Проблемы литератур Дальнего Востока. Часть 1

Новые вопросы изучения классической китайской литературы... Issues of Far Eastern Literatures. Vol. 1. 2018 169 ৞ϖᔨ ⦹傜 ݯ ੁ⃀䰤䰩 1 “Ji-ding-dang” — jade hailstones bang on the cornice . In this example, chengzi are mostly represented by onomatopoeia (so they perform a phonetic function). They let the listening people hear images of natural phenomena described in the aria. If we omit them the content of the text will not be affected, however its artistic image will be significantly impoverished, as well as the bright colors, juiciness and expressiveness will disappear. The examples cited above allow us to conclude that the inserted words in arias could perform at least three basic functions — grammatical (or explanatory), expressive and informative. Apparently the authors used them in those cases when they could not keep within the standard metric scheme without damaging the perception of the work by ear, or without harming the beauty of the work. Presumably the singers while performing the arias accelerated the pace to withstand the rhythmic pattern of the verses on melodies of musical accompaniment. It should be noted that the authors of the arias could insert more or less chenzi . This observation can be confirmed by the following two examples. Please, have a look at an aria “Winter landscapes” ( ߜ Ჟ ) on melody “Songs about the great good” ( བྷᗧⅼ ) by Guan Hanqing ( ޣ ≹য , 1230–1300): 䴚㊹ॾ Snow flakes sparkle 㡎Ộ㣡 Like dancing plum flowers ݢ Ϣ㾖 ✏ᶁഋӄᇦ No more village huts with haze over them are visible ᇶ⍂๚മ⭫ The entire picture landscape is tightened with a thick shroud ⴻ⮿᷇ಚᲊ呖 I look at the thin forest, where crows croak in the evenings . 哴㣖᧙᱐␵⊏л [I look] at the yellowed reed, reflected in a transparent river ᯌ㔶⵰䫃劬㢆 Ǆ [I look] at the obliquely tied fisherman's boat . It is not difficult to find that Guan Hanqing limited himself by inserting chenzi only in the third line. At the same time, in another his aria “I do not obey old age” 1 ݳ ⲭᵤ˖ǉỗẀ䴘ǊˈㅜഋᣈǄ 2 ݳ ⲭᵤ˖ǉỗẀ䴘ǊˈㅜഋᣈǄ