This melody survives in at least 21 handbooks from 1539 to 1876.² In addition, two handbooks have 雲竹榻 Yun Zhu Ta as another name (or version?) of this melody (both also have Gujiao Xing). The number and variety of mid-Ming occurrences suggest it was played quite actively during that period. The title could also be translated as The Actions of Old-Style Relations, and Old-Style Relations Melody.³

Xilutang Qintong (1549), which has lyrics accompanying part of one section, says that the melody praises the friendship between Guan Zhong⁴ (Guanzi; 720-645) and Bao Shuya. Guan Zhong was a minister in the state of Qi, in what is now Shandong province; he is said to have written the earliest Legalist work. Bao Shuya was his childhood friend. The preface adds that Guanzi himself originally wrote the melody, then Chen Zhong and Lei Yi, famous friends during the 2nd c. CE, revised it.⁵

Taiyin Chuanxi (1552) attributes the melody to Wang Tong (583-616) (Wen Zhongzi; 583-616), saying he wrote it as a complaint that nowadays relations were all about wealth and power.⁶ Wang Tong was a famous scholar who is said to have proposed, at age 19, 12 "Plans to Secure Tranquility" to the empire. When these were declined he retired to the countryside in an area northeast of Chang'an, gathering here a large number of disciples. He declined office under the first Sui dynasty emperor.

In later handbooks the common attribution is the latter one, to Wen Zhongzi. The version published in 1670 says it is a revision by Zhou Donggang.⁷

Fengxuan Xuanpin does not pair short melodies with long ones of the same theme. If it did, #49 Kai Gu would make a good prelude. However, in later handbooks Gujiao Xing is paired with a short melody variously called Jiao Qi Yin, Duan Jin Yin and Jing Guan Yin.

 
Original preface
None here: choose between the Guanzi and Wen Zhongzi stories.

 
Music
10 sections (untitled; lyrics can be added to Section 7)⁸

 
Footnotes (Shorthand references are explained on a separate page)

1 3/xxx; 3308.105 古交 Gujiao has only that it is an old name for 交城 Jiaocheng, a prefecture southwest of Taiyuan in central 山西 Shanxi province. Gujiao Xing could thus also be translated as Traveling in Gujiao. However, there is no apparent connection between that region and this melody. Zhu Houjiao, the compiler of Fengxuan Xuanpin, was a prince for an area southeast of the Songshan mountain range in Henan Province.

故交 13466.39 and 5/430 gu jiao have several quotes concerning old friendships, but nothing that might connect to the present melody. (Return)

2 Zha Fuxi's Guide 16/166/-- . Zha's guide somehow omitted the occurrence of Gujiao Xing in Xilutang Qintong (1549; III, p.91). This, the second or third surviving version, has lyrics in Section 8 (of 12; see footnote at bottom) and has the only afterword attributing the melody to Guan Zhong. The version in Fengxuan Xuanpin has no lyrics, but those from 1549 Section 8 could be paired with the similar music at the beginning of Fengxuan Xuanpin Section 7.

The first 12 occurrences are dated 1539, 1547, 1549, 1552, 1557, 1579, 1589, 1596, 1602, 1614, 1647 and 1670 (which has two versions, neither mentioning 雲竹榻 Yun Zhu Ta, which has a comment that the beginning is related to Gujiao Xing). (Return)

3 雲竹榻 Yun Zhu Ta (Cloud Bamboo Couch; 43170.106 only yunzhu)
The two handbooks with this version of Gujiao Xing are in 1670 (XI/481; says Zhou Donggang Gu Jiao Xing, then attributes melody to Dong Tinglan) and 1876 (identical); both handbooks also have Gujiao Xing (see XI/341). Compare 雲竹偈 Yun Zhu Ji (Cloud Bamboo Chant) (Return)

4 行 hang 34850甲33/34: 曲引、歌行 (Return)

4 Guan Zhong (Guanzi; 720-645)
26689.80 管仲 Guan Zhong, full name 管夷吾 Guan Yiwu (also called 管子 Guanzi), was Minister of State for Duke Huan of Qi during the Warring States period. His biography in Shi Ji #62 (see Nienhauser, VII, p.9ff) says that he was very skilled and his policies very influential. He was later said to have written the book called 管子 Guan Zi, a political work with much practical advice (especially economic) on governing. It is said to be the earliest Legalist work, though it was probably written during the 4th to 1st centuries BCE. (Return)

5 The 1549 preface, which begins 管仲與鮑鮑叔(牙)賈財…. , relates the story that Guan Zhongzi and his great friend Bao Shuya when young went into business together. Guan took the larger share, but Bao didn't mind because he knew Guan had old parents to support. So Guan wrote this melody, then 陳重雷義復作膠引繼之 Chen Zhong and Lei Yi (2nd c. CE; 42618.586; great friends in 2nd c. CE) later fixed it up (Return)

6 This preface from 1552 (see IV, p.72), also found in several later handbooks, tells the story of Wenzhongzi creating this piece, as follows

7 周東崗 Zhou Donggang; also written 周東岡 Zhou Donggang
Qinyuan Xinchuan Quanbian (1670) has a brief introduction to Zhou Donggang (QQJC/XI, p.214) that says: "金谿人。作琴譜，作溪山秋月 From Jinxi (Jinqi? 41049.1220 in Jiangxi, east of 臨川 Linchuan); he wrote qinpu (qin handbook or tablature) and 溪山秋月 Xi Shan Qiu Yue". The 1670 handbook has two versions of Xi Shan Qiuyue (XI/356ff [松絃館譜] and p.484ff [no source given]), but it does not mention the name Zhou with either. Zha indexes this title as 28/224/-- , with the earliest version (1602) attributed to Shen Taishao. However, these are all musically related to 箕山秋月 Jishan Qiuyue (from 1589, which Zha indexes separately as 29/230/441. The preface to the first surviving Jishan Qiuyue, in the 1589 edition of Boya Xinfa (QQJC/VII, p.157), says it was revised by 會稽處士毛繼祖 an heir of Mao from Kuaiji. However, the 1609 edition of the same book says the revision was by 周桐菴 Zhou Tong'an (see Zha Guide, p.230). This perhaps suggests that 作琴譜 "wrote qinpu" means copying down the way someone played a melody. Does this also suggest that Zhou Donggang and Zhou Tong'an were the same person?

The melodies Qinyuan Xinchuan Quanbian does connect to Zhou Donggang are Gujiao Xing (p.341 周東崗校譜, "his revision"; see also the related Yunzhu Ta on p.481) and the melody that follows it, Yu Qiao Wenda (p.343 周東岡譜, "his tablature"). At present I haven't found any earlier connection of either Zhou name with either of these titles, so the possible connection between the two Zhou names is at present only speculation.

Appended at the end of the handbook are alternate versions of melodies already included, saying they come from 周本 the Zhou volume, but this refers to a modern edition in the collection of 周子沐 Zhou Zimu (see XI/3-4). (Return)

8 The following lyrics from Xilutang Qintong Section 8 could be paired with the similar music in Fengxuan Xuanpin at the beginning of Section 7.

Return to the annotated handbook list or to the Guqin ToC.