第86节

    【】nalpattesofthoughtandstyle.ithasacultivated,

    superrefieique,butitlacksgrandeurandpohefeelingone

    getsontuingfrosandesedrasare

    essentiallyregarded,ashasbeenpoi,asallesisliketuing

    fronexquisitepluranuchsuperiorin

    freshness,riessandvariety.

    eselyricsaredainty,butneverlongandneververypoheirvery

    terseness,narrativeanddescriptivepassagesarenecessarilylitedinter.in

    thedrasthespeandstyleofpoetryaredifferent.wordsareusedhwould

    havebeebytheurtsasvulgar.igesarise,anddratic

    situationsarepresentederarypoh

    dearlyaionsreachaheight

    unattaiheexquisitequatrailihelanguageitself,he

    pehhua,beingfreefrohe,naturalnessand

    virilityentirelyundreadofbefore.itisalanguagetakenrathepeoples

    uths,andshapediybyselvesfreeoftheal

    standardsand.so

    stersoftheyuandrausedatoisitablebeautyofitsown,

    odeeseorintoanyfnlanguage.it

    lybesuggestedinthefollowing:

    zzy,dizzy,laal,iquattingsgsglyon

    ahendivan.

    clatter,patter,theoldpopoisshakingherarsegreatbig

    grainpan.

    lousy,slouchyliesthedonkeyuhewillow,hislegs

    sprawling,

    lapping,patting,thatolieshandonthedonkeysneckis

    pawing.

    oh,awhile

    oh,awhile

    tilikeabulletpastawindowisflying

    桵achihyuan:huangliangng.

    atitotheexigeheoperaticairs,but

    thelineswas

    broaderaabletotheveacularlanguageihe

    liberationoftreachievedinthesungtguinatinginsongsaheseairs,

    alreadyprovidedforatreularlengths,obeyihfthespoken

    ratherthareoreencipatedinthedras.

    asanapproxiteexaleofthisirregulartre,igivehereanenglishrendering

    ofpassagesintheberasterpieceofthefirstorderinese

    literature,hebeautyofinging,theheroine:

    beforeshespoke,shehadreddened,

    likeacherryripebroken,

    likeastatueolten;

    inant,

    shedhavespoken

    astringofnotessandgolden.

    uedsideyhe

    folloanner:

    sidelining,

    herjadehairpindeing,

    brooonreing,

    intoherblackvelvettelesresigning.

    oveditribed:

    nooveshersteps,ing,pretty,

    hersoftlikeasoutheditty,

    sogracefullyslender,

    sohelplesslytender,

    likesbeforeazephyrgiddy.

    itisiingtonoteherethatrhythsuoodinesedraticpoetryand

    ininusic.

    thereisnoreasoaltresofthreesshouldnotbe

    usedinsokindularbinationinenglishpoetry.thishasbeendoneh

    greatsuoredulatedrhythbr>

    tharaightuseofthreesthroughouttheliheideaish

    experintbysoqualifiedenglishpoets.

    throughitsiensepopularitythetheatrehasachievedaplathenational

    eselifeverynearlyrrespondingtoitslogicalplaanidealrepublic.apart

    froeausic,ithastaughttheesepeople,

    oveiypertofareilliterate,aknoazing,

    crystallizing,asithefolkloreairehistoridliterarytraditioninplays

    ofonnand

    en.thusanyahhasaliveliernanyhistorical

    heroeslikekuanyii,liupei,tsaotsao,hsuehjenkingshanandyang

    kherintitekno

    attendiheatresinyssionaryeducation,andhadto

    leaitallpieyteensiknew

    joshuastruetsbleheididnotknoili

    thirtythatenggniicriedoverthebonesofherhusbandwhohaddied

    buildingthegreatlabour,thetorrentofhertearswashedawaya

    seofthegreatongthe

    illiterateese.

    butthetheatre,besidespopularizinghistoryandsigthepeople,hasan

    equallyiortantculturalfuninprovidingthepeopleoral

    notionsofgoodandevil.praallyallthestandardizedesenotionsofloyal

    nistersandfilialsonsandbraveaidensand

    intriguingidservantsaferefleurrenteseplays.representedin

    theforfstoriesanaybe,

    theysiotheirralnsintzusfilialpiety,angingspassion,yaastes,

    kreason,yensungsgreedandhukoliangsstrategy,gfeis

    quickteer,andliensreligioussanctity梩heyall.beeassociatedinthe

    eseheireionsof

    goodandevilnduct.

    thestoryoftheroheguitarpipachiisgiveoshohetypeof

    ralinfluenpleof

    thekindofstory,

    ...