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CXZC   1573 ToC   CXZC Preface   /   Handbook List   目錄
Chongxiu Zhenchuan Qinpu
Revised Qin Handbook in the Orthodox Tradition 1
 		 重修真傳琴譜
1585
Original 1585 Table of Contents 2            
Table of Contents 3

  1. 調絃入弄 Tiaoxian Runong: Beginning Melody (IV/303)
    Has commentary

  2. 泛音調弄 Fanyin Diaonong: Harmonics Melody (IV/303)
    Has commentary

  3. 五徽調弄 Wuhui Tiaonong Fifth Position Melody (IV/304)
    Has commentary； at end says "二卷終"

     
    Folio 3 (IV/304)

  4. Gong Yi (1; IV/304)
    Related to     1425; lyrics "惠風膏雨沐花天，紫陌青門...."

  5. 遇仙吟 Yu Xian Yin (Meeting an Immortal; 5; IV/304)
    Only here and 1573; source of lyrics unclear

  6. Yang Chun (15; IV/306)
    Melodically related to     1539 but lyrics (天氣下降，地氣上騰....) are completely different

  7. Meihua Sannong (12; IV/311)
    12th pu, from     1425; lyrics (溪山晴朗了，滄浪寒月曉....) related to 1511

  8. 浩浩歌 Haohao Ge (Song of the Universe; 3; IV/316)
    Only 1573, here and 1618; lyrics attrib. 馬存字子才 Ma Cun; 11th c.

  9. 金陵弔古 Jinling Diao Gu (In Nanjing Mourning the Olden Days; 9; IV/317)
    Guide 25/212/386; only here; see further details
    Lyrics (始皇巡狩馭飛龍....) commemorate returning to Nanjing in 1579

  10. Gao Shan (4; IV/321)
    5th pu, from     1425; only one with lyrics (懸崖削壁，天外雲間....); melodically very different and lyrics won't fit 1425
    (See #8 above for note on switched pages)

  11. Liu Shui (8; IV/324)
    5th pu, from     1425; only one with lyrics (水東流，長江萬里悠悠....); melodically very different and lyrics won't fit 1425

  12. Zhao Yin (3; IV/328)
    3rd pu, from     1425; lyrics (杖策荒塗，馳騁此身軀....) might fit, but the melody seems completely different

  13. Wang Ji (2; IV/329)
    5th pu, from     1425; lyrics (止水湛寒波，敺鷗與那鷺友結和....) might fit 1425 but melody seems quite different
    Attributed to Liu Zhifang

  14. Yin De (3; IV/330)
    4th pu, from     1425; lyrics (山陰溪曲，抱長才隱居林麓....) might fit 1425 but melody seems quite different
    Preface says revised by Mao Minzhong

     
    Folio 4

  15. Jiu Kuang (6; IV/331)
    4th pu, from     1425, first with lyrics (世事奔忙，誰弱誰強....); closely related to 1589 version

  16. 前出師表 Qian Chu Shi Biao (First Memorial on Dispatching the Troops; 10; IV/333)
    1839.183 Zhuge Liang's advice before marching on 魏 Wei; Guide 26/213/390: only here
    Lyrics (先帝創業未半....) are all of Chu Shi Biao in Wen Xuan, Chapter 37 (pp. 1670 - 75)

  17. 後出師表 Hou Chu Shi Biao (Second Memorial on Dispatching the Troops; 10; IV/336)
    Guide 26/214/392; only here; lyrics (先帝慮深以....) not in Wen Xuan

  18. Jin Lü (Under the Bridge; 7; IV/339)
    Same story but longer melody than 1539's     Yi Qiao Jin Lü; lyrics (日出圯橋東，碧暘長虹....) are completely different

  19. 陳情表 Chen Qing Biao (Memorial Expressing My Feelings; 5; IV/342)
    42618.735 (and Wen Xuan, I, p. 43);     Guide 26/214/394; only here
    Lyrics 臣密言；臣以險釁.... by 李密 Li Mi (Wen Xuan 37, 陳情事表, pp. 1696 - 1700) express filial devotion

  20. 牡丹賦 Mudan Fu (Rhapsody on Peonies; 1; IV/344)
    Guide 26/214/396; only here; lyrics (柏林陰陰飛香雨....); connected to Nanjing)

  21. Loushi Ming (1; IV/345)
    Same lyrics but much different music from     1539

  22. 大學章句 Da Xue Zhang Ju (4; IV/345)
    First of five to     1884; same text, but musically unrelated to Kongsheng Jing

  23. Guanghan You (9; IV/347)
    Compare     1425: melody quite diffent but the lyrics (晚免雲開，煙霞藹藹...) might fit 1425

  24. Xuan Mei (5; IV/350)
    6th pu, from     1425; same preface, related music, lyrics (矧機諴，小天而小地....) could fit 1425

  25. Huo Lin (6; IV/352)
    4th pu, from     1425; music quite different but lyrics (麟兮麟兮，合仁抱義....) might fit 1425

  26. 醒心集 Xing Xin Ji (5; IV/354)
    Sets to music five poems from a collection of Xing Xin (Awakened Mind) poems in a compendium of writings connected to the "林兆恩 三教合一 Three in One Religion of Lin Zhaoen (1517-1598)."

     
    Folio 5

  27. Shang Yi #1 (compare #2; 1; IV/357)
    Lyrics 秋風秋風清，鴻雁末賓.... and music are similar to those of Gu Qiu Feng of 1511

  28. Si Xian Cao (7; IV/357)
    Lyrics and music about Yan Hui; related to     Ya Sheng Cao in 1511

  29. Kechuang Yehua (10; IV/361)
    Lyrics and music related to     1511

  30. Qiu Jiang Wan Diao (8; IV/365)
    Lyrics and music related to     1530

  31. Gui Qu Ci (6; IV/367)
    Lyrics and music related to     1511, etc.

  32. Yu Qiao Wenda (9; IV/369)
    Music related to     earlier versions; lyrics are in the form of a dialogue

  33. Qian Chibi Fu (8; IV/372)
    Lyrics are the same as in     1511, but the music is different

  34. Hou Chibi Fu (6; IV/374)
    Lyrics are the same as in     1511, but the music is different

  35. Yuan He Shuang Qing (12; IV/376)
    Music is related to     1511 (Shuang Qing Zhuan), but the lyrics (露零零，秋動蓬瀛....) are completely different

  36. Chun Jiang Qu (1; IV/381)
    Lyrics and music are as same as in     1511

  37. Feng Ru Song (1; IV/381)
    Lyrics are the same as in     1511, but the music is rather different

  38. 相思曲 Xiang Si Qu (1; IV.382)
    Related to later versions, now usually called 古琴吟 Gu Qin Yin; lyrics 音音音，恁負心....

  39. Lü Shuang Cao (1; IV/383)
    Han Yu lyrics, the same as in     1511; the music is similar

     
    Folio 6

  40. Shang Yi #2 (compare #1; 1; IV/383)
    Guide 1/6/7 , but seems unrelated to those; commentary is technical
    Lyrics: 霜落海門秋，今古思愁....

  41. 滕王閣序 Teng Wang Ge Xu (Preface to 'Pavilion of Prince Teng', in Nanchang; 14; IV/384)
    4;     1585 #41; E152)
    Guide 26/216/408 : only here, 1611 and 1618 (VIII/198); the music differs, but all have the same lyrics by 王勃 Wang Bo (649-676). There is a translation by Victor Mair in Columbia Anthology, pp.547-555 (also one by E.C. Chang online). Lyrics for the first two sections are:

    1. 南昌故郡，洪都新府。星分翼軫，地接衡廬。襟三江而帶五湖，控蠻荊而引甌越。
    2. 物華天表，龍光射牛斗之墟，人傑地靈，徐孺下陈蕃之榻。雄州雾列，俊采星驰。

    The lyrics here refer to Nanchang and Hongdu, but the Columbia edition translation calls them 豫章 Yuzhang and 洪州 Hongzhou, which are more ancient names within the same environs. Perhaps there are differing editions. The attached commentary says that when first built the pavilion "was considered to be the tourist spot par excellence in the south."

  42. Xue Chuang (10; IV/388)
    6th of 7 versions from 1539, Xue Chuang Ye Hua (see     chart)

  43. Bai Xue (9; IV/392)
    10th pu, from     1425, first with lyrics (): related music, but lyrics won't fit 1425

  44. 對月吟 Dui Yue Yin (12; IV/394)
    Guide 26/216/411 : only here
    Preface attributes this to Li Bai but the connection is unclear other than that Li Bai liked to intone under the moon. Lyrics of the first verse (遙贍斗柄) are:

    良夜四山寂靜，玉匣光開寶鏡。
    銀潢演派波光映，兔蟆的那弄影，新粧誰爲嫦娥整。
    金莖露冷冷，令人俯仰增佳興。
    心空闊也，那碧天髙迥，耿耿遙膽斗柄。

  45. Yi Lan (11; IV/398)
    11th pu, from     1425; melodically related but lyrics won't fit
    Section 1 (漪漪揚揚草其行國其香....) paraphrases the Han Yu lyrics

  46. Xiang Fei Yuan (4; IV/402)
    Lyrics are the same as in     1511; the music is almost the same

  47. Boya Diao Ziqi (IV/403)
    Guide 14/149/256 groups various pieces of this title; the music seems very different here
    The lyrics are related to 1511, not 1525

  48. 聖德頌 Sheng De Song (8; Hymn of Holy Moral Virtue; IV/404)
    Guide 26/217/414: only here (but see list; not related to 盛德頌 Sheng De Song, Hymn of Grand Moral Virtue)
    Lyrics: 仁天開景運，際昇平.... (not the same as those in the fu poem by Yan Shigu)

  49. Qi Shan Cao (1; IV/407)
    Han Yu lyrics, same as in     1511; quite different melody

  50. Wen Wang Cao (1; IV/408)
    YFSJ lyrics, same as in     1511; different melody

  51. Ju You Cao (1; IV/408)
    Han Yu lyrics, same as in     1511; somewhat similar melody

  52. Yueshang Cao (1; IV/408)
    Han Yu lyrics, same as in     1511; similar melody

  53. Si Qin Cao (1; IV/409)
    The lyrics same as in     1511; quite different melody

  54. Jiang Gui Cao (1; IV/409)
    Han Yu lyrics, same as in     1511; quite different melody

  55. Gui Shan Cao (1; IV/409)
    Han Yu lyrics, same as in     1511; similar melody

  56. Xing Tan Yin (1; IV/410; (1573 #40 has several notes different)
    The lyrics = Section 10 of Xing Tan (1525);
    Melody, different, is like second half of 1573 Shi Yin

  57. Ke Shang Cao (1; IV/410)
    The lyrics same as in     1511; different melody fragment, here written out twice

  58. Ba Gong Cao (1; IV/410)
    The lyrics same as in     1511; somewhat different melody

  59. Can Xing Cao (1; IV/410)
    Han Yu lyrics, same as in     1511; somewhat different melody

  60. Si Gui Yin (1; IV/411)
    The lyrics same as in     1511; similar melody

  61. Bie Gu (1; IV/411)
    Han Yu lyrics, same as in     1511; somewhat similar melody

     
    Folio 7

  62. Jiao Yi (1; IV/412)
    10th (?) pu, from     1425: melody different but lyrics seem to fit
    (also see  >1505 and comments)

  63. Liezi Yu Feng (9; IV/412)
    11th pu, from     1425: melody quite different but lyrics will fit
    Lyrics are the same as what survives of the  >1505 version

  64. Lingxu Yin (3; IV/415)
    8th pu, from     1425: melody different but lyrics will fit (see  >1505)

  65. Shenhua Yin (3; IV/416)
    7th pu, from     1425: melody seems different but lyrics same as  >1505

  66. Meng Die (Zhuangzhou Meng Die; 8; IV/416)
    12th pu, from     1425: melody seems different but lyrics same as  >1505

  67. Shangjiao Yi (1; IV/419)
    10th pu, from     1425: melody seems different but lyrics same as  >1505

  68. Chu Ge (12; IV/420)
    11th pu, from     1425: lyrics are same as in 1511 but melody is quite different
    Seems to use standard tuning, as would be appropriate for this mode

  69. 慢角意 Manjue Yi ("also called 碧玉意、無媒意 Biyu Yi and Wumei Yi"; 1; IV/423)
    This title only here, but compare     Shenpin Biyu Yin in 1425 (lyrics might fit) and Huangzhong Yi in 1525
    Different tuning from the Huangzhong Yi here

  70. 蘇武思君 Su Wu Si Jun (9; IV/423)
    Related to     Li Ling Si Han in 1525

  71. Dunshi Cao (10; IV/427)
    4th pu, from     1425; melody seems different but the lyrics might fit

  72. Baji You (6; IV/430)
    Compare     1425: melody is quite different but the lyrics might fit (comment)

  73. Huaxu Yin (3; IV/432)
    4th pu, from     1425: melody seems different but lyrics same as  >1505

  74. Da Ya (9; IV/433)
    12th pu, from     1425: melody seems different but lyrics same as >1505
    Preface begins, "樂之歌也。其篇有大小之殊", then quotes SQMP preface

  75. Yi Zhen (4; IV/436)
    4th pu, from     1425, but melody quite different; lyrics as  >1505; titles expanded from there
    1876 is same, but gets tuning wrong (?)

     
    Folio 8

  76. Zhi Yi (1; IV/438)
    12th pu, from     1425, but melody quite different; lyrics same as  >1505

  77. Guan Ju (10; IV/438)
    14th pu from      >1505; melody quite different but lyrics are related

  78. Yu Hui Tushan (12; IV/441)
    11th pu, from     1425: melody seems different but lyrics same as  >1505

  79. Qiao Ge (11; IV/446)
    12th pu, from     1425: melody seems different but lyrics same as  >1505

  80. Nanxun Ge (2; IV/450)
    Related not to      >1505 but to 1511

  81. Shanju Yin (4; IV/450)
    9th pu, from     1425: melody seems different but lyrics same as  >1505

  82. Si Shun (9; IV/452)
    12th pu from      >1505; melody quite different but same lyrics

  83. Shi Xian (8; IV/455)
    2nd pu, after      >1505; melody quite different but same lyrics

  84. Tiantai Yin (11; IV/457)
    2nd pu, but the first (    >1505) has only the first two sections and the start of the third
    For this section the lyrics here are almost the same, the music rather different

     
    Folio 9

  85. Yu Yi (1; IV/463)
    12th pu, from     1425: melody seems different but lyrics same as  >1505

  86. Zhi Zhao Fei (14; IV/463)
    12th pu, from     1425: melody seems different but lyrics same as  >1505

  87. Wu Ye Ti (9; IV/468)
    13th pu, from     1425: melody seems different but lyrics same as  >1505

  88. Feng Qiu Huang (1; IV/471)
    Lyrics almost same as 1539     Wenjun Cao, but different melody

  89. Ruibin Yi (1; IV/471)
    10th pu, from     1425: melody seems different but lyrics (人生南北路...) same as  >1505

  90. Yuge Diao (1; IV/471)
    4th pu, from      >1505; melody quite different but same lyrics

  91. Yu Ge (18; IV/472)
    5th pu in this tuning, from      >1505; melody quite different but same lyrics

  92. Qiu Hong (36; Guxian!; IV/478)
    9th pu, from     1425: melody seems different but lyrics very similar to  >1505

     
    Folio 10

  93. Huangzhong Yi (1; IV/488)
    9th (?) pu, from     1425 (Shenpin Wuyi Yi)
    Melody seems different but lyrics same as  >1505

  94. Zhaojun Yuan (8; IV/489)
    11th pu, from     1425 (Longshuo Cao): "also called 龍翔操 Longxiang Cao";
    Melody seems different, but it has lyrics same as  >1505

  95. Xiao Hujia (6; IV/492)
    4th pu, from     1425; lyrics same as >1505;

  96. Huangyun Qiusai (3; IV/496)
    7th pu, from     1425: melody seems different; lyrics somewhat different from  >1505

  97. Qiuyue Zhao Maoting (5; IV/498)
    4th pu, from     1425; lyrics same as >1505

  98. Shanzhong Si Guren (3; IV/499)
    4th pu, from     1425; lyrics same as >1505

  99. Qiliang Yi (1; IV/500)
    6th pu, from     1425: melody seems different but lyrics same as  >1505

  100. Qu Yuan Wen Du (8; IV/500)
    9th pu from      >1505, but melody quite different and lyrics are like 1530

  101. 秋江送別 Qiu Jiang Song Bie (9; Ruibin; IV/502)
    Guide 26/217/416: "only here", but lyrics and music are very similar to  >1505 (different refrain)
    This is the long version of Yangguan Sandie (12/124/222; compare short version, below)
    "Departure at the River in Autumn"; in 1573 the same melody is "Departure at the River in Spring"

  102. Yangguan Sandie (3; Ruibin!; IV/505)
    Second short version of Yang Guan: first is     1530; opening phrase is different and words differ throughout, but melody is related

  103. Li Sao (18; IV/506)
    9th pu, from     1425: melody seems quite different but lyrics same as  >1505
    (Not the original Qu Yuan text)

  104. Zepan Yin (4; IV/511)
    8th pu, from     1425: melody seems different but lyrics same as  >1505

  105. 清江引 Qing Jiang Yin (1; IV/513)
    Only here (and 1573). Mode not indicated, but seems to use standard tuning.

    䟦 Afterwords (dated 萬曆乙酉 1585)
         by Chen Shuzhen (IV/513)     11
         by Yao Shiwei (IV/514) 12

 
Footnotes (Shorthand references are explained on a separate page)

1. 1585 ToC
The 105 pu (tablatures) in this qinpu (qin handbook) include 45 of the 64 titles from 1425. Noticeably missing is the piece Intonation for Poetry (詩吟 Shi Yin) from 1573.

2. Original 1585 ToC
See QQJC IV/263 (image has the first two of three pages).
(Return)

3. Content
"E" appears in the 1573 ToC to refer to the respective page in the electronic version (here a pdf of the 1573 edition).
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4. Yang Biaozheng preface
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重脩正文對音捷要真傳琴譜大全序
盖聞琴者，聖人之雅樂也。自庖羲氏之有 天下，觀鳳鳴桐，知其材良，乃象形制器，而 琴始作焉。於是定五音，宮商角徵羽是也； 順五行，金水木火土是也；正五性，仁義禮 智信是也；參三才而一之，其為道也大，其 為噐也尊。能去瑤欲之心，能養中和之氣， 有裨益於吾人者誠多矣。故堯、舜、文王、孔 子諸聖人，有歷山、南薰、懷古、漪蘭等操；伯 牙受學於成連，而高山流水之音迄今傳 播人口。古今聖賢之精於琴者，殆不可以 屈指歎也。其所以正心和性，端于斯琴，有 賴焉耳矣。聖賢不作，琴學遂亡；傳之者不 由性以審音，學之者多返古而自惑，良可 慨也。愚性素踈慵，隱居泉石，名利不關；詩 禮藝學，雖則粗知，惟絲桐之妙，苦志究心 三十餘年，方得樂隨道化，趣從樂生，殆不 知琴之為我，我之為琴也。不遇知音，雅懷 未副，遂遨遊於雲水之間，會謁高明，同倡 斯道。間有鄙俗異論，江浙之分，褻玷古人 高致，皆由授受錯誤，殊不知聖賢琴學之 精，得心應手，異地皆然也。愚甚為此慮，不 揣薄劣，昕夕索諸聖源流曲操秘譜，精撰 古意，對正音文，理明晰，要撮成類，名曰楊 氏正文對音捷要真傳琴譜大全，作行海 內，以與諸同志者公之。是譜先於萬曆元 年春，曾刻秣陵寓舍憑虛閻；今則校正重 刻，復增新曲數十操，則前之未備者益得 其詳，前之差謬者始得其正。視舊刻不啻 天壤矣。琴學其有傳載歟？噫！莊周鑿輪，皆緣 神解；師曠之調鍾，俟知音者之在後也。學 之者當求之譜外焉，斯可也。是為序。

時
萬曆乙酉嵗孟秋月吉旦，閩延平府永
安縣西峰山人楊表正書于
貢川龜山書院

To summarize, this preface presents the qin as a sacred instrument originating with Fuxi, embodying cosmological order (five tones, five phases, five virtues, and the unity of Heaven–Earth–Human). It emphasizes the moral and self-cultivating function of qin playing, citing sages such as Confucius and musicians like Bo Ya. The author laments the decline and confusion of qin transmission, including mistaken regional distinctions (Jiang/Zhe schools): one is not superior to the other. After decades of study, he compiles this corrected and expanded handbook to clarify the alignment of music and text, rectify errors in earlier editions, and transmit the tradition more reliably—while insisting true understanding ultimately lies beyond written scores.
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5. Anonymous preface
Copied by OCR from ctext.org then checked and punctuated (some problems remain):

刻太古琴譜序
恭聞太音不入俚耳，而通乎神明之德。 故是托琴樂音律之中，摟真于玄虛之 府，握靈機樞造化，涵泳乎性命之源；但 指趣神妙，鈎深無象，然有自契者，非筆 舌所能形容也。是故精熟琴學者，蔟於諸徽 軫一句之中，而心機俱失，音韻自諧，聲律猶妙。 當此之際，趣玅諸手，音協諸心，琴我兩忘，生前 面目悅然可觀矣。雖洪熹太古之律，亦可至 矣；豈非琴人神合心音融妙也？每想風景易 遷，江山如故，太古正音安在乎？歐陽文公 曰：「古人琴可彈，彈為古曲，如聞人言。」是則神 交於太古之上也。所幸湻風既散，琴道尚 存，古今博雅之士必當留心焉。凡欲學琴， 必先于譜，待識諸徽軫，指下精熟，方可 學大曲大操也。
序畢

To summarize, this preface presents qin music as a means of embracing the Real (摟真) within the ineffable realm of the Dao, where sound transcends ordinary perception and accords with the numinous. True mastery leads to a state in which technique disappears, mind and sound unite, and player and instrument are forgotten. In such moments, one may approach even the tonal principles of great antiquity. Citing Ouyang Xiu, it suggests that playing ancient melodies allows a kind of spiritual communion with the past. Although pure customs have declined, the qin tradition endures; study must begin with notation, but ultimate understanding lies beyond the written score.
(Return)

6. Liu Yu preface (QQJC IV/262-3)
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刻琴諧真傳序
夫太古遺音，廼樂中最清，聲中最純；大德象 兩儀，小德含品物。明以順人事，幽以感鬼神。制 自抱羲氏，至舜帝無為而昭天下；歌南薰，正音 律鳴于世焉。其盡善盡美，故曰雅樂也。古今聖 賢君子，素抱經綸；及涵養道德，几成於心者，[觸] 于情，興于詩，響諸聲音之際，欲得其和平。 蓋詩以理性情，樂以和性情，良由斯也。是琴為 君子之所尚，故日用取之，自適其中正。烏爾若 鄭聲謠佚之態，豈可並哉？愚後學，雖慕夫琴， 未探其妙。萬曆乙亥，公寓白下時，古閩永安 貢川楊君隱居巫峽之陽，別號西峯先生，瀟 洒風月，寄跡江湖，歌詠怡情，而琴學拔萃。愚 幸憐之，每閒夜半，靜撫隨心應手，音律徹 明，恍如萬籟之徑秋，寒泉之漱玉，玄鶴之唳空， 青猿之嘯月；深得古人體用自然，冷冷浪浪， 輕清重濁，一唱三嘆之趣，餘響不盡矣。是聆之者， 固消滌煩襟；而鼓之者，文不知生意何如也。所 謂古之伯牙，何以異哉？愚從學，授數曲。一日暇， 西峰將古今遺譜考正音文，分為名類，俻 細註明指法，一字不苟且。新脩幾篇，至簡至易， 乃得意中中得意者，鋟梓用傳，方廣裨有 志共之。愚嘉曰： 昔我江藩希仙殿下，與龔稽古考《太音釋字》于當時，而 文法似有隱別。今永安西峯先生，重捷要琴 譜于後世，而秘訣盡行顯露。可謂存心之溥，所養 之深，方能善作而善鳴也，信可傳之于不朽也。

萬曆乙酉嵗孟秋月吉旦江右南庚俊學
慎吾劉御拜書
序畢

This preface presents the qin as the purest vehicle of ancient “correct sound,” embodying cosmic order from Fuxi to sage rulers. It stresses that poetry regulates feeling and music harmonizes it, with the qin as the gentleman’s daily means of cultivating balanced inner order, in contrast to the vulgar “music of Zheng”. The author vividly describes Yang Xifeng’s playing as achieving unity of technique and spirit, evoking natural soundscapes and approaching antiquity. He praises Yang’s work in collating and correcting old scores, clarifying text–music relations, and making previously obscure methods explicit, thus enabling the tradition to be transmitted more reliably, though true understanding still lies beyond the written score.

He ended the preface by writing: “One day, when at leisure, Xifeng began to take his surviving scores from past and present, examine and correct the relationship between sound and text, arrange them into categories, and add detailed annotations explaining the finger techniques, not treating a single character carelessly. He newly revised several pieces, making them extremely simple and direct, yet capturing what is truly essential within the intention; these he had cut on blocks and circulated, so that those with shared aspirations might benefit from them.

I, for my part, commend this and say: In the past (the palace of) his highness our prince of Jiangfan, together with Gong Jigu, examined the Taiyin Shizi in their time, but the method there of relating text and music seems to have included distinctions not readily apparent. Now Master Xifeng of Yong’an has reworked this concise and essential qin handbook for later generations, and the crucial points are all set forth clearly. This may be said to show a breadth of intention and a depth of cultivation that alone make it possible both to compose well and to sound well; it is indeed something that can be transmitted to posterity without fading.”

According to my personal understanding of this preface, it says that many of these lyrics had previously been arranged in the handbook associated with Xi Xian and Gong Jigu (apparently Zheyin Shizi Qinpu), but that its method of matching words and music had certain details that were not readily apparent. Yang Xifeng therefore “examined and corrected the sounds and words” (kaozheng yinwen 考正音文), apparently clarifying — or in some cases perhaps altering — the relationship between tablature and lyrics so that the pieces could be transmitted and sung more intelligibly. It is possible that the earlier tablature could be made musical, but not always naturally singable according to the traditional pairing method. This opinion is based on my having recorded all the music from Zheyin Shizi Qinpu: I do think that its rhythms can often be made to fit the melody, but that does not necessarily mean every passage can be sung naturally if one follows the traditional pairing method used by Zheyin Shizi Qinpu.
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7 Praise for the man himself (IV/263-top of bottom right: unclear)
- Begins: ? (too blurred to read)
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8 Image of Yang (IV/263 bottom of bottom right)
Has a line on each side giving his details
- 楊西峰諱表正字木直
   閩延平永安縣貢川人
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9 默庄贊 Praise of Yang's Meizhuang (49049.xxx Hidden Cottage; IV/263 bottom left)
- poem ([4+4] x 5)

丰姿慷慨，物外交游，
不事浮靡，道學同流，
風月襟慷，滄浪歌謳，
業行補也，與古人儔。

Not yet translated.

10 贊楊君表正小影 Praise of the small image of Master Yang Biaozheng

昔司馬子長之遊海內，歷覽山川，其後[?]益壯，非文自壯 也，以其收天下春而歸之肺腑也。今表君表正，產自閩山 延平貢川，派出先儒龜山後裔，鳴琴海內，窮達殊途必親 焉。觀其自著遇僊吟一操舒懷於山水之間，其學術源流， [學]之為琴之精，視夫司馬子長之文，寧不相頡頏哉。
莆田梅里山人[郎]望謹贊

Comments:
[?] was originally 夕 : added there by mistake.
[學] looks like the top 5 strokes of 業 but with 弓矢 underneath]
[飬] is short for 養 and 養望 Yangwang means (45122.148) "食培養名望使日高 to cultivate one's reputation so that it grows higher day by day.

Translation:

In former times, Sima Qian traveled throughout the realm, surveying mountains and rivers; afterward his writing became ever more powerful. It was not that the writing made itself powerful, but that he gathered the springtime vitality of all under Heaven and returned it to his innermost being.

Now Master Yang, styled Biaozheng, was born in the Min mountains at Gongchuan in Yanping, a descendant of the earlier Confucian master Guishan. His qin playing is renowned throughout the land, whether among those of success or obscurity, all are drawn to him. Looking at one of his own compositions, the piece Yuxian Yin, one sees how he releases his feelings among mountains and waters. As for the sources and lineage of his learning, it is in this that he achieves the very essence of the qin; compared with the writings of Sima Qian, could he not stand in equal rank?

Respectfully praised by Yangwang (Cultivating Esteem), mountaineer of Meili in Putian.
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11. Afterword by Chen Shuzhen (IV/513)
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重脩真傳琴譜大全後跋
海內譚知音者衆矣，要之皆自審其音，返古以 惑之也；如是者，尚安得為盡善哉？惟我
本宜楊君，丰姿瀟灑，賦優游，寄跡於湖海之濱， 而琴學出類。不佞始竊聞之，殆自甲申之嵗菊月 之初，而又鳴且作焉。僊僊
正其音之往來，使字[義]之不亂；
易其詞於上下，使句法知有序。
至明且易，獨得夫心 聲之妙。積僕至是，顧聞其音也，夜月春風，目擊高山 流水之奏，雲門天籟，神通巴祠郢曲之明，真有得 於太古之遺音者矣。每令人一唱三嘆，凡夫調乎心， 洗蕩乎耳者，良有以也。愚因從學，敢於僣言：學者 潛心於此，玩其詞，審其音，而有以識其性情之正云。
噫！微斯人，其誰與歸？

時
萬曆乙酉菊月吉旦，後學士儆陳書箴頓首謹跋

Chen signed it, "On an auspicious day in the Chrysanthemum Month of the yǐ-yǒu year of Wanli (1585), the junior student Chen Shuzhen, styled Shijing, respectfully bows his head and writes this afterword.”

Summing up this afterword, Chen Shuzhen says that many people claim to understand music, but often confuse themselves by trying to force antiquarian ideas onto sound. By contrast, Yang Xifeng’s qin learning is outstanding. Chen praises Yang for correcting the movement of the music, keeping the meanings of the words from becoming jumbled, rearranging lyrics so the sentence structure is orderly, and making the result clear and easy. He describes Yang’s music as evoking ancient refined sound, High Mountains and Flowing Waters, and other numinous resonances. Students should study both the words and the sounds in order to recognize the proper expression of feeling and nature.
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12. Afterword by Yao Shiwei (IV/513)
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重修真傳琴譜大全後跋
天下之業，精于勤而荒于嬉；業精豈易談哉？ 故談業者，當必求之精焉，而後足以為吾法。學 之者，是必潛於所師，而會通以觀其變；神游於 所欲，而澄慮以綜其微。清濁高下之音，所可以 言傳者，吾既以且受之矣；[圓]神不滯之術，不可 以言傳者，吾且以神受之矣。記曰：「善學者師逸 而功倍。」又從而[用]之，即是而可以語吾心之音；當 必有出於形骸之外者，豈徒高山流水云乎？吾 閩楊君表正，字本直，號西峯，以琴鳴海內。歲 甲申仲夏，予遇楊君於剱浦，遂與談蓬心、 道味。出正文對音琴譜示予，予固樂觀厥 成，而微妙難言之蘊，己敘諸篇首，嚮風海內 矣。然本簡尚未敘，君猶以為歉；非惟歉于末， 而正文對音，尚考其纖悉和平之奧。見其文 之粹也，如金之精，如玉之潤，而天下之人莫之 損益也。其音之清也，如月之秋，如江之澄，如潭 之寒，千里一碧，冷然內微也。其古雅也，如太羹， 如玄酒，如周之鼎，令人覩之而裴回太息，棲神 千載之上也。其飄逸也，如珮玉嗚琚，乘風御空， 而不可即也。其鏘鏘也，如金石相宣，絲竹並 奏，而聽之者靡靡忘倦也。其嚴正也，如達官 貴人端冕而立乎
朝廷之上，見之者凜然動容也。颯颯乎東海之 遺音，真足以起南風之慍，調岐山之嗚矣。斯 琹之精也，業之妙也。吾安得不敘諸末，而為 天下同志者所共通焉。是為跋。
時
萬曆乙酉嵗端陽月朔日莆庠士梅里姚士畏謹
      書于剱浦四賢書院

Yao signed it, "Written on the first day of the Duanyang month in the yǐ-yǒu year of Wanli (1585), respectfully by Yao Shiwei of Meili (?), a student of the county school (Puxiang), at the Four Worthies Academy in Jianpu (Nanping, Putian: in west central Fujian not far downriver from Yang Biaozheng's hometown).

To sum up this afterword, it reflects on the difficulty of attaining true mastery, stressing that skill comes through disciplined study and inner realization, not mere discussion. It distinguishes between what can be transmitted verbally (technique) and what must be grasped inwardly (spirit). The author recounts meeting Yang Xifeng and praises his handbook for its refined structure and subtle musical insight. Yang’s music is described through a series of vivid analogies — pure as jade, clear as autumn moonlight, ancient as ritual vessels, and resonant as combined instrumental sound—evoking both elegance and emotional power. The work is presented as a model of qin artistry, worthy of transmission to all serious students.
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Return to the Chongxiu Zhenchuan intro, to the annotated handbook list or to the Guqin ToC.