T of C
Home |
My Work |
Hand- books |
Qin as Object |
Qin in Art |
Poetry / Song |
Hear, Watch |
Play Qin |
Analysis | History |
Ideo- logy |
Miscel- lanea |
More Info |
Personal | email me search me |
Qin Bios Music, Sadness and the Qin | 首頁 |
Yongmen Zhou
- Qin Shi #41 |
雍門周 1
琴史 #41 2 |
Yongmen Zhou is largely famous through the story, related below from Qin Shi but also found elsewhere,4 of his qin playing bringing tears to Lord Mengchang (d. 279 BCE).5 There seems to have been no mention of the melody that Yongmen played - it was not the qin melody Ji Ming Du Guan. However, it does raise the question: what exactly was it that brought tears to Mengchang: the story or the music itself?6
According to the Qin Shi account, Yongmen Zhou learned this qin skill from a female musician named Han E.7 The instrument Han E played is not mentioned, so perhaps this is why Qin Shi does not mention her in the title. Another player who could move people to tears with qin play was Sun Xi (also called Xun Xi).
According to a passage from Taiyin Daquanji, Folio 5,8 a section introducing fingering techniques, Yongmen Zhou was the first person to write qin tablature.9 It then says either that it became widespread11 or was continued by a man named Zhang Fu.12
Unfortunately, no source is given for this rather questionable tracing of qin tablature back to the Warring States period.13
The Most Ancient section of the Tablature List of Qin Melodies by Seng Juyue (see #66) says that Yongmen Zhou wrote Feng Ru Song Ge. A version of this story has Yongmen describing Mengchang as living in a mansion that has silk nets through which clear breezes came: this is the closest connection I have found between Yongmen and Wind through the Pines, which is more commonly attributed to Xi Kang.
The Qin Shi entry for Yongmen Zhou is as follows.
When Han E was traveling east of Qi she ran low on provisions. Coming to Yongmen she had to sell her songs in order to eat. After she left the sound continued reverberating for three days. People all around there thought she hadn't left, and people who met her on the road criticized her. So Han E (played a) Long Song and cried mournfully. People for one li around, young and old, were all sad. They cried in front of each other and could not eat for three days. Quickly they ran (to Han E) and asked her to come back. Overjoyed, this time Han E played a Long Song which made everyone for one li around so joyous they hopped and danced to the rhythm, unable to stop themselves, and they forgot their sadness of the previous day. Thus the people of Yongmen enjoyed singing and crying at the same time, and they studied the precious sounds of (Han) E.
Zhou (of Yongmen) became especially good at skills (of Han E). Using this method he first cried for Lord Mengchang, then continued this using the qin. Mengchang Jun said. Sir, you play the qin. Can you also cause people to be 悲 (emotionally moved, usually suggesting sadness)? (From here on the passage is paraphrased rather than translated: Zhou replied that he could only affect those who were now rich and mighty but would later be poor and lowly, and not effect the ordinary person or the gifted person who never attained anything. He then went on to say that since Lord Mengchang was so wealthy and successful, how could even a great qin player make him sad. However, Zhou then proceeded to tell him that in the future Mengchang would die and eventually even his grave markers would disappear and his descendants forget him. At this Zhou took out his qin, first playing slow tunes in 宮 gong and 徵 zhi modes, then continuing with 羽 yu and 角 jue, at which point Mengchang began crying. He then approached Zhou and said, "You have shown me that I am one of those who will lose all his wealth and position." The writer, presumably Zhu Changwen, adds his opinion that Zhou must have been an advisor to Mengchang who used qin playing to admonish his lord's failure to listen to advice.)
This account made no mention of the titles of any melodies connected with Yongmen Zhou. It also does not mention Yongmen Zhou writing down his music.14
1.
雍門周 Yongmen Zhou (Zhou of Yongmen [Harmony Gate])
4.
Other accounts of the Mengchang story
今若足下,居則廣廈高堂,連闥洞房,下羅帷,來清風;倡優在前,諂諛侍側,揚激楚,舞鄭妾,流聲以娛耳,練色以淫目;水戲則舫龍舟,建羽旗,鼓釣乎不測之淵;野遊則登平原,馳廣囿,強弩下高鳥,勇士格猛獸;置酒娛樂,沈醉忘歸:方此之時,視天地曾不若一指,雖有善鼓琴,未能足下也。」
孟嘗君曰:「固然!」
雍門周曰:「然臣竊為足下有所常悲。夫角帝而困秦者君也,連五國而伐楚者又君也。天下未嘗無事,不從即衡;從成則楚王,衡成則秦帝。夫以秦、楚之強而報弱薛,猶磨蕭斧而伐朝菌也,有識之士,莫不為足下寒心。天道不常盛,寒暑更進退,千秋萬歲之後,宗廟必不血食;高台既已傾,曲池又已平,墳墓生荊棘,狐狸穴其中,遊兒牧豎躑躅其足而歌其上曰:『孟嘗君之尊貴,亦猶若是乎!』」
於是孟嘗君喟然太息,涕淚承睫而未下,雍門周引琴而鼓之,徐動宮、徵,叩角、羽。
終而成曲,孟嘗君遂歔欷而就之曰:「先生鼓琴,令文立若亡國之人也。」
Yongmen Zhou replied:
"Those I can move to sorrow are ones who:
were noble but have fallen to low estate;
were once rich but are now poor;
were banished to desolate alleys, cut off from neighbors;
are of noble character, embracing purity, yet have been slandered and disbelieved;
are lovers parted by life, sent to distant lands never to meet again;
ore are orphans with no parents in youth, no spouse or children in age,
dwelling in marshes by day, burrowing in caves by night,
struggling to survive, with none to turn to.
For such people the cry of a lone bird or the whisper of autumn wind through branches
are alone enough wound the heart.
When I play the qin for them, sighing as I pluck the strings,
none fail to weep in anguish.
But now standing at your feet, (I see) your halls are vast, your chambers deep;
Cool breezes stir your silk curtains.
Singers charm your ears, dancers dazzle your eyes;
you sail on dragon-boats with feathered banners,
there are fish in unfathomed depths;
you hunt across plains with swift arrows felling birds,
brave men battle beasts at your command,
banquets leave you drunken, forgetting to return.
In this existence, heaven and earth seem smaller than your fingertip.
Even the finest qin master could never cause you grief."
Lord Mengchang conceded: "True."
Yet Yongmen Zhou continued:
"Still, I grieve for you in secret.
you allied with emperors to corner Qin;
you rallied five states against Chu.
The world knows no peace.
All must choose vertical or horizontal alliance.
Should the vertical alliance triumph, Chu rules;
Should the horizontal prevail, Qin reigns.
When Qin and Chu — mighty as they are — turn vengeance on your fragile fief of Xue,
it will be like scything morning mushrooms with a sharp axe.
All who foresee this shiver for you.
Heaven’s favor never lasts**:
cold follows heat; tides rise and fall.
A thousand years hence,
no sacrifices will grace your ancestral temple.
Your towers will crumble;
your ponds will dry to dust.
thorns will choke your tomb,
foxes den in its ruins.
children herding cattle will trample your grave,
and sing: 'Was Lord Mengchang’s glory truly so grand?’"
Then, with Lord Mengchang sighing deeply, tears welling but not falling.
Yongmen Zhou took up his qin and played, slowly plucking the notes gong and zhi, and striking jue and yu. And when the melody finally was finished, Lord Mengchang sobbed and drew near, saying:
"Master, your qin has made me feel like a man whose kingdom has perished."
See also in the Shuo Yuan of Liu Xiang.
5.
孟嘗君 Lord Mengchang
Footnotes (Shorthand references are explained on a
separate page)
Yongmen Zhou (42916.34) was a man of Qi named after 42916.30 雍門 Harmony Gate, the east gate of 齊 Qi. 42916.35 雍門鼓琴 Yongmen plays the qin tells the Mengchang story from 三國志 San Guo Zhi and Liu Xiang's 說苑,善說
Shuo Yuan, Shan Shuo. 42916.26 雍門調 Yongmen Diao tells of someone who played a sad song on the 箏 zheng. Xu Jian, Outline History, Chapter 1. A., p.6; see also p.22) tells the story from the chapter Way of the Qin in the Xin Lun by Huan Tan. Xu Jian does not seem to have any reference to the claim that Yongmen Zhou created qin tablature.
(Return)
For example, this story said also to have been in Huan Tan's Xin Lun. This version as published in Qinshu Daquan, Folio 16, #35), is as follows:
Yongmen Zhou brought with him his qin to meet Lord Mengchang, who asked:
"Master, when you play qin can you move me to sorrow?"
(Return)
The earliest biography of Lord Mengchang (7107.267) is Chapter 15 of the Shi Ji (The Lord of Meng-ch'ang; Giles: Meng Ch'ang-chün; see Nienhauser, Grand Scribes Records VII, p.189ff and index). Mengchang's original name was 田文 Tian Wen. Born in the 4th c. BCE of a prominent family of 齊 Qi in Shandong, he was so effective as a minister of 薛 Xue, a fiefdom within Qi, that 秦昭王 King Zhao brought him to Qin as prime minister. Here, however, he had enemies who put him in jail, and he was only able to escape with the assistance of two retainers, one who could imitate the sound of a dog barking, the other who could imitate the sound of a cock crowing. The story of his escape is told with the qin melody 雞鳴度關
Ji Ming Du Guan (At the Cock's Crow Going Through the Pass), #95 in Xilutang Qintong
The Shi Ji tells other stories concerning Mengchang, but does not include the one in which the qin playing of Yongmen Zhou moves Lord Mengchang to tears (next footnote).
(Return)
6.
What caused Mengchang's tears: the story or the music?
More specifically, if it is the music that brings the tears, then is it specifically the music or is it the skill of the musician. In his article Music, Sadness and the Qin, p. 47, Ronald Egan discusses this issue. As can be seen in the story told here, Yongmen Zhou has a reputation as someone who can bring tears to anyone. He, however, says it has to do with the backfround aand attitude of the listener. But is it that Yongmen Zhou plays in such a way that it brings out the deepest emotions in anyone? Does that mean it is the beauty of his play that brings this out, regardless of the circumstance (i.e., everyone everywhere has experienced grief at some time)?
(Return)
7.
Han E 韓娥
Han E (44126.231) was a contemporary of Yongmen Zhou. The earliest story of her as a musician seems to come from Liezi, Book 5. As translated by A.C. Graham (p.109) the story there is as follows,
She passed an inn, where the landlord insulted her. She therefore wailed mournfully in long-drawn-out notes; and all the people in the quarter, old and young, looked at each other sadly with the tears dripping down their faces, and could not eat for three days. They hurried after her and brought her back; and again she sang them a long ballad in drawn-out notes. The people of the whole quarter, old and young, could not help skipping with joy and dancing to hand claps, forgetting that they had been sad just before. Afterwards they sent her away with rich presents.
That is why even today the people of Concord Gate are good singers and funeral wailers, taking as their example the memory of Erh's singing.
(Return)
8.
Taigu Yiyin on the Origins of written tablature
See QQJC I, p.81. This is also in in 太古遺音 Taigu Yiyin (see also Tong Kin-Woon's Qin Fu, p.94). There is no indication of the source for the claim.
(Compare the account in Qin Jing).
(Return)
9.
This was presumably 文字譜 longhand tablature, often credited to 雍門周 Yongmen Zhou. See also longhand tablature.
(Return)
11.
張敷 zhangfu
Zhang can mean "set forth", "publish" and fu can mean "distribute", "make known"; dictionaries do not give zhangfu as a combination, but this interpretation of the passage does seem possible here (see also next footnote).
(Return)
12.
張敷 Zhang Fu
Zhang Fu (10026.1301; Bio/1248), style name 景胤 Jingyin, was a man of 吳 Wu who lived in the early years of the Liu Song dynasty (420 - 479). His biography says he was filial, enjoyed reading abstruse writings, and held some high offices, but it makes no mention of music. The translation by Hsu Wen-Ying (pp. 220 and 404) of the passage here treats 張敷 as a person's name, Zhang Fu. This allows the passage to begin, "The systemization of qin tablature began with Yongmen Zhou and Zhang Fu....(see further).
(Return)
14.
Hsü Wen-Ying (p.36) also references 移情摘粹 Yi Qing Zhai Cui by 張寧一 Zhang Ningyi, 1666, but I have not been able to examine that book/article.
(Return)
Return to QSCB, or to the Guqin ToC.