
theeanpositioureandthat
bodyofliteratureeanbytheternaly,
literatureoftheiginatioer,includingthedrasanden
inthepehkuaorveacularlanguage,andnsequentlyriddenh
classicalstandards,andnstantlygrethatfreedobecause
esedraticpositionhappeobelargelypoetry,itedas
literatureonahigherlevelthanthenovels,andalstonaparhthetanglyrics.
scholarsedtobeknoatiing
novels.ontheasousorsubjectto
debateliketheauthorshipofnovels.
frooaginativeliteraturenstantlygrewin
beautyandiortaisonitsown
rits,aedaninfluenceoverthepeopleasnoclassicalliteratureever
succeededindoing.
thishybridaatsforitspeculiarpositionand
alsreatpopularinflueheesedraisabinationofdialogues
inthespokenlanguage,heelligibletothepopulad
songsenpartakeofahighpoeticquality.itsnatureistherefore
entirelydifferentfrohatoftheionalenglishplay.theso
shortintervalsandarereinprohanthespokenparts.asisnatural,the
ianlovesandsorrooreoftenburstoutintosongs.actually,thetheatreisattended,frohe
pointofvieoreforitssingingthanforitsag.one
speaksofgoingto”listentoaplay,ratherthanto”see”it.it,therefore,
thatthetranslationoftheesea”issleading,anditwouldbe
repropertospeakofitasese”opera.”
onlybyuandingtheofoperasothe
people,aspositiorulyuood.forthe
appealofthedra梕speodeenglishdra梚slargelyao
theuanding,akesabinedappealtothesensesoflour,
voiotion.thediufthedraisthespokenlanguage,but
thatoftheoperaissidthesong,atheatregoertendsaplayexpectsto
follobyitsnflictsofcharacteranditssurprisesand
yofa,andanoerispreparedtospendaneveningduringhhis
intellebedandhissensessoothedbysidlourand
song.
thisaostdratiancesarenothattendinga
sendti,althoughpeoplegotothesaoperasforthefiftiethtihoutlosing
theedgeoftheirkeenenjoynt.thusitishtheesetheatre.thesocalled
ghsi”pekingplays”hasageneralrepertoireoflessthanahundredpiecesh
areplayedoverandainhoutlosingtheirpopularity.andthepeople
applaudbyshouting”hao”invariablyattheariasostintenseor
intria,andag
isrelyanaainsoially
thesalevelasthatofadonnas.
theeseoer,therefore,appraisestheeseactoruhetwo
categoriesofhis”singing”g}andhis”ag”chuo.butthissocalled
”ag”isofteeidnsistsofcertaiionalwaysof
expressiions梚oustheshoglyinartisticheavingand
sadonnaschest,andi,istooctalsthe
ludicrous
ayandagoodvoiofagisalosatisfythe
audieaybebeautifulandeveryposea
perfeeilanfangby
arisisessentiallyrrect,althoughhouchofhissingingis
apprearvelsathisbeautifulposesand
gestures,hisgraceful,slongblackeyeb
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