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Volume XII of Qinqu Jicheng includes three Japanese handbooks.1 The first, Hewen Zhuyin Qinpu, is thought to be the oldest. The latter two, called Toko Kinpu (or Toko Kimpu), were appended as typical variants on the first. There is commentary on the handbooks by Zha Fuxi.2 These handbooks are the only qin handbooks known to have been re-published in China.
The three handbooks are as follows:
Van Gulik3 says these are Japanese copies of pieces Shin-etsu (Toko Zenji) taught beginners; Zha Fuxi mentions numerous editions. The earliest (1709) was not available for QQJC, so Zha Fuxi took two of the many later editions and appended them to Hewen Zhuyin Qinpu:
15 melodies, all with lyrics
35 melodies, all with lyrics
As for the melodies in these three handbooks, only four of the 38 in Hewen Zhuyin Qinpu also survive in handbooks published in China (Tiaoxian Runong, Gui Qu Lai Ci, Xiang Si Qu and Gao Shan; see details). And of the further 48 in the two Toko Kinpu, there seem to be eight not in Hewen Zhuyin Qinpu, but of these only two are related to melodies in Chinese handbooks (Yu Qiao Wenda and Yangguan Sandie); for the other six no such connection has yet been found.4
Besides the above two Toko Kinpu, there were a quite a few other Japanese handbooks related to Shin-Etsu's original, most also called Toko Kinpu. Among these Japanese handbooks there were many differences. The earliest of them seem to have been three books in the collection of 德川元子 (Tokugawa Motoko) in Tokyo, but those books had not been copied, so they were not available to Zha Fuxi for examination. He describes them as follows:
Although Zha Fuxi was not able to see those volumes, there were at least seven Japanese handbooks that he was able to examine. He listed them as follows,
QQJC includes the fifth and sixth of these. They were apparently copied by 田邊尚雄 Tanabe Hisao (1883 - 1984).
Appendix I
和文注音琴譜 (< 1676)
Hewen Zhu(yin) Qinpu (Wabun Chuyin Kinpu [?])
The volume used for QQJC, now in the Shanghai Library, was brought from Japan around 1900 by Zhou Qingyun. It is a hand copy said at one time to have been in 桂川家藏 the collection of the Katsuragawa family.5 In
QSCM (#321) Zhou Qingyun writes that 每譜前有桂川家藏印記 in front of each melody was the Katsuragawa family seal. The copy in QQJC has the seal marks only in front of a few of these.6 This brings up the question of whether Zhou may have made his own copy, or had someone make a copy, from the original.
Zha Fuxi in his preface ascribes the date of this collection to "before 1676". He also says that it was compiled by the monk Toko Etsu. This must be based on a belief that the melodies were brought to Japan by the Buddhist monk Jiang Xingchou when he arrived there from Hangzhou in 1676; in Japan he was known as Toko Etsu (also other names).
However, as the QQJC preface itself points out, in this handbook most of the melodies have indications that either Shin-Etsu himself or one of his students revised them.7 In addition, the handbook itself labels two of the melodies (#34 and #35) as 扶桑操 Fusang Cao, Japanese melodies (Fusang was an old name for Japan).8
The evidence suggesting that many of these melodies were at that time actively played in China is largely circumstantial. Although very few of them can be found in handbooks published in China, there were probably many qin songs that were sung but, though perhaps hand-copied, never published. And before Jiang Xingchou arrived in Japan and became Shin-Etsu, he was active as a qin player in both Nanjing and Hangzhou. Nanjing was a center of the so-called Jiang School, which emphasized qin melodies with lyrics.
It should be mentioned that the handbooks in Japan are unusual in their heavy use of cipai (ci lyrics in ci structures; for more on this see Cipai and Qin Melodies). The titles of these melodies are generally the name of the cipai, with a subtitle referring to the specific theme of the lyrics. One would think that once one had devised a melody for lyrics that fit a cipai, one would then apply other lyrics to the same melody. However, there is no evidence that this was done. Instead, as with
#22 and #23 there seems to be a tendency to make new melodies for the existing lyrics. Other melodies in Hewen Zhuyin Qinpu that have the names of cipai include #3, #4, #14, #15, #17, #18, #26, #27 and #30. Sometimes a melody may have the name of a cipai but the lyrics do not follow its structure.
So far I have found the following connections between the melodies published in Japan and melodies surviving in handbooks produced in China.
See also Yu Qiao Wenda and Yangguan Sandie under the Toko Kinpu.
4,4,4;4,5;6,7;3,4,4.
At www.jianpu.com there is an online version of Mei Hua said to be a transcription of the version in Toko Kinpu, but there are a number of puzzling aspects to it. I have copied it here
(.jpg or .pdf), adding in red my own interpretation in number notation of the Toko Kinpu tablature. The web page includes it under 笛簫譜 di xiao flute notation, but this does not account for the differences. A comment at the bottom of the transcription says that they changed the mode from the shang mode of the original to 夾鐘均 jiazhong mode. There is no mention of this mode with the original tablature, and if they are referring to the traditional jiazhong tuning (follow links from Jiazhong Yi) this does not seem to work, let alone explain their interpretation. (A specific example: in the transcription the first and last notes are the same, but this is not a possible interpretation of the existing Toko Kinpu tablature.) Unfortunately www.jianpu.com does not seem to have any information on where their transcription was originally published.
An introduction to Jing Guan Yin quotes the second line of these lyrics.
Original sources also have: 評語：阮亭云，淒淒切切，此潯陽江上琵琶也。文友亦有詞云「已曾貫滿半閒堂，重來叫破邯鄲枕。」
The above lyrics are unattributed and I have not been able to find their source.
扶桑操(之一) Fusang Cao
The present version is in particular similar in music and lyrics to the only other version with lyrics, i.e., the one in Chongxiu Zhenchuan Qinpu (1585). Both have four sections, though in Japan the sections are not numbered. The lyrics amoun to about 700 characters in all, beginning:
懸崔削壁，天外雲間，蓬萊第一山.... (The entire Gao Shan lyrics can be seen on this .pdf file [146.5 KB]).
Appendix II
明和本東皋琴譜 Minghe Ben Donggao Qinpu (Meiwa Toko Kinpu, 1772)
This edition was compiled in the 9th year of Meiwa, 1764 - 1772.
Appendix III
大原止郎本東皋琴譜 Dayuan Zhilang ben Donggao Qinpu (Ohara Shiro's Toko Kinpu; 1898)
No further information as yet on Ohara Shiro
Footnotes (Shorthand references are explained on a
separate page)
1.
琴曲集成 Qin Qu Jicheng (QQJC), Volume XII, pp.163 - 279.
2.
The original commentary, by 查阜西 Zha Fuxi, was edited for publication in 1994 by 吳鉊 Wu Zhao. See QQJC, Volume 12, pp. II and III. For more on Zha Fuxi see details of his Guqin Work.
3.
Van Gulik, Lore, pp. 217 - 249; this comment p.226.
4.
The other six are
Nanxun Cao (or Nanfeng Ge),
Canglang Ge,
Ming Feng Chaoyang,
Shi Jiao Jin,
Ji Yinzhe and
Yi Lan Cao. In addition to these, two have lyrics but not music: Ye Zuo and Zhou Ye; one, Caoman Yin, has only music, but lyrics are published elsewhere.
5.
桂川月池 Katsuragawa Etchi [1751 - 1809], a doctor of Chinese medicine, was also a qin player. See Van Gulik, Lore, p.239.
6.
In four places: QQJC, XII, pp. 163, 186, 201 and 216.
7.
"訂正、校正"; it is not clear whether the revisions were to the melodies, to the lyrics, or to both.
8.
A preliminary investigation suggests they are still in a Chinese style.
9 folios, 44 melodies; in the 上野圖書館 Ueno Museum;
3 folios, 46 melodies
33 melodies
Includes four songs seldom seen elsewhere, 春野 Chun Ye，富士 Fu Shi，山里 Shan Li and 山櫻 Shan Ying
33 melodies; in the 東京大學圖書館 Tokyo University Library
14 melodies (? should be 15)
15 melodies
-------------------------------------------------------
Qinqu Jicheng (QQJC), Vol. XII, pp. 163 - 237
Lang Tao Sha
You Jian Quan
Zui Weng Cao
Caotang Yin (first four of ten sections)
Chang Xiang Si
Le Ji Yin
Fei Qiong Yin
Mei Hua
Table of Contents for Hewen Zhuyin Qinpu
A beginner's piece; lyrics ("得道仙翁，得道陳摶仙翁....") unattributed; no commentary
Related to Chinese versions also called Caoman Yin
Zha Guide 34/--/501 lists four melodies: Japan,
1677 (XII, 355),
1677 (XII, 378, 388),
1738 (?) and
1802 (XVII, 542),
with three different sets of lyrics, all 4,5;7,6.6,6;6,6, as here, but no two applied to same melody
(compare cipai)
Comment at end: "東皋懶衲諧音 Toko the Lazy Monk Matched the Sounds" (with the words?);
18003.58 Qing Ping Yue, name of a 詞牌 cipai with 46 characters (as here; 4,5;7,6.6,6;6,6.); no mention of 7th day 7th month (七夕 Qi Xi) or Magpie Bridge (鵲橋 queqiao)
Lyrics, however, clearly concern the legend of the 牛郎織女 weaving girl and cowherd meeting on the magpie bridge on that day. Attrib. to 風月主人 (44734.30xxx) 孫蒼虯 Sun Cangqiu (? 7135.xxx; 32425.61xxx), they begin "Magpie Bridge formed...." :
凝眸斗渚迢遙，浮槎定擬今宵。誰識天涯此際，教人暗裏魂銷。
Zha Guide 32/--/471: 1618 (only VIII/336 [1-string qin] and Japan [same lyrics, different music])
Lyrics are by 歐陽修 Ouyang Xiu (cipai: [5,4;7;7,4.] x 2);
聚散苦匆匆，此恨無窮。今年花勝去年紅。可惜明年花更好，知與誰同？
Zha Guide 34/--/502 only here; 14827.323 name of 詞牌 cipai.
Lyrics by 胡浩然
Hu Haoran
東君律管，迤邐到山家。處處笙簧鼎沸，會佳宴、坐列仙娃。花叢裏，金爐滿爇，龍麝煙斜。
此景轉堪誇，深意祝、壽山福海增加。
玉觥滿泛，且莫厭流霞。幸有迎春壽酒，銀瓶浸、幾朵梅花。休辭醉，園林秀色，百草萌芽。
5,3,6;4,5;6,7;3,4,4.
Zha Guide 25/208/502 has one other,
1559 (no lyrics; unrelated melody)
Lyrics are from from 中庸 Doctrine of the Mean, Chapter 26 (Legge, Confucius, Dover, p.420); see Wang Yiheng (?)
Zha Guide 34/--/502 only here
Lyrics are from 中庸 Doctrine of the Mean, Chapter 27 (Legge, Confucius, Dover, p.422); again see Wang Yiheng (?)
尾：詩曰：既明且哲，以保其身，其此之謂與。
Zha Guide 34/260/503 lists it here and in
1840
See also below; "聖湖野樵訂 Edited by Seiko ...."(?)
Lyrics are a poem in
YFSJ (p.1180) attributed to
漢武帝 Han emperor Wudi (辭 not 詞)
Zha Guide 13/145/251; main intro and translation at
1511
Lyrics by 陶淵明 Tao Yuanming; similar to the common ones, but divided into sections as in
Taigu Zhengyin Qinpu (Yangchun Tang Qinpu, 1611; VII/443)
Zha Guide 34/--/503; only here
Lyrics by 李青蓮 i.e., 李白 Li Bai.
秋風吹不盡，總是玉關情。
何日平胡虜，良人罷遠征。
Zha Guide 34/260/504: only Japan and the musically unrelated
1739 (IV/9)
Lyrics by Li Bai, are also in his
Qin Shi Bu bio
(see comment)
幽澗愀兮流泉深，善手明徽高張清。
心寂歷似千古，松颼飀兮萬尋。
中見愁猿吊影而危處兮，叫秋木而長吟。
客有哀時失職而聽者，「淚淋浪以沾襟。("repeat": words, music or both?)」
乃緝商綴羽，潺湲成音。
吾但寫聲發情於妙指，殊不知此曲之古今。
幽澗泉，鳴深林。
Zha Guide 35/--/504: only in Japan; 122.23 jiu bie: long separated
Same as Jiu Libie below;
lyrics by Li Bai
玉窗五見櫻桃花。
況有錦字書。
開緘使人嗟。
至此腸斷彼心絕。
雲鬟綠鬢罷梳結。
愁如回飆亂白雪。 (飆 here written 一 over 儿 with 百 inside plus 炎 at right)
去年寄書報陽台。
今年寄書重相催。
東風兮東風。
為我吹行雲使西來。
待來竟不來。
落花寂寂委青苔。
Zha Guide 16/--/362 醉翁亭 (also 醉翁吟); various versions with differing music
(醉翁吟 has diff. music and lyrics)
Details of others with these lyrics at 1539 version
Same as below; lyrics by
Su Dongpo
Zha Guide 35/--/504: only here; 甘州 Ganzhou is today called 張掖 Zhangye (Gansu province)
Lyrics by Su Dongpo
問錢塘江上，西興浦口，幾度斜暉？
不用思量今古，俯仰昔人非。
誰似東坡老，白首忘機。
記取西湖西畔，正春山好處，空翠煙霏。
算詩人相得，如我與君稀。
約它年、東還海道，願謝公雅志莫相違。
西州路，不應回首，為我沾衣。
Zha Guide 35/--/505: only here; Ruihe Xian (21606.133) is a cipai from a 周邦彥 Zhou Bangyan Northern Song poem (compare Qiliang Fan as well as Ruilong Yin).
The lyrics here are by 黃山谷 Huang Shan'gu (i.e.,
Huang Tingjian), retelling Ouyang Xiu's 醉翁亭記 Record of the Old Toper's Pavilion
Although it reads like a narrative, it does follow a version of the ci pattern.
43079.41: On Phoenix Terrace Recalling the Playing of a Flute; no mention of cipai
Zha Guide 35/--/505: only here, adding "different from
1609" (Gui Yuan Cao), which has the same lyrics but a different melody
The title is a cipai; the lyrics by 李易南, i.e., 李清照 Li Qingzhao (1084 - ca.1151) are about her absent lover:
Zha Guide 35/--/505: only here; 5965.xxx
Lyrics: first verse is by 賀東山 He Dongshan (He Zhu 賀鑄 1052 - 1125; ICTCL; from 豔聲歌 [太平時七首]);
Second verse is by 辛棄疾
Xin Qiji (both have 40 characters but phrasing is different)
Zha Guide 35/--/506, only in Japan; 48157.42 and 12/1145 have only 鶴沖天 He Chong Tian (see in 1511): Cranes Pierce the Heavens
(or A Crane Pierces the Heavens, i.e., a person becomes an immortal in the form of a crane);
Lyrics, by 和凝 He Ning (3600.308; 10th c), are verse 2 of his poem in cipai 春光好 Chun Guang Hao
(一名愁倚欄令; verse 1 had almost the same structure), as follows
(from 全唐詩，卷893_29):
春水無風無浪，春天半雨半晴。 紅粉相隨南浦晚，幾含情。
Zha Guide 35/--/506; only here; 2798.371 Nanpu only (south bank; cipai name; name of various rivers)
Lyrics by 何籀 He Zhou (Bio/xxx; Song); in 四庫全書 under 點降脣 dian jiang chun, 49065.47 a cipai; first character here written 鸎)
撥盡琵琶，總是相思調。知音少。暗傷懷抱，門掩青春老。
Zha Guide 24/203/506 has two, the other an unrelated melody from 1559 with no lyrics
The literal meaning of fei qiong is (water looking like pieces of) flying red jade. 44974.336 飛瓊 says Feiqiong is the name of a female immortal at the time of Han Wudi; the introduction in 1559 suggests the literal meaning is intended. Here, however, I am not sure how this connects to the musically unrelated present melody, which is set to lyrics from one of the Three Poems on Snow (雪三首 Xue San Shou) by 林和靖 Lin Heqing, i.e., 林逋
Lin Bu:
清夾曉林初落索，冷和春雨轉飄蕭。
堪憐雀避來閒地，最愛僧衝過短橋。
獨有閉關孤隱者，一軒貧病在顏瓢。
Zha Guide 35/--/507: only in Japan. This melody, because of its mode as well as lyrics, could serve as a prelude for the 1549 Mei Shao Yue (further details). There is no melodic connection to Meihua Sannong. The lyrics are the poem 山園小梅 Shan Yuan Xiao Mei by 林和靖, i.e., 林逋 Lin Bu. Regarding the alternate title 瑤芳引, 21648.xxx, and 4/619 has only 瑤芳 yaofang, a kind of flower. The lyrics (translation) are:
疏影橫斜水清淺，暗香浮動月黃昏。
霜禽欲下先偷眼，粉蝶如知合斷魂。
幸有微吟可相狎，不須檀板共金尊。
Zha Guide 35/--/507: only here; 35: "即程頤詩 actually a poem by Cheng Yi" (should be Cheng Hao);
Bio/2312: lived in 洛陽 Loyang
(Henan), with his brother Cheng Hao
Lyrics are a poem by "程明道 Cheng Mingdao" (程顥 Cheng Hao; 1032 - 85; Bio/2313)
Translation under Jing Guan Yin.
萬物靜觀皆自得，四時佳興與人同。
道通天地有形外，思入風云變態中。
富貴不淫貧賤樂，男兒到此是豪雄。
Zha 35/--/507: only in Japan; 離別難 43079.43 says it is 詞牌名 the name of a cipai, but only ref. seems to be to the introduction to this title in
YFSJ 80/1131 (that entry is followed by two poems unrelated to those here; they begin, "此别難重陳...." and "綠楊陌上送行人....")
Lyrics here are by "鄒訐士" i.e., 鄒訏士 Zou Xushi, style name of 鄒祇謨
Zou Zhimo; see also #23, #24 and #26
Jiang Yulu was Jiang Rui (1625-98; 蔣銳，字玉淵，號馭鹿，江蘇武進人 [original has 庶 for 鹿]; no connection to Jiang Xingchou);
9786.104 建溪 Jianxi is in Fujian
應只有奇字盈囊。虎跳龍臥。落紙徵飛。過嚴灘。為訪富春舊跡。重上釣魚磯。
雲冉冉。草萋萋。憶臨岐秋士休悲。聽武夷幔亭仙樂。便驂鸞梅福也相期。
何況是到處逢迎。天涯知己斫鱠銜杯。懷故苑。暢好荔枝未熟。勸汝莫忘歸。
Zha 35/--/507 as above; comment as above but name now written 鄒訏士 Zou Xushi
Zha Guide 35/--/508: only in Japan; 華清引 31910.208 only 華清 Hua Qing (man's name)
Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #22, #23 and #26
(Elsewhere the poem has the added comment "晏起 (評語：羡門雲，非玉台金屋人不解。")
丁香輕掩扣微差。綠雲半側堆鴉。枕痕紅暈重。不敢見菱花。
Zha Guide 35/261/508: Only in Japan (261 has comments from four sources, not qinpu;
Music is unrelated to the Pili Yin used for Feng Lei Yin
Lyrics by 唐，沈佺期 Shen Quanqi (c.650-713) are in YFSJ:
Zha Guide 35/--/508; only here; 14658.231 cipai
Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo; see #22, #23 and #24 above)
偏與愁人作楚。細思量、甚事恰關卿。無端似。空床泣恨。斷軫傳情。
年年慣做西風伴。隱荒苔。啼殘青穗余燈。哀笳遠笛。飛來何處秋聲。
二十五番寒照靜。聽清鉦、歷歷嚴更。偏怨汝。叫回孤夢。短發星星。
太罪蟋蟀，得無不平耶。當以程村此詞平反之。)
Zha Guide 35/--/509: only here; 11558.1: cipai; 7,7,7.3,7.
Lyrics by 秦少游 Qin Shaoyou (秦觀 Qin Guan, 1049 - 1100; ICTCL/2)
[here the last 7 is repeated]);
杜宇聲聲不忍聞。欲黃昏，
雨打梨花深閉門。 (This line written out again for the closing harmonic passage.)
Zha Guide 35/--/509: only here; 31629.173 etc. xxx
Lyrics are same as first four sections of the 10+1 section melody 梨雲春思
Li Yun Chun Si; melody is different
At front: "曲肱軒藏譜，凡四闋" (Tablature from the Qugong Xuan [14610.93: room name of 宋，魏衍 Wei Yan])
At end: "聖湖野樵手挍" (Corrected by Seiko ____)
輕暖破寒，檐雲閣雨，庭院深深鶯語。
夭桃枝半出牆頭，見無數蜂狂蝶舞。
柳外繡鞍，花前羅襪，陌上喧天簫鼓。
春風意惱人腸，問何處江皋湘浦。
細雨斜風，十二高樓煙幾寸。
誰相廝讓？傳與青鸞信。
倦倚珠簾，長抱青春恨，悶悶悶。
亂紅成陣，又是清明近。
獨自步苔階，驚訊海棠開遍。
怪得東皇有意，也到深深院。
惜花常是為花愁，羞妬春風面。
閉門不管韶華，付與驚和燕。
借問東風來幾時，玉堂彩燕雙飛。
浮花浪蘃弄春暉，蜂蝶霏霏。
門巷輪諦雜沓，園林紅紫芳菲。
海棠自惜是花妃，着意徘徊，着意徘徊。
尾
昨夜東風入畫屏，欹杴不勝情。
Zha Guide 35/--/510; as with #2 Qing Ping Yue, same lyrics as but different music from:
1677 (XII, 364),
1677 (XII, 380) and
1802 (XVII, 545);
it is not in 1738 (?)
Lyrics by 馮延巳 Feng Yansi (903? - 960; ICTCL) follow the cipai
春閨 Chun Gui has no connection with 春閨怨
Chun Gui Yuan)
憶歸期，數歸期，夢見雖多相見稀，相逢知幾時。
Zha Guide 26/215/408: 3rd of 5 with this title; same lyrics and music as in 1618;
compare 1585
Lyrics, which have no connection to those in
YFSJ, are from a ghost story about Su Shi and a female qin player
Zha Guide 35/--/510: only in Japan; zhu zhi ci were
(ABC) "ancient folk love poems" or "classical poems on local themes"
26424.104 竹枝詞 references 劉禹錫 Liu Yuxi, but it has no mention of a cipai and does not quote any lyrics. 26424.103 竹枝 gives more detail, saying zhuzhi were poems in the Songs of Recent Times (近代曲辭 Jindai qu ci) section of Yuefu Shiji. Liu Yuxi lyrics of this title are in fact included in that section of Yuefu Shiji (see Folio 81), and these have been applied to the present tablature in a
modern recording. However, the lyrics actually used in Toko Kinpu are completely different, as follows:
斷腸那何人不識，一腔清韻有誰知。
Zha Guide 35/--/511: only in Japan; "Little Melody"
Lyrics unattributed
Zha Guide 35/--/511: only here; see comment under
Dun Shi Cao
Lyrics are unattributed but can be found in earlier sources such as #3 in the Qin Cao of Yang Weizhen.
牽牛何來兮飲吾上流，彼以天下讓兮我以之逃。
世豈無堯兮應堯之求，吾與堯友兮不與堯憂。
("Fusang" is an old name for Japan; comment suggests that the next two pieces are from Japan)
Zha Guide: 35/--/511: only in Japan
Lyrics unattributed;
淳風穆穆，厚德洋洋。
禮樂聲久，詩書音義長。
物阜兮，廣貯廣積，民安兮，多善多良。
山川萃秀兮，水色微茫。
亰國生奇兮，樹影菁蒼。
衆美具兮，人齊暢，恍疑遊世羲皇。
Zha Guide: 35/--/512: only in Japan (no connection to
思親操 Si Qin Cao)
Lyrics unattributed
終日思親人不知，一日思親十二時。
Zha Guide 35/--/512: only in Japan; 7221.314 only an pai
Lyrics "by a person of the Song dynasty"
榮休喜，辱休惱，開先謝早，此理人知少。
萬事算來由命，聽自然真個好。
榮枯得失，天已安排畢，何用強勞心力。
得一日，過一日，泰來否極，機巧終可益。
萬事付之一笑，前程事，暗如漆。
Zha Guide 24/201/384: see introduction at
Yu Ge Diao
Different music here, but same Liu Zongyuan lyrics
bu melody quite different
Zha Guide 2/21/14; melody and lyrics similar to some of the
versions published in China,
-------------------------------------------------------
Qinqu Jicheng (QQJC), Vol. XII, pp. 239 - 253
Table of Contents
Lyrics unattributed; same as Tiaoxian Runong
Lyrics by 歐陽修 Ouyang Xiu; also in 1676
Lyrics (滄浪之水清兮....) by Qu Yuan; Zha Guide 39/--/552; no musical relation to Fan Canglang
Also included below
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
See also 1676 above
Lyrics (無媒徑路竹....) by 杜牧 Du Mu; also below
Zha Guide 40/--/553
Lyrics (南風之熏兮....: same as Nanxun Cao below) are in the musically unrelated Nan Feng Ge (1.B.)
Lyrics; same lyrics and music as in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics: only the four lines of Wang Wei's poem, thus a shorter version of
the Yangguan Sandie below
-------------------------------------------------------
Qinqu Jicheng (QQJC), Vol. XII, pp. 255 - 279
Table of Contents
Lyrics; also in 1676
Lyrics by 馮延已 Feng Yanyi (not in YFSJ 69, pp.990-5);
also in 1676
Lyrics; same as Nanfeng Ge
Lyrics; also in 1772
Lyrics by Lin Bu;
virtually identical to 1676
Lyrics; also in 1676
Same as 1676 and 1772
Lyrics; also in 1676
Lyrics (丹鳳五色羽，其名為鳳凰....) unattributed (101.237xxx?)
47641.102xxx; only here; not in Zha Guide; not related to
1549
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; same as Jiu Bieli in 1676
Lyrics by 歐陽修 Ouyang Xiu; also in 1676
Lyrics (相逢此地....); not in Zha Guide; only here
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1772
Lyrics by 孫蒼虯 Sun Cangqiu (? 7135.xxx); also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676 (2)
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; also in 1676
Lyrics; related to various Yu Qiao Wenda Chinese versions, especially one dated 1620
Lyrics; related to the short Chinese version
Lyrics (習習谷風....) as section 1 of
1511 and
of 1618, but melody seems unlike any Chinese version
Lyrics; also in 1676
Only lyrics, no music
Only lyrics, no music
No lyrics, only music, but lyrics should be as in #1 above
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