Проблемы литератур Дальнего Востока. Часть 1

Секция 2 • Panel 2 Проблемы литератур Дальнего Востока. Т. 1. 2018 166 on issues connected with the poetics of the yuanqu . Only few ideas on this subject were postulated by V. F. Sorokin in his book  1 . Nevertheless, it should be borne in mind that the yuanqu -arias were not necessarily included in the texts of drama, but were also used independently in the form of individual uncyclized works (they are called “xiaoling” ሿԔ , literally: “little songs”), or in the form of poetic cycles (“taoshu” ྇ᮠ , that means: “set”), grouped in a certain sequence according to the chosen musical key. In this article we will talk about a special kind of depictive means used in the yuanqu -arias, regarding those used both in and outside the texts of zaju . We are referring to chenzi  2 ( 㺜ᆇ ) — “false characters” that are entered into the text of arias in excess of size. They are opposed to the basic words zhengzi ( ↓ᆇ ). The point is that the Yuanqu authors while creating their arias had to follow the metric “schemes of melodies” (Chinese “qupu” ᴢ䉡 ), since the verses were superimposed on the music. The schemes were written bymusicians and literati for any yuanqu they knew and they were looking like metric diagrams with the best examples of arias. The diagrams contained indications of the total number of strokes and syllables in the work, and also gave devices how many syllables should be included in each stroke. If, for example, according to the scheme of the chosen yuanqu , the first line in it consisted of five hieroglyphs, the second one — of seven, the third one — of three and so on, exactly those quantities of signs were expected to be put in the strokes of other works written for the same yuanqu melody. These signs were regarded as zhengzi . But the schemes were strictly followed only in ideal, because under certain circumstances, deviations from the sample were allowed and the authors could add “plug-ins”  3 to the basic words. In melodies they accounted for the weak parts of the bar. On the semantic level, they usually clarified the meaning of the verse, made it more accessible to the auditory perception, or decorated, introduced additional semantic and phonetic nuances. Let's try to understand how chengzi are used in yuanqu , as well as to find out what causes could motivate the creators of arias to deviate from formal rules and enter additional words. We will examine some examples, containing chenzi . For the first example we will take a fragment from an aria “I’m leaving the Court”  4 ( 䗎ᵍ ) by poet Buhumu ( нᘭᵘ , 1255–1300), who was of Turkic origin. и стили литератур Китая и Кореи. М., 1969; Федоренко Н. Т. Гуань Хань-цин—великий драматург Китая. М., 1958. 1 Сорокин В. Ф. Китайская классическая драма XIII–XIV вв. М.: Наука, 1979. 2 V. F. Sorokin uses another variant of transcription— “chenza” (see page 95 of his book). 3 There was also another term for chenzi — tianzi ( ປᆇ , “inserted words”). 4 This aria was composed on traditional “Scarlet lips” melody in “Xianlü” ( ԉ੅g⛩㔋 ଷ ) musical tone.